Giancarlo De Carlo, in the introduction to the volume Il Palazzo di Federico da Montefeltro, 1985, edited by Maria Luisa Polichetti, speaks of Luciano Laurana and Francesco di Giorgio Martini as the “spirits” of the Palazzo. We cannot help but imagine De Carlo himself as a presence for the city, always present and alive through his project. In L’architettura della partecipazione he exposes how often the representation of architecture does not include the people who live in it; a custom whose origins the author traces back to the “individual monocentric vision” of the Renaissance perspective. Based on this consideration eight internationally renowned photographers, Urbino ISIA teachers, tell the story of De Carlo’s work in Urbino. These images tell the story of De Carlo in Urbino today. What interests us is their potential as a lesson for the present. Paola Binante, Luca Capuano, Mario Cresci, Paola De Pietri, Jason Fulford, Stefano Graziani, Armin Linke, Giovanna Silva, explore and recount the nature of this lesson through photography. Alongside their multiple perspectives is the performative work, carried out by the graphic designer Patrick Lacey and the artist Ben Cain, with the ISIA students and the narrations developed by the students of the Iuav University of Venice, together with Armin Linke, using photographic material from the archives. Besides curators’ texts, this book includes contributions by Roberta Valtorta, with respect to the long-term relationship between architecture and photography, by Mirko Zardini, on De Carlo’s relationship with the city of Urbino, and by Sara Marini, on the architect’s textual production.
Spiriti. Otto fotografi raccontano Giancarlo De Carlo a Urbino Spiriti. Eight photographers recount Giancarlo De Carlo in Urbino
Pierini J
2021
Abstract
Giancarlo De Carlo, in the introduction to the volume Il Palazzo di Federico da Montefeltro, 1985, edited by Maria Luisa Polichetti, speaks of Luciano Laurana and Francesco di Giorgio Martini as the “spirits” of the Palazzo. We cannot help but imagine De Carlo himself as a presence for the city, always present and alive through his project. In L’architettura della partecipazione he exposes how often the representation of architecture does not include the people who live in it; a custom whose origins the author traces back to the “individual monocentric vision” of the Renaissance perspective. Based on this consideration eight internationally renowned photographers, Urbino ISIA teachers, tell the story of De Carlo’s work in Urbino. These images tell the story of De Carlo in Urbino today. What interests us is their potential as a lesson for the present. Paola Binante, Luca Capuano, Mario Cresci, Paola De Pietri, Jason Fulford, Stefano Graziani, Armin Linke, Giovanna Silva, explore and recount the nature of this lesson through photography. Alongside their multiple perspectives is the performative work, carried out by the graphic designer Patrick Lacey and the artist Ben Cain, with the ISIA students and the narrations developed by the students of the Iuav University of Venice, together with Armin Linke, using photographic material from the archives. Besides curators’ texts, this book includes contributions by Roberta Valtorta, with respect to the long-term relationship between architecture and photography, by Mirko Zardini, on De Carlo’s relationship with the city of Urbino, and by Sara Marini, on the architect’s textual production.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.