...
I
kissed the kids at noon, then stumbled out of the room. I caught a cab, ran up a tab on
seventh of flower. The best recital I had to run. Missed my son's graduation, punched
a nickel pole, effort taken his seat. He gets all that anger from me. Stealth thanks
could be much worse, natural disasters on the evening news. Stealth thanks could be
much worse. We still got our hair, my paycheck in the mail. I promised to my wife and
children, I'd never touch another drink as long as I live. But even then, it sounds
so soothing. This will blow over in time. This will all blow over in time.
I'm just an honest man, provide for me in life. I give a check to tax deductible charity
organization. Two weeks pay vacation, won't heal the damage done. I need another one.
Stealth thanks could be much worse, natural disasters on the evening news. Stealth thanks
could be much worse, we still got our hair, my paycheck in the mail.
I'm just an honest man, provide for me in life. I give a check to tax deductible charity
organization. Stealth thanks could be much worse, natural disasters on the evening
news. Stealth thanks could be much worse, natural disasters on the evening news.
Stealth thanks could be much worse, natural disasters on the evening news.
Stealth thanks could be much worse, natural disasters on the evening news.
Stealth thanks could be much worse, natural disasters on the evening news.
Yes, the intent was to stimulate people, perhaps even to make them curious,
but it's a game that has been played for so many years because it changes with the light,
with the wind, with the wind's essence, with the branch as well as the other mountain.
the interaction of colors, sounds, is stimulating.
The plants, I have to say, this rose wall,
you can hear it sometimes from the walls of the CD,
there is a mix, an interaction that is very fun,
both from the outside and from the inside.
We are curious, some of the people who are more excited
to move on the border of this room,
you always have to invite them to come in.
The panic of testing the CD,
the intent was exactly the opposite,
having seen different samples of the kind of things we wanted,
it was to bring people to participate,
to become authors of the landscape,
and not to show us anything static.
And therefore, moving the arrangement,
moving the organization of the space,
both with the people inside the area,
and also with them who could play with the CDs,
play with them, make noise, everything.
I have to say, someone has the fear of
thinking about the CD and ruining it.
Maybe there is something to be done,
to become an actor and not just a spectator.
For us, let's say that the actor,
the man inside the open space,
is a fundamental element,
therefore also the element that determines the place.
We are at the first architecture,
we are Marta Spadaro, Olivia Valentini and Lorenzo Seni.
For the garden in Terrazza we proposed a prototype of a public space,
which was also replicable in other situations,
which used an everyday use object
accessible to everyone and which could also be spread
in terms of the installation,
as can be the umbrella.
We had a lot of fun doing the whole garden,
we built it, we helped each other,
and we are very happy because it is easily removable,
because all the grass is raised on pallets,
which sometimes are recycled,
and on top of that there is a layer of land bags,
which are kept closed and which we have reused,
so that we can reuse it later.
Next, at the end of the event,
we will distribute these umbrellas to the people
to dissolve this micro-pensage in the whole auditorium,
so that it invades the whole beautiful green area around here.
Here we see four famous groups of the Aia folie,
Alessandra Bazzoni in alphabetical order,
Cristiana Costanzo, Francesca Picardi with Carletto,
and Daniela Romanelli,
Beatrice Caldani, who would like not to be seen,
come here, come here,
who hides in the middle of the forest, here it is.
The group of the other three or five gentlemen
who arrive are working for us,
like on the highway, for the audio of the big traffic lights,
here we are in our garden,
the Aia folie that we have called from the garden to the forest,
a reference, a quote from a phrase by Burle Marx,
that is, the debut in the company of the tropical flora,
as you can see, more companies like this,
with the beautiful people there in the background who frequent this forest,
and only the chimneys are missing, which unfortunately will be later,
they were busy.
We have designed a group formation,
let's say, a formation of IAPLAB,
which is a division of the IAP AZIO section,
we have designed with an absolutely winning formula,
after the working schedule,
giving us the classic tools of the design,
that is, pine, mate, wine and cibar,
and therefore this project is extremely enjoyable,
vital, and also a bit, in short,
also a bit organic,
and has come out of this type of design.
It is a real garden, a garden made with soil, with plants,
it is a garden that is clearly a piece of tropical forest,
with plants that you see here,
of tropical species, and more or less nones.
Here now we have a cacata that is playing,
which, in the past,
the idea was to create a space inside,
which can be inside an urban situation,
as well as inside a garden or a park,
which is a different space,
the forest as a space of,
as you can see,
a space elsewhere,
where emotions return, where the sounds of the wind come back
between the leaves, of the water, of a cacata,
as you can hear in the background,
perhaps, and where you are dreaming,
perhaps remembering,
perhaps hearing yourself as part of a story,
an emotional experience,
this was in our intentions,
a space not abstract, not intellectual,
not, let's say, not by words, but by touch,
and therefore I stop now with the words,
in fact, I pass the words to my social networks that...
You are young, you are young, you are young, you are young,
you are young, you are young, you are young, you are young,
I add that the choice of this form of project
is a choice inspired by our fantasy,
but also inspired by two main themes.
The first is a tribute to a teacher
who is surely a little considered the father
and then of our same profession,
and therefore to Burle Marx,
who first brought all the endemisms of the tropical forest
inside the project of the urban garden space,
therefore in the city.
The second was a choice linked to the physicality of the place
where we find ourselves,
because we find ourselves in this corridor
that is constantly in shade,
in the last few days also constantly in the wind,
and therefore the idea of not trying to bring the sun inside,
but to strengthen even more this feeling of shade
and of freshness through the choice of the topic of the forest
and the tropical flora,
therefore a garden made of humidity,
made of pine trees,
made of mages, of sounds,
yes, of course, we are on the side,
but therefore also of sounds,
of the idea of remembering something through the sensations
and not only through the formal design of the garden itself.
My name is Roberto Ferlito,
I represent an architect and partners,
together with Alessandro Faticanti who could not be here,
Valentina is the head of the author's madness that we present to you today,
Sebastiano is a partner in charge for the projects for Italy.
It is a madness and we like to suffer on one aspect of the madness,
which is the courage,
we have been able in some way and courageous
to have incorporated within the idea of a garden
a series of print pull, in what sense?
There are two aspects that have struck us,
that have interested us for the realization of the author's madness,
of the garden,
one is the social aspect, the recreational,
the Roman garden, the aromatic garden,
the garden where you relax,
the garden in which you enjoy, the Roman garden.
So an explosion of colors, sensations, a sensorial aspect,
the other is extremely pragmatic,
linked to the intelligence that a garden can have,
the fact that, causing it,
it is possible in some way to produce energy,
so an intelligence garden,
an intelligent garden, an eye garden,
an intelligent garden that is able,
through human activity,
through atmospheric agents,
to produce energy and at the same time to offer a social space
to stay so a social type sustainability
an ecological sustainability from a certain point of view
and economic in some way.
So it is a garden that can be implemented,
exploited for, let's say, public spaces,
but also for private spaces.
Basically, a garden is nothing other than,
the word then comes from the German garden,
garden, then garden in English,
it is a enclosure,
a enclosure that is therefore located in some public space,
but it is actually a enclosure to say that it is a public space,
but at the same time intimate.
So it is a space for the citizens,
but private for a single citizen,
I don't know how to explain it better.
And so, more or less,
the idea was to conjure up two completely distant aspects
between them and madness,
so the courage was to join,
and therefore I thank the sponsor,
Green Power Enel,
the green energy,
with a series of high companies,
the Vivaio Renzoni,
Serigraf, the other companies,
PowerLeap, for example, this is very important,
an electric-plated floor,
through which you can produce energy,
with a stand,
so imagine the possibilities in a social space,
of a playground for children,
or a basketball field,
or simply a walk,
so you, through the activity,
simply the human activity and the leisure,
you can somehow be fine,
but at the same time, to be useful and to produce energy.
I am Andrew Cranes,
an architect from New York,
transferred to Rome,
and this is my project for Interaça,
Jumpstart Fountain,
a motion-imperpetual machine,
which works to reuse the water
that comes out of the fountains of Rome,
and which puts a bit of pressure
with the things in the playground,
like the high school and the bike,
to make a water ball.
So, the operation of the high school
is that the operation of the high school
is that it takes the water from the pool,
which is already full of water from the fountain,
and then forces it to send the water
with the pressure of the pump higher,
and therefore the higher you go on the high school,
the higher the water goes.
In fact, I thought of practical applications
that are on a larger scale for the city,
for example, you can make a road
that is based on the pressure
that feeds a gigantic fountain
in the center of a square, for example,
on which the weight of the machines
feeds the pump.
This is madness,
it really has no use.
So, in English, Jumpstart means
what you do when you lose the key to the machine.
You have to connect two wires
to give a moment of energy to the car
to make the movement start.
I am Liam Pellicanoc,
with the Rossidoria and Grinon Airways.
We have presented the first of the follies,
which is a landscape,
which is the portal to the demonstration,
and marks the passage between the urban landscape
and the park landscape.
We worked on the contrast
between the artificial world and the vegetal world.
In a way, we wanted to introduce the visitor
to the plant world, to the vegetal world,
offering a sensory experience
with the classic senses
used within the garden,
the touch, the olfactory, and the view, of course.
In addition, we went to look for a fourth sense
that is usually not very developed
within the garden, which is that of the uterus.
By introducing researchers
who are deepening the interaction
between the people and the plants,
and studying the electrical resistances
that come from these plants,
in contact with the visitor and the people,
now they explain to us better how it works.
We, Grinon, first of all, thank you to Ilaria and Liam,
and we are developing this system
that allows not only to read the resistance of the plant
in the case of contact with the people,
but also in relation to the external environmental stimuli,
so also the temperature, humidity, the light.
So, let's say that the plant, clearly in its environment,
modifies the lymphatic flow,
and therefore it modifies the resistance
that is measured through the sensors,
and with a composite software that we have developed,
we translate it into music.
It is a process that is known as sonification,
and therefore, through a musical filter
that is of melodic and harmonic type,
we also produce a sound environment,
so a sound landscape,
in addition to the visible or tactile one.
So, let's say that it is a process that is still in the studio,
but this is a first installation that we have created.
