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Several events and initiatives tend to highlight, internationally, the general attention towards the results of the rising of digitalisation and the application of new communication technologies to architecture. These aspects, which today can no longer be disregarded, generate moments of inevitable interest, but they emerge as scattered voices of a debate which still has to be started. It is increasingly necessary, in fact, to become aware of the Media, develop a critical attitude, open to a wider understanding of emerging phenomena, formulate instruments useful for the assessment of the means’ potential and therefore build the conditions for their suitable application.
With the Florence Festival we chose to show, in a more or less clear way, what has been produced in the world with regard to video and multi-media instruments for architecture, mainly seeking such accomplishments both in universities and professional studios. There was a will to establish the foundations for a wider reflection upon the role of communication means and their implications, with regard to both teaching and applications. During its past two editions, the Festival took into consideration a gradual development in the languages and followed the multiplication of issues that architectural research has been coping with over time. The attention to film arts and digital production technologies, the survey on representation and communication instruments of architectural design have, on the whole, produced a complex picture able to highlight a few important elements in contemporary research.
This edition of the International Festival of Architecture in Video focuses on the issue of the City, a theme developed in strict relation with the maybe less unpredictable issue of Future. It is a future imagined, simulated, hypostatised, sometimes seen in retrospective as if by looking from far away at the spaces where we live. The city sought through videos, documents, films is, for example, the city of conflicts, the Detroit of Kyong Park, or Jerusalem, or Sarajevo, which the Festival interprets with the merciless eye of television. But it is also the city observed in Florence, the city built in the imaginary film set, for example the one proposed by Star Wars, and introduced by Joe Takai, production manager at Lucas Digital Ltd., not only in its spectacular dimension, but also in relation to the original management of the digital technologies used. In this case, like in the others, the guests and the several issues of this edition of the International Festival of Architecture in Video tend to represent some of the recent influences of the Media upon architecture.
Videogames, which give Paul Richens the hint for a few considerations on technologies; contemporary architecture seen by Andrea Mi and Massimo Canevacci in musical video-clips. The urban shapes present in the Neo Tokyo described by Anime giapponesi [Japanese Souls] selected and commented by Marcello Pecchioli, to which an exhibition investigating the urban shapes represented in the strips of the most famous cartoonist responds. The international teaching experience of Peter Anders, Manuel Couceiro, Dirk Donath, François Penz, Leandro Mandrazo, Marisa Galbiati and Antonino Saggio linked to the use of audio visual means and digital systems, and the research carried out by the architects involved in the research on the Media. The development of the VRML systems and 3D spaces for the Web commented by Roberto Masiero and by Cristiano Bianchi from Parallel Graphics. The meeting on the digital production of architecture, with Bernard Cache, Claudio D'Amato and Felice Ragazzo, which continues the research path started in Florence in 1999, during the past edition of the Festival. The issue of communication in architecture in the Internet, fraught with implications and discussed by Cesare Casati, Giorgio Marchetti, Patrizia Gabellini and by myself together with Bart Lootsma and Peppino Ortoleva.
Then the video works of an authoress involved in the debate on architecture and audio-visual communication means such as Odile Fillion, and those devoted to the visualisation of masterpieces of contemporary architecture built in the wonderful simulations by Takehiko Nagakura. A look at the near past, in order to start a comparison between the last generation of Italian architects, including Stalker, A12, Cliostraat, and the experience of Gianni Pettena, Adolfo Natalini, Lapo Binazzi illustrated in films and videos produced at the end of the 1960s by radical groups such as Superstudio and UFO. An even wider and more complex setting, about the production of young Italian groups, open around the travelling exhibition New Italian Blood (NIB), in its Florentine stop related to a meeting about the relationship between contemporary architecture research and new communication technologies with Luca Galofaro, Andrea Boschetti, Luigi Centola, Luca Milan and co-ordinated by Fulvio Irace. The area of competence of the exhibition includes the results of the international workshop Hydrocity, developed on the Kornati Islands; DY2K, the exhibition within which Ammar Eloueini exhibits one of his design procedure prescribed by digital means and developed starting from its formulation up to the accomplishment of the prototype; the Alien Forms installation by Marcos Novak, whose sculptures invade the Festival’s premises hinting at the silent hybridisation of architectonic spaces, operated by the action of the digital revolution.
A fragmentary map, made of routes which do not follow a single direction, but which pay testimony, on the whole, to the general interest for research about new communication technologies, and which weave a close net of connections, technologies, hypotheses, cultures which the Florence Festival stresses in order to accompany and document the ongoing transformation.
Marco Brizzi
Curator
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