If there is something deeply and viscerally inherent to the actual existential dimension of the city of Palermo, from the time of its multiple and layered Phoenician origins, this is certainly the concept of a graft. And on analogy with the agricultural graft, namely the practice of growing together with an existing plant a part of another plant, in order to strengthen the former but modifying it to become a different genus from the initial one, the entire millennial history of the city may be regarded as the fruit of continuous, cyclic introductions of exogenous urban and architectural models, modulated in accordance with native cultural contingencies of different foundational and refoundational examples of the urbs.The entire physical corpus of Palermo can thus be considered as the result of different experiences of insertions and deliberate combinations, in every case, with the knowledge that every new architectural writing or rewriting has been at the same time an interpretive reading of the existing one. It is no coincidence that in the exemplary projects of the graft strategy - such as the seventeenth-century architectural backdrops of the Teatro del Sole (the city’s Quattro Canti) by Giulio Lasso, the Gymnasium in the Botanical Gardens by Leon Dufourny, the Casina dei Quattro Pizzi in Arenella by Carlo Giachery, the English Gardens, the Crescent and the Square typologies explored by Giovan Battista Filippo Basile in Cassaro and Piazza Marina, and the boulevard concept for the Real Strada Favorita (Via Libertà) also by Giachery, the Post Office building by Angiolo Mazzoni, the Enel headquarters by Joseph and Alberto Samonà and Giuseppina Marcialis, or the ZEN project by Gregotti, Amoroso, Bisogni, Matsui and Purini - is recognizable the continuity of an intimate dialectic between autonomy and heteronomy of architectural and urban models used.
|Numero di pagine||4|
|Stato di pubblicazione||Published - 2019|