Ri-Vista. Research for landscape architecture https://oaj.fupress.net/index.php/ri-vista <p><em>Ri-Vista. Research for landscape architecture</em> is an open access six-monthly scientific journal in electronic format. It operates through <strong>international call for papers</strong>&nbsp;and&nbsp;<strong><a href="/index.php/ri-vista/about/editorialPolicies#peerReviewProcess">double blind peer review</a></strong>.</p> <p>Founded in 2003, the second series was launched in 2015, when <strong><em>Ri-Vista</em></strong> became part of the scientific journals of the University of Florence, <a href="http://www.dida.unifi.it/ls-12-department.html">Department of Architecture</a>. The journal, which is free for authors, operates through international calls for papers and double-blind peer review.</p> <p><em>Ri-Vista</em> deals with the multiple dimensions of landscape planning and design, seen from a rich variety of disciplines, in a scientific and open perspective which is distinctive of <strong>landscape architecture</strong>. Each issue aims at gathering knowledge and visions around specific topics, promoting innovative and responsible actions for creation, protection, restoration and management of landscapes.</p> Firenze University Press en-US Ri-Vista. Research for landscape architecture 1724-6768 <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="https://creativecommons.org/licenses/by/4.0/">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication.</p> <p><a href="http://creativecommons.org/licenses/by/4.0/" rel="license"><img src="https://i.creativecommons.org/l/by/4.0/88x31.png" alt="Creative Commons License"></a><br>This work is licensed under a <a href="http://creativecommons.org/licenses/by/4.0/" rel="license">Creative Commons Attribution 4.0 International License</a></p> La rappresentazione come necessità https://oaj.fupress.net/index.php/ri-vista/article/view/10498 <p>EDITORIALE DEL NUMERO 2/2020. Riflette sul significato della rappresentazione come strumento di visione del mondo. Mappare le invisibilità e la complessità, trascrivere le emozioni, esplorare nuovi linguaggi.</p> Marco Cillis Antonella Valentini Copyright (c) 2021 Antonella Valentini https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 1 27 10.13128/rv-10498 The hype of representation: some thoughts on the roles of the hyperreal and the hyperobject in contemporary landscape architecture. https://oaj.fupress.net/index.php/ri-vista/article/view/10254 <p>This article argues that there are two models of representation in contemporary landscape architecture the hyperreal and the hyperobject. The article compares and contrasts these modes identifying their various meanings and potentials.</p> Richard Weller Copyright (c) 2021 richard weller https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 30 39 10.13128/rv-10254 Representation and Landscape Architecture: Towards a New Language? https://oaj.fupress.net/index.php/ri-vista/article/view/9675 <p style="margin: 0cm; line-height: 150%;"><span style="color: #0e101a;">Landscape architecture has a significant relation with figurative arts since its beginnings. The cultural, aesthetic, stylistic, and artistic contribution to its project is essential. It also reflects social needs; they propose cultural models and transmit scientific information. Despite that, it appears we are experiencing an absolute contradiction because, on the one hand, we have excellent examples and the technologies to create new occasions that bring notable advances in our culture and in the way of conceiving transformations. It seems that design evolves in a completely new way, made up of the integration of languages, contaminations, and experimentations. On the other hand, however, we are facing an evident flattening in the majority of the works that are produced worldwide. The same digital programs, if very useful from a technical point of view and proficient in processing and representing large quantities of information, seem to produce a homologation of project representations worldwide. If representation is directly responsible for the way we approach transformations, can we talk about a new evolving language? Considering as well the relationship with the European Landscape Convention, the paper aims to reconsider the role of representation, conceived as directly responsible for the way we approach transformations as well as for shaping a way of thinking related to the sensibility toward landscape values. It therefore considers the cognitive aspect of representation as a crucial value for enhancing a more aware culture of landscape architecture.</span></p> Daniele Stefàno Copyright (c) 2021 Daniele Stefàno https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 40 49 10.13128/rv-9675 Drawings vs. photos in the representation of landscape architecture https://oaj.fupress.net/index.php/ri-vista/article/view/9766 <p>At the beginning of the last century, Walter Benjamin questioned the reproducibility of works of art, focusing on photography and movie. Re-reading his famous essay, The Work of Art in the Age of Mechanical Reproduction opens questions about the authenticity of drawings (both analog or digital) and the reproducibility of digital pictures in contemporary Landscape Architecture.</p> <p>Therefore, this text attempts to update and relate to contemporary landscape design Benjamin's concepts of concentration and distraction in perceiving works of art. In particular, if some digital pictures can be counted within the category of reproducible works of art, perceivable through distraction, and if some drawings are still ascribable to the category of original works of art that require concentration for perception. Also, the text aims to propose a different meaning to digital images ascribed to the category of reproducibility, offering a definition closer to photography than drawing.</p> <p>To better speak about concentration and distraction, photography and drawing, originality and reproducibility of works of landscape representation, the second part of the text presents two different contemporary approaches: the first one is related to Gareth Doherty’s methodology in perceiving and drawing places and territories as original works of landscape representations; the second speaks about James Corner’s landscape analysis, representation and design strongly connected to the reproducibility of digital pictures.</p> <p>The last part of the text explains because the authenticity of drawings, which Benjamin identified in the possibility of being placed at a specific time and within a particular place, is still current and necessary to represent ideas of landscape architecture.</p> Valerio Morabito Copyright (c) 2021 Valerio Morabito https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 50 65 10.13128/rv-9766 Paesaggi di-segni, geo-grafie emozionali https://oaj.fupress.net/index.php/ri-vista/article/view/9639 <p>ITA/ENGL</p> <p>Sono molti i mezzi grafici, fotografici, digitali che abbiamo oggi a disposizione per comporre.&nbsp;Il disegno non è più lo strumento imprescindibile di un linguaggio espressivo, se non una opzione.&nbsp;E’ proprio questa ‘opzione’ quella che fa la differenza tra un disegnare per riprodurre e un disegnare che diviene linguaggio e strumento di narrazione. L’opzione è la scelta.&nbsp;E’ il mettersi alla prova, è misurarsi con l’altro da sé: che sia una persona, uno spazio, un albero o una foglia; è tradurne in segno una coscienza di distanza o prossimità, di scala e di proporzione, di relazione, di tessitura, di valore cromatico o materico. Una opzione che trasla il disegno a geografia mentale, non nella ricerca di un rigore che ne fissi codici espressivi ma nel piacere di apprendere nell’interpretare.&nbsp;Disegnare è riflettere e risponde al proprio modo di pensare, di spiegarsi le cose; è quello che vediamo, sono i nostri appunti. Poterli sintetizzare in un disegno è controllarne la loro complessità e comunicarla. I segni, le narrazioni contenute in questo testo, sono collage, sono sguardi, ma anche progetti: sono parchi, giardini, piazze, strade, quei paesaggi che mi piacerebbe realizzare.&nbsp;Una esperienza di capacità di rappresentazione del paesaggio come strumento progettuale, presentata nella forma di un racconto.</p> <p>There are many graphic, photographic and digital means that we have available today to compose.Drawing is no longer the essential tool of an expressive language, if not an option.&nbsp;It is precisely this 'option' that makes the difference between a drawing to reproduce and a drawing that becomes a language and a narrative tool. The option is the choice.&nbsp;It means putting oneself to the test, it is measuring oneself with the other: whether it is a person, a space, a tree or a leaf; it means translating into a sign an awareness of distance or proximity, of scale and proportion, of relationship, of texture, of chromatic or material value. An option that translates drawing to mental geography, not in the search for a rigor that fixes expressive codes but in the pleasure of learning in interpretingDrawing is reflecting and responds to one's way of thinking, of explaining things to yourself; that's what we see, it's our notes. Being able to synthesize them in a drawing means controlling their complexity and communicating it. The signs, the narratives contained in this text, are collages, they are gazes, but also projects: they are parks, gardens, squares, streets, all those landscapes that I would like to create. It’s an experience of landscape representation skill, as a design tool, presented in the form of a story.</p> Daniela Colafranceschi Copyright (c) 2021 Daniela Colafranceschi https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 68 79 10.13128/rv-9639 La performatività della carta per rappresentare mondi di vita https://oaj.fupress.net/index.php/ri-vista/article/view/9895 <p>The article illustrates the search for a process of ‘patrimonial representation of territories’, capable of including local population in the recognition and re-appropriation of its deep values, and pointed at containing the homologating exuberance of IT tools and returning the world a human form.</p> Daniela Poli Copyright (c) 2021 Daniela Poli https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 80 93 10.13128/rv-9895 Inhabiting complexity. Representation as an act of regeneration https://oaj.fupress.net/index.php/ri-vista/article/view/9863 <p>How do technicians represent the complexity we are living in? Which are the processes for an appropriate reconstruction of this always-changing portrait? What they see and how they observe landscapes? What architecture must learn from other disciplines if it wants to get into the era of communication?&nbsp;In a time of emergency, old examples and new ones will make visible how the traditional technicians would practice in a different and more concerned way if they want to play a more fruitful role in the regeneration of the living environment.&nbsp;This work wants to show the transforming attitude of observation an architect experienced in his laboratory during last fifteen years, in order to bring all the technicians together in a more complex discussion about the future of the living beings and the ecosystems they transform everyday.<span class="Apple-converted-space">&nbsp;</span>It wants to make visible how architecture could review its ways of representation if it wants to get into the future, the era of ecology.</p> Juan Cabello Arribas Copyright (c) 2021 Juan Cabello Arribas https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 96 113 10.13128/rv-9863 Il paesaggio nei video game tra riferimenti pittorici ed estetica romantica https://oaj.fupress.net/index.php/ri-vista/article/view/9683 <p>La distinzione tra una tela dipinta e uno spazio aperto progettato per essere esplorato sembrava fino ad oggi qualcosa univocamente definibile. Il video game mette in crisi questa consuetudine di pensiero e rende labili i confini tra la rappresentazione di una scena e la realizzazione di luoghi, sia pur virtuali, fruibili da un utente. Dal punto di vista artistico, nei video game più recenti si è progressivamente affermata la tendenza a perseguire un’estetica in grado di instaurare rapporti dialogici con le opere d’arte del passato. Nel testo si vogliono considerare soprattutto le implicazioni di questa tendenza rispetto al tema della rappresentazione del paesaggio, nell'ambito di alcuni titoli di recente uscita. Si tratta di paesaggi ideati, progettati e realizzati per raccontare delle storie, secondo un impianto narrativo che segue i principi dell'<em>environmental storytelling</em><em>.</em> In particolare, si sostiene che alcuni principi e poetiche tipiche del Romanticismo costituiscano un modello utilizzato per progettare i paesaggi e gli scenari di gioco dei video game, utili anche al fine di rendere l’esperienza di gioco più significativa e coinvolgente.</p> Paola Sabbion Copyright (c) 2021 Paola Sabbion https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 114 125 10.13128/rv-9683 2020 IFLA Sir Geoffrey Jellicoe Award. Kongjian Yu e le scarpe della contadina: ritratto dell’umiltà di un paesaggista. https://oaj.fupress.net/index.php/ri-vista/article/view/10358 Giacomo Dallatorre Copyright (c) 2021 Giacomo Dallatorre https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 128 141 10.13128/rv-10358 Cultivating the Continuity of European Landscapes https://oaj.fupress.net/index.php/ri-vista/article/view/10341 <p>20th October 2020 marked the 20th anniversary of the opening of European Landscape Convention (ELC). Academic network UNISCAPE, in synergy with the Tuscany Landscape Observatory, The Italian Agency for Development Cooperation and with the support of Tuscany Region and the Municipality of Florence, promoted a two-day event to celebrate the Convenion and to set new research and project horizons for the European landscapes. <em>Cultivating Continuity of the European Landscape. New Challenges, Innovative Perspectives </em>saw the participation of academics, landscape architects and planners, policy makers, innovators, researchers, scientists and students, connected online from different parts of the world to Palazzo Vecchio in Florence to discuss the past twenty years of practice of the landscape values expressed in the ELC and the implementation of its principles. The conference was the beginning of a promising and active transdisciplinary debate on the increasingly complex themes which revolve around landscape, to be cultivated in the near future in dynamic continuity with the ELC, so that it can continue to be not only a normative, but most importantly a cultural reference in evolution together with the transformations of landscapes.</p> Eleonora Giannini Copyright (c) 2021 Eleonora Giannini https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 142 149 10.13128/rv-10341 Vesper n. 3: Nella selva / Wildness https://oaj.fupress.net/index.php/ri-vista/article/view/10407 Paolo Mestriner Copyright (c) 2021 Paolo Mestriner https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 150 153 10.13128/rv-10407 Attraversare i confini tra umano e natura: nel corpo della città selvatica https://oaj.fupress.net/index.php/ri-vista/article/view/10338 <p>Recensione al libro.&nbsp;<em>La città selvatica. Paesaggi urbani contemporanei</em>, Libria, Melfi, 2019.&nbsp;A cura di Annalisa Metta e Maria Livia Olivetti.&nbsp;Con contributi di: Eleonora Ambrosio, Paolo Camilletti, Gianni Celestini, Daniela Colafranceschi, Isotta Cortesi, Fabio Di Carlo, Andrea Filpa, Teresa Galì-Izard, Mathieu Gontier, Annalisa Metta, Luca Molinari, Lucia Nucci, Maria Livia Olivetti, Franco Panzini, Gabriele Paolinelli, Laura Zampieri</p> Sara Basso Copyright (c) 2021 sara basso https://creativecommons.org/licenses/by/4.0 2021-02-24 2021-02-24 19 2 154 157 10.13128/rv-10338