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Sensorial Landscape

Sensorial Landscape

Natural pattern / ecological taxonomy

Autori Elisa Cattaneo
Editore Maggioli Editore
Dimensione 16x22
Pagine 84
Pubblicazione Maggio 2018 (1 Edizione)
ISBN / EAN 8891622440 / 9788891622440
Collana Politecnica

ELISA C. CATTANEO develops her research within the framework of landscape urbanism and ecological urbanism, on their theoretical and experimental implications in relation to weakness theory, in order to generate new territories of the imagination. In particular, through transdisciplinary approaches, she developed the concept of the Weak City (We-akcity 2015; 0-n series 2012-17) and of Technonature (Technonature 2012; Landscape in Art and Science 2016, Nature Through the Mirror 2014-15). Holding a Doctorate in Architectural and Urban Design, she was a visiting scholar at the Department of History, Theory, and Criticism, M.I.T. (2010-11) and at the Graduate School of Design, Harvard (2011- 12). She has participated in various Biennales (Venice, Tallinn, Santiago de Chile) and exhibitions of architecture and landscape. In 2014, she was the winner of the Graham Foundation Grant and in 2015 she was invited to be a candidate for Harvard Universityʼs Wheelwright Prize. She is the founder of the independent research agency Weakcircus and of B.L.U., research platform on contemporary urban and landscape design. Since 2002, she has been an active designer in public and private projects and international competitions. Since 2004, she has been teaching at various Italian universities.

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This book is the third experiment on the subject of technonature, and relates the experience of teaching the course of Landscape Design at the Polytechnic of Milan during the 2016-2017 academic year. In continuity with the previous experiment published in Nature Through the Mirror (Cattaneo, 2016) and the workshop Landscape in Art and Science (2016) it fulfills the same conceptual principles, further pushing the level of experimentation, which passes from the visible (the movement of nature) to the representation of the invisible (its sound). A conceptual passage that does not imply only a diversification of the contents, but one that also implies a broader set of conditions, such as a radical distance from the "visible" systems (according to a predominance of the representable); the paradox of representing a space without a physical body; and the possibility of moving from a syntactic to an immersive and sensorial space.
In particular, it investigates a taxonomy of the landscape project as a substitute for the urban one, through a modification of the design tools: in this sense, the patterns become skilled both in specifying the representational instruments of the landscape (still anchored to systemic theory) and that of its general concept (still understood as an empty and relational space in relation to the architectural one).
The aim is to eradicate and change the plane of the urban and landscape project, of their cognitive and figurative roles, by autonomously assigning Landscape Ecology as a substitutive discipline to urban planning, and finding new ways and new practices within it that can change the figuration and the meaning of the project in its entirety.
This experiment is rooted in and re-conceptualizes the experiments of György Kepes at M.I.T., both in the symbiotic and hybrid methodology that he implements in The New Landscape in Art and Science: a scientific-poetic process, between art and science.

La ricerca pubblicata si colloca come terzo esperimento su tema della tecnonatura, e restituisce l’esperienza didattica effettuata al Politecnico di Milano nel corso di Landscape Design, nell’anno accademico 2016-2017. In continuità con l’esperimento precedente pubblicato in Nature through the Mirror (Cattaneo, 2016), e al workshop internazionale Landscape in Art and Science, la ricerca assolve gli stessi principi concettuali, forzando ulteriormente il livello di sperimentazione, che passa dal visibile (il movimento della natura) alla rappresentazione dell’invisibile (il suo suono). Passaggio che non implica tanto una diversificazione dei contenuti, ma che trascina con sé considerazioni più ampie, quali una radicale distanza dai sistemi esatti/visibili; il paradosso di rappresentare uno spazio senza un corpo; la possibilità di passare da uno spazio sintattico ad uno immersivo. E, in particolare, il riconoscimento della necessità di ridefinire un nuovo approccio al progetto urbano basato sui principi della Landscape Ecology come piattaforma di ricerca e nuovo campo tassonomico. Riprendendo le figurazione e gli esercizi di Gerorgy Kepes al M.I.T., l’esperimento non avviene tra le dinamiche instabili della città attuale e quelle della natura, secondo un processo di somiglianza. Piuttosto, tenta una precisa sostituzione delle discipline e, in questa direzione, lavora come la tavola di Borges definita da Foucault: tenta un cambiamento della tavola del sapere, in grado di sperimentare, con i limiti di un corso didattico, un altro piano del conoscere e pensare il progetto urbano.


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