Perchè ''Architettura Organica''
Why “Organic Architecture”
“Sustainable”, “Green”buildings can meet the challenge of the energy sources shortage and climate changes, but not necessarily are architecturally significant. Their “different” appearance often does not become our urban townscape, the same way “modernist” architecture did not in its time.. So, the stress today is on the architectural quality related to this new family of buildings: the hope for a new flourishing in “organic architecture” rooted in tradition but oriented towards the future.

Effetti del martellamento sulla risposta sismica di edifici adiacenti
When “pounding” occurs, the building structures are vulnerable to severe damage and/or collapse. In this paper the effect of impact is studied using linear and viscous_elastic contact force model for different separation distances and seven recorded earthquake excitation are used for input. Pounding produces acceleration, shear story and peak drift that are greater than ones obtain from the no pounding case. The evaluation of expected damage is checked through the seismic demand parameters.

American Airlines Arena becomes Times Square South
Glamour, glitz, palm trees: No other city is reduced to the cliché as a mecca for the rich and beautiful like Miami. But at over 100 years of age, the city in the Sunshine State of Florida is much more than that: Commercial center of the Southeast, the biggest cruise ship harbour in the world and, last but not least, home to the famous American Airlines Arena. Located at the entrance to the harbour, along Biscayne Boulevard, the modern multi-functional facility, built ten years ago for the NBA team Miami Heat, is seen by over 3.8 million people every year, passing by on ships, in cars or walking. The American Airline Arena – popularly referred to as Triple A – has long been considered an attractive location for big-name concerts such as Madonna, Celine Dion, U2 or Justin Timberlake, and it has hosted the MTV Video Music Awards several times. Every year 1.4 million sports and music fans visit the arena. So what could make more sense than offering sponsors an innovative advertising and communications platform? With the installation of the Mediamesh® facade – almost 320 square meters in size – that follows the curve of the main building facade to the west, the AA Arena performed a spectacular feat. This first large, transparent media facade in the USA, the result of a joint effort between GKD - Gebr. Kufferath AG and ag4 media facade GmbH, has transformed the arena to Times Square South.

(Keywords: media façade, Mediamesh®, communication platform)

IL METODO DI ERNESTO NATHAN ROGERS E L'INVENZIONE DI GIO PONTI.
Ernesto Nathan Rogers Method and Gio Ponti Invention: consciousness among art, architecture and life. A rare empathy with the art world and ethic instruments for these two different protagonists in a Post II World War Italy that wants to grow with multi-faceted intellectual activity. Diverse positions and aims, with equal responsibility for a truly integral Italian architecture, on one hand ''able to design and detail'' of the other to follow ethics and democracy in the profession. If Ponti writes: ''The architects? Is not their a profession but a grace”, Rogers replied that architecture is a carefulness engagement, a commitment. Two faces become necessities of life, eros and logos, Calvino's lightness of memory (companion of every Pontian creation) in contrast to ideological confrontation. United in diversity, figures needed in mutual consideration of their specific features, shape in crucial stage of the debate about modern architecture, in the common perception of the powerful legacy of history, to be reinterpreted today in the transverse architecture stifled by the logic of contract and subservience to fashion.

Key Word:Art/architecture, Post II World War, Method

DEL MONUMENTO A LA CIUDAD
Dentro del cambiante mundo de hoy y su paulatina pérdida de referencias, uno de los temas más recurrentes, particularmente en el estudio de la ciudad, es el que tiene que ver con la preservación de su patrimonio. En este orden de ideas, conceptos como “monumento arquitectónico” o “centro histórico” cobran especial vigencia en tanto su existencia, al menos tal y como la conocemos tradicionalmente, resulta en entredicho a la luz de la evanescente movilidad de la ciudad actual. De este modo, la pregunta que surge no puede ser otra que: ¿cómo orientarnos en medio del cambio? O, dicho de otro modo, ¿de qué valernos en medio de la movilidad? Cuestionamiento que a su vez nos lleva a interrogarnos por los medios para hacerlo y, en este mismo sentido, por lo que en realidad vale la pena “conservar” para alcanzar este fin.

En este mismo sentido, surge la duda de si podemos seguir llamando “monumento” al bien patrimonial y, de no ser así, cómo llamar aquello que en su reemplazo permite asumir su papel referencial, ¿qué sería aquello?, ¿cuál sería su naturaleza? y, sobre todo, ¿que relación podríamos establecer con la ciudad a través de él? Preguntas que en última instancia pasan tanto por un nuevo posicionamiento frente a lo que denominamos “historia” como por la construcción de una consecuente teoría de la ciudad.