Leisure time

A new urban dimension:

INSTANT BOOK - ESA - Atelier D6 - 2011

 Index

1.D6 ATELIER

2.SITES

3.BOOKS

4.KEY PROJECTS

5.LECTURES

6.EXERCICES
A NEW URBAN DIMENSION: LEISURE TIME
Making the city center - Luca Galofaro
Mariabruna Fabrizi, Fosco Lucarelli (MICROCITIES)

he result would be a radical transvaluation of values, and a mode of exist-

ence incompatible with the traditional culture. Advanced industrial society is in
permanent mobilization against this possibility.” he Freudian scholar went on
to say that “since the length of the working day itself is one of the principal re-
pressive factors imposed upon the pleasure principle by the reality principle, the
reduction of the working day … is the irst prerequisite forfreedom.” Technologi-
cal utopians have long argued that science and technology, properly harnessed,
would eventually free human beings from formal work. Nowhere is that view
more widely held than among the champions and advocates of the informa-
tion revolution. Yoneji Masuda, one of the prime architects of Japan’s computer
revolution, envisions a future computopia where “free time” replaces “mate-
rial accumulation” as the critical value and overriding goal of society. Masuda
agrees with Marcuse that the computer revolution opens the door to a radical
reorientation of society away from regimented work and toward personal free-
dom for the irst time in history. he Japanese visionary argues that while the
Industrial Revolution was primarily concerned with increasing material out-
put, the information revolution’s primary contribution will be the production of
grater increments of free time, giving human beings the “freedom to determine
voluntarily” the use of their futures. Masuda sees the transition from material
values to time values as a turning point in the evolution of our species: “Time
value is on a higher plane in human life than material values as the basic value
of economic activity. his is because time value corresponds to the satisfaction
of human and intellectual wants, whereas material values correspond to the
satisfaction of physiological and material wants.” In both industrial and devel-
oping nations there is a growing awareness that the global economy is heading
toward an automated future. he information and communication technology
revolutions virtually guarantee more production with less human labour. One
way or another, more free time is the inevitable consequence of corporate re-
engineering and technology displacement. William Green, the former president
of the AFL, put the issue succinctly: “Free time will come”, the labor leader said.
“he only choice is unemployment or leisure.”
J. Rikin, he end of work. Penguin Books, 1995, pp.221-222

In the pre-industrial society the concept of leisure time has not

been formed yet. Work follow the natural cycle of seasons and
days, resulting intense during spring and summer and restrained
during winter time. Working time take turn with the free time.
he industrial revolution introduce a new and diferent link on
the working day, distinguishing time given over work, over rest
and other activities. Today the transformation in the global mar-
ket, in the post industrial age involve a huge social change. he
high tech revolution could mean less working hours and more
beneit for million people, but in the meantime can generate a
failure in the social structure, a great amount of people have to
face with empty time to fulill.

he reduction of working hours has caused a crisis changing

deeply the human habit, who for the irst time have lost their
own working identity. Today leisuretime is not idleness, it doesn’t
abolish work, but rather require it, turning it into a kind of in-
dividual productive time. Such leisure time has to be exploited
for the development and the growth of the local community, it
should be given over and take advantage on growing the human
and social capital.

Labour, but also new models of production that arise in the post-
war years within an ever increasing automation are not depicted
or represented by neo-avant-gardist projects for a new leisure
society, even though labour is an immanent part of the postulated
creative life of the homo ludens.
he target of the course is to determine models of a leisure time
architecture, as a direct consequence of the spread of the imma-
terial labor- a concept coined by the Italian workingclass move-
ment of the 1950-60, who’s main leaders are Antonio Negri and
Paolo Virno.

Antonio Negri and his US-American co-writer Michael Hardt,

for example, describe alterations of work conditions in the 1960s
in transition from the mass worker to the labourer of society1.
Negri and Hardt are using the term factory of society. In doing
so, Negri and Hardt expand the traditional Marxian concept of
labour with a multitude of social productions – a valuecreating
form of practice that advances natural requirements, artiicial
desires, and social afairs. It is this concept of immaterial labour
that broaches a contemporary condition in Western industrial-
ized societies, that today becomes more and more signiicant. It
points out alterations and changes in the very construction of the
concept of leisure.

Huizinga (1944) and Mumford(1967) maintain that homo ludens

(the player man) is the precondition of homo faber (the worker
man). Human progress depends upon the communicative and
symbolic capacities of mankind. Human being conceive through
language and imagination a world on their own image. Work is
not the primary locus of communication and imagination. Only
during leisure time humans can follow their own needs , trains of
thought and action in a self directed way Leisure is here, not treat-
ed as the less serious’ side of life. On the contrary leisure is the seat
of unbridled creativity upon which depends social, economic, tech-
nological and scientiic advancement.

he course will try to deine and discuss the idea of leisure

time, as a direct consequence of the technology and automa-
tion spreading as told by Jeremy Rikin in his book “he end of
work”.
Understanding leisure time not only as a topic of locating a range of service facilities
to be spread in an homogeneous way in the urban area, but also as a time of percep-
tion of the city global form, namely as time of knowledge of urban living. During
the leisure time we develop the behavior and social model typical of human society:
in such circumstance we get the global knowledge of the system reality through the
stated forms and the induction system of consumption. herefore leisure time as a
time of integration but also as a time of judgment. If the working hours allows the
knowledge of the production reality, leisure time allows to know and to experiment
the non contradiction part of consumption society...

Andrea Branzi text from his diploma, Casabella 366 1972

he concept of leisure time it is considered as an opposition to

the working time, it has always been looked upon a empty time, a
surplus to be illed or simply used to grant a break or to recharge
the worker. he availability of leisure, at the light of the new tech-
nology and the global economic crisis, could be dangerous for the
urban organization. his time is used following rites which repeat
themselves neglecting the experience of quality, memory and tra-
dition. he leisure industry waste sites (quick tourism is an exem-
pliication)without any growing space occurring supervised on a
quality level. he city itself grow up without attending all the cul-
tural energy in the society.

Leisure will never be life’s primary activity, because labour re-

mains the source of all value. However, leisure is the means
through which cultural, political, ethical and spiritual existence
can be enhanced and reined for the betterment of life in general.
We believe that the study of leisure should be guided by this am-
bition. It is the best reason one can give for doing Leisure
Studies in the complex, challenging, diicult, but always exciting,
ocal–global balance’ of the world in which we live today. What we
mean by leisure today is essentially and negatively “unbusiness.”
“Free time” connotes only time free from the world of afairs; like
a day “of ” in the working week, the meaning depends on, and
the value is restricted by, the temporal frame of reference. We
have “time on our hands” and “time to kill”, but we have no locu-
tion to indicate time free for its own sake, time not as escape, but
as fulillment .

Spatial culture and the distribution of human resources are fun-

damental in the organization of leisure forms and practices lei-
sure is the expression of social order and cultural reproduction.
Studies must focus upon the content of the forms and practices
of what people do in their free time, and those who hold that the
ield must take account of how social being determines our
consciousness of leisure and freedom.

1. Process - acknowledging that leisure activity is changeable and

multidimensional and moving rather than simply expressing the
economic, cultural and social reproduction.

2. Context - Trying to locate leisure forms and practice in the

main individualistic citizenship question as: moral tolerance, so-
cial integration and spread justice.

3. Opportunity - Leisure industry now is one of the biggest in the

world. In the top 50 US state four out of ive make proit in the
tourism sector, ranking in the top three industrial as per income
revenue and employment generated. Leisure time has become a
real business opening new markets, new inancial interest, new
perspective of employment and spatial opportunity.
 ROME AS A SITE
ROME AS A SITE

Where and how leisure time can be conceived on a contemporary

city? I believe that we can ind it on the edge between public and
private space. In the huge monumental heritage of the historical
town a space to be re-invented through architecture.
he course aim to deine a lexicon of spaces in order to rethink
the form of the contemporary city, as a preservations tool. Estab-
ʼ
lishing and thinking again the connection between architecture
and urban history, as this relation can be represented in an hybrid
urban space, where work, free time and culture can merge in a
space free from functional constraint.
In Rome the atelier town is slowly dying crashed by diferent fac-
tors, the monumental heritage is protected and frozen back to
the historical time, is not more considered as a common space.
he course will deine the idea of rescuing and reuse the monu-
mental space, considered today only as a touristic attraction, for
a consumer leisure. In order to make such places living again it’s
necessary to bring them back into the city life cycle, giving it back
to their potential value. he diversiied and ever changing activi-
ties will determine the building’s form. However the irst reason
of the space is made by the people and their activities, constantly
dependent on them. he point that such enjoyment take place in
the desolate suburbs of Rome gives the clue of the great potential
of the centre area, promoting random
movement and various activities, deined with a stream of com-
pletely diferent. he Atelier will travel to Rome to visit the city
and the 3 diferent selected sites for the project. he student will
select one of them depending on the scale of the project to de-
velop.

1 Il Circo Massimo
2 he archaeological area in Piazza Argentina
3 Via dei Fori Imperiali

Here students have to plan a free space interacting with the ru-
ins, building a place as an immaterial work space, as a social and
entertainment relation. A place to share knowledge , developing
a quality capable of standing out against the market request. No
shopping mall, neither museum but places where life, culture,
politics are absorbed in an ever growing relations space. he
space for leisure originate in opposition with the strong historic
space and the generic space of contemporary architecture, made
by a world of no-places. Today no-places are the only non codi-
ied space where it is possible to spend our free time following
the consumer logic. Today is necessary to understand them in
order to completelyreinvent the possibility to be places.

Programs: no proit organization, work, time bank, museum park

(culture), entertaining, culture, concerts, reading, hostel.
Pirro Ligorio, Map of Ancient Rome, 1553
Pirro Ligorio, Map of Ancient Rome, 1553
ROME: A TALE OF TWO CITIES
Fosco Lucarelli - MICROCITIES

1.
Rome is today the narrative of two cities. he city of the hystoric
space, kept in a crystallized image, object of a kitch resigniica-
tion by the tourism industry, the monumental and archaeological
areas converted into a fertile ground for exploitation by virtue of
their own speciic suspension, their absence from time.

And the “living city”, on the run from the condition of periph-
eral capital, looking for the modernization of the communication
lows, subject to rapid demographic and social change. he Rome
of the light of the inhabitants from the center, of the jobs in the
suburbs, of the vehicular traic. he city that seems to forget his
past, but that hardly reaches modernity.

herefore, the two cities, two opposed times, live a friction that
unfolds in the metastasis of the barriers and the gates around
the archaeological sites, by now terrains vagues alienated from
the rest of the urbe. he physical line of separation (in all its
variants or typologies, from nineteenth-century walls to ivy
covered scafoldage) seems to transcend the role of temporary
protection or of regulation of access, to hide -much more sub-
tly- a roman vernacular form of today’s post-ideological poli-
tics. A politics that renounces to its very constitutive dimen-
sion, in order to convert into good administration of safety and
welfare, where “fear” becomes a means for mobilizing masses.
It goes without saying that surveillance, protection, barriers be-
come the instruments of implementation of a persuasive cam-
paign based on insecurity.
Locked in a “cage”, the monument now lives a life similar to that
of an animal in a natural reserve: protected and apparently safe
from civilization, but in fact imprisoned within an island. In-
spected by generic tourism which does not speak its language, the
monument is unable to “remember”, is dumb. Present with only
its physical shell, its meaning is emptied out.

2.
Historical and contemporary space

Yet the dialectic between historical and contemporary space has

rhythmically marked the Time of the City.

he Roman territory is the territory of continuity and stratiica-

tion. Oblivion, reuse, desacralization and re-symbolization are,
throughout the Middle Ages, the means by which power address-
es and modiies the built geography of the city. he architectures
of the past are, irst of all, building materials.
We will have to wait long before reaching the current paroxysm
of the untouchability of the past, be it universal monument, or
neglectable ruin.

If the birth of archeology symbolizes a new awareness of the past

as a foundational structure of the present, and thus a territory
to preserve up to its reconstruction, the fascist pickaxe founded
a new past, instrumentalizing the ruins and turning them into a
symbolic legitimization of the upcoming empire.

And when, subsequently, the preservation of the historic centers

came back as a central theme of the Italian architectural debate
from the post-war years to the 70’s of last century, some of the
Italian radical groups reacted ironically, bringing to the extreme
consequences the intrinsic conlict in the very idea of preserva-
tion and restoration (continuity, conservation or return to a pre-
vious state). hus, the project of restoration of Rome by Superstu-
dio follows a completely linear logics, when it plans to lood the
center in its own waste, preserving the ruins from the smog and
providing places for future archaeological excavations.

3.
he present: a landscape full of “weak” reappropriation.

Locked in their cages for protection or carelessness, the monuments

tend to fade from the concerns of the contemporary city. Yet, as de-
void of utopias, the present ofers a panorama of dense “weak” re-
appropriation, in which the dialogue between hystorical space and
“living” city is re-woven, but only for a moment. he rediscovery,
though ephemeral, occurs in various forms, beginning with artistic
interventions outside the places appointed: from the Wrapped Wall
(Via Veneto and Villa Borghese) by Christo and Jeanne Claude in
1973/74, to the recent lights installations by Mario Merz in the Ro-
man Forum or by Giancarlo Neri in the Circus Maximus.
hese interventions have produced efective linguistic short-cir-
cuits by decontextualization, recontextualization, subtraction and
re-identiication, but the practice shows increasing signs of wear,
and it is rapidly becoming a facile cliché.

Among the various attitudes to dialogue, a subtle irony lies in the

recovery or in the detournement of the original meaning of the
various monumental spaces: if the Coliseum today symbolizes the
ight against the death penalty (lights on every time it is abolished
in any state in the world), the Circus Maximus is the place for mass
celebration of sports’ victories, evoking its primordial nature.
he hystorical space is oten the subject of a dual process of politi-
cal resymbolization : taken as a physical expression of power, the
monument is frequently invaded and desacralized, taken as an
image of collective cultural tradition, it becomes substantial back-
ground, legitimizing the political struggle.

Recent examples of institutionalized reappropriation (concerts or

festivals taking place within the monuments) are trying to create a
new relationship between city and historical space, but the ephem-
eral component can not get over the feeling of an “elephant in the
room”: the pace of the monuments remains diferent from the pace
of the city.

If the creation of gated communities for temporary residents (tour-

ists) seems to be the only answer to the friction between the monu-
ments and the contemporary Rome, a solution as radical as ques-
tionable was suggested by a recent television commercial, in which
the city appeared erased, saving only the monuments, while the
urban tissue was replaced by country green. Relegated to an archi-
pelago of signs without relationship, the historic space stops talk-
ing. An operation that selects pieces of content to the exclusion of
expression, can only lead to the death of the language of the city.

In Fellini’s “Rome,” the cars around the Colosseum, the “new” ur-
ban actors in the multitude of traic, lead to a grotesque syncre-
tism of urban feast, the carnival of lights, sounds, events, similar
to that of the odd collective dinner at the Festa de Noantri, a few
scenes before. he monument is never just background, evidence
of a time gone, but it is actor in the tragicomic show of life and
city: here then the great night motorcycles’ raids during the long
inal scene, when they seem to emerge from obscurity to join, in an
imaginary line, the spread episodes of the past and of the present.
It seems urgent to redraw that line.
“Massimo Silenzio“ 2007 light installation by Giancarlo Neri in the Circus Maximus.
 SITES

Circo Massimo
he archaeological area in Piazza Argentina
Via dei Fori Imperiali
 Circo Massimo

he Opium hill park near the Coli-

seum
he archaeological area in Piazza Argentina
Via dei Fori Imperiali
BOOKS
KEY PROJECTS
 Fun Palace

Cedric Price

he only historical models, which appealed to Price, and Littlewood were London's great public pleasure gardens
of the eighteenth century at Vauxhall and Ranelagh, which served the broadest possible demography of London
until the advent of the Industrial Revolution. Since Littlewood's ‘idea' prescribed no particular program or ixed
activities, Price decided that it should have no speciic form and no ixed loor plan. It would not be truly ‘com-
plete' or even a ‘building' in any conventional sense of the word. Was it possible that the users could ‘design' it
as they used it? Rather than design a conventional building to contain Littlewood's luid and transformational
program, Price began to conceive a skeletal framework, like a garden trellis, within and around which activities
might grow and develop: Its form and structure, resembling a large shipyard in which enclosures such as thea-
tres, cinemas, restaurants, workshops, rally areas, can be assembled, moved, rearranged and scrapped continu-
ously. Its mechanically operated environmental controls are such that it can be sited in a hard dirty industrial
area unsuited to more conventional types of amenity buildings.

he varied and ever-changing activities will determine the form of the building.
hus the prime motivation of the space is caused by the people and their activities and the resultant form
is continually dependent on them. he fact that such enjoyment does take place within the pathetic areas
in Roma's suburbia gives a clue to the immense potential for enjoyment in an area that encourages random
movement and variable activities, which is characterized by lows of completely diferent people.
 Crystal Palace

Joseph Paxton

he Great Conservatory was the test-bed for the prefabricated glass and iron structural techniques which
Paxton pioneered and would employ for his masterpiece: he Crystal Palace of the Great Exhibition of 1851.
hese techniques were made physically possible by recent technological advances in the manufacture of both
glass and cast iron, and inancially possible by the dropping of a tax on glass.

Its novelty was its revolutionary modular, prefabricated design, and use of glass. Glazing was carried out
from special trolleys, and was fast: one man managed to ix 108 panes in a single day. he Palace was 1,848
feet long, 408 feet (124 m) wide and 108 feet (33 m) high. It required 4,500 tons of iron, 60,000 cubic feet of
timber and needed over 293,000 panes of glass. Yet it took 2,000 men just eight months to build, and cost just
£79,800. Quite unlike any other building, it was itself a demonstration of British technology in iron and glass.
In its construction, Paxton was assisted by Charles Fox, also of Derby for the iron framework, and William
Cubitt Chairman of the Building Committee. All three were knighted. Ater the exhibition they were em-
ployed by the Crystal Palace Company to move it to Sydenham where it was destroyed in 1936 by a ire.
 No-Stop City

Archizoom

For Archizoom, no-stop city perfomed a scientiic analysis of the contemporary urban condition. Branzi
explains:

No stop city was a mental project, a sort of theoretical diagram of an amoral city, a city without qualities…
the nihilistic logic of the maximum quantity was the only logic of the system in which we were living; instead of
denying this logic, we decided to make use of its inner workings to achieve a demystiication of all its ideals of
quality and at the same time to carry out scientiic research into the real nature of the metropolis
Salvataggi dei centri storici

Superstudio
Superstudio - Salvataggio dei centri storici 1972

Superstudio - Salvataggio dei centri storici Italiani 1972

 LECTURES

gabriele mastrigli: rome, archaeology, ideology, architecture

alberto iacovoni (Ma0): contradictions in public space
microcities: notes on leisure and work
luca galofaro (IaN+): architecture and leisure
léa-catherine szacka: roma interrotta
 ROME: ARCHAEOLOGY,
IDEOLOGY, ARCHITECTURE

gabriele mastrigli

Rome, 18-09-2011

Gabriele Mastrigli is an architect and critic living in Rome. He investigates the relationship between archi-
tects' designing and writing, researching publishing as a critical form of architecture - the main subject of his
PhD dissertation.

He is a regular contributor to the National Daily il Manifesto and its cultural supplement Alias. His articles
and essays appeared inArquitectura Viva, Domus, Log, Lotus international, Volume, and the Chinese Maga-
zine World Architecture. In 2006 he published "Junkspace," a critical anthology of Rem Koolhaas' recent
writings (Quodlibet). In 2007 he was the curator of the exhibition Holland-Italy 10 Works of Architecture,
promoted by the Royal Netherlands Embassy in Rome and hosted by the MAXXI-National Museum of the
21st Century Arts.

Since 1998 he has been teaching heory and Design at Ascoli Piceno School of Architecture and Cornell
University Rome Program and has been visiting lecturer and guest critic at Penn State University, Ohio State
University, Yale University, Berlage Institute Rotterdam. Since 2000 he has been a consultant to the Italian
Ministry of Culture's Department of Contemporary Art and Architecture. He studied at the University of
Rome "La Sapienza" and at the RWTH Aachen (Germany).
TITRE DE LA CONFERENCE / LECTURE’S TITLE: Discontinuity is a structured condition of the European metropolis and
it can be recognised in the tension between two opposing ideas of the

ROME city: on the one hand the concept of urbanization as infrastructure, a

system of organisation and territorial control based on the performance
of a certain number of activities; on the other hand the idea of the city as

ARCHAEOLOGY, a centre, a system for the representation of political, social and religious
values that justify and orient these activities. This tension between the
two souls of the European city that, during the Modern era, progressive-

IDEOLOGY, ly dissolved into the respective and ever more self-referential domains of
urban planning (the increasingly abstract system of rules) and architec-
ture (the obsessive and autistic accumulation of exceptions), has always
ARCHITECTURE constituted the richest and most original patrimony of the European
city, whose peculiarity can, in the end, be traced back to the urban his-
tory of the city of Rome, namely in the physical and symbolical pres-
ence of its archaeology, one of the most powerful, ideological engines of
modernity.

GABRIELE MASTRIGLI
Gabriele Mastrigli is an architect and critic living in Rome. Since 1998 he has been teaching heory and Design at Ascoli Piceno School of
Architecture and the Cornell in Rome Program in addition to being a visiting lecturer and guest critic at Penn State University, Ohio State
University, Yale University, Berlage Institute Rotterdam. Since 2000 Mastrigli has been a consultant to the Italian Ministry of Culture’s
Department of Contemporary Art and Architecture. He studied at the University of Rome “La Sapienza” and at the RWTH Aachen (Germany).

Invité de l’Atelier D6 - A new urban dimension: Leisure Time. Prof Luca Galofaro

VENDREDI 16 SEPT FRIDAY SEPT, 16th ENTREE LIBRE

18H - chez l’agence IaN+ 6 pm - IaN+ ofice FREE ENTRANCE

ESA - Roma / IaN+ Via Marco Polo, 121 - 00154 Roma



   

  

   
     

   !" #$ % ! &

!" #$ % ! &

'(( )  * +,+-++.
/ !00 1 *  
23.3.%2
 4
  !0 ,5
 CONTRADICTIONS
IN PUBLIC SPACE

alberto iacovoni

Rome, 18-09-2011

Alberto Iacovoni is a founding member of the Rome-based architecture practice ma0/emmeazero whose
work has been recently published by Damdi in a monograph for the Design Document series. He is the cura-
tor of a playgrounds section dedicated to interactive and open architecture for the webzine www.architettura.
it, which builds on research from his 2004 book, Game Zone: Playgrounds between Virtual Scenarios and
Reality. With Gabriele Mastrigli, Iacovoni is teaching an architecture theory course in the Cornell in Rome
program this fall.
 Architectural culture oten puts in the background public
areas, being more careful in the exceptional object constituting
the landscape instead of the background itself, becoming the
most troublesome issue in the contemporary town.
he problem on the public area is based not only on the con-
temporary economical and social dynamics, which tend to
fragment in a series of surrounded and controlled area linked
to the private mobility, but also in some peculiar quality which
make the planning very diicult and also unpredictable for
the success. his quality can be summarized on four diferent
contradictions, which apparently are outside of the speciic
instruments an architect can use:

1) Public area is nowhere, the material is the emptiness, the

project has to come to term with it, turning over the relations
between shape and background which has priviledged build-
ing towards the area between them. he biggest paradox is
that very oten the absence of any kind of project makes some
public area particularly alive and open to the appropriation
and construction of situation and events.
2) he public area is elsewhere: it is life blood arise in the
network of path and links lowing. As a river the strength of
a public area depends entirely from a remote context and also
from the luidity where people can have access.
3) Public areas are private, to settle in they need a speciic
context producing even chance of appropriation from the
consumer , considering that making his own area as an object
means, etymologically, to make it private. In the other hand a
public area cannot exist without a private domain containing
it – the buildings deining it – and nourishing it with all the
activities that overlook it.
4) Public area is behind architecture, linked to the whole
TITRE DE LA CONFERENCE / LECTURE’S TITLE:
social and political interaction which develop in the urban
context.

CONTRA- his four contradictions highlight the need for the project
to come out of the fence, changing his own instrument of
DICTIONS research and building , from full to empty, from site to wide
context, from public to private, from architecture to society.

IN PUBLIC
In other words the need of a project capable of extending the
entire polis and to take charge of being political.

SPACE
ALBERTO IACOVONI / ma0
Alberto Iacovoni is a founding member of the Rome-based architecture practice ma0/emmeazero whose work has been recently published
by Damdi in a monograph for the Design Document series. He is the curator of a playgrounds section dedicated to interactive and open
architecture for the webzine www.architettura.it, which builds on research from his 2004 book, Game Zone: Playgrounds between Virtual
Scenarios and Reality. With Gabriele Mastrigli, Iacovoni is teaching an architecture theory course in the Cornell in Rome program this fall.

Invité de l’Atelier D6 - A new urban dimension: Leisure Time. Prof Luca Galofaro

DIMANCHE 18 SEPT SUNDAY SEPT, 18th ENTREE LIBRE

15H - chez l’agence ma0 3 pm - ma0 ofice FREE ENTRANCE

ESA - Roma / ma0 via giuseppe libetta, 15 00154 Roma

NOTES ON LEISURE
AND WORK

microcities

Paris 30-09-2011
ARCHITECTURE
AND LEISURE

luca galofaro (IaN+)

Paris 25-10-2011
 ROMA INTERROTTA:
WHEN 12 ARCHITECTS
PLAY WITH THE CITY

léa-catherine szacka

Paris, 8-10-2011

léa-catherine szacka is a PhD Candidate, Bartlett School of Architecture

Chargée de recherche, Histoire des expositions au Musée national d’art moderne-Cci/Centre Pompidou
 In 1978, a pressing need to rethink the city as a palimpsest
urged 12 international architects to produce and exhibit a con-
temporary interpretation of G.B. Nolli plan of Rome (1748).
Now an icon of the postmodern urban project, the exhibition
Roma Interrotta (Rome Interrupted) was presented in Rome,
before traveling around the world.

his lecture will focus on how the Roma Interrotta exhibition

was used to reactivate creative interest in urban planning while
using architecture as an instrument aimed to rebuild an idea of
social space.

TITRE DE LA CONFERENCE / LECTURE’S TITLE:

ROMA
INTERROTTA:
WHEN 12 ARCHITECTS
PLAY WITH THE CITY
LÉA-CATHERINE SZACKA - BSC M.ARCH.
PhD Candidate, Bartlett School of Architecture
Chargée de recherche, Histoire des expositions au Musée national d’art moderne-Cci/Centre Pompidou

Invité de l’Atelier D6 - A new urban dimension: Leisure Time. Prof Luca Galofaro

SAMEDI 8 OCTOBRE SATURDAY OCT, 8th ENTREE LIBRE

10H - SALLE A (rdc) 10 am - SALLE A (ground loor) FREE ENTRANCE

ESA - Ecole Spéciale d’Architecture - 254 Bd. Raspail, 75014 Paris

 

ROMA INTERROTTA:
WHEN 12 ARCHITECTS PLAY WITH THE CITY
L é a -Ca th e rin e Szacka, PhD Candidat e, Bar t let t School of Ar chit ect ur e
At elier Galof ar o, École Spéciale d’Ar chit ect ur e, 08.10.2011


   
 
   

 



     
   ­€€

 

‚ ƒ  „ † ‡  „ˆ† ‰Ž

­€†            
   
    
 
           
      
    ­€

‚‚  ‰Š  ‹ Š  ­† ‚ ƒ  „ †

‰   ­”†‡ƒ Ž „† „† ‹  ­€†

 
’“   „†‰ “    ˆ†
 ‰ ŒŠƒ  ­ˆ†­
‹ ‘ „ †  
„†

 

ŒŠƒ  ‘   •  

 
    
 
 

 
  
  



 
 
  
 
 
 




 
  
  



 
 
  



   
    

  

 
       
              
 

     ­   €‚

   

 ƒ  „  †   ‡ „


   

   •  

 
   ­  €    ‚
ƒ


„    †‡  ˆ ­ †ƒ ˆ
‰Š
 †ˆˆ‹Š ƒ†     ‡   
 ­
Œ‰‹€
‡ ‚‡
 ­  €‰

 „
‡† † ˆˆˆ    ­ €‹Š  
ˆ‰­
 ‹Ž

†ˆ
 ˆ‰Š‘’“”

 ˆ 

   
 

      


   

 

 
       
      
 
    

 

  

   

   

 

  

 
   
 
 

    


   

 

   

 

   

   

   

 

   

 

     
 

  04
0 $  
     

 

.4  :
 
04
 
 
.4  :
  04   

 

   25!
.4  :   
25!
    

 

0 7 
.4  :   
25!
    
 

 
 
     

 



  
 


 




 
  

 


 

 


   
    
     
 FIRST EXERCISE
IDEA OF LEISURE

Judith Angel
Gerardo Chavez Maza
Melinda Cohen
Hicham Cherif d’Ouazzane
George Dallos
Lee Hyojn
Lee Hyunduck
Li Yawei
Lancelot Laeufer
Ann Margaret Monteclaro
Louise Morisseau
Xianlin Ning
homas Quentin Pauliac
Harold Pecout
Cheng Peng
Anna Plachta
Stafan Rosvall
Nuria Shu
Sebastien hé
Hannah Veit
Wenke Volkmann
Xie Yan
 Judith Angel
Melinda Cohen
 9 ; 10
TIME

0 ; 10
10;10

2;8

8;8

2;4

1;2 10 ; 2

SPACE
0
Gerardo Chavez Maza
Nuria Shu
 interior space
mobility of furniture
stephy. 36 years for activities that
sat/earlymoring
need a roof so you can use the space
business woman as needed
QUIET LEISURE

leisure: birdwatching
sports
multiplicity talk about bee. 24 years
books
this leisure place mon-tues-sun/lunch
interior designer
can be spred all over leisure: read-run
the city and can music

be enjoyed 24/7

talk about teach about

sports karma

jason. 24 years
tory. 34 years mon-thurs-sat/night
tues-thurs/lunch art student
construction worker leisure: photograhpy
leisure: reflexion painting-talk
astrology

josh. 21 years
everyday
architect student
leisure: rest- reflexion
talk-cinema
john. 10 years
mon-fri-sat/morning
future doctor
leisure: kids reading
drawing
get in
love
talk about
their leisure time

ines. 27 years
NOISY LEISURE

fri/night
designer
leisure: talk
cinema-dance

jade. 48 years
thurs/lunch
scientific
leisure: whatch people
music

flexibility of space do what ever you want

to do what ever you
marian. 65 yeras
wed-fri-sat/evening
for all ages for all cultures
want, space can housewife colective or individual
adjust to needs
leisure: talk- crafts
dance
activities

teach
beatrice. 48 years about life
fri-sun/morning
doctor peter. 18 years
leisure: carfts mon-sat/early morning
talk about read-skate ex prisoner
different stars
leisure: exchange talk about
talk-cinema experiences

teach
arts and crafts pastora. 48 years
thurs-sun/night
owner of buildings
leisure: carfts
drawing

talk about
shopping and sales
angel. 56 years
thurs-fri-sat/morning
pet lover
leisure: cinema
birdwatching
ron. 53 years
everyday/evening
fabric worker
leisure: cinema
rest
amanda. 55 years
wed-fri/night
rene. 110 years judge
laura. 18 years take pictures everyday/lunch
one to an other leisure: rest-read
sat/midnight oldest person in the city photografy
secretary leisure: rest-reflexion
leisure: reading birdwatching
dance
carlos. 63 years
tues-fri/early morning
ex militar
leisure: dance
E

reading
UR

bird watching
interesting: relax and
common space do other activities
space where you can
interact with other people
that have the same or
diferent interests
IS

ana. 47 years
sat-sun/early morning
in/out painter
leisure: photography
space can
richard. 85 years
drawing-painting
sun/morning
be opened embassador talk about
experiences
to exterior but
LE

leisure: excercise
photography
haveing a roof
sell photos
sue. 31 years
wed-fri-sat/evening
personal trainer discus about
leisure: reflexion paintings
isabelle. 4 years
painting-drawing
everyday/morning
preschool student
leisure: dance clorinda. 15 years
crafts mon-tues-wed/evening
lee hom. 76 years bird lover
fri-sun/everyday leisure: photograhpy
phicologist rest-astrology
leisure: boardgames
julius. 43 years reading-rest
tues/lunch-night talk about
shopping and sales
celo player
leisure: cimena diego. 53 years
music-kids reading tues/lunch-midnight
exterior space convict
leisure: whatch people

no talking of activities that boardgames

about work
dont need a roof
sofia. 51years
mon/lunch-night
chemestry teacher
leisure: cinema
board games

duck. 70 years
ben. 27 years friday/early morning multi functional
everyday/midnight retired
watch man leisure: echange you can use the space to
leisure: jogging
dance-music
walk-concerts
do what ever you want
april. 35 years
mon-tues-sat/night
in your leisure time
fashion designer
leisure: photograhpy
birdwatch
Hicham Cherif d’Ouazzane
George Dallos
 Lee Hyojn
Lee Hyunduck
 Li Yawei
Cheng Peng
Xie Yan
Lancelot Laeufer
Ann Margaret Monteclaro
Stafan Rosvall
 Virtually
Communicating

Assisting

Traveling

Playing

Communicating

Assisting

Meditating

Meditating

Communicating
Louise Morisseau
Xianlin Ning
Anna Plachta
• Exercise
1
homas Quentin Pauliac
Harold Pecout
1/100°
 Hannah Veit
Wenke Volkmann