I always dream, I don't stop dreaming, and the dreams are not always beautiful, sometimes they are ugly, disturbing, nightmares; but I push those away immediately. I focus on the happy endings, the cheerful stories, which are not always the ones from at night, sometimes they are the ones with open eyes, which receive and give light. Among these, I imagine, a project, or rather, a design by Antonio Sant’Elia, coming to life and taking shape, thanks to the magical paint of Pier Lambicchi, who with his, which was marvellous, gave soul and body to everything.
Yet we slept, a dreamless sleep, starting from the Pirelli Skyscraper, to the Velasca Tower, with a banal squabble about vertical/horizontal that spawned immense three-storey (maximum) peripheral areas and the monstrous serpentone of Corviale in Rome, Corvetto.
in Milan, Zen in Palermo, Scampia in Naples, and it seemed like a sentence to banality, nothing like the visionary Futurist verticality of Sant'Elia.
It now seems that “democratic horizontal and aristocratic vertical” is about to be dismantled, accompanied by the (late) realisation that the Italian peninsula and islands cannot be concreted over. Therefore, by restoring San Gimignano, the Tower of Pisa, and the Asinelli and Garisenda towers in Bologna, we can look up from Renzo Piano's tower in Turin and the towers by Zaha Hadid, Michel Libeskind, and Arata Isozaki, with the joy of looking at the sun, moon, and stars. But at this special, post-COVID and global warming moment, I side with Stefano Boeri, the inventor of the vertical garden, which is an architectural and urban planning genius, and a
reimagining the Italian garden, of ornament and geometry together, a marvel for the eyes that lifts upwards, ever higher, the concept of Eden imbued with aesthetic, harmonious, artistic modernity, with a mix of culture and nature that is sustainability, that is art.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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