Archaeology and nature: hyblean cultural landscape and territorial ...

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Fig. 1: Ideational accelerations of the creative process. Zaha Hadid, Parametricism Research. Understanding such mechanisms of the cerebral apparatus allows interpreting the articulate creative path that is triggered each time one intervenes on a topos in order to transform it according to a determined framework of human aspirations. Beginning from the primeval idea, it becomes necessary to define heuristic strategies toward the search for equilibrium between markedly different elements that are ascribable to the identity features of the place, to the fecundity of forms, to functional, cultural instances and to technological innovations. It is a kind of journey without a definite route or pre-established destination and, perhaps, without any effective conclusion, which is undertaken through stimulating all the systems and mechanisms of our cerebral apparatus, also those of our unconscious, with implied and latent potential. The inherent danger in this type of journey, each time new and different, is that it may trigger a certain inhibition of creative capacities, almost a kind of ‘ideational apraxia’, due to various causes, among which attitudes of passive adaptation to technological innovations, at times extreme, or a certain satisfaction in the unconditional repetition, often unjustified, of recognizably autographic forms, seem to prevail in contemporary production. Fig. 2: Empirical logic and heuristic strategies. Zaha Hadid and Patrik Schumaker, Parametric Urbanism. 1159
To safeguard fertile, dynamic and active creativity, it is therefore determining to use that part of the operating memory that may access and critically elaborate the sensitive, perceptive and emotive factors linked to the topos and previous experiences, to enrich the resources of the imaginary, abundant in signs at times merely functional, at others prevalently poetic or utopian [2], which are translated, after a logic-evolutive pathway into structured and coded project signs. All the stages of design-concept thinking are characterized by alternating phases of releasing creative energy, of comparison and rational verification and of production and reception of impulses and stimuli in the sensorial parts of the brain. These are processes of design-concept acceleration, which beginning from the recognition of the actual configurative state of the site and existing structures, interpreted through specific orographic, territorial and cultural values, set off a continuous development of reasoning and possible prefiguring, congruent with the givens of the problem, with the expectations of the system of the asset, with the updated technological progress and with the contents of the apparatus of already experienced and thus acquired knowledge. This apparatus of signs cannot but be proactive and strongly determining in defining the lines of force that must guide the entire procedure of an ideational thought that, with a deep sense of respect for the identity characteristics of the place, feels responsibility to produce designs of composite morphologies that are not only fitting to the geographic whole of the topos, but that can also positively affect the environmental quality of sustainable ecosystems. With this responsibility, the morphological complexities of the project interventions represent a magical moment and a crucial workbench in which the process of manifesting the articulated systemic coherence of ideas is put to the test. Ideas that, from the action of the first manifesting as impulse of elaborating sensitive and perceptive factors, to the fulfillment of a logical-evolutionary procedure that may clarify all the parameters of reference, remain closely connected to the concepts of freedom and complexity. All this leads to a profound consideration on the choice of procedures that have a fundamental and not simply instrumental role, in the expression of the design-conception process in all its stages. Suffice it to think, for instance, of the architectonic creations by Zaha Hadid who, with regard to the importance of the choice of suitable tools to shape the idea, states: “From the start, I thought of architecture in a different form. I knew what I wanted to make and what I wanted to design, but could not make it in the conventional way, because with the traditional methods I didn’t manage to represent it. The traditional tools of representation were of little aid. Thus, I began to search for a new way to design, in order to try to see things from a different point of view. Then, with time, those designs, those perspectives and those paintings have been transformed into my true instruments of representation”. [3] So design creation defined by strongly characterizing signs, or by apparent morphologic epidermic simplicity, combined with the complexity of inner lines of force, compel serious reflection on the innovative methodologies of representation of the product of architecture at the service of the primeval idea. Fig. 3: Strength lines drawn by the topos. Zaha Hadid, One North Masterplan, Singapore, 2001-2021. 1160
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Archaeology and nature: hyblean cul
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2. Kaukana project: territorial reg
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The main goal of the planning inter
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The Time of Flight 3d laser scanner
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Fig. 12-13: The archaeological land
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Industrial heritage, collective ide
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vertical reduction of market prices
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Fig. 3: The mining site of Grottaca
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Fig. 5: Laser scan 3D of the Pozzo
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Fig. 6: Palazzo Pennisi. meanings,
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Le tanneries di Barjols: uno spazio
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Fig. 2 - Piano del quartiere delle
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Fig. 4 - Sviluppo verticale anni ci
Page 27 and 28: Riferimenti bibliografici [1] AA.VV
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Page 31 and 32: Fig. 4: Maiori, plan 1848. Fig. 5:
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Page 35 and 36: Fig. 10: Positano. 4. The mountain
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Page 41 and 42: Fig. 2: Roman time, overlap Paget h
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