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After History- Studio Brief

SS15 PROJECT_POSTED_BY Attilio Terragni     March 31, 2015    


Studio SS15
After History
Studio Master Prof. Attilio Terragni


The studio After History will be working in the italian city of Lucca, in Tuscany. Why Lucca?


Because Lucca is has been preserved from the global attraction of the last twenty years and has been able to preserve its historical heritage as no one else city in Italy. On the other hand Lucca is looking for a future outside the perimeter of its ancient and completely preserved walls, open to new architectural programs.


So, what comes after history?


After this incredible and fascinating architectural treasure?


Global and international Architecture has always been a practice of reduction of the abundance of the world. During the last decades this process has been transformed into a practice of adding pure volumes into the realm of cities. In the Studio we will try to start our research of urban spaces from the “new abundances” creates by the virtual world of the computer (that is actually a virtual reflection of the real world, a new form of transparences of glasses), so to say to use the infinitepossibility and capability of computer to visualize textures, matrix, unknown languages, all with their own coherence. Instead of a reduction of the empirical world, such as forest, mountains, nature forms that has always been part of them technique of architecture from the antique time, we will attempt to start from the not been of the virtual visions created by the latest technology, a technology that has been changed the world since the late 80 when it became clear it would became the most diffuse way to produce architecture.


The experience of new abundances is not related to any formal experiment happening in contemporary architecture star system, because it will be not formal. It is more related to produce signs and transformation from the one to other able to make us see the complexity of the new “urbanism”. The studio will use some key words to produce possible spaces visualizations... and our client ......will be space and the light. Each students or team will create through a modeling process a city vision that will be shown in Lucca at the end of the semester.




To approach and understand Architecture we must therefore remember the walls and columns, but also the ranks and numbers of men and animals, the fire, the forest, the wheat, the wind, the rain, the sand, the money, the power and his gloomy solitude. An immense history that lives in each of us.















Lucca has maps that contain many unions secret. Map of Lucca is poetic ideas, divided by emotions and developed in space. What takes place in this scene is a wonderful simplicity, a body where you perceive the wounds and places suddenly feel the weight of memory and premonitions of the future. Emerges this web of signs as a secret union by which the signs are on the same body of the city and man felt to himself and his prey, between himself and his wounds.




It is the ability to morph that has brought man in so much power over other creatures. But very few are aware of the duty to it, the best strategy of what we are. There is always an amazement to see the city from above. Here we see the game of the expressions of Time, the multiplicity of innumerable and incessant metamorphosis. If we discover that one is fixed, as a closed figure, we can feel it on our skin, like the ancient warriors Bushmen felt a beast and recognize its own signs on their own body, notice them from such a looming presence. Metamorphosis is more like antique hunting made of forebodings, attention to all the signs, the footsteps, the sounds and silences, to think of another creature with which we will meet and fight, and whose wounds are still in our body.




The impulse of destruction is everywhere in different civilizations. The destruction is nothing more than an attack on all the boundaries. When doors and windows are shattered the house has lost its individuality. But there's more. The same individual man has the feeling of crossing the boundaries of destruction in the impulse of his person. He feels free and his freedom is well beyond these boundaries: everything appears to him as a taking of the Bastille. We feel that memory? It is hard: everything has been destroyed as a giant fire in demolition work, dirty and difficult, for many years (try to imagine this place in his state transition from antiquity to the Middle Ages and still hear the cries of the masons, the shelters and crimes night).




The memory of the city of the XXI century will not be only walls, but many other areas that collect life. We must consider this aspect as a kind of green heart of memory in our projects. The twenty-first century will not be like the previous one, just the idea of the one century, the individual ... but the multiplicity: no more 'the era in which there is a single idea, a single point of reference (master, master....) and a single failure. Wheat, wind, sand, forest, seeds, rain, rivers, is part of what we need to know.


In our journey in the memory of the city of the XXI century the wind drag up the elliptical shape of our forests, our amphitheatres, our medieval squares. It’s hard to imagine the strength of the confidence that sustains it, the unity of its geometric shape, the novelty of its light and its sounds. It is the wind that made them!




The forest anticipates the feeling of the church, staying from before God between columns and pillars. All trunks are involved in a supreme and indissoluble unity. Leon Battista Alberti, the great architect born in 1404 and whose architectural treatise De re aedificatoria, founded the Italian humanistic culture, and makes concrete the term "project" in the sense of his word pro-jet, jet forward. All the logs are involved, and most of all the logs of memory, of the ancient monuments that are seized and incorporated into the smoothness of the surfaces of the building Smoothness as are the teeth that allow the ancient hunter grab and incorporate the prey: smoothness that is generally associated with the exercise of power, the increase of weapons, with the jump from stone to metal that was perhaps the decisive step in the progressive refinement of smoothness.


Renaissance architect seeks the existence of time, smooth in shape, its surface that clear view from below, in the cathedral, returns to the faithful the secret prestige of divine power that implied. Exemplary calm and quiet the historians made harmless the cruel ambitions of the ancient world, preserving only the form, the static figure, figure that has became masks, no longer subject to metamorphosis. Here's how it makes architecture topsides and harmless; imposing a static figure, a death mask, whose rigidity to guarantee that there will be reborn because of the end of the fluidity of metamorphosis, which is vital to every human face expression as each city face. And we should be able to understand this impressive memoryof abstract narrations, when we approach this sacred places: for neutral that erase the signs of history as a vital memories of real narrations.





Enrollment is open now !
Students who are interested, kindly join the studio group and write on the wall (First choice or Second choice)
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