Palazzo Giustiniani Lolin a major exhibition celebrating the designer of the "rebirth" of the country and the Olympic Games in Rome 60. Among icons Nerviani, new projects, challenges and stories, we talked about his grandson Marco Nervi
LAURA Larcan
The architect who remade Venice Italy to the challenge of Nervi
VENICE - It 's been the architect the "rebirth" of Italy on the ashes of World War II. One of the main characters of the Roaring Twenties who wrote the chapter on the economic boom of those fabulous Sixties that changed the spirit and ambitions of generations. Pier Luigi Nervi (1891-1979), but enlightened visionary, a dreamer, but practical and socially engaged, so much so that, as he recalls his grandson Marco Nervi, would often say with pride that the main reason for which his designs were winning races tender because it was economically more advantageous than others. Fifty years on from the Olympics in Rome (who saw "signs" of choice for sports facilities) and twelfth in the forthcoming Biennale of Architecture "People meet in Architecture", celebrates a major exhibition, "Pier Luigi Nervi - Architecture as a Challenge ", from August 28 to November 14 at Palazzo Giustiniani Lolin under the care of Carlo Olmo, organized by Pier Luigi Nervi and Research Knowledge Management Project, chaired by Marco Nervi with the aim of bringing the figure and work of Pier Luigi Nervi at the center of reflection on the culture of the twentieth century, not only Italian. Partner of Excellence, the Centre International pour la Ville, l'Architecture et le Paysage, Brussels (Shiva), where the show debuted in June, and Maxxi, National Museum of XXI Century Arts in Rome, where he will arrive in December next. We talked with Marco Nervi.
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from the title of the exhibition "Architecture as a challenge." What was the "challenge" for Pier Luigi Nervi?
"The 'challenge' is to be understood clearly as a challenge to himself and his creative abilities in design and produce works of increasing complexity, structurally and technically, often with very short time available. These conditions placed him in front of 'challenges' techniques, but also constructive and organizational difficult. These 'limits' are clearly also added to the' challenges' intellectuals associated with the use and capabilities of individual projects, I think in particular the Chamber of Audience at the Vatican for which it was necessary to achieve 'a work is not petty or trivial, but aware of Its prime location and its ideal destination '(speech delivered by Pope Paul VI, June 30, 1971, the day of inauguration of the House). We also think the 'challenge' posed by the economic needs of Italian and European civil society in the postwar years, when the limited resources available require rigorous planning and organization. "
challenge, then, more social and democratic in the sense of the word ...
" My grandfather had a very high conception of the role the manufacturer, and the role that this figure can play in society. For him up was the importance of its function to the community, from which I derive the concept its great moral and intellectual integrity. So I think the challenge for each project on Pier Luigi Nervi was always represented from getting maximum strength, functionality, economy, speed of execution, all criteria that were inextricably part of its design language. But the biggest challenge always remains the combine all these parameters in a pure architectural form, where aesthetic language and structure are merged into a unique harmony.
We can tell from his point of view the man and the architect Nervi, reveals his personality, his temperament, his temper. What moved him and what disturbed him?
"I worried the mediocrity and lack of intellectual rigor and moral. He was sometimes very hard, but it was in the first place to himself. He knew, however, be generous when recognized in the other a real commitment and a passion for their work. It is demonstrates the commitment that he dedicated to his students at the Faculty of Architecture of Wisdom, or the very special relationship with the workers of his company, with whom he often entertained you in on solutions to long to be taken in different sites. Shy and folded on the affected families, especially in an almost exclusive relationship with his wife, however, had developed a very complex social life around the profession, maintaining relationships with leading personalities from the worlds of architecture, culture and international politics. "
What was the greatest dream of Pier Luigi Nervi? He created?
"For me it is difficult to answer, but I think it was the live in fact as he then lived, pursuing what he once called his 'abstract passion engineering design'. A passion that has sacrificed a lot, in a totally aware, this also involving his family, but I think - just for his intellectual honesty, that he could not have done otherwise. "
How has Italy with Nervi architect?
"I guess you could say that my grandfather was the right person at the right time. The capacity building of Pier Luigi Nervi - speed, creativity, innovation and cost - and the management model represented by his construction company meets the high demands of civil society Italian and European post-war and I believe have made their contribution to the economic recovery of those years. "
What you will find that nerves in this exhibition in Venice? What is its leitmotif. What are the" icons Nerviani "that mark the path?
"The exhibition opens with a reading of 12 exciting projects Nerviani made by Mario Carrieri, one of the greatest Italian photographers. Berta stadium in Florence Italian Embassy in Brasilia, passing the Palazzo Torino Esposizioni, the UNESCO building, the Hall of Audiences, Carrier offers a contemporary reinterpretation that helps us to look at these structures in a new, also interrogated on their current use and recovery.
There are two projects which are then analyzed in detail, the municipal stadium of Florence and the Palazzo Torino Esposizioni. There are two projects that mark a bend in the creative process and the reputation of Pier Luigi Nervi. The Municipal Stadium in 1932 led him to the forefront of the international architectural scene, Palazzo Torino Esposizioni it reaffirms the success after years of war in 1948. In Venice, will present new aspects of both projects.
The themes also interact with the theme of this year's Biennale in Architecture-People-making absolutely meet the current work of Nervi, who during his long career as a designer and manufacturer mainly produces large structures in service of social life.
Do not miss the depth that we present on Intervention of nerves in the building of the Cassa di Risparmio di Venezia, set up their own spaces in the hall of the bank in Campo Manin, which will allow the public to better understand international and Venetian this little gem great engineer of Sondrio in the heart of Venice.
There are new elements (materials, studies, projects) that stand out? About
Berta Stadium in Florence, working in the archives, there was a story (and a project) above, a story that allows you to replace this famous project even in a context of development and different cultural. It 'a real novelty, is for drawings that will be exposed, both in research, not only of starvation, but also analyzing its way to design, here comes sharply into focus. In the case of Torino Esposizioni
present instead the relations between father and Hector Sottosass Nervi for pre-existing plan of the Palace of Fashion, on whose postwar ruins my grandfather erect Torino Esposizioni. This is interesting material for understanding the relationships between nerves and Italian architects.
Also in the multimedia section which anticipates the broad review contained in the program MAXXI and an extensive video section which will offer period documentaries on the work of Pier Luigi Nervi, will be premiering a film on the teaching Pier Luigi Nervi, for the exposition by Folco Quilici with Science by Lucio Barbera. They use the
50anni the Olympics in Rome, a scenario that will be discussed further with the show at the Maxx. Since the Olympics are a very timely topic, describes the Olympic Games in Nervi (maybe even some of those great historiographical background sites)?
Being born after 1960, precisely in 1964, I have no personal memories linked to that event. Surely, however, the period of construction of the Roma 60, as best recalled recently from my brother Pierre in a series of articles, was, for my grandfather and our family, a terrific time for ingenuity, creativity, commitment and organization put into the creation of such works as the Sports Hall, in collaboration with Annibale Vitelli, Stadio Flaminio, in collaboration with his son Anthony, the viaduct of Corso Francia and the Palace Sports in collaboration with Marcello Piacentini. The preparation and execution of the Olympic construction sites were the time when the sons of Pier Luigi Nervi entered a full part of the work and the study of the nerves. My uncle works with her father Antonio architect in the design, my father Mario, an engineer, and my Uncle Victor, who was an architect especially in the management and enforcement of building sites.
The result of this work is still celebrated in the history of the Olympics as one of the best examples of collaboration, trust, rationality, persistence of all those institutions, organizers, managers, technicians who have contributed to achieving the target set in the time and, more importantly, within the limits spending imposed. So I think it is right in celebrating the 50th anniversary of the Rome Olympics Pier Luigi Nervi remembered as one of the protagonists of that "wonderful summer" of '60, which marked the start for Italy's economic boom.
And what you personally think of the new application of the 2020 Rome Olympics. It 's a city that can support the architectural firm?
"As with any opportunity for possible large-scale projects and investment in the urban fabric, is potentially a great opportunity for the city of Rome. And 'perhaps the most beautiful stage, a fascinating and exciting world for an event of these characteristics. It will not be easy, however, confronted today with the urban and architectural complexity of a Rome radically changed from fifty years ago. However it seems that there are promises to do well, given the great unity of purpose between the municipality, Olympic Committee and the Government. The commitment on our part, as a family Nervi, will ensure the proper integration of the structures built by my grandfather in the preparation of different racing venues.
A About Maxxi, what he thought nerves of this museum that has attracted so many conflicting readings?
"I do not think it is for me to say what he thought of Pier Luigi Nervi of the project. For my grandfather's work to be considered right or rather 'real', as he defines it in an interview that will be on display, must be conceived and executed with full satisfaction of the characteristics of good functionality, structural stability, good economic performance, reliability and aesthetic composure. Respect means that features that were built correctly and honestly I think the most important things for him in a work of architecture.
Useful
- "Pier Luigi Nervi - Architecture as a Challenge ", from 28 August to 14 November 2010, Palazzo Giustiniani Lolin, the site of Permasteelisa, Venice
Hours: Monday-Thursday 11-18, Friday and Saturday 11-20.
Closed Wednesdays Admission free.
Information: 2 www.pierluiginervi.org
Catalogue: Silvana Editoriale
(August 11, 2010)
Giancarlo Rossi - (save) stockbroker - How do you portray a garden so reminiscent of the Impressionists Edinburgh
http://www.repubblica.it/speciali/arte/recensioni/2010/08/06/news/come_ti_ritraggo_un_giardino_cos_edimburgo_ricorda_gli_impressionisti-6114954/
The National Gallery is celebrating the move with a major exhibition theme. On stage, a hundred works by Monet, Sisley and Van Gogh comes a curiosity: the botanists have identified all the plants in the pictures painted by LAURA
Larcan
How do you portray a garden so reminiscent of the Impressionists
Edinburgh EDINBURGH - If the unbridled force of Impressionism was to experiment with ecstasy blood painting landscapes en plein air, "where the light is no longer unique - just like he said Emile Zola - but there are multiple effects," then the big show at the Royal Scottish Academy Building (on the whole of the National Galleries of Scotland) into the heart of the movement and captures the purest essence. "Impressionistic Gardens" (Impressionist gardens) becomes the subject guessed, almost brazen in this really great collection of nearly one hundred works, the result of collaboration between the institution and the Scottish Museum Thyssen-Bornemisza in Madrid, under the care of Michael Clarke and Clare Willsdon was able to orchestrate quality parts authoritative using loans from a number of important museums in the world.
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The garden, this microcosm infusion of the Wild or tamed, private or public, green, floral, revitalized and energized dall'incostante and indomitable light, is the key to a beautifully predictable journey to the center of 'Impressionism, where parade side by side chromatic virtuosity of his mentors. Monet, who built his personal garden at Giverny in Normandy, "his most beautiful work of art", his paradise, his bucolic utopia where to chase the endless mutability of a reality at the mercy of the effect luministic brought increasing his painting to the extreme edge of an informal taste. A Sisley who loved to capture the perfect harmony with existing color of the gardens of Louveciennes, Pissarro and Berthe Morisot in chasing liberty with instant heat and the gentle beauty of small, well-ordered gardens in the villages around Paris, Renoir used as a fifth dramatic portraits of his wild looks out upon the garden his studio in Montmartre.
The garden as a place for experimental research hub outside and from life had already been the vision of the painters of the first half of the nineteenth century, and the exhibition reward you. Track this the dawn of a revolution in those painters of the Barbizon School, which had denied the construction of classical study, highlight characters such as Delacroix and Corot who had caught the constructive force in the color of the representation. But the exhibition does not end the season then only the most authentic of Impressionism. Leveraging the leit motif of the garden, chasing the souls of this style outsider, the protagonists of a more personal and transfiguring processing, such as Gauguin and Van Gogh, those who have written a new chapter, as Seurat, to the chromatic subtleties of a troubled young Klimt pre-secession. It 'a short slide show airy leaving an epic style where the color went protagonist, merging into one with the emotion of the individual artist.
And the masterpieces on display appear as pure color surface, where the matter chromatic flickers with frenzy and excitement, torment and passion to capture the flash of light and density of the atmosphere. Still, the record also shows can give unprecedented criticism: "For the first time we have worked closely with scholars at the Royal Botanic Garden Edinburgh - tell the curators of the exhibition - for a careful and limited joint analysis of the paintings. We were able to identify where it can all types of plants described by the artists in the paintings of the exhibition. This result, as also pointed out the director of the Botanical Gardens David Mitchell, now helps us to demonstrate the high level of specialized knowledge in horticulture, which had some Impressionist painters, real expertise in botany. "The brush stroke short, quick stroke, the emotional dynamism of the colors that have made great and unique the Impressionists, they never canceled the reality of nature. And their gardens today reveal this great truth.
Useful - "Impressionist Gardens", from July 31 to October 17, 2010 , Royal Scottish Academy Building, National Galleries of Scotland, Princes Street, Edinburgh, Scotland.
Hours: Daily, 10-17 (until August 18), Friday until 19.
Admission: £ 10, concessions £ 7.
Information: www.nationalgalleries.org
2 (06 August 2010)
Giancarlo Rossi - (save) stockbroker - Rimini Enizyme the laboratory to the forefront of tomorrow's art
http://www.repubblica.it/speciali/arte/recensioni/2010/08/27/news/a_rimini_il_laboratorio_enizyme_l_arte_di_domani_alla_ribalta-6544067/
Rimini laboratory Enizyme
The art of tomorrow to the forefront at the Rimini Meeting 2010
Eni launches an innovative and interactive space dedicated to contemporary art. Between performances and shows on the theme of Energy, parade graphics, video makers, photographers and musicians of the latest generation of
LAURA Larcan
Rimini Enizyme the laboratory to the forefront of tomorrow's art
RIMINI - The Rimini Meeting 2010 arrives Eni. Did not matter if one considers that the historic Italian company founded by Enrico Mattei brings with it, until today, a stable of young artists, designers, graphic designers, illustrators, videographers, photographers, copywriters, musicians and actors to transform their trade fair stand in Hall D5 in a "square of culture" to the sound performance, performances, video installations, laboratory meetings. A non-random event, but also at all obvious to the parent company of the infamous six-legged dog, which has now based with conviction and a hint of romantic folly of corporate communications projects on a forge (Enizyme) of young creative talent recruited from all over the world the common thread of the trial. And in the days of the Meeting of Rimini Eni space becomes a stage dedicated to dynamic interactive and engaging from day to evening, to discover and experience. For the first time ever, in collaboration with NUfactory, there is a real team of artists who, in recognition between the exhibition spaces, realized in real time, through their own eyes, sensitivity and style, works and events inspired by the issues raised in the course of several days. Always keeping faith with philosophical beliefs of Eni: "The future belongs to those who know imagine." It is from this improvisation "inspired" you write the program for the stand hi-tech Eni.
by the illustrator Roman Chiara Fazi, '84, formed the Academy of Fine Arts in the capital, with an elegant and simple narrative style, the sculptor "anthropologist" traveler and amassing Damiano Tullio, Class '79, to the sophisticated and visionary video maker Daniel Spano, born in '79, the photographer Guido cazzilli underground, class '83, video Giorgio Varano artist, born in '81, grew up in shorts and documentaries, to Florence Emily Mattes, actress and author. They were added to the logbook, Eni-Café, the literary cafe that night by reserving a course in creative writing produced by the Holden School in Alessandro Baricco, to the sound of meetings with various authors on the process of constructing a narrative . To these, at night, combine virtuoso solos actor Raffaello Fusaro director and author who, with his "Dante remix_reload" mixes the poetry of the Divine Comedy with the power of images of our time, and performance to shock the saxophone Sebastiano Ragusa twenty-seven, with acrobatic improvisation of music borrowed from the corners of the world, but playing the funny uncensored chronological with the melody of the first Western to 900 today, crossing the swing-era '20s, electronic music and avant-garde of the '70s, even the Italian pop , to the latest research. For aspiring graphic designers, two technology-based totem iPad offer visitors the chance to rework, according to their creativity, the logo of Eni. Finally, two totem "I and the six-legged dog," are available for those who want to talk about their memories of the company.
(August 27, 2010)
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