presente per ricomporre con luce di qualità uno spazio dinamico , un percorso filologico di interazione di ambiti luminosi e di esperienze percettive . Spazi somatici ( personali e di individuazione della posizione del proprio corpo ), espositivi-museali , sociorelazionali , emozionali , di rappresentazione vengono scanditi con architetture di luce in cui il soggetto esperisce il contorno luminoso . Qui sta il legame e il pensiero condiviso tra storico e fisico : il concetto di luce come formante fisico e plastico dell ’ architettura .
Riferimenti Canesi , G . e Cassi Ramelli , A ., Architetture luminose e apparecchi per illuminazione . Milano , Hoepli Editore , 1941 . Balocco , C ., “ Riflessioni su luce , comunicazione visiva e percezione ”, LUCE 317 , 2016 , pp . 1-5 . Balocco C ., Baldanzi E ., Farini A ., Tito A ., e Raffaelli M ., “ Luce e arte : stimoli percettivi e tecniche eye-tracking ”, LUCE 320 , 2017 , pp . 101-106 . Cozzi , M ., “ Luminous Architecture around the mid-1930s : some Italian Cases ”, paper from a colloquium held at Ecole nationale supérieure d ’ architecture de Nantes , Dec . 10-12 , 2009 . Cozzi M ., “ I palazzi delle poste italiane . 1919-1943 ”, in Andrea Giuntini ( a cura ), Le Poste in Italia tra le due guerre . 1919-1945 , Roma e Bari , Laterza , 2007 , pp . 211-242 . Cozzi M ., “ Altri turismi per le città d ’ arte ”, ANANKE 83 , 2018 , pp . 141-144 .
Nello Baroni , cinema teatro Rex , Firenze , via Nazionale 1937 / Nello Baroni , Rex theater , Florence , via Nazionale 1937
Light as a plastic formant of Architecture
Thought exchange between a technical physicist and an architectural historia
For an Architectural Historian , to talk about light and illumination means to talk about Vitruvius and his De Architectura . For Vitruvius , the correct building orientation and positioning to best capture the solar radiation are the cornerstones of any project : the functional distribution of the interior spaces is linked to light and the “ opening ’ s light ”, i . e . the light coming from doors / windows (“ lumen ” defines their width ). The historian insists on Western culture : light is in the Prometheus myth , of a symbolic imagery ; from the ( natural ) light made of shadow and darkness of the Middle Ages , to the Renaissance ’ s “ Painting of light ” made by light and colour , shapes and “ aerial perspectives ”, up to the artificial light of the second half of the nineteenth century , from which came the explosion of luminous architectures and artistic and pictorial expressions of the Modern and the Avantgardes . On this background enters the technical physicist , who refers to Relativity and quantum mechanics . The technical physicist shows how the space that is represented , lived and built today , and all the techniques and technologies , would be unthinkable without a reflection on the extraordinary physical properties of light , its independence from the observer ’ s reference system , and its propagation velocity through a vacuum . The link and communication between the historian and the physicist lies in light and in its ability to transmit information , connecting subjects with different formae mentis and approaches . Light sets in motion semiotic processes , even if it does not belong to any signification system : it is not a “ text ”, it is “ imponderable ” matter , and its sub-signedness directs actions , contributes to the communication / transmission of thoughts , feelings , and sensations , to the circadian rhythm , and to the choices of taking action . As Peirce would say , light is a representamen , a sign that produces in the mind of the receiving subject an equivalent sign , a mental representation , an idea in between sensoriality and cognition . Light is a channel of communication between two subjects with different culture and language , becoming an interpretant of the first , transmitted to the latter . Light gives shape , sense , and meaning to objects and spaces ; it colours them , highlighting contrast and brightness . The dialogue between the historian and the physicist leads back to the reading of the meaning of an ( architectural ) form in its outline , because the eye , the only effective contrast sensor , detects ( vision mechanism ) the quantity of light that floods it ; the value of this same form , i . e . its informative content , lies in the quality of the transmitted / communicated light . If we reflect on the evolution over time of the relationship between light and architecture , we face a very intriguing question : illuminated architecture and illuminating architecture , which , in the lighting field , refers to the relationship between designing light and designing with light . If we look at the relationship between architecture , engineering , and design with a semiotic interpretation of their interaction , we can deduce a very close link between the deductive approach ( basis of architectural planning ; the historian ’ s position ), the inductive one ( base of modelling and engineering experimentation ; the physicist ’ s position ), and the abductive one ( on which design and lighting design are based ; an interdisciplinary result ). Lighting design is not the simple design of lighting systems or products , but the whole of these conceptual positions ( historian and physicist ). Therefore , it is the result
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