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With its 5th edition, the International Festival of Architecture in Video reaches its definite establishment and the confirmation of the validity of the idea which the Department promoted in 1996.
It is a cultural appointment which takes place late in the autumn every year, in Florence, attracting major experiences within the applications of multi-media to architecture and which has become important both nationally and internationally. It involves widespread and extremely up-to-date skills and interests, with explicit references to visual arts and to cinema in particular. It concerns the implication of multi-media in architecture as a privileged experimentation field of new languages for an antique art such as architecture. In this successful combination, architecture itself, thanks to the opportunities offered by the development of digital, computer and audio-visual technologies, finds new contributions along a historically linear course which during its history received, from time to time, the contamination of experiences and thought: figurative arts at first, technologies of the new materials, the processes of technical development for the accomplishment of the works, the opportunities determined by science which transform the processes of knowledge into technology. In all these cases, inevitably, we find, in architecture, the willingness to adopt, enhance and then metabolise that complex of widespread technologies which find their most extensive use in the construction of the space for man.
Our department has thus followed up with the first intuitions and theoretical processing of G.K.Koenig, reprocessed and regenerated by Egidio Mucci in the subject matter of Instruments and Techniques of Visual Communication. It is a path which, if interpreted in a historical perspective, though recently formulated, suggests an underlying theme of theoretical continuity with the instruments of history and criticism oriented towards the most modern methods of investigation of thought. The successful intuition of establishing the Festival was precisely the creation of a spatial-temporal place where the contributions of this new vanguard – which tries out new opportunities and investigates paths that still have to be marked out – may merge.
The experimental nature of this initiative, mainly realised through the opening towards subjects who operate in universities, focuses on the guideline issue of each edition. This method has made it possible to receive and present the contribution of young artists who made the virtual world a definite research field, and not just an instrument of special effects. In the most successful cases we willingly let ourselves be fascinated, without going beyond, even only by the expressive quality of the proposal, as we are already used to do with the most traditional figurative arts. But the quality itself of the universe of signs of this kind of proposals does not exclude the most articulated analyses of meaning, nor the most complex problems concerning the role of architecture and design. Furthermore, a certain kind of cinema suggests a disquieting near future in which the distinction between real and virtual often takes on critical aspects which not only modify our behaviour, but the foundations themselves of human nature. The bewilderment of these type of perspectives – we do not know whether only spectacular so far – introduces that more or less suspicious attitude in front of the unknown which characterises the great milestones in history.
We only wish not to be bound to live the commitment of our role for the future of our cities in a hologram.
Enzo Legnante
Direttore Dipartimento PMPE
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