Suchergebnisse

The analysis and transformation of the city require a continuous need to change scale in order to identify efficient solutions. To this aim it is necessary to develop the ability to look at the territory according to large scale strategies but, at the same time, to focus on small points of the city, acting alternatively in a top-down process and viceversa. Among the practices of the bottom-up vision, attention is paid to urban acupuncture and tactical urban planning, capable of intervening quickly in the regeneration of the contemporary city.Urban acupuncture can be described as a kind of micro-urban planning, because it refers to the small scale and it is attentive to the public space, where communities have the opportunity to build solid networks of cooperation and collaboration. Local actions usually trigger processes of consciousness in political representatives, who acquire experience and willingness to act in the urban context activating virtuous processes of exchange of ideas and actions with citizens. Urban acupuncture is analysed with reference to the theoretical contributions and successful practices developed by its theorists recognized in the international debate (De Solà-Morales, Lerner, Casagrande).Tactical Urbanism, an interesting urban regeneration practice of the United States, also provides many models of local micro-actions that can modify the urban environment, at low cost and in short time.The TRIA journal, in the current and next issue, presents interesting articles that discuss acupuncture and tactical urban planning, particularly focusing on the contribution of artistic practices, and not only, to the enhancement of urban space, also through innovative digital representation techniques which contribute to the determination of a virtual landscape, called infoscape. ; L'analisi e la trasformazione della città richiedono una continua necessità di cambiare scala per identificare soluzioni efficienti. A tal fine è necessario sviluppare la capacità di guardare il territorio secondo strategie ampie ma, allo stesso tempo, di concentrarsi su piccoli punti della città, intervenendo alternativamente dall'alto e dal basso. Tra le pratiche della visione dal basso si pone l'attenzione sull'agopuntura urbana e l'urbanistica tattica, capaci di intervenire in maniera rapida e virtuosa nella rigenerazione della città contemporanea.L'agopuntura urbana è descrivibile come una sorta di micro-urbanistica, perché riferita alla piccola scala e attenta allo spazio pubblico, dove le comunità hanno l'opportunità di costruire solide reti di cooperazione e collaborazione. Le azioni locali innescano solitamente processi di consapevolezza nei rappresentanti politici, che acquisiscono esperienza e volontà di agire nel contesto urbano in processi virtuosi di scambio di idee ed azioni con i cittadini. L'agopuntura urbana è analizzata facendo riferimento ai contributi teorici e alle pratiche di successo sviluppate dai suoi teorici riconosciuti nel dibattito internazionale ( De Solà-Morales, Lerner, Casagrande). Anche il Tactical Urbanism, interessante pratica di rigenerazione urbana di matrice statunitense, fornisce numerosi modelli di micro-azioni locali che possono modificare l'ambiente urbano, a basso costo e in tempi ristretti.La rivista TRIA, nel presente e prossimo numero, presenta interessanti articoli che discutono sull'agopuntura e sull'urbanistica tattica, soffermandosi in particolare sul contributo delle pratiche artistiche, e non solo, di valorizzazione dello spazio urbano ricorrendo anche a innovative tecniche di rappresentazione digitale che contribuiscono alla determinazione di un paesaggio virtuale, definito infoscape.

The theatre has been for both Greek and Romans an essential element of a city and, at the same time, of being a citizen.As many researches are demonstrating these days, studying the theatres and their architectural and morphological features, as well as analysing their position and functions, can provide important data and clues about how communities saw themselves, which cultural network they were part of or shared characteristics with, to which extent they influenced or were influenced by other cultures.Therefore, given their ideological role, theatrical buildings seemed a valid hermeneutical instrument to understand the architectural culture of this territory as well as the political and social evolution of the communities which inhabited it. Thus, it seemed appropriate to adopt this approach to a region whose urbanistic and political evolution is still under constant debate, such as Epirus and Southern Illyria.The main aim of the research has been a re-interpretation of the data already published about the theatres chosen as a Corpus in the light of the most recent studies on the territory but also of important research themes that animate the scientific debate of the last decades. It is indeed possible to read those data in a new perspective taking into account historical, cultural, architectural and urbanistic contexts both from a diachronic and a geographic point of view. This approach has, in the end, made possible to review, clarify, update and interpret the available data about each theatre and to frame it into a wider, Mediterranean, context.In order to achieve this aim a complex database has been conceived that could include all the data mentioned above given some homogenous and common criteria. It is worth noticing, however, that the database has not been conceived only to manage a huge amount of data but also, to actually serve as a normative instrument for a better understandable and more homogeneous systematisation both of the data themselves and their relations with sources and modern studies.The review of the published information about theatrical buildings in Epirus and Southern Illyria, in the light of the above-mentioned systematisation, has consequently proved itself useful in order to propose a new perspective on the settlement dynamics, the monumentalisation and the cultural development of those regions.Eventually, it has been possible to conclude that the city and the theatre can't be separated, either in Epirus or in Southern Illyria, from the development of a Hellenistic realm that, at least at the beginning, has marked significantly the image of the territory. The constitution itself of the Aeacid monarchy, almost "contractual" regarding the different koina that kept a significant amount of administrative autonomy throughout the entire Hellenism, must have envisaged a regular presence of the king in each of the most important cities of the region. The monumentalisation, that we could call "processional", of a great number of urban centres, such as Byllis, Kassope or Phoinike, can be legitimately linked to the rise of Pyrrhus and the establishment of the so-called Great Epirus. Its therefore possible to identify, in this historical moment, the construction of a political conscience that we could define as entirely Mediterranean and that is largely expressed in the cultural, urban and architectural features we can observe in both Epirus and Southern Illyria.Even if the establishment of the polis as an administrative model has met some resistence in the region, the heritage of the pyrrhic era can be recognised in that cultural and political conscience expressed through the proper and traditional Hellenistic patterns which form a peculiar language that will eventually been adopted by Rome while imposing its power into the Mediterranean context. ; Le théâtre a été autant pour les Grecs que pour les Romains un élément fondamental de l'idée même de la ville et avec elle de l'être citoyen.Comme de nombreux chercheurs le démontrent aujourd'hui, étudier les théâtres apporte de nombreux éléments de réflexion et de nombreux indices quant à la façon dont les communautés se percevaient elles, les réseaux culturels auxquels elles appartiennent ou avec lesquelles elles partagent des caractéristiques, dans quelle mesure elles ont influencé ou étés influencés par d'autres cultures.Compte tenu de leur rôle idéologique, les théâtres semblent représenter un instrument herméneutique valide pour comprendre la culture architecturale d'un territoire tout comme sa politique ou l'évolution sociale des communautés qui y vivent. Ainsi il semble approprié d'avoir recours à cette approche dans le cadre de l'étude d'une région dont l'évolution politique et urbanistique prête encore à débat comme le territoire qui corresponde à l'Illyrie méridionale et à l'Épire.L'objet principal de l'oeuvre était de relire les données publiées relatives aux théâtres examinés en vue d'une étude du territoire dans son ensemble, tant du point de vue historique que culturel ou encore architectural-urbanistique, mais aussi dans une perspective diachronique et également géographique et prenant en compte, en dernière instance, les études les plus récentes tant sur le territoire que sur des aspects plus généraux liés à l'histoire, les institutions, le culte, l'architecture, les bâtiments de théâtre en général, l'urbanisme et la topographie. Cette approche a en fait contribué à la formulation de mises à jour, de clarifications, d'évaluations et d'interprétations à la fois au sein de chaque bâtiment et dans la vue d'ensemble plus générale du territoire et de son encadrement dans un contexte méditerranéen.Une base de données a donc été élaboré pour accueillir les informations essentielles de chaque bâtiment selon des critères homogènes et communs.Par ailleurs, il convient de noter que cette base de données a été conçue, avant tout comme un moyen de gestion de grandes quantités de données mais, encore pluscomme un outil normatif pour la systématisation de celles-ci en relation aux bâtiments de type théâtral.La révision des données publiées relatives aux bâtiments théâtraux de l'Illyrie méridionale et de l'Épire, leur systématisation selon un modèle commun et la relecture ou la clarification de certains éléments critiques, a permis de faire émerger quelques considérations générales et propositions de lecture des dynamiques de peuplement, de monumentalisation et de développement culturel qui ont caractérisé le territoire.Il a finalement été conclu que la ville et le théâtre ne peuvent pas être séparés, dans la région illyrienne-épirote, de la formation d'une monarchie hellénistique qui, du moins au début, réussit à donner une impression significative à l'image de la région elle-même. La constitution même de la monarchie Aeacide, presque « contractuelle », en rapport aux différentes koina qui conservaient une large autonomie administrative, devait prévoir une présence régulière du souverain dans les centres-villes les plus importantes. La monumentalisation presque « processionnelle » de nombreux centres urbains, tels que Byllis, Kassope ou Phoenicè peut, à juste titre, être mise en relation directe avec la naissance et la formation du Grand Épire de Pyrrhus. Il est donc possible d'identifier, à ce moment historique, la formation d'une conscience politique pleinement méditerranéenne qui est largement exprimée dans les événements culturels, urbains et architecturaux.Bien que le modèle de gestion territoriale basé sur la polis ait du mal à s'affirmer dans la région l'héritage de l'âge pyrrhique peut être retracé dans une conscience culturelle et politique exprimée par les méthodes traditionnelles et appropriées de l'hellénisme, une langue qui sera également adoptée par Rome dans son imposition sur la scène méditerranéenne.

The theatre has been for both Greek and Romans an essential element of a city and, at the same time, of being a citizen.As many researches are demonstrating these days, studying the theatres and their architectural and morphological features, as well as analysing their position and functions, can provide important data and clues about how communities saw themselves, which cultural network they were part of or shared characteristics with, to which extent they influenced or were influenced by other cultures.Therefore, given their ideological role, theatrical buildings seemed a valid hermeneutical instrument to understand the architectural culture of this territory as well as the political and social evolution of the communities which inhabited it. Thus, it seemed appropriate to adopt this approach to a region whose urbanistic and political evolution is still under constant debate, such as Epirus and Southern Illyria.The main aim of the research has been a re-interpretation of the data already published about the theatres chosen as a Corpus in the light of the most recent studies on the territory but also of important research themes that animate the scientific debate of the last decades. It is indeed possible to read those data in a new perspective taking into account historical, cultural, architectural and urbanistic contexts both from a diachronic and a geographic point of view. This approach has, in the end, made possible to review, clarify, update and interpret the available data about each theatre and to frame it into a wider, Mediterranean, context.In order to achieve this aim a complex database has been conceived that could include all the data mentioned above given some homogenous and common criteria. It is worth noticing, however, that the database has not been conceived only to manage a huge amount of data but also, to actually serve as a normative instrument for a better understandable and more homogeneous systematisation both of the data themselves and their relations with sources and modern studies.The review of the published information about theatrical buildings in Epirus and Southern Illyria, in the light of the above-mentioned systematisation, has consequently proved itself useful in order to propose a new perspective on the settlement dynamics, the monumentalisation and the cultural development of those regions.Eventually, it has been possible to conclude that the city and the theatre can't be separated, either in Epirus or in Southern Illyria, from the development of a Hellenistic realm that, at least at the beginning, has marked significantly the image of the territory. The constitution itself of the Aeacid monarchy, almost "contractual" regarding the different koina that kept a significant amount of administrative autonomy throughout the entire Hellenism, must have envisaged a regular presence of the king in each of the most important cities of the region. The monumentalisation, that we could call "processional", of a great number of urban centres, such as Byllis, Kassope or Phoinike, can be legitimately linked to the rise of Pyrrhus and the establishment of the so-called Great Epirus. Its therefore possible to identify, in this historical moment, the construction of a political conscience that we could define as entirely Mediterranean and that is largely expressed in the cultural, urban and architectural features we can observe in both Epirus and Southern Illyria.Even if the establishment of the polis as an administrative model has met some resistence in the region, the heritage of the pyrrhic era can be recognised in that cultural and political conscience expressed through the proper and traditional Hellenistic patterns which form a peculiar language that will eventually been adopted by Rome while imposing its power into the Mediterranean context. ; Le théâtre a été autant pour les Grecs que pour les Romains un élément fondamental de l'idée même de la ville et avec elle de l'être citoyen.Comme de nombreux chercheurs le démontrent aujourd'hui, étudier les théâtres apporte de nombreux éléments de réflexion et de nombreux indices quant à la façon dont les communautés se percevaient elles, les réseaux culturels auxquels elles appartiennent ou avec lesquelles elles partagent des caractéristiques, dans quelle mesure elles ont influencé ou étés influencés par d'autres cultures.Compte tenu de leur rôle idéologique, les théâtres semblent représenter un instrument herméneutique valide pour comprendre la culture architecturale d'un territoire tout comme sa politique ou l'évolution sociale des communautés qui y vivent. Ainsi il semble approprié d'avoir recours à cette approche dans le cadre de l'étude d'une région dont l'évolution politique et urbanistique prête encore à débat comme le territoire qui corresponde à l'Illyrie méridionale et à l'Épire.L'objet principal de l'oeuvre était de relire les données publiées relatives aux théâtres examinés en vue d'une étude du territoire dans son ensemble, tant du point de vue historique que culturel ou encore architectural-urbanistique, mais aussi dans une perspective diachronique et également géographique et prenant en compte, en dernière instance, les études les plus récentes tant sur le territoire que sur des aspects plus généraux liés à l'histoire, les institutions, le culte, l'architecture, les bâtiments de théâtre en général, l'urbanisme et la topographie. Cette approche a en fait contribué à la formulation de mises à jour, de clarifications, d'évaluations et d'interprétations à la fois au sein de chaque bâtiment et dans la vue d'ensemble plus générale du territoire et de son encadrement dans un contexte méditerranéen.Une base de données a donc été élaboré pour accueillir les informations essentielles de chaque bâtiment selon des critères homogènes et communs.Par ailleurs, il convient de noter que cette base de données a été conçue, avant tout comme un moyen de gestion de grandes quantités de données mais, encore pluscomme un outil normatif pour la systématisation de celles-ci en relation aux bâtiments de type théâtral.La révision des données publiées relatives aux bâtiments théâtraux de l'Illyrie méridionale et de l'Épire, leur systématisation selon un modèle commun et la relecture ou la clarification de certains éléments critiques, a permis de faire émerger quelques considérations générales et propositions de lecture des dynamiques de peuplement, de monumentalisation et de développement culturel qui ont caractérisé le territoire.Il a finalement été conclu que la ville et le théâtre ne peuvent pas être séparés, dans la région illyrienne-épirote, de la formation d'une monarchie hellénistique qui, du moins au début, réussit à donner une impression significative à l'image de la région elle-même. La constitution même de la monarchie Aeacide, presque « contractuelle », en rapport aux différentes koina qui conservaient une large autonomie administrative, devait prévoir une présence régulière du souverain dans les centres-villes les plus importantes. La monumentalisation presque « processionnelle » de nombreux centres urbains, tels que Byllis, Kassope ou Phoenicè peut, à juste titre, être mise en relation directe avec la naissance et la formation du Grand Épire de Pyrrhus. Il est donc possible d'identifier, à ce moment historique, la formation d'une conscience politique pleinement méditerranéenne qui est largement exprimée dans les événements culturels, urbains et architecturaux.Bien que le modèle de gestion territoriale basé sur la polis ait du mal à s'affirmer dans la région l'héritage de l'âge pyrrhique peut être retracé dans une conscience culturelle et politique exprimée par les méthodes traditionnelles et appropriées de l'hellénisme, une langue qui sera également adoptée par Rome dans son imposition sur la scène méditerranéenne.

The theatre has been for both Greek and Romans an essential element of a city and, at the same time, of being a citizen.As many researches are demonstrating these days, studying the theatres and their architectural and morphological features, as well as analysing their position and functions, can provide important data and clues about how communities saw themselves, which cultural network they were part of or shared characteristics with, to which extent they influenced or were influenced by other cultures.Therefore, given their ideological role, theatrical buildings seemed a valid hermeneutical instrument to understand the architectural culture of this territory as well as the political and social evolution of the communities which inhabited it. Thus, it seemed appropriate to adopt this approach to a region whose urbanistic and political evolution is still under constant debate, such as Epirus and Southern Illyria.The main aim of the research has been a re-interpretation of the data already published about the theatres chosen as a Corpus in the light of the most recent studies on the territory but also of important research themes that animate the scientific debate of the last decades. It is indeed possible to read those data in a new perspective taking into account historical, cultural, architectural and urbanistic contexts both from a diachronic and a geographic point of view. This approach has, in the end, made possible to review, clarify, update and interpret the available data about each theatre and to frame it into a wider, Mediterranean, context.In order to achieve this aim a complex database has been conceived that could include all the data mentioned above given some homogenous and common criteria. It is worth noticing, however, that the database has not been conceived only to manage a huge amount of data but also, to actually serve as a normative instrument for a better understandable and more homogeneous systematisation both of the data themselves and their relations with sources and modern ...

The theatre has been for both Greek and Romans an essential element of a city and, at the same time, of being a citizen.As many researches are demonstrating these days, studying the theatres and their architectural and morphological features, as well as analysing their position and functions, can provide important data and clues about how communities saw themselves, which cultural network they were part of or shared characteristics with, to which extent they influenced or were influenced by other cultures.Therefore, given their ideological role, theatrical buildings seemed a valid hermeneutical instrument to understand the architectural culture of this territory as well as the political and social evolution of the communities which inhabited it. Thus, it seemed appropriate to adopt this approach to a region whose urbanistic and political evolution is still under constant debate, such as Epirus and Southern Illyria.The main aim of the research has been a re-interpretation of the data already published about the theatres chosen as a Corpus in the light of the most recent studies on the territory but also of important research themes that animate the scientific debate of the last decades. It is indeed possible to read those data in a new perspective taking into account historical, cultural, architectural and urbanistic contexts both from a diachronic and a geographic point of view. This approach has, in the end, made possible to review, clarify, update and interpret the available data about each theatre and to frame it into a wider, Mediterranean, context.In order to achieve this aim a complex database has been conceived that could include all the data mentioned above given some homogenous and common criteria. It is worth noticing, however, that the database has not been conceived only to manage a huge amount of data but also, to actually serve as a normative instrument for a better understandable and more homogeneous systematisation both of the data themselves and their relations with sources and modern studies.The review of the published information about theatrical buildings in Epirus and Southern Illyria, in the light of the above-mentioned systematisation, has consequently proved itself useful in order to propose a new perspective on the settlement dynamics, the monumentalisation and the cultural development of those regions.Eventually, it has been possible to conclude that the city and the theatre can't be separated, either in Epirus or in Southern Illyria, from the development of a Hellenistic realm that, at least at the beginning, has marked significantly the image of the territory. The constitution itself of the Aeacid monarchy, almost "contractual" regarding the different koina that kept a significant amount of administrative autonomy throughout the entire Hellenism, must have envisaged a regular presence of the king in each of the most important cities of the region. The monumentalisation, that we could call "processional", of a great number of urban centres, such as Byllis, Kassope or Phoinike, can be legitimately linked to the rise of Pyrrhus and the establishment of the so-called Great Epirus. Its therefore possible to identify, in this historical moment, the construction of a political conscience that we could define as entirely Mediterranean and that is largely expressed in the cultural, urban and architectural features we can observe in both Epirus and Southern Illyria.Even if the establishment of the polis as an administrative model has met some resistence in the region, the heritage of the pyrrhic era can be recognised in that cultural and political conscience expressed through the proper and traditional Hellenistic patterns which form a peculiar language that will eventually been adopted by Rome while imposing its power into the Mediterranean context. ; Le théâtre a été autant pour les Grecs que pour les Romains un élément fondamental de l'idée même de la ville et avec elle de l'être citoyen.Comme de nombreux chercheurs le démontrent aujourd'hui, étudier les théâtres apporte de nombreux éléments de réflexion et de nombreux indices quant à la façon dont les communautés se percevaient elles, les réseaux culturels auxquels elles appartiennent ou avec lesquelles elles partagent des caractéristiques, dans quelle mesure elles ont influencé ou étés influencés par d'autres cultures.Compte tenu de leur rôle idéologique, les théâtres semblent représenter un instrument herméneutique valide pour comprendre la culture architecturale d'un territoire tout comme sa politique ou l'évolution sociale des communautés qui y vivent. Ainsi il semble approprié d'avoir recours à cette approche dans le cadre de l'étude d'une région dont l'évolution politique et urbanistique prête encore à débat comme le territoire qui corresponde à l'Illyrie méridionale et à l'Épire.L'objet principal de l'oeuvre était de relire les données publiées relatives aux théâtres examinés en vue d'une étude du territoire dans son ensemble, tant du point de vue historique que culturel ou encore architectural-urbanistique, mais aussi dans une perspective diachronique et également géographique et prenant en compte, en dernière instance, les études les plus récentes tant sur le territoire que sur des aspects plus généraux liés à l'histoire, les institutions, le culte, l'architecture, les bâtiments de théâtre en général, l'urbanisme et la topographie. Cette approche a en fait contribué à la formulation de mises à jour, de clarifications, d'évaluations et d'interprétations à la fois au sein de chaque bâtiment et dans la vue d'ensemble plus générale du territoire et de son encadrement dans un contexte méditerranéen.Une base de données a donc été élaboré pour accueillir les informations essentielles de chaque bâtiment selon des critères homogènes et communs.Par ailleurs, il convient de noter que cette base de données a été conçue, avant tout comme un moyen de gestion de grandes quantités de données mais, encore pluscomme un outil normatif pour la systématisation de celles-ci en relation aux bâtiments de type théâtral.La révision des données publiées relatives aux bâtiments théâtraux de l'Illyrie méridionale et de l'Épire, leur systématisation selon un modèle commun et la relecture ou la clarification de certains éléments critiques, a permis de faire émerger quelques considérations générales et propositions de lecture des dynamiques de peuplement, de monumentalisation et de développement culturel qui ont caractérisé le territoire.Il a finalement été conclu que la ville et le théâtre ne peuvent pas être séparés, dans la région illyrienne-épirote, de la formation d'une monarchie hellénistique qui, du moins au début, réussit à donner une impression significative à l'image de la région elle-même. La constitution même de la monarchie Aeacide, presque « contractuelle », en rapport aux différentes koina qui conservaient une large autonomie administrative, devait prévoir une présence régulière du souverain dans les centres-villes les plus importantes. La monumentalisation presque « processionnelle » de nombreux centres urbains, tels que Byllis, Kassope ou Phoenicè peut, à juste titre, être mise en relation directe avec la naissance et la formation du Grand Épire de Pyrrhus. Il est donc possible d'identifier, à ce moment historique, la formation d'une conscience politique pleinement méditerranéenne qui est largement exprimée dans les événements culturels, urbains et architecturaux.Bien que le modèle de gestion territoriale basé sur la polis ait du mal à s'affirmer dans la région l'héritage de l'âge pyrrhique peut être retracé dans une conscience culturelle et politique exprimée par les méthodes traditionnelles et appropriées de l'hellénisme, une langue qui sera également adoptée par Rome dans son imposition sur la scène méditerranéenne.

The theatre has been for both Greek and Romans an essential element of a city and, at the same time, of being a citizen.As many researches are demonstrating these days, studying the theatres and their architectural and morphological features, as well as analysing their position and functions, can provide important data and clues about how communities saw themselves, which cultural network they were part of or shared characteristics with, to which extent they influenced or were influenced by other cultures.Therefore, given their ideological role, theatrical buildings seemed a valid hermeneutical instrument to understand the architectural culture of this territory as well as the political and social evolution of the communities which inhabited it. Thus, it seemed appropriate to adopt this approach to a region whose urbanistic and political evolution is still under constant debate, such as Epirus and Southern Illyria.The main aim of the research has been a re-interpretation of the data already published about the theatres chosen as a Corpus in the light of the most recent studies on the territory but also of important research themes that animate the scientific debate of the last decades. It is indeed possible to read those data in a new perspective taking into account historical, cultural, architectural and urbanistic contexts both from a diachronic and a geographic point of view. This approach has, in the end, made possible to review, clarify, update and interpret the available data about each theatre and to frame it into a wider, Mediterranean, context.In order to achieve this aim a complex database has been conceived that could include all the data mentioned above given some homogenous and common criteria. It is worth noticing, however, that the database has not been conceived only to manage a huge amount of data but also, to actually serve as a normative instrument for a better understandable and more homogeneous systematisation both of the data themselves and their relations with sources and modern studies.The review of the published information about theatrical buildings in Epirus and Southern Illyria, in the light of the above-mentioned systematisation, has consequently proved itself useful in order to propose a new perspective on the settlement dynamics, the monumentalisation and the cultural development of those regions.Eventually, it has been possible to conclude that the city and the theatre can't be separated, either in Epirus or in Southern Illyria, from the development of a Hellenistic realm that, at least at the beginning, has marked significantly the image of the territory. The constitution itself of the Aeacid monarchy, almost "contractual" regarding the different koina that kept a significant amount of administrative autonomy throughout the entire Hellenism, must have envisaged a regular presence of the king in each of the most important cities of the region. The monumentalisation, that we could call "processional", of a great number of urban centres, such as Byllis, Kassope or Phoinike, can be legitimately linked to the rise of Pyrrhus and the establishment of the so-called Great Epirus. Its therefore possible to identify, in this historical moment, the construction of a political conscience that we could define as entirely Mediterranean and that is largely expressed in the cultural, urban and architectural features we can observe in both Epirus and Southern Illyria.Even if the establishment of the polis as an administrative model has met some resistence in the region, the heritage of the pyrrhic era can be recognised in that cultural and political conscience expressed through the proper and traditional Hellenistic patterns which form a peculiar language that will eventually been adopted by Rome while imposing its power into the Mediterranean context. ; Le théâtre a été autant pour les Grecs que pour les Romains un élément fondamental de l'idée même de la ville et avec elle de l'être citoyen.Comme de nombreux chercheurs le démontrent aujourd'hui, étudier les théâtres apporte de nombreux éléments de réflexion et de nombreux indices quant à la façon dont les communautés se percevaient elles, les réseaux culturels auxquels elles appartiennent ou avec lesquelles elles partagent des caractéristiques, dans quelle mesure elles ont influencé ou étés influencés par d'autres cultures.Compte tenu de leur rôle idéologique, les théâtres semblent représenter un instrument herméneutique valide pour comprendre la culture architecturale d'un territoire tout comme sa politique ou l'évolution sociale des communautés qui y vivent. Ainsi il semble approprié d'avoir recours à cette approche dans le cadre de l'étude d'une région dont l'évolution politique et urbanistique prête encore à débat comme le territoire qui corresponde à l'Illyrie méridionale et à l'Épire.L'objet principal de l'oeuvre était de relire les données publiées relatives aux théâtres examinés en vue d'une étude du territoire dans son ensemble, tant du point de vue historique que culturel ou encore architectural-urbanistique, mais aussi dans une perspective diachronique et également géographique et prenant en compte, en dernière instance, les études les plus récentes tant sur le territoire que sur des aspects plus généraux liés à l'histoire, les institutions, le culte, l'architecture, les bâtiments de théâtre en général, l'urbanisme et la topographie. Cette approche a en fait contribué à la formulation de mises à jour, de clarifications, d'évaluations et d'interprétations à la fois au sein de chaque bâtiment et dans la vue d'ensemble plus générale du territoire et de son encadrement dans un contexte méditerranéen.Une base de données a donc été élaboré pour accueillir les informations essentielles de chaque bâtiment selon des critères homogènes et communs.Par ailleurs, il convient de noter que cette base de données a été conçue, avant tout comme un moyen de gestion de grandes quantités de données mais, encore pluscomme un outil normatif pour la systématisation de celles-ci en relation aux bâtiments de type théâtral.La révision des données publiées relatives aux bâtiments théâtraux de l'Illyrie méridionale et de l'Épire, leur systématisation selon un modèle commun et la relecture ou la clarification de certains éléments critiques, a permis de faire émerger quelques considérations générales et propositions de lecture des dynamiques de peuplement, de monumentalisation et de développement culturel qui ont caractérisé le territoire.Il a finalement été conclu que la ville et le théâtre ne peuvent pas être séparés, dans la région illyrienne-épirote, de la formation d'une monarchie hellénistique qui, du moins au début, réussit à donner une impression significative à l'image de la région elle-même. La constitution même de la monarchie Aeacide, presque « contractuelle », en rapport aux différentes koina qui conservaient une large autonomie administrative, devait prévoir une présence régulière du souverain dans les centres-villes les plus importantes. La monumentalisation presque « processionnelle » de nombreux centres urbains, tels que Byllis, Kassope ou Phoenicè peut, à juste titre, être mise en relation directe avec la naissance et la formation du Grand Épire de Pyrrhus. Il est donc possible d'identifier, à ce moment historique, la formation d'une conscience politique pleinement méditerranéenne qui est largement exprimée dans les événements culturels, urbains et architecturaux.Bien que le modèle de gestion territoriale basé sur la polis ait du mal à s'affirmer dans la région l'héritage de l'âge pyrrhique peut être retracé dans une conscience culturelle et politique exprimée par les méthodes traditionnelles et appropriées de l'hellénisme, une langue qui sera également adoptée par Rome dans son imposition sur la scène méditerranéenne.

The contradictions within the policies of requalification of the City of Barcelona have become more evident in relation to some of the most recent urban transformations, as in the case of the project for the renewal of the Diagonal-Mar area; urban space where the Forum of Cultures 2004 has been held. The Forum turned into a failure, according to the paradigm of the criticisms, on the cultural and, above all, political (or marketing) level; in its urban dimension, it has been the expression of the city that mires to the global insertion: it is a urban planning which is prevalently oriented to the external demand. The regeneration of the Diagonal-Mar has shown a scant consideration of social objectives, with the creation of spaces, where the concept of value of exchange predominates over the value of use. The actor (public and above all private investors), that participated to the redaction of the project of urban renewal of the area, produced a great propagandistic effort, presenting it as an open cultural initiative which can assume also the social criticisms.A lot of social and civil organization did not participate, and their proposals have not been accepted, and so, today, urban and social processes, rebound on the success or failure of the urban planning in an important area of the city. From that, what Borja (2005) defines the "urban malaise of Barcelona" starts, over the years of social and economic growth, the inhabitants of Barcelona fell a certain malaise, which is highlighted by the today's crisis. The big urban projects do not generate any enthusiasm, citizens feel themselves progressively less owners of the own city, the architecture of the "great singular objects" does not represent the element of identity of the society. By scanning those urban imaginaries from a theoretical-conceptual viewpoint, which is formal and empiric, the question emerges, if the punctual urban planning operation of a sector could create evaluations, mechanisms of actuation and directions which allow to make right decisions, by avoiding the spatial and social desertification of a public space. This is an example of what could happen when the global capital is not adequately regulated at the social level. ; Le contraddizioni nell'ambito delle politiche di riqualificazione della città di Barcellona, sono diventate più evidenti in relazione ad alcune delle trasformazioni urbane recenti, come nel caso del progetto per il rinnovo della zona della Diagonal Mar; spazio urbano in cui il Forum delle Culture 2004 ha avuto luogo. Il Forum si è dimostrato un fallimento, secondo una visione critica, sul piano culturale e, soprattutto, politico (o di marketing); nella sua dimensione urbana, è stata l'espressione della città che punta all'inserimento globale: si tratta di una pianificazione urbana prevalentemente orientata alla domanda esterna. La rigenerazione della Diagonal-Mar ha mostrato una scarsa considerazione degli obiettivi sociali, con la creazione di spazi, dove il concetto di valore di scambio predomina sul valore d'uso. L'attore (pubblico e, soprattutto, tutti gli investitori privati), che ha partecipato alla redazione del progetto di riqualificazione urbana, ha prodotto un grande sforzo propagandistico, presentandola come un'iniziativa culturale aperta che può prestarsi a molte critiche dal punto di vista sociale.Molte organizzazioni sociali e civili non hanno partecipato, e le loro proposte non sono state accettate, e, oggi, i processi, urbani e sociali si ritorcono sul successo o il fallimento della pianificazione urbana in una zona importante della città. E' da questo momento che, come definisce Borja (2005), inizia il "malessere urbano di Barcellona", nel corso di anni di crescita sociale ed economica nei quali gli abitanti di Barcellona percepiscono un certo disagio, che viene messo in evidenza dalla crisi attuale. I grandi progetti urbani non generano alcun entusiasmo, i cittadini si sentono sempre meno proprietari della propria città, l'architettura dei grandi "oggetti singolari" non rappresenta l'elemento di identità della società. Analizzando tali immaginari urbani da un punto di vista teorico-concettuale, che è formale ed empirico, emerge la questione, se l'operazione puntuale di pianificazione urbana di un settore può creare valutazioni, meccanismi di attuazione e le indicazioni che permettono di prendere le decisioni migliori, evitando la desertificazione spaziale e sociale di uno spazio pubblico. Questo è un esempio di ciò che può accadere quando il capitale globale non è adeguatamente regolamentato a livello sociale.

"Barcelona ¿a dónde vas?" si chiedevano nel 1974 Francisco Martí e Eduard Moreno, alle soglie di un cambiamento socio-politico, culturale e generazionale senza precedenti. Barcellona, dove stai andando? È giunto il momento di porre ancora una volta questa domanda di fronte a una prospettiva rinnovata, dopo i grandi cambiamenti sociali e urbanistici che si sono sedimentati nella città in questi ultimi quattro decenni. Allora, al culmine della gestazione del Plan general metropolitano (Piano generale metropolitano, Pgm) del 1976, e oggi, in vista della sua revisione e rielaborazione, questi sono stati e sono buoni momenti per discutere le proposte con le quali le ultime amministrazioni hanno cercato di segnare il corso delle politiche urbanistiche. Dal giugno 2011 al giugno 2015, la città di Barcellona è stata governata da Convergència i Unió, una coalizione bipartitica. La strategia delle politiche urbanistiche di questo periodo propone un cambiamento di rotta del progetto di città espresso dalle amministrazioni guidate dai socialisti della coalizione tripartitica che aveva governato per diversi anni, legittimando il ben noto 'modello Barcellona'. Questo cambio amministrativo giustifica un'analisi approfondita delle più importanti proposte urbanistiche presentate all'inizio del mandato (e che sono state modificate nel corso dello stesso). In questa sede non s'intende valutare la gestione politica o le vicissitudini dell'amministrazione comunale, né entrare in eventuali riflessioni che si spingano oltre le proposte per la città. Si tratta, invece, di concentrarsi sulle idee avanzate per guidare la trasformazione urbana e interpretarne gli sviluppi e le nuove scelte, le carenze e le questioni che questo periodo ha lasciato in sospeso, data anche la breve durata del mandato per 'fare città' e verificare le modifiche. (.) ; Peer Reviewed ; Postprint (published version)

"Barcelona ¿a dónde vas?" si chiedevano nel 1974 Francisco Martí e Eduard Moreno, alle soglie di un cambiamento socio-politico, culturale e generazionale senza precedenti. Barcellona, dove stai andando? È giunto il momento di porre ancora una volta questa domanda di fronte a una prospettiva rinnovata, dopo i grandi cambiamenti sociali e urbanistici che si sono sedimentati nella città in questi ultimi quattro decenni. Allora, al culmine della gestazione del Plan general metropolitano (Piano generale metropolitano, Pgm) del 1976, e oggi, in vista della sua revisione e rielaborazione, questi sono stati e sono buoni momenti per discutere le proposte con le quali le ultime amministrazioni hanno cercato di segnare il corso delle politiche urbanistiche. Dal giugno 2011 al giugno 2015, la città di Barcellona è stata governata da Convergència i Unió, una coalizione bipartitica. La strategia delle politiche urbanistiche di questo periodo propone un cambiamento di rotta del progetto di città espresso dalle amministrazioni guidate dai socialisti della coalizione tripartitica che aveva governato per diversi anni, legittimando il ben noto 'modello Barcellona'. Questo cambio amministrativo giustifica un'analisi approfondita delle più importanti proposte urbanistiche presentate all'inizio del mandato (e che sono state modificate nel corso dello stesso). In questa sede non s'intende valutare la gestione politica o le vicissitudini dell'amministrazione comunale, né entrare in eventuali riflessioni che si spingano oltre le proposte per la città. Si tratta, invece, di concentrarsi sulle idee avanzate per guidare la trasformazione urbana e interpretarne gli sviluppi e le nuove scelte, le carenze e le questioni che questo periodo ha lasciato in sospeso, data anche la breve durata del mandato per 'fare città' e verificare le modifiche. (.) ; Peer Reviewed ; Postprint (published version)

Il tema centrale della presente tesi è lo studio della relazione tra la pianificazione di un territorio turistico e gli elementi del territorio e del paesaggio che lo compongono, attraverso un caso di studio paradigmatico di turismo d'élite, la Costa Smeralda nell'isola della Sardegna. La Costa Smeralda, inventata nel 1962 su un territorio anteriormente vergine da un gruppo di personaggi dell'alta finanza il cui protagonista fu il Principe Karim Aga Khan, rappresenta un caso unico nell'Italia degli anni '60 di pianificazione e gestione unitaria in forma consortile di tremila ettari di terreno con finalità turistiche. Il processo di costruzione del paesaggio e dello spazio turistico nella Costa Smeralda è messo in relazione con i seguenti temi: - il contesto italiano del secondo dopoguerra, in conflitto tra recupero della tradizione e l'innovazione del movimento moderno; - l'invenzione di un immaginario esotico-mediterraneo come base per la fondazione della Costa Smeralda e la singolarità delle modalità di avvio della località turistica d'élite; - il diverso approccio al progetto turistico riscontrato nelle diverse fasi della costruzione della Costa Smeralda e legato alla provenienza dei progettisti, porta a definire gli elementi prioritari per la costruzione del paesaggio turistico a diversa scala. Del continuo processo di costruzione della Costa Smeralda, dal 1962 a oggi, la tesi si concentra nel primo ventennio, dal quale emergono gli aspetti più interessanti di questo territorio: - la prima fase d'invenzione e avvio della Costa Smeralda, dai primi anni '60 ai primi anni '70, è realizzata in totale assenza di normativa in materia di pianificazione e paesaggio; l'organo incaricato di redigere un piano di sviluppo globale è il Comitato di Architettura con a capo l'architetto Luigi Vietti; - la seconda fase di consolidamento della località turistica, nel decennio del 1970, vede per la prima volta la presenza di un landscape planner americano, Hideo Sasaki, intervenire in un progetto turistico del Mediterraneo. L'approccio al progetto, la visione a scala territoriale e la suddivisione dell'operazione per fasi, sarà estranea a qualsiasi intervento fino ad allora eseguito. L'analisi dei due diversi approcci al territorio, quello italiano e quello americano, ci porta a definire quali sono stati gli elementi fondamentali del paesaggio che hanno influito sul processo di costruzione del territorio turistico, quali erano le aspettative per un modello di pianificazione estraneo al Mediterraneo e cosa questo ha apportato. Lo studio del caso specifico della Costa Smeralda, che di per sè non è riuscita a raggiungere risultati esemplari nè nel progetto architettonico nè in quello urbano, è tuttavia utile per trarre delle considerazioni generali all'interno del dibattito sull'architettura e pianificazione turistica, riguardo il conflitto tra modernità e tradizione, pittoresco e folclorico, pianificazione sensibile e landscape planning. ; El tema central de la presente tesis es el estudio de la relación entre la planificación de un territorio turístico y los elementos del territorio y del paisaje que lo componen, a través de un caso de estudio paradigmático del turismo de élite, como es la Costa Smeralda en la isla de Cerdeña. La Costa Smeralda, creada en 1962 sobre un territorio anteriormente virgen, por un grupo de actores de las altas finanzas en el cual el protagonista fue el Principe Aga Khan, representa un caso único en Italia de los años 60 de planificación y gestión unitaria en forma de consorcio de tres mil hectáreas de terreno con finalidad turística. El proceso de construcción del paisaje y del espacio turísticos en la Costa Smeralda viene definido a través de la relación de los siguientes temas: -el contexto italiano después de la II Guerra Mundial, en el cual se manifiesta el conflicto entre la recuperación de lo tradicional y la innovación que supuso el movimiento moderno; -la invención de un imaginario exótico y mediterráneo como base para la creación de la Costa Smeralda, y la singularidad del proceso en la configuración para una localidad de élite; -una perspectiva diferente al proyecto turístico durante las diversas fases en la construcción de la Costa Smeralda y la relación con la procedencia de los proyectistas, lleva a definir los elementos prioritarios para la construcción del paisaje turístico a diferentes escalas. Del proceso continuo sobre la configuración de la Cosa Smeralda , desde 1962 hasta hoy, la tesis se concentra en las dos primeras décadas, de las cuales emergen los aspectos más interesantes de este territorio: -la primera fase de intervención de la Costa Smeralda, entre los años 60 y principios de los 70, se desarrolló sin la existencia de normativas en materia de planificación y paisaje; la entidad encargada de restablecer un plan de desarrollo global fue el Comité de Arquitectura bajo la dirección del arquitecto Luigi Vietti; -la segunda fase de consolidación de la localidad turística, durante la década de los 70, por primera vez ve como proyectista un landscape planner americano, Hideo Sasaki, en un proyecto turístico en el Mediterráneo. El planteamiento del proyecto, la visión a escala territorial y la subdivisión de la operación por fases, destacaron sobre cualquiera de la operaciones realizadas hasta el momento. El análisis de los dos enfoques sobre el territorio, el italiano y americano, lleva a definir cuales han sido los elementos fundamentales del paisaje que han influido sobre el proceso de construcción del territorio turístico, cuales eran las expectativas de un modelo de planificación foránea en el mediterráneo, y que supuso este nuevo contexto. El estudio del caso específico de la Costa Smeralda, que en si no implicó una situación ejemplar ni en el proyecto arquitectónico ni urbano, es todavía significativo para extraer consideraciones generales dentro del debate sobre la arquitectura y planificación turística, respecto al conflicto entre la modernidad y tradición, pintoresco y folclórico, planificación más atenta y landscape planning. ; The main topic of this dissertation is the study of the relationship between the planning of a tourist territory and the elements of the land and landscape that make it up. The case study is a paradigmatic example of elite tourism, called Costa Smeralda in the island of Sardinia. The Costa Smeralda was founded in the early 1960s in the north-eastern coast of Sardinia, at a time of great change for tourism. While for the rest of Europe the tourism boom after World War II meant the democratization of the holidays and the spread of mass tourism, Costa Smeralda was founded by Prince Aga Khan in opposition to the other mass tourism destinations fate in the Spanish, Italian and French coasts of the same period. The insular condition and the pristine nature of Costa Smeralda became a symbol of exclusivity, which attracted elite clients looking for a heavenly enclave of luxury tourism in the heart of the Mediterranean. It represented in those years a unique case in Italy of global planning and management of three thousand acres of land through the insitution of a consortium for tourist purposes. The process of construction of Costa Smeralda landscape and tourist space has been related to the following themes: - italian context after World War II, in conflict between the tradition's rediscovery and innovation of modern movement; - the invention of an exotic-mediterranean imagery as base for the construction of Costa Smeralda, and singularity of the operation to iniciate the elite tourism settlement; - the different approach to the landscape held in the different phases of construction and related to the origin of designers, bring us to define priority elements for the construction of tourist landscape at the different scales. The construction of Costa Smeralda has been an ongoing process from 1962 until today. The thesis focuses on the first two decades, from which emerge the most interesting aspects of this territory: - The first stage of invention and launch of the Costa Smeralda, from the early '60s to the early '70s, is made in total absence of planning and landscape legislation; the institution responsible for drawing up a comprehensive development plan was the Architectural Committee, headed by the architect Luigi Vietti; - The second phase of consolidation of the resort, in the decade of 1970, sees for the first time the presence of an American landscape planner, Hideo Sasaki, intervene in a tourism project in the Mediterranean. The approach to the project, the vision of a territorial scale and the subdivision of the operation in stages, were new actions never executed before then. The analysis of the different italian and american approaches to the territory, leads us to define what were the key elements of the landscape that have influenced the process of construction of the tourist territory, what the expectations were from a planning model extraneous to the Mediterranean one and what this has brought. The study of the specific case of the Costa Smeralda, which in itself is not able to achieve exemplary results in either architectural design nor in urban areas, it is instead useful to draw some general conclusions in the debate on architecture and tourism planning, with regard the conflict between modernity and tradition, picturesque and folkloric, sensitive planning and landscape planning. ; Postprint (published version)

Tirana is the European capital that has changed most over the past 15 years. After the fall of the Communist regime in 1990, the city experienced the following sequence of episodes: the advent of democracy, mass immigration, a dramatic and grotesque economic recession followed by unrest and foreign military intervention, rapid and disproportionate economic growth, a fanciful and pragmatic urban policy at the hands of its postmodern prince and, lastly, a surreal stalemate period during which the city awaits the outcome of an extenuating duel between the mayor and the prime minister. Domus visited Tirana at this crucial moment in its development.