Antonino Saggio I Quaderni


Lines of Research
From  2005

Antonino Saggio
La Sapienza Rome
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Four Great Phases

Let's Start from the first word

:, Crisis

Saint'Paul Caravaggio

Here comes the theme of Modernity. Modernity, from my point of view, (in Baudrillard and Zevi terms), is the striving toward the transformation of world crises into aesthetic and ethical values at a tempo that architecture could cultivate and manifest.

Crisis is the essence of change is the essence of Modernity.
When we perceived that everything is changed we can step back in the old order of values or we can face new challenges, we can start a new search.
This Implies that we as archietcs or more generally as intellectuals are facing with


The word "substance" comes from Edoardo Persico. In the conclusion of his "Profezia dell'architettura" he said: "For a century, the history of art in Europe has not merely been a series of particular actions and reactions but a movement of collective consciousness. Recognizing this means discovering the contribution of current architecture. And it does not matter if this premise is denied by those who should most defend it, or betrayed by those who, in vain, most fear it. It still stirs up the secret faith of the era all the same. 'The substance of things hoped for'"

There was, in that "substance of things hoped for", the striving toward modernity, toward the transformation of world crises into esthetic and ethical values at a tempo that architecture could cultivate and manifest.

A. Saggio The Philadelphia Chart, 2002

This article treats this in major depths GO


One of the Key difference in the conception of space

:  System Space - Organ Space

"But there is also a component of method in system space. Today’s architecture is not the result of “structures” (spatial, constructive, functional or formal) that reinforce each other cohesively, but the result of the co-presence of systems with a high level of reciprocal independence."
AS "Architecture Informs" in , The Chartres of Zurich, Birkhauser Basel 2003


:.n, MODEL
Information is structured through electronics into models that have a continually modifiable and re-shapable form. These are real information trees with parts that can also be hierarchically connected. This means that by modifying a lower part of the tree, the repercussions are ramified to the entire upper structure. Architecture is called upon to look deeply even “inside” this IT model in order to understand it, to utilize its most profound rules and peculiar characteristics, to write with its own means a chapter in the transformation of these past few decades.


Luigi Moretti In Mariella Tesse Graduation Thesis Saggio Advisor" La Sapienza go

J. Frazer  frazer evolving Virtual Environment / Thomas Leeser Eth Word Competition Entry

Morphogenesis Model, from Gregory's NewScapes in IT Architecture Serries. Illustrated works of
eloueini sarajevo, Makoto Sei Watanabe Metro station,  DeCoi Mark Goulthorpe, X-Kata Karl Chi AUtogenetic system"

The challenge facing us is not only one of creating an architecture that is narrative and metaphorical, as is part of all today’s architecture, but how to create an architecture that can incorporate this complex, interrelated, changing and extremely dynamic level that characterizes the fulcrum of the IT paradigm. The real problem, as always, is not of a technical nature, (easy and almost banal), but rather an esthetic nature. How do we work with an architecture that has the “awareness” of being part of information technology? What is the esthetic sense of the IT Revolution?


:, Conceptions

We are accustomed to representing architecture already built. To designing (or measuring) the pyramids or a Renaissance palace to put back on paper something we know as a real object already existing in space. But have we ever asked ourselves the reverse? In other words, how and how much a real object might 'resemble' the method that its contemporaries had of representing it? Perhaps this question would reveal the fact that it is knowledge itself that is 'represented' in the architectural object. The basic rules of trigonometry are illustrated in the pyramids; a calculation based on geometry (and not the tiring Roman numerals I, II, III, IV) is at the basis of the Pantheon; the loss of geometrical-arithmetical ability is evident in the cavernous and unsteady interior of a Romanesque church; without the lines and rules of perspective there would be no 'ordered' Renaissance palace, and without the circles of a compass, the curves of San Carlino or Sant'Ivo would never have taken shape. Finally, if we 'also' consider the tool, we get a clue to understanding how certain senses of space were born.
From AS Preface Flyng Carpets, in Bruce Lindsey Digital Gehry,Birkhauser  2001



I, II, III, IV ????



Compasso di proporzione from 1597 Galileo, Lens SPyKscope telescope

A for every thing An

Gaspard Monge (1746-1818) The parallel Projection Abstract Objective ANalitical

Mechanical Movement

Parallel Projectons / Abstract System Of correspondance of Parts


WG in Spain 1907 In Kari Jormakka's Flyng

Gropius vanquished the five-headed dragon of traditionalist architecture by adopting 1. free bodies adhering to each function instead of a priori schemes for individual typologies; 2. a centripetal system of conquering space rather than closed blocks on the road; 3. construction based on structural skeletons rather than continuous walls; 4. a dynamic language instead of a figurative one anchored to history and renaissance perspective and 5. the elimination of every form of symbolism. but Key was

the Katlysts factor


We have to wait until the Bauhaus movement before it was understood how glass and transparency could act as the catalysts for a new vision of architecture.
In Dessau transparency becomes the issue of Gropius message. An aesthetic, formative, practical, functional and philosophical issue. This underlines Gropius’s view that transparency is the objectivisation of function, namely architecture’s capacity to annul "every communicative aspect", presenting itself alone. “Neue Sachlichkeit” would not have aesthetics, but only ethics, if it were not for transparency.

Read In English all Paper

AS, New Subjectivity:architecture between Communication and Information
Digital | Real Dam Frankfurt



Ledoux Jobs 1976ca

Now let us try to question our ideas of architecture 'together' with the tool we have with us. And let us ask ourselves, 'What if our architecture were to resemble even more the potential of our computerized models?' We would like the flexibility, intelligence, speed of our digital model to be the special quality of constructed architecture. A property not just of our computer screens but of our architecture, constructed exactly just as the measured, ordered and centered concept of perspective led to an architecture 'in its own likeness and image'.

Each new space on arriving has required new principles and new alphabets that have been created through difficult, exhausting, rough but exciting processes. Regarding the new information space, we can only begin to catch a glimpse of a few characteristics.


An important missive has arrived to me, launched into the atmosphere by the spirals of Umberto Boccioni’s “Bottiglia nello Spazio”. I filtered it through Yves Klein’s topological bottle and transcribed it for you here:

Formula for a New Urbanism
Architecture is the simplest means of articulating time and space, of modeling reality, of making us dream. This not only involves articulation and plastic modeling, the expression of a passing beauty, but influential modeling that is inscribed in the eternal curve of human desire and progress in the realization of these desires.

The architecture of tomorrow will therefore be a means of modifying present conceptions of time and space. It will be a means of knowledge and a means of action.[…]

The architectural complex will be modifiable. Its aspect will change completely or in part depending on the desires of its inhabitants.

Based on this mobile civilization, architecture will be - at least in its beginnings - a means of experimenting with the thousand ways of modifying life, in view of a synthesis that can be nothing less than legendary. […]

Gilles Ivain 1953

a “legendary” synthesis, an architecture “experimenting with the thousand ways of modifying life” and above all an architecture that changes “completely or in part depending on the desires of its inhabitants”.


Angelo Invernizzi, CAsa Del Girasole, Marcellise Verona 1935ca In Jarmakka's Flyngcit

Hertzberger Water Villas

Then Naturally ITO And Nouvel


Nouvel, Ito, never exhausted Sperimentators

Ito Sundai Ito Tower of winds

Like dolphins that take in oxygen to jump from the sea and follow ships and see the outlines of islands and coasts, a few pioneers are working in an attempt to define the possibilities and principles of precisely this new space.

Spaces that do not exist and we must formalize new syntax, new rules, new alphabets

Today, the need for creating a new alphabet is pressing. We have to create a  space that still does not yet completely exist but one we begin to intuit and that can begin to shape.

Fish know only the fluid that, just like air, surrounds them. They know nothing either of what the sea or lake or river really is and know even less about the space in which we humans live.

Benoit Sokal "The Amerzone" Casterman ed.

Only a jump beyond that aquatic surface can open up the sensation of another space that definitely exists, even if it is neither frequented nor understood.

Benoit Sokal "The Amerzone" Casterman ed., Nox Spuybroel Frsh and Kas oosterhuis Salt water pavillons, 1997

Physical, Emotional, Narrative, Processual, Illusionistic ect

We can even transform architecture intelligently in response to changes in climate or environmental situations and can also make architecture change with changes in scenarios of use. Not only can a series of mechanisms connected directly to electronics (such as lights, appliances, music and control systems) be interactively modified but even materials themselves can change with microfibers in coverings and glass, and new types of marble that can actually change in grain, porosity, the ability to absorb sound, and color.

In other words, architecture can not only react but also inter-react and thus adapt itself to changes in user desires through scenarios experienced as if they were a hypertext.

At the basis of hypertext systems, and later HTML and still later the Internet, there is the idea of giving users the possibility of being “creators of metaphors”; not giving them merely a prepackaged metaphor but the possibility of creating by themselves their own metaphors; not the image of a museum ship, a broken zigzagging wall, or a contemporary cathedral but the idea that one’s own story can also be created through architecture.

Architecture itself has always been a Moebius strip. It conforms itself around the scientific paradigms of its own era and with its movements gives form to those paradigms and renders them visible and concrete.

When Walter Gropius discovered in an exciting process that the new mechanical and industrial, objective, functional and hygienic world could have an absolute detonator in the transparency that multiplied, fragmented and abstracted planes and above all revealed their functions “in themselves” to the world, he found at the same time a vision, a technique, a materialization of the new “a-perspective” sensibility and established the esthetic of the new objectivity.


If transparency provided the aesthetics and ethics, the reason and the technique for a world that rationally wished to see the progress of civilisation, and better standards of living for the vast masses of workers in industry (and it succeeded!), I hope that interactivity may serve to focus contemporary thought on an architecture that, having overcome the objectivity of our needs, can respond to the subjectivity of our wishes.



IT REVOLUTION IN Architecture book series has been from the very beginning within this
framework  and I put at the center of the whole series the issue of Interactivity.

The book series was planned  in November 1996, first book and Post
face "HyperArchitecture" was out in March 1998.

Now that we have Ada, we have The Cloud Blur, we have the
Klang turm  and we have all of you here it seems to me that what
we worked for is here as a real possibility.

Neuron Group's Ada, Diller&Scofidio Blur

Coop Himmen(b)lau Klungsturm

Noow that we have The Chrtres of ZURICH

WEe have also to face new research, and to face newchallenges. How this idea of a new interactive direction of
architecture will become a real intensifier? An Intensifier  of the
crucial positive constructive needs of humanity and not merely anew fascinating experimental toy? How can we work towards to
an idea of interactivity that enlarges the sense of being?

Some of us will have also to pose these questions while others have to push the scientific and aestethic challenge of this fascinating field. Because the great joy is the team work.


TO THE Book Series

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