The Hypercomfort summer school hosted by the Berlin UdK, inside the L.M. van der Rohe’s Neue Nationalgalerie, has represented an operative moment of a ‘space oddity’, highlighting proper characteristics of ephemeral architectures. The construction of colourful craftmade and handmade inflatables, similar to nomadic settlement systems, has defined an offensive and paradoxical component, absolutely contrary to ‘Miesian’ architecture. The paper aims to analyse the scientific construction of inflatables, to highlight the temporal suspension and the cancellation of the spatial surroundings as effects of the ephemeral architectures.
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The significant put in crisis related to city, coupled to the renewed attention in confront of extra-urban context (inner territories), has rekindled the spotlights on countryside, as to semi-inhabited land, even to re-encode. This research is proposed to foreshadow a possible interpretative key on next future’s inhabit (under specific conditions), in the light of some visible changes which have already flourished in the Now, by using project as checking exercise of theorical research. Verona is scientific test bench, in which dualism city-countryside vanishes to the advancing of the wide and dense definition of «post-urban landscape». A vegetal-built basement, that radiates its tentacles in open/not-bound field, renewed cathedral protectress of life and evolution, structured (with project’s rules) with Super-Cartesian layers giving rise to a Hyper-rational mesh, jeopardized from obsessive and frequent interference. Chameleon monoliths, fixed objects in Continuous Movement as paradoxical reply to mutual adaptation’s dwelling, in which «not the strongest will survive, but the most suitable». This ability to adaptations is the key point on tomorrow’s questions, according to inhabiting as a form of «stamina», without that the rigid streamlining reduced dwelling to legislative and tabular count; but, going back to crucial questions involving, will always involve, the first and the last man. Psychedelic spatiality in which techè, shape and response line up in restless and controversial out-of-scales, as skeletal membranes. Super-Architectures, as total tool for life’s governance, unusual and redundant, last devices that translate culture and society’s knowledge.
Attraverso Casa Palestra viene generata una variazione sul Padiglione di Barcellona, che si curva in corrispondenza di una esedra dello spazio che ospita l'architettura. Nel sovrapporre queste due operazioni di copia e di curvatura, una nuova pianta comunica attraverso una legenda non architettonica di segni, indizi, anticipazioni in che modo è possibile occupare lo spazio. Componenti del progetto che prima d'ora non necessitavano di rappresentazione, vengono aggiunte, indicando anche in che modo l'azione umana è limitata nel procedere. I segni, presenti solo nel disegno in pianta di Casa Palestra, diventano simboli che costruiscono una narrazione dei corpi invisibili (sudore, vapore, odore). Le immagini (collages e fotografie analogiche) sono crudi elaborati di ricerca spaziale in cui i segni scompaiono ed emergono connotazioni ed esiti del procedere nel padiglione. Il progetto comunica lo spazio della casa come fosse un oggetto sconosciuto, attraverso una semiotica alternativa, in cui segni lavorano come significanti spaziali. Questi segni sono per eventi che nella realtà si affiancano, si sovrastano, si accostano, lavorano cioè al fianco dell'architettura, mentre nella pianta i codici rendono illeggibile lo spazio del progetto, una massa di informazioni si colloca sopra il Padiglione di Mies distorto, provando a tessere una narrazione delle possibili dinamiche spaziali, introducendo nello spazio della casa considerazioni atmosferiche piuttosto che materiche.
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