{"id":2494,"date":"2013-05-01T04:11:44","date_gmt":"2013-05-01T02:11:44","guid":{"rendered":"http:\/\/padjournal.net\/?p=2494"},"modified":"2022-04-13T17:34:31","modified_gmt":"2022-04-13T15:34:31","slug":"whats-up-15-young-european-architects","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/whats-up-15-young-european-architects\/","title":{"rendered":"What\u2019s up? 15 young european architects"},"content":{"rendered":"<p><!--:en--><\/p>\n<div id=\"pubHead\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/padjournal.net\/wp-content\/uploads\/066_whatup_FR-01-185x243.jpg\" alt=\"\" title=\"066_whatup_FR-01\" width=\"185\" height=\"243\"><\/p>\n<div>Fifteen firms of young European architects show their most relevant works and meditate on the current conditions of design production. While pragmatically anchored to the present, this generation confronts the transition to a different, more cooperative and social, existential situation: to an architecture that can overcome the obsession for individual self-representation and formal and stylistic research in order to contribute to an ecology of interaction.<\/div>\n<\/div>\n<hr\/>\n<p>WHAT\u2019S UP? is a call to attention. An invitation to look at what is happening in the European architectural scene.<br \/>\nYoung people&#8217;s slang is used to describe a new generation of talented architects who know how to turn the tables on prejudice and reticence.<br \/>\nThe book was designed to arouse curiosity and stimulate architectural critique by channeling it towards the results achieved by young generations of designers; the goal is to document and testify to the organizational capabilities and cultural training of younger firms in the context of an equal and not rash comparison with colleagues who have been active for a long time, through the tools of ideas and work procedures.<br \/>\nThe selection involves 15 European firms whose members range between 30 and 40 years of age, described with a text and the publication of two of their projects, the first one they developed and the one they consider most significant. The selection was based on anagraphical aspects but also on the firms\u2019 contribution to the current debate on the state of architecture.<br \/>\nAmong the various selection criteria was the number of works carried out in connection with years of activity, as well as the will to identify projects with different functions, from which heterogeneous shapes, inspirations, intentions, results, materials and colors emerge. For some States, in cases where content was equal, another selection factor was a studio\u2019s presence in the media.<br \/>\nWhile different educational backgrounds, project methodologies and action ranges emerge from the interviews (some plan mainly sport or religious buildings, others work in the poorest areas of the world), all firms equally highlight the importance of architectural research, interdisciplinarity, professional collaboration and context.<br \/>\nTo listen to professionals who will try to plan future cities is as interesting as recording the experience of well-known architects.<br \/>\nI hope it will be evident that what caused this book to develop is my belief in freedom of expression and in the enthusiasm of young generations, in their ability to change predominant values, in the sacrifices made in the name of the passion for their job, and in the courage and recklessness of so many professional choices that characterize the beginning of one\u2019s career.<br \/>\nDespite the unpromising economic and political situation we face today, I believe that tenacity and talent always provide astonishing results, and that listening to inexperienced architects\u2019 original voices and ideas can be a winning weapon to create varied and more stimulating places.<br \/>\n<em>Salvatore Spataro<\/em>\n<\/p>\n<hr\/>\n\n<h3>The same music<\/h3>\n<p>Every time I hear the echo of Jimi Hendrix or Pink Floyd from my son\u2019s headphones the familiarity of recognition merges with the surprise of an unexpected continuity of taste between generations. If they had told me forty years ago I wouldn&#8217;t have ever believed it: rock music was revolutionary form, ideological belonging, affirmation of identity and opposition to the old: simply unthinkable to share aesthetic pleasure with one\u2019s parents. Broadening the gaze, one notices the same musical phenomenons of duration, or of postmodern copy and paste, cross the most varied forms of expression, and architecture isn&#8217;t an exception. But we can\u2019t say that general or specific conditions have remained the same. This volume, dedicated to fifteen young architecture firms, gives voice to the first generation of digital natives, fully fluent in radically new languages, comfortable in a change comparable, for its explosive potential, to the one produced by Alberti and Brunelleschi. And it\u2019s not just a matter of tools for specific disciplines, but of a total transformation of social interactions and forms of communication. The fact that all of this hasn&#8217;t (yet?) produced a recognizable space aesthetic is an unexpected as well as significant phenomenon. Some people sense in the characteristics of the web, in the extreme precision with which search engines return exactly what you look for, in the progressive isolation in social networks constructed by \u201clikes\u201d, the disappearance of the fuel for innovation, of the casual collisions with the unexpected to which the pre-digital epoch constantly exposed us. Others assign an important role to the consequences of the numerous crises (environmental, economic, ideological, demographic\u2026) and to the just as many fall backs that ensued: especially in project-based disciplines, for which the \u201cnew\u201d is less and less a socially recognized and shared value.<br \/>\nThese reasons being true or not, it is evident that we are in a transition phase and the best way to understand it is to listen to its protagonists. A first fact that emerges from reading this book is precisely a certain marginality of the generational issue, as if the Freudian need to eliminate fathers has all of a sudden disappeared. Perhaps the early engagement with the concreteness of construction played a role in orienting the various approaches here collected towards a healthy proactive pragmatism, for which the expression of a specific position doesn&#8217;t necessarily have to pass through the emancipation from known paradigms. Activity that, in more isolated and sheltered fields such as academia, is actually still practiced with enthusiasm (even if there, usually, they try to eliminate the fathers exhuming the grandfathers\u2026). The ambition which instead appears to be most shared by these young working architects is simply to do their work at their best, trying to maintain a certain integrity in regards to contextual conditions. Positions vary, from idealism at the limits of ingenuity to professionally realist approaches, but all are imbued with the will to take a distance from the cynicism and individualism we usually associate with the role of architects. The widespread distrust towards archistars\u2019 ways and goals doesn&#8217;t therefore appear to be a perfunctory statement by those who, having been excluded by the game, declare their lack of interest in playing. It\u2019s a different orientation, less obsessively directed towards individual self-representation via the shape of constructed outcomes. For these youngsters the project isn&#8217;t anymore a heroic act, \u00e0 la Howard Roark, the fictional and romantic architect played by a tough Gary Cooper in Fonte meravigliosa. It\u2019s not the result of the rare talent of a Gehry, or of a technological persistence, that sustains its feasibility. He doesn&#8217;t even rely on the paradoxical reversal of reality through its own contradictions, a narrative device on which Rem Koolhaas and his many pupils built their success. If, in the end, we manage to recognize a generational specificity, we must look for it for it in opposites: in a different existential condition, more collaborative and social, more careful to participate in a sort of ecology of interaction, in space and time, in choices and areas of expertise. A generation not particularly oppressed by its past or anxious to shape the future, and thus quite rooted in the present, precociously aware that in a rapidly transforming world the quality of the voyage is more important that reaching goals that are less and less identifiable.<\/p>\n<p>Review by <em>Giovanni Corbellini<\/em><br \/>\nPadova, 5 July 2012<!--:--><!--:it-->Quindici studi di giovani architetti europei espongono i loro lavori pi\u00f9 significativi e ragionano sulle condizioni contemporanee della produzione del progetto.<br \/>\nUna generazione pragmaticamente ancorata nel presente affronta la transizione verso una differente situazione esistenziale, pi\u00f9 collaborativa e sociale: verso una architettura in grado di superare l\u2019ossessione per l\u2019autorappresentazione individuale, per la ricerca linguistica e formale, e partecipare a costruire una ecologia dell\u2019interazione.<br \/>\nWHAT\u2019S UP?  \u00e8 un richiamo all\u2019attenzione.  Una esortazione a chiedersi cosa succede nel panorama europeo dell\u2019architettura.<br \/>\nUno slang giovanile per ritrarre una nuova generazione di architetti talentuosi in grado di scardinare pregiudizi e reticenze.<br \/>\nIl volume nasce per incuriosire e sollecitare la critica architettonica verso i risultati conseguiti dalle giovani generazioni di progettisti e per testimoniare e documentare la capacit\u00e0 organizzativa e la formazione culturale di alcuni studi in un confronto assolutamente paritario e non azzardato con i colleghi gi\u00e0 attivi da tempo, attraverso gli strumenti delle idee e delle procedure del lavoro.<br \/>\nLa selezione riguarda 15 studi europei di et\u00e0 compresa tra i 30 e i 40 anni descritti attraverso un testo e la pubblicazione di due loro progetti, il primo realizzato e quello che ho ritenuto tra i pi\u00f9 significativi.<br \/>\nLa selezione non si \u00e8 basata solamente sull\u2019aspetto anagrafico ma anche sul contributo che a mio parere questi studi, in maniera diversa, danno al dibattito in corso sullo stato dell\u2019arte dell\u2019architettura.<br \/>\nTra i criteri di scelta vi sono il numero elevato di opere realizzate da ogni studio in relazione agli anni di attivit\u00e0, e la volont\u00e0 di individuare progetti con funzioni diverse, dai quali emerge una eterogeneit\u00e0 di forme, ispirazioni, intenzioni, risultati, materiali e colori. Per alcuni Stati un altro fattore di scelta \u00e8 stato, a parit\u00e0 di contenuti, la minore presenza sui media di uno studio rispetto ad un altro.<br \/>\nDalle risposte fornite nelle interviste emergono diversi percorsi formativi, diverse metodologie progettuali e campi d\u2019azione (c\u2019\u00e8 chi progetta quasi esclusivamente edifici per lo sport o per il culto, o chi realizza nelle aree pi\u00f9 povere del mondo) ma tutti gli studi sottolineano l\u2019importanza che rivestono la ricerca architettonica, l\u2019interdisciplinariet\u00e0, la collaborazione professionale e l\u2019attenzione per il contesto.<br \/>\nAscoltare i professionisti che proveranno a disegnare le citt\u00e0 di domani \u00e8 altrettanto interessante che registrare l\u2019esperienza di un architetto gi\u00e0 affermato.<br \/>\nSpero sia evidente che la molla che ha generato questo volume stia nel fatto che io credo nella libert\u00e0 di espressione e nell\u2019entusiasmo delle nuove generazioni, nella loro capacit\u00e0 di poter cambiare i valori dominanti, nei sacrifici fatti per la passione del proprio lavoro, nel coraggio e nell\u2019incoscienza di tante scelte lavorative all\u2019inizio della propria carriera professionale.<br \/>\nNonostante la situazione economico-politica di questi anni non sia promettente, sono convinto che la tenacia e il talento riescono sempre a dare risultati sorprendenti e ascoltare voci e idee originali anche provenienti da architetti inesperti pu\u00f2 diventare un\u2019arma vincente per costruire luoghi diversi e a volte pi\u00f9 stimolanti.<br \/>\nLa stessa musica<br \/>\nOgni volta che dagli auricolari dei miei figli sento uscire l\u2019eco di Jimi Hendrix o dei Pink Floyd la familiarit\u00e0 del riconoscimento si mescola alla sorpresa di una inaspettata continuit\u00e0 di gusto fra generazioni. Se me lo avessero detto quarant\u2019anni fa non ci avrei mai creduto: il rock era forma rivoluzionaria, appartenenza ideologica, affermazione identitaria e contrapposizione contro il vecchio: semplicemente impensabile condividere con i genitori uno stesso piacere estetico. Allargando un po\u2019 lo sguardo, ci si accorge che gli stessi fenomeni musicali di durata, o di copia e incolla postmoderno, attraversano anche le pi\u00f9 varie forme di espressione, e l\u2019architettura non fa eccezione. Eppure non si pu\u00f2 dire che le condizioni generali e specifiche siano rimaste le stesse. Quella cui viene data voce in questo volume, dedicato a quindici studi di giovani architetti europei, \u00e8 la prima generazione di nativi digitali, pienamente \u201cparlati\u201d da linguaggi radicalmente nuovi, a loro agio in un mutamento paragonabile nelle sue dirompenti potenzialit\u00e0 a quello che produsse(ro) Alberti e Brunelleschi. E non si tratta solo di strumenti disciplinari, ma di una totale trasformazione della interazione sociale e delle sue forme di comunicazione. Il fatto che tutto ci\u00f2 non abbia (ancora?) prodotto una riconoscibile estetica dello spazio \u00e8 un fenomeno tanto inatteso quanto significativo. Alcuni intravedono nelle stesse caratteristiche della rete, nella precisione estrema con cui i motori di ricerca ti restituiscono proprio quello che cerchi, nel progressivo isolamento in reti sociali costruite dai \u201cmi piace\u201d, il venir meno del carburante dell\u2019innovazione, delle collisioni casuali con l\u2019inaspettato cui l\u2019epoca predigitale ci esponeva continuamente. Altri attribuiscono un ruolo importante alle conseguenze delle numerose crisi (ambientali, economiche, ideologiche, demografiche&#8230;) e agli altrettanto molteplici ripiegamenti che ne sono seguiti: anche e soprattutto nelle discipline del progetto, per le quali il \u201cnuovo\u201d \u00e8 sempre meno un valore socialmente riconosciuto e condiviso.<br \/>\nVere o meno queste ragioni, \u00e8 evidente che ci troviamo in una fase di transizione e il modo migliore per provare a comprenderla \u00e8 ascoltarne i protagonisti. Un primo dato che emerge dalla lettura di questo volume \u00e8 proprio una certa marginalit\u00e0 della questione generazionale, come se il bisogno freudiano di eliminare i padri fosse improvvisamente venuto meno. Pu\u00f2 essere che il precoce impegno nella concretezza della costruzione abbia avuto un ruolo nell\u2019orientare i diversi approcci qui raccolti verso un sano pragmatismo proattivo, per il quale l\u2019espressione di una posizione specifica non debba necessariamente passare attraverso l\u2019emancipazione da paradigmi noti. Attivit\u00e0 che, in ambiti pi\u00f9 isolati e protetti come l\u2019accademia, viene in effetti ancora praticata con entusiasmo (anche se l\u00ec, di solito, si cerca di far fuori i genitori riesumando i nonni&#8230;). L\u2019ambizione che viceversa appare maggiormente condivisa da questi giovani architetti operanti \u00e8 semplicemente fare il proprio lavoro al meglio, cercando di mantenere una certa integrit\u00e0 nel confronto con le condizioni di contesto. Non mancano posizioni differenziate, tra idealismi al limite dell\u2019ingenuit\u00e0 e approcci professionalmente realisti, tutti per\u00f2 improntati alla volont\u00e0 di allontanarsi dal cinismo e dall\u2019individualismo che siamo abituati ad associare alla figura dell\u2019architetto. La diffusa diffidenza verso modi e obiettivi delle archistar non sembra quindi una dichiarazione di circostanza da parte di chi, escluso per ora dal poter giocare quella partita, se ne dichiara disinteressato. Si tratta di un orientamento diverso, meno ossessivamente teso ad autorappresentarsi individualmente attraverso la forma dell\u2019esito costruito. Il progetto per questi giovani non \u00e8 pi\u00f9 un atto di eroismo alla Howard Roark, architetto romanzesco e romantico che nella Fonte meravigliosa era interpretato da un Gary Cooper tutto d\u2019un pezzo. Non \u00e8 l\u2019esito del raro talento di un Gehry n\u00e9 dell\u2019accanimento tecnologico che ne sostiene la fattibilit\u00e0. Non si affida nemmeno al rovesciamento paradossale della realt\u00e0 attraverso le sue stesse contraddizioni, dispositivo narrativo sul quale Rem Koolhaas e i suoi molti allievi hanno costruito i loro successi. Se, alla fine, riusciamo a riconoscere una specificit\u00e0 generazionale, questa va ricercata per negazione: in una differente condizione esistenziale, pi\u00f9 collaborativa e sociale, pi\u00f9 attenta a partecipare a una sorta di ecologia dell\u2019interazione, nello spazio e nel tempo, nelle scelte e nelle competenze. Una generazione non particolarmente oppressa dal passato n\u00e9 ansiosa di plasmare il futuro e quindi ben ancorata nel presente, precocemente consapevole che in un mondo in rapida trasformazione conta pi\u00f9 la qualit\u00e0 del viaggio che il raggiungimento di mete sempre meno identificabili.<br \/>\nPadova, 5 Luglio 2012<br \/>\n<!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fifteen firms of young European architects show their most relevant works and meditate on the current conditions of design production. While pragmatically anchored to the present, this generation confronts the transition to a different, more cooperative and social, existential situation: to an architecture that can overcome the obsession for individual self-representation and formal and stylistic&hellip; <a class=\"more-link\" href=\"https:\/\/www.padjournal.net\/new\/whats-up-15-young-european-architects\/\">Continua a leggere <span class=\"screen-reader-text\">What\u2019s up? 15 young european architects<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[15,7,8,82],"tags":[],"class_list":["post-2494","post","type-post","status-publish","format-aside","hentry","category-en","category-it","category-languages","category-publisher-proposal","post_format-post-format-aside","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>What\u2019s up? 15 young european architects \u2013 Pages on Arts &amp; Design | PAD<\/title>\n<meta name=\"description\" content=\"PAD is the international, open access, and peer-reviewed e-journal published twice a year about all areas of design and arts research.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.padjournal.net\/new\/whats-up-15-young-european-architects\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What\u2019s up? 15 young european architects \u2013 Pages on Arts &amp; Design | PAD\" \/>\n<meta property=\"og:description\" content=\"PAD is the international, open access, and peer-reviewed e-journal published twice a year about all areas of design and arts research.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.padjournal.net\/new\/whats-up-15-young-european-architects\/\" \/>\n<meta property=\"og:site_name\" content=\"PAD\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/pad.journal\/\" \/>\n<meta property=\"article:published_time\" content=\"2013-05-01T02:11:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-13T15:34:31+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/padjournal.net\/wp-content\/uploads\/066_whatup_FR-01-185x243.jpg\" \/>\n<meta name=\"author\" content=\"Marinella Ferrara\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Scritto da\" \/>\n\t<meta name=\"twitter:data1\" content=\"Marinella Ferrara\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minuti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.padjournal.net\\\/new\\\/whats-up-15-young-european-architects\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.padjournal.net\\\/new\\\/whats-up-15-young-european-architects\\\/\"},\"author\":{\"name\":\"Marinella Ferrara\",\"@id\":\"https:\\\/\\\/www.padjournal.net\\\/new\\\/#\\\/schema\\\/person\\\/0217137dd21324773ddf8272030d5c3c\"},\"headline\":\"What\u2019s up? 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