{"id":29056,"date":"2024-04-08T10:29:37","date_gmt":"2024-04-08T10:29:37","guid":{"rendered":"https:\/\/themeravigliamagazine.com\/architetture-abitabili-o-inabitabili\/"},"modified":"2024-06-10T09:01:58","modified_gmt":"2024-06-10T09:01:58","slug":"architectures-habitable-and-non-habitable","status":"publish","type":"post","link":"https:\/\/themeravigliamagazine.com\/en\/architectures-habitable-and-non-habitable\/","title":{"rendered":"ARCHITECTURES HABITABLE AND NON-HABITABLE"},"content":{"rendered":"\t\t
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ARCHITECTURES HABITABLE AND NON-HABITABLE\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We too, like the national Nanni, the thing we like most is to see the houses\n<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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APRIL 2024 - GAZE <\/a><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00a9 Archivio Storico Luce, Fondo Attualit\u00e0 - Veduta parziale dall\u2019alto dello Stabilimento FIAT Lingotto e della pista per il collaudo percorsa da automobili, Torino, 30 marzo 1928<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"The thing I like most of all is seeing the houses. Even when I go to other cities, the only thing I like to do is look at the houses. It would be nice to have a film made only of houses: panoramas of houses.\"
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Nanni Moretti<\/h6><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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These words are spoken by Nanni Moretti of Caro diario, the director’s rather faithful alter ego, who entrusts this film with some of its most ineffable oddities.<\/span><\/p>

That it is in fact an oddity, this Morettian love for houses, is a certainty that suddenly strikes those who, like the writer, have always associated the love for bricks with the bourgeoisie and, consequently, with certain slightly conservative right-wingers \u2013 what is called the “reflective middle class”. That is, the one that, for example, Carlo Goldoni mocks in La casa nova (1760), a sarcastic comedy that takes aim precisely at the bourgeois passion for houses.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\tI am the pure form, the perfect solid.<\/span>\n\t\t\t\t\t\t\t\t\t\t\tI am the pure form, the perfect solid.<\/span>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t\t\tI am the pure form, the perfect solid.<\/span>\n\t\t\t\t\t\t\t\t\t\t\tI am the pure form, the perfect solid.<\/span>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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And yet, this passion \u2013 which is also thought to be a bit frivolous, as is often the case with fashion \u2013 has reaped illustrious and numerous victims, even in the highest spheres of the fatherland of letters. Let’s take, for example, a typical representative of the Italian intelligentsia, Mario Praz. Distinguished scholar, essayist expert of the Napoleonic period, writer, translator, journalist and fanatical collector of furniture, knick-knacks, paintings \u2013 especially the so-called <\/span>conversation pieces<\/span><\/i> depicting domestic interiors \u2013 as well as author of one of the inevitable texts in a self-respecting design bibliography, The Philosophy of Furniture (which was joined, in 1975, by the small jewel, now unfortunately out of print,\u00a0 The house of life).\u00a0<\/span><\/p>

In the book, Mario Praz even goes so far as to write \u2013 in black and white \u2013 what few intellectuals would confess: “As in any other field, so with furniture, men are divided into two classes: men who care about the house; men who don’t care at all. I feel much nearer to that wife of Zechariah of whom W. Hale White speaks in <\/span>Revolution in Tanner’s Lane<\/span><\/i>, who could not sit quietly if an ornament of the mantelpiece appeared to be displaced.”<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a9 Giudo Guidi - CISA A. Palladio<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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And, if such a declaration were not enough to clear the field of any doubt about the dignity of studies around design and architecture, here comes the reinforcement of Felix Schwartz, a Swiss architect, with an assertion as lapidary as it is ontologically true: “Architecture is the clearest expression of the will, of the political intentions of humanity. By using architecture directly, man is directly influenced by it.” A statement impossible to deny, as demonstrated \u2013 fortunately only on paper \u2013 by Jeremy Bentham’s Panopticon.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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