Tag Archives: Gianfranco Caniggia

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ARCHITECTURE IN THE MAKING

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RITA SALAMOUNI

NICOLA SCARDIGNO

GIUSEPPE STRAPPA

ARCHITECTURE IN THE MAKING

Conversations on Urban Morphology and Design

Foreword by Franco Purini and Jörg Gleiter

Afterword by Matteo Ieva

SPRINGER 2025

 

FRANCO PURINI

A treatise in the form of a dialogue

When compared to the conversations one can see and hear on television programmes, the written interviews found in newspapers, magazines and books remain in the mind in a lasting way.  In fact, for many years now, the interview has become a significant, complex and widespread literary form. What is asked and the answers to the questions imprint themselves on the read­ing, forming a permanent message.

There are various ways of interviewing. One can choose the theme of biography, which recounts a life in its varied unfolding. One can ask about one’s opinions on accidental events, mistakes or posi­tive things one has done. Sometimes it is mainly asked about the context in which one lived and the influence it had on us. In other conversa­tions, the main topic is the relationship with knowledge other than the one we have chosen and cultivated. A description of our qualities is also frequent in interviews. Finally, they can have, as the focus of the discussion, the expres­sion of a theory. These are, in my opinion, the most culturally incisive ideas that presuppose communication skills as well as the ability to ex­pound one’s beliefs.

It must also be said that the difference between interview and dialogue has long since disap­peared. The “Interviste impossibili” (impossi­ble interviews) of the 1970s, together with the “Alle otto della sera” (At eight o’clock in the evening) conversations in the following period, have made the talk of two people a much more cultured discursive sphere, in which dialogue – a term that indicates a more authentic and profound encounter than a simple exchange of news and opinions – often deals with problems, orders and reasoning that go beyond entertain­ment to take the form of real lectures. Obviously, the different forms of the interview depend, to be understood as a whole, on the ques­tions asked. Those who formulate them must not only be clear and precise but also capable, like a director, of conducting the interview with great rigour. Nicola Scardigno’s and Rita Salamouni’s work in their dialogues with Giuseppe Strappa is, from the point of view of content and the rhythm of the conversation, exemplary. What is asked in the questions proposed is a progressive narrative in which the individuality of who replies gives way to a system of linked notions defining the con­sequential level of choices. The set of answers to the questions, posed with excellent logic by Giuseppe Strappa’s interlocutor, outlines a vast, precise and inspired conceptual framework. In short, this book is nothing other than a treatise on architecture proposed and articulated with wisdom and a mathematical progression, the re­sult of the long and active teaching of the Roman teacher in the capital, in Bari and in many other cities, where he brought his fruitful knowl­edge. His treatise recalls historical Platonic dia­logues, evokes Paul Valéry’s “Eupalino”, recalls the precious syntheses of Le Corbusier and the compositional magic of Mies van der Rohe, but above all follows the theoretical path that goes from Saverio Muratori to Gianfranco Caniggia.

All this to define a system of statements that do not so much confirm previous references, as list a series of current, operationally precise, ideas produced by an assiduous study of the changes that morphology and typology have undergone in recent decades.

Giuseppe Strappa, therefore, does not validate the notions of typology and morphology pres­ent in the conceptions of Saverio Muratori and Gianfranco Caniggia, but identifies a new path towards a necessary innovation of these found­ing categories.

TABLE OF CONTENTS

Foreword

A treatise in form of a dialogue – Franco Purini

Architecture as medium and expression of human freedom – Jörg Gleiter

CONVERSATIONS WITH GIUSEPPE STRAPPA

  • Introduction

Space or art of Delimitation – Nicola Scardigno

Reading the Territory – Rita Salamouni

  • Method
  • Form
  • Organism
  • Territory
  • Expression
  • Didactic
  • Contemporary condition

Afterword

Poetics of the era and formativity of architecture – Matteo Ieva

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G.STRAPPA, M. IEVA, N. MARZOT – THE ITALIAN SCHOOL OF PROCESS MORPHOLOGY. ROOTS, METHODS AND FUTURE DEVELOPMENTS

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G.STRAPPA, M. IEVA, N. MARZOT

THE ITALIAN SCHOOL OF PROCESS MORPHOLOGY.
ROOTS, METHODS AND FUTURE DEVELOPMENTS

In  SAJ, s e r b i a n a r c h i t e c t u r a l j o u r n a l, VOL.15, 2023  Editor Vladan Djokić

 

 

 

A. THE ORIGINS OF THE MORPHOLOGICAL STUDIES IN ITALY
Giuseppe Strappa
Particularly in the current conditions, I believe, it could be useful to go back to reflecting on the roots of morphological studies in Italy as they are, in fact, the evidence of a concrete approach to the architectural design based on logical and didactically transmissible bases. These studies were aimed, especially in the Roman School, at the formation of general and shared methods derived from the reading of built reality and were aimed at the positive study of how it could be transformed. Studying them is useful, precisely in a period like the present one in which, on the one hand, morphology studies are gradually assuming an increasingly abstract and independent drift from design and, on the other, professional practice is aimed, instead, at the marketing of architecture through interpretations based on the perception and spectacular communication of the results.
The studies from which the researches on the formative processes of the urban form in the Italian area have been developed are above all known, abroad, through the texts of Gianfranco Caniggia. It is also known that these derive from the teachings of Saverio Muratori, whose texts, however, are less known for having never been translated into English. Even less known is the fact that the origin of this school of thought dates back much earlier, at least to the interwar period and to the studies of innovators such as Gustavo Giovannoni, Giovan Battista Milani, Enrico Calandra and others. The common thread that binds these researches, developed largely through teaching in the Faculty of Architecture, is the “reading” of the built reality which not only has the project as its aim but, in many respects, is itself a project.

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