Beep, ring, click, tick – then once more, an image for each sound - click - the violence of the latest terrorist attack; beep - astonishment at a fake news item; ring - a gossip column scoop; tick - helplessness in the face of the umpteenth corrupt politician. The pace of our lives flows incessantly, alternating between shrill trebles and helpless basses, a polysymphonic orchestra where the rhythmic march dictates the tempo of the beats, and the rest of the instruments harmonize with the unpredictability of life. The incessant stimulation, communication, seduction, information, end up defeating their original purpose, leading to a disarmingly generalized lack of attention numbed by the fast paced succession of sounds and images. The idea of a break is incompatible with the dictates of the new millennium, and for this very reason it must become the starting point in order to understand the frenzy with which which our day to day lives have become accustomed. The violence of sound can only be captured within silence, the oppression of fullness experienced in the absolute void. Thresholds as doorways embody within their very nature the concept of change, and for this very reason they lend themselves to being places for transition, for experimentation. Entrances in particular are points that are crossed at different speeds as they are also meeting and exchange points: fast steps, slow steps or halts. This thesis is an attempt to overturn official planning models, aiming at transforming a classical transit area into a place to pause, which is not necessarily meant as a stop but rather a break from the chaotic influx of external stimuli. A provocation aimed at awakening the inhabitants of the modern world to an awareness of how the immediacy of the message, of action, of thought often conceals the authenticity of the more essential aspects of life.
Bip, drin, click, tic, e ancora, ad ogni suono un’immagine, click, la violenza dell’ultimo attacco terroristico, bip, lo stupore per una fake news, drin, lo scoop di cronaca rosa, tic, l’impotenza di fronte all’ennesimo politico corrotto. Il ritmo delle nostre vite procede senza sosta, alternando energetici acuti a inermi bassi, un’orchestra polisinfonica in cui il passo cadenzato detta il tempo delle battute, e il resto degli strumenti si armonizza nella casualità della vita. Questo continuo sollecitare, comunicare, sedurre, informare, contrariamente agli intenti prefissati, procura una disarmante disattenzione generale, perché ormai anestetizzati dal susseguirsi di suoni e immagini. Il concetto di pausa risulta essere antagonistico rispetto ai dettami del nuovo millennio, e proprio per questo motivo è un punto di partenza necessario per poter cogliere la frenesia che ha assuefatto il vivere del nostro tempo. Soltanto nel silenzio si può cogliere la violenza del suono, soltanto nel vuoto, l’oppressione del pieno. Gli spazi di soglia, in quanto luoghi di passaggio, hanno insito nella loro natura il concetto di cambiamento, per questo si prestano ad essere luoghi di rottura, di sperimentazione. Gli ingressi in particolare, sono luoghi che si attraversano con tempi diversi, essendo anche punti d’incontro e scambio: passo svelto, lento o sosta. Questa tesi si pone come un tentativo di ribaltare i canonici schemi progettuali, trasformando un classico luogo di transito in uno spazio di pausa, intesa non necessariamente come sosta, ma come intervallo dal caotico afflusso di stimoli esterni. Una provocazione che ha la finalità di sensibilizzare gli attori del vivere moderno, affinché possano prendere consapevolezza di quanto l’istantaneità del messaggio, dell’azione, del pensiero spesso offuschi l’autenticità degli aspetti più essenziali della vita.
Pausa. Vivere la soglia, da luogo di passaggio a intermezzo dal rumore
SALAMI, CARLA
2016/2017
Abstract
Beep, ring, click, tick – then once more, an image for each sound - click - the violence of the latest terrorist attack; beep - astonishment at a fake news item; ring - a gossip column scoop; tick - helplessness in the face of the umpteenth corrupt politician. The pace of our lives flows incessantly, alternating between shrill trebles and helpless basses, a polysymphonic orchestra where the rhythmic march dictates the tempo of the beats, and the rest of the instruments harmonize with the unpredictability of life. The incessant stimulation, communication, seduction, information, end up defeating their original purpose, leading to a disarmingly generalized lack of attention numbed by the fast paced succession of sounds and images. The idea of a break is incompatible with the dictates of the new millennium, and for this very reason it must become the starting point in order to understand the frenzy with which which our day to day lives have become accustomed. The violence of sound can only be captured within silence, the oppression of fullness experienced in the absolute void. Thresholds as doorways embody within their very nature the concept of change, and for this very reason they lend themselves to being places for transition, for experimentation. Entrances in particular are points that are crossed at different speeds as they are also meeting and exchange points: fast steps, slow steps or halts. This thesis is an attempt to overturn official planning models, aiming at transforming a classical transit area into a place to pause, which is not necessarily meant as a stop but rather a break from the chaotic influx of external stimuli. A provocation aimed at awakening the inhabitants of the modern world to an awareness of how the immediacy of the message, of action, of thought often conceals the authenticity of the more essential aspects of life.File | Dimensione | Formato | |
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2018_04_Salami_01.pdf
solo utenti autorizzati dal 30/03/2021
Descrizione: Testo della tesi
Dimensione
25.42 MB
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Adobe PDF
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25.42 MB | Adobe PDF | Visualizza/Apri |
2018_04_Salami_02.pdf
non accessibile
Descrizione: Tavole di progetto
Dimensione
14.7 MB
Formato
Adobe PDF
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14.7 MB | Adobe PDF | Visualizza/Apri |
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https://hdl.handle.net/10589/140804