The approach of the mode is the most obvious trait with which contemporary architecture is offered to our perception. The rapid decay of the forms and the frenetic creativity, which characterized all the modernity, are today more manifestation in the production and consumption of architecture, up to play a central role, and he was almost esaustiva.Le explanation fashions are a necessity. One of the men need to recognize, albeit transiently, in some code that let them feel that they belong to a group and at the same time to stand - has taught us Simmel - and also of being modern, that is, subjects moving towards each other ready to change and change, need to satisfy their own desires and always push it in their dreams. Fads and their alternation constitute "a profound law of reality," the dynamics of change in the human species, which is necessary for the reproduction and perpetuation - has taught us Ortega y Gasset -. Studying fashions means to study this dynamic. It has been the subject of analysis now classic in sociology and aesthetics, just remember Simmel, Kracauser, Adorno, Baudrillard, Barthes or Dorfles, but rather neglected in architettura.Come update its interpretative categories in the era of globalization, advertising, excess of communication, interactivity?
L'avvicinamento delle mode costituisce il tratto distintivo più evidente con il quale l'architettura contemporanea si offre alla nostra percezione. Il rapido decadere delle forme e la frenetica creatività, che hanno caratterizzato tutta la modernità, assumono oggi ulteriori manifestazione nella produzione e nel consumo dell’architettura, sino a rivestire un ruolo centrale, ad esserne quasi spiegazione esaustiva. Le mode sono una necessità. Una necessità degli uomini di riconoscersi, seppur transitoriamente, in qualche codice che lascia loro sentire di appartenere ad un gruppo ed al tempo stesso di distinguersi – ci ha insegnato Simmel - e anche d’esser moderni, cioè soggetti, in movimento verso l’altro, pronti a modificarsi e a modificare, bisognosi di soddisfare i propri desideri e di spingere sempre altrove i propri sogni. Le mode e il loro avvicendamento costituiscono “una legge profonda della realtà”, la dinamica della modificazione della specie umana, necessaria alla riproduzione ed alla perpetuazione – ci ha insegnato Ortega y Gasset - . Studiare le mode significa studiare questa dinamica. Essa è stata soggetto di analisi ormai classiche in sociologia ed in estetica, basti ricordare Simmel, Kracauser, Adorno, Baudrillard, Barthes o Dorfles, ma piuttosto trascurata in architettura. Come si aggiornano le sue categorie interpretative nell’era della globalizzazione, nella pubblicità, dell’eccesso di comunicazione, dell’interattività?
Introduzione / Secchi, Roberto. - STAMPA. - 2(2003), pp. 7-28.
Introduzione
SECCHI, Roberto
2003
Abstract
The approach of the mode is the most obvious trait with which contemporary architecture is offered to our perception. The rapid decay of the forms and the frenetic creativity, which characterized all the modernity, are today more manifestation in the production and consumption of architecture, up to play a central role, and he was almost esaustiva.Le explanation fashions are a necessity. One of the men need to recognize, albeit transiently, in some code that let them feel that they belong to a group and at the same time to stand - has taught us Simmel - and also of being modern, that is, subjects moving towards each other ready to change and change, need to satisfy their own desires and always push it in their dreams. Fads and their alternation constitute "a profound law of reality," the dynamics of change in the human species, which is necessary for the reproduction and perpetuation - has taught us Ortega y Gasset -. Studying fashions means to study this dynamic. It has been the subject of analysis now classic in sociology and aesthetics, just remember Simmel, Kracauser, Adorno, Baudrillard, Barthes or Dorfles, but rather neglected in architettura.Come update its interpretative categories in the era of globalization, advertising, excess of communication, interactivity?I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.