#Davide Scognamiglio

[luigidelia]

LE PAROLE SONO TENERE COSE grazie ❤ Ci metto un po' a scriverne. Se qualcosa possono restituire queste foto, il debutto de "La luna e i falò" è stato così. Appena una settimana fa. Lo terrò nel cuore a lungo. E lo rifarei anche domani. Il teatro pieno. Adulti, anziani, ragazzi insieme. Pubblico venuto per vedere una prima e riascoltare le parole di Pavese. Altro che titolo difficile. Le persone vogliono le cose alte, mettiamocelo in testa (parlo di Pavese, no di me). Amici, operatori che seguono il mio lavoro da anni, addetti ai lavori e non, venuti da ovunque, fino dalla Svizzera. Persone hanno fatto 300 km e preso la camera d’albergo. Non ho parole. Istituzioni mai così vicine e commosse per il mio lavoro. È la mia opera prima questo testo. 75 minuti di drammaturgia in solitaria tra parole mie e parole di Pavese diventate, spero, carne. Alla fine mi raggiunge Gerardo Guccini commosso per la scrittura, mi dice. Sono onorato. Paolo Ponzio, nuovo Presidente del Teatro Pubblico Pugliese, emozionato a parlarne dopo. Sono io che ringrazio te. Patrizia Ghedini, Presidente di ATER Fondazione, e ora cosa possiamo dire. Roberta Gandolfi, Università di Parma, che riporta a tutti che questo testo taglia e fa male. Molto. Pierluigi Vaccaneo, Direttore della Fondazione Cesare Pavese, che mi dice e mi commuove “sei nel gesto”. E so quanto vale questa citazione tra quelle di Pavese. A tutti faccio un dono. E' la cosa più decente che possa fare da qui. Non sono parole mie ma di Pavese ancora. Vengono da un articolo che si intitola "Gli uomini e le parole". È del 1946. E' a sua volta un dono che ho ricevuto. Lo ha ritrovato Cira Santoro, amica cara e forte di questo debutto e da ora custode con me di quanto è accaduto, nella sua copia del romanzo. Era stato ripubblicato, guarda caso, uno dei tanti “casi”, il 25 febbraio 1995, stesso giorno del debutto. Se siete arrivati a leggere fin qui leggete ancora questa parte che vi riporto in basso. È commovente. Siamo noi. A tutti quelli che hanno sostenuto con gli studi intermedi dell’estate 2022, con la co-produzione, con le parole distillate in radio, a loro e a chi non c’era fisicamente, ecco l’articolo. Con tenerezza e amicizia. Grazie. A prestissimo. “(…) Parlare. Le parole sono il nostro mestiere. Lo diciamo senza ombra di timidezza o ironia. Le parole sono tenere cose, intrattabili e vive, ma fatte per l’uomo e non l’uomo per loro. Sentiamo tutti di vivere in un tempo in cui bisogna riportare le parole alla solida e nuda nettezza di quando l’uomo le creava per servirsene. E ci accade che proprio per questo, perché servono all’uomo, le nuove parole ci commuovano e afferrino come nessuna delle voci più pompose del mondo che muore, come una preghiera o un bollettino di guerra (…)” Cesare Pavese, 20 maggio 1945 𝗟𝗔 𝗟𝗨𝗡𝗔 𝗘 𝗜 𝗙𝗔𝗟𝗢' 𝗧𝗶𝗺𝗲 𝗻𝗲𝘃𝗲𝗿 𝗱𝗶𝗲𝘀 𝘥𝘪 𝘦 𝘤𝘰𝘯 Luigi D’Elia 𝘭𝘪𝘣𝘦𝘳𝘢𝘮𝘦𝘯𝘵𝘦 𝘪𝘴𝘱𝘪𝘳𝘢𝘵𝘰 𝘢 𝘓𝘈 𝘓𝘜𝘕𝘈 𝘌 𝘐 𝘍𝘈𝘓𝘖’ 𝘥𝘪 𝘊𝘦𝘴𝘢𝘳𝘦 𝘗𝘢𝘷𝘦𝘴𝘦 𝘳𝘦𝘨𝘪𝘢 Roberto Aldorasi 𝘴𝘤𝘦𝘯𝘢 𝘙𝘰𝘣𝘦𝘳𝘵𝘰 𝘈𝘭𝘥𝘰𝘳𝘢𝘴𝘪 𝘦 Francesco Esposito 𝘳𝘦𝘢𝘭𝘪𝘻𝘻𝘢𝘵𝘢 𝘥𝘢 𝘊𝘰𝘴𝘪𝘧𝘪𝘤𝘪𝘰 – 𝘊𝘳𝘦𝘢𝘵𝘶𝘳𝘦 𝘚𝘱𝘦𝘵𝘵𝘢𝘤𝘰𝘭𝘢𝘳𝘪 𝘭𝘶𝘤𝘪 Davide Scognamiglio 𝘧𝘰𝘵𝘰 𝘦 𝘤𝘶𝘳𝘢 𝘥𝘦𝘭𝘭𝘢 𝘱𝘳𝘰𝘥𝘶𝘻𝘪𝘰𝘯𝘦 Michela Cerini 𝘥𝘢𝘵𝘰𝘳𝘦 𝘭𝘶𝘤𝘪 Francesco Dignitoso 𝘰𝘳𝘨𝘢𝘯𝘪𝘻𝘻𝘢𝘻𝘪𝘰𝘯𝘦 𝘦 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘻𝘪𝘰𝘯𝘦 Francesca Vetrano e Archètipo 𝘶𝘧𝘧𝘪𝘤𝘪𝘰 𝘴𝘵𝘢𝘮𝘱𝘢 Michele Pascarella una produzione Compagnia INTI di Luigi D’Elia e Archetipo con il sostegno di Teatro Pubblico Pugliese nell’ambito del progetto “𝘏𝘦𝘳𝘮𝘦𝘴” 𝘧𝘪𝘯𝘢𝘯𝘻𝘪𝘢𝘵𝘰 𝘥𝘢𝘭 𝘗𝘳𝘰𝘨𝘳𝘢𝘮𝘮𝘢 𝘐𝘯𝘵𝘦𝘳𝘳𝘦𝘨 𝘝-𝘈 𝘎𝘳𝘦𝘦𝘤𝘦-𝘐𝘵𝘢𝘭𝘺 2014-2020 Festival Parthenium calling   e la collaborazione della Fondazione Cesare Pavese

[hotnew-pt]

Eliminatórias da Liga dos Campeões, Mourinho eliminado: Lille vai para a prorrogação contra o Fenerbahçe #ÚltimasNotícias

Hot News Os turcos foram eliminados na prorrogação, com gol decisivo de pênalti de David aos 118 minutos. Slavia e Sparta Praga também passam Pietro Scognamiglio 13 de agosto de 2024 (alterado às 23h27) – MILÃO Em vésperas da Supertaça de Varsóvia, está também a ser definido o quadro completo dos playoffs da Liga dos Campeões (20 a 27 de agosto) que atribuirão os últimos sete lugares do maxi…

[aleatorioipod]

Temporada 12 de las 10 preguntas con David Scognamiglio / Episodio 103

[lamilanomagazine]

Savona, "Iliade. Il gioco degli dèi" in prima regionale al Chiabrera lo spettacolo con Alessio Boni e Iaia Forte

Savona, "Iliade. Il gioco degli dèi" in prima regionale al Chiabrera lo spettacolo con Alessio Boni e Iaia Forte Dal 20 al 22 dicembre, ore 21.00, il teatro Chiabrera ospiterà, in prima regionale, lo spettacolo con Alessio Boni e Iaia Forte "Iliade. Il gioco degli dèi" di Francesco Niccolini, liberamente ispirato all'Iliade di Omero, regia di Roberto Aldorasi, Alessio Boni, Marcello Prayer. "Prodotto per Bergamo-Brescia Capitale Italiana della Cultura 2023, la nuova produzione con Alessio Boni sulla guerra delle guerre, "l'Iliade" al Chiabrera in prima regionale - Rajeev Badhan, Direttore Teatro Chiabrera. - Ci sono tutti i semi del tramonto del nostro Occidente in Iliade che, come accade con la grande poesia, contiene anche il suo opposto: la responsabilità e la libertà di scegliere e di dire no all'orrore. Iliade canta di un mondo in cui l'etica del successo non lascia spazio alla giustizia e gli uomini non decidono nulla, ma sono agiti dagli dèi in una lunga e terribile guerra senza vincitori né vinti. La coscienza e la scelta non sono ancora cose che riguardano gli umani: la civiltà dovrà attendere l'età della Tragedia per conoscere la responsabilità personale e tutto il peso della libertà da quegli dèi che sono causa di tutto ma non hanno colpa di nulla. In quel mondo arcaico dominato dalla forza, dal Fato ineluttabile e da dèi capricciosi non è difficile specchiarci e riconoscere il nostro: le nostre vite dominate dalla paura, dal desiderio di ricchezza, dall'ossessione del nemico, dai giochi di potere e da tutte le forze distruttive che ci sprofondano nell'irrazionale e rendono possibile la guerra. TETRO CHIABRERA - 20 - 21 - 22 DICEMBRE - ORE 21:00 - durata spettacolo: 90 minuti - Regia di Roberto Aldorasi, Alessio Boni, Marcello Prayer Iliade. Il gioco degli dei prima regionale - di Francesco Niccolini - con Alessio Boni e Iaia Forte - liberamente ispirato all'Iliade di Omero drammaturgia di Roberto Aldorasi, Alessio Boni, Francesco Niccolini e Marcello Prayer - altri interpreti: Haroun Fall, Jun Ichikawa, Francesco Meoni, Elena Nico, Marcello Prayer, Elena Vanni - scene: Massimo Troncanetti - costumi: Francesco Esposito - disegno luci: Davide Scognamiglio - musiche: Francesco Forni - creature e oggetti di scena: Alberto Favretto, Marta Montevecchi, Raquel Silva - Crediti foto: Luciano Rossetti - produzione: Nuovo Teatro diretta da Marco Balsamo - coproduzione: Fondazione Teatro Donizetti di Bergamo, Fondazione Teatro della Toscana, Teatro Stabile del Friuli Venezia Giulia  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[corciano-trasimeno-online]

Massimiliano Gallo porta in scena al Teatro di Solomeo "Stasera, punto e a capo!" La Stagione 23/24 del Teatro Cucinelli di Solomeo ospita, sabato 16 dicembre alle 21, lo spettacolo Stasera, punto e a capo! di e con Massimiliano Gal...

[delectablywaywardbeard-blog]

Al Teatro Cilea omaggio di Massimiliano Gallo agli anni '80

Da 9 novembre al Teatro Cilea sarà di scena Massimiliano Gallo con Stasera punto e a capo. Sul palco con Gallo ci saranno Shalana Santana e l’ensamble diretto dal Maestro Mimmo Napoletano formato da Carmen Scognamiglio, Gianluca Mirra, Giuseppe Di Colandrea, Davide Costagliola, Fabiana Sirigu.     “Lo spettacolo è un omaggio agli anni ’80 e nasce dall’idea di raccontarli con ironia e un pizzico…

[lamaisongaga]

       FASHION CREDITS: “ALEJANDRO” MUSIC VIDEO

On June 8, 2010 Lady Gaga released the controversial Steven Klein-directed music video to her song “Alejandro” which was the third single from her EP “The Fame Monster”. The video tackles down LGBTQ+ and religious themes and takes place in a military-inspired setting surrounded by eery, dark admosphere.

She was styled by Nicola Formichetti. Her hair was done by Eugene Souleiman and makeup by Val Garland.

The video opens up with Gaga’s dancers doing their military routine in custom high-waisted black shorts by the Haus of Gaga. 

Some also carry metal structure body pieces by Japanese underground designer label Dinner.

This video is has a mysterious vibe to it but of course Gaga exudes tons of effortless sexiness as usual. 

She’s sitting on the throne, watching over her army, in a bespoke Alexander McQueen opera coat which is a black version of the red one seen on the Fall/Winter 2008 “The Girl who lived in a Tree” runway. 

The black painted metal headpiece with antique lace-covered goggles was a custom creation by London-based emerging designer Nasir Mazhar while Paris-based grillz designer Dolly Cohen made her silver vampire fangs.

All of the dancers wear custom double-breasted leather military uniforms and combat boots based on the Emporio Armani Spring/Summer 2011 collection.

One of the men rocks the silver spiked metal W.O.W. shades are by a-morir. You can still purchase these for $220.

In this scene model Evandro Soldati is sitting on the bed wearing nothing but a black soldier helmet with spikes and a thick silver chain custom-made by Moutton Collet.

For the funeral scene Gaga is dressed in a custom silk bustier dress with black floral lace layer and long train by Alexander McQueen based on his Spring/Summer 2007 “Sarabande” collection. 

The thigh-high nude platform leather boots are by the late British designer as well and are based on the Fall/Winter 2009 “Horn of Plenty” collection.

Her black lace mantilla veil with black rose headpiece underneath was custom-made by Philip Treacy. 

For this scene London-based latex guru Atsuko Kudo was commissioned to create a full nun look made from crimson & white latex. 

The outfit comprised a nun dress, hood and even latex stockings which ended up not being worn.

On the nightstand next to her we can spot several Pamela Love rosaries and necklace, including some of her Sacred Heart ones.

Gaga’s nude heel-less Nightmaker leather platform ankle boots were created for her by Noritaka Tatehana.

The video truly gets sexy when a lingerie-clad Gaga fools around with her male dancers who are all wearing Pleaser patent pumps. 

Gaga herself dons a Spring/Summer 2006 Calvin Klein bra and briefs set (her dancers also wear CK briefs in black) with the Lynx stockings by Agent Provocateur. These read the words “whip me, bite me, eat me, tease me”.

Her black leather pumps with the signature red bottoms and metal heels are the Big Lips pumps from the Christian Louboutin Fall/Winter 2010 collection.

The most controversal outfit is definitly this yellow hooded latex vestment and matching panties with upside down red crosses that Jaiden Rva James created in collaboration with latex house House of Harlot. 

For the black & white sequence Gagaloo slipped into a black vest with satin back and buttoned front from Dolce & Gabbana’s Fall/Winter 2010 collection.

Her black stretch wool gabardine trousers are from Francesco Scognamiglio’s Fall/Winter 2010 collection.

She’s also rocking the Seduce-1020 black patent leather ankle boots by Pleaser.

Next we got Gaga dancing with her group of soldiers wearing the same Francesco Scognamiglio trousers and the iconic leather gun riffle harness bra that David Samuel Menkes custom-made for her.

Finally, Gaga sings her heart and soul out while wearing a leather motorcycle jacket from Chalayan’s Fall/Winter 2009 “Earthbound” collection with a satin and lace thong from Rigby & Peller’s Fall/Winter 2010 lingerie collection.

She completed the look with a pair of vintage Versace 789 shield sunglasses...

... and the black leather Noritaka Tatehana Nightmaker ankle boots.

The glittery nail lacquer, Gaga used throughout the entire video, is Star Of Bombay from the ORLY Fall/Winter 2008 collection.

[maneskinimagine]

ADOPTED

(This is based off of a Netflix show called Julie and the phantoms - would highly recommend it, it's an awesome show)

A few months ago, something happened that changed my life for the best, it was something that I had dreamt about since I was a little girl.

I was 13 years old when I was adopted by the David's, I can still remember the day, as if it happened yesterday.

~

I was sitting on my bed, reading a teen vogue magazine.

"Yo!" I look up and see Charlie, staring at me from the door, "there's someone downstairs for you." I frown but walk downstairs anyway, hoping that there was actually someone there for me.

When I walk in, I see miss Harrison, sitting opposite a couple, a woman who was wearing a floral dress, and a man in a suit. They both looked like an older couple.

"There you are! I would like you to meet Daniele David and Rosa Scognamiglio." Miss Harrison says.

"Hi?" I say to them as they both wave at me with a smile on their faces.

"The David's, have come here today, to take you home with them." I look at miss Harrison with confusion. "They're adopting you."

I feel the tears that threaten to fall. I run to the couple and hug them with all my might.

A few weeks later I was finally settled into my new home. It was a really nice house, but I couldn't help but notice all the pictures of a boy, scattered along the walls.

"Rosa?" I call, she walks up to join me, in the living room.

"Yes dear?"

"Who is this boy?" I point to a picture of the boy on one of the tables in the living room.

"Daniele? Can you come here please." She calls out. He comes into the room a few seconds later.

"I think we should sit down to have this talk." Rosa leads me to a couch, as her and Daniele sit on the opposite one.

"That boy in the pictures, is our son." Rosa says with a wobbly voice.

"I haven't seen him though?"

"We know you haven't seen him dear, unfortunately he died a while ago, so I'm afraid you won't be able to meet him." Daniele says.

"What was his name?"

"Damiano." Emily mutters, almost fully sobbing at this point. I walk over to one of the pictures and pick it up.

"Hi Damiano, I'm your sibling now I guess." I smile at the boy in the picture.

I watch My new parents, as they shed tears over the interaction between Damiano and I.

~~~~

Since I've been at college for about two months, I haven't been home as much, of course I still write to my parents, but it's been a while since I've seen them and Damiano.

Yes, I know He is dead, but ever since they adopted me, I felt like Damiano was somehow with us, I always made an effort to say hello to one of His pictures, just to make it seem like we could've been best friends.

I quickly retrieve my bag from the trunk of my car and hurry to the door, ready to surprise my parents. I decide to leave my bag outside, and fetch it after I surprise them.

I open the door swiftly and shout, "guess who's back!"

I turn and see them standing in the living room, with a girl and a boy, standing opposite them.

"I'm sorry? Am I interrupting?" I say quickly.

"Victoria, this is our other child, we adopted a few years after Damiano's passing." I smile at my mom and give her a kiss on the cheek, before I walk up to the girl - Victoria - and give her a hug. When I finish hugging her, I walk over to the boy and hold my hand out for a handshake, not knowing how comfortable he was with hugging. He looks at me like I'm crazy, as I reach my hand out.

"What are you doing dear?" Mom asks.

I look at her, she looks completely shocked. I instantly think I've done something disrespectful, so I put my hand down.

"I'm sorry, I didn't know that he wasn't okay with that, I'll just head off to the kitchen and leave you all alone." I walk past the boy and look at Damiano's picture.

"Hey Dom." I smile at the picture and make my way to the kitchen, making myself a cup of tea.

A few minutes later mom and dad walk into the kitchen, they look quite upset, I decide to give them some privacy, so I head upstairs to my room, after I fetch my bag from outside.

I put my bag on my bed, and unzip it.

"You can see me?" I instantly turn around in fear and shock at the voice. I see the boy from the living room standing there.

"I'm sorry?"

"You, you, you can see me. Why can you see me!" He shouts.

"Calm yourself down dude, I'm sorry if I offended you, but that doesn't mean you can just come up here and yell at me."

"You didn't offend me, I'm just confused."

"Confused about what?" I am purely shocked at this guys audacity right now.

"Don't you recognise me?" He says with a hopeful voice.

I take time to look at him closely, I do recognise him from somewhere, but I don't know from where.

Suddenly it hits me. I can feel myself start to shake, as I exit my room, and grab a picture from the wall outside my room. I hold up the frame, and stare at it as the boy walks out my room.

"Damiano?" I am completely shocked right now.

"That's me." He smiles.

"I thought you were dead."

"I am, I'm a ghost."

"Why were you so shocked that I can see you?"

"Nobody else can see me, that girl that was with me, Victoria, she's the only one who can see me, but now you can too."

After 9 years of pretending I have a brother, I finally have one, in the physical sense. I can't stop myself when I walk up to him and hug him. It's like all the feelings well up in me, all at once. He hesitates as he wraps his arms around me. But in the end we stand there for a few minutes, soaking in each others presence.

[architectuul]

The Women Housing Architects Of Britain

Although women contributed in many ways to British architecture before the twentieth century, they officially entered the architectural profession only after the First World War. The RIBA did not admit women until 1898, when Ethel Charles (1871-1962) became a member, opening the debate on women’s role in architecture and causing a legalistic and bureaucratic resistance. 

Elisabeth Scott’s competition design for the Shakespeare Memorial Theatre in Stratford-upon-Avon (1927) marked the beginning of a breakthrough for women architects. | Photo via Architecture.com - RIBA Collections

Since then, British women architects have fought to redefine their professional identity, gaining access to education and big projects and often demonstrating to be architecturally and socially innovative. Among them, a few remarkable figures worked for local authorities in London and contributed to the public good with bold, progressive and human buildings and their multidisciplinary skills. Mainly involved in housing projects and often collaborating with each other, Elisabeth Denby, Judith Ledeboer, Rosemary Stjernstedt, Kate Macintosh and Alison Smithson can be considered inspiring and unsung pioneers who played a crucial role in social architecture and in the formulation of housing policy. 

Elizabeth Denby, the England's Jane Jacobs, was an urban planner, housing consultant and social reformer. | Photo via Architects’ Journal

Elisabeth Denby soon became a champion of urban renewal and a fundamental figure for the development of British housing program. Collaborating with Maxwell Fry who defined her as the leading spirit in housing in the 1930s, she designed several inner city flats where she applied her innovative ideas to respond to residents’ needs. Their Sassoon House has been defined the first modernist workers’ dwellings in Britain.

Denby contributed to the discussion about residential planning with the book Europe Rehoused. 

Fry and Denby used Kensal House to put into practice Modernist ideas for social change starting at home, offering carefully-planned flats with generous kitchens, bikes storages, gardens, large balconies and nursery. | Photo by Edith Tudor Hart at RIBA Collections

Elizabeth Denby was on the RIBA Housing Group with Jane Drew, Judith Ledeboer and Jessica Albery. The result of their collaboration was a report published in 1944 where they expressed their views about the future of housing, inviting decision-makers and colleagues to opt for carefully-designed terraced houses and flats instead of inhuman high-density complexes.

Born Dutch-English, Judith Ledeboer was an architect who collaborated with David Booth and John Pickheard. She became another significant voice in housing policy. Astragal, the diarist in the Architects' Journal wrote in 1934: "In our little world Miss Denby and Miss Ledeboer wield more influence and get more work done than any six pompous and prating males". In 1941 was the first woman employed by the Ministry of Health responsible for housing. Ledeboer also advised local authorities on the reconstruction of post-war Britain and contributed to the establishment of those space standards that then became mandatory in all public housing.

Poster for a new housing estate in Poplar, which is being advertised as a paid attraction during the 1951 Festival of Britain. | Photo by Festival of Britain

Also other women architects worked for the public sector and took crucial roles in Britain’s era of social housing provision with major schemes in the 1960-70s. AA-trained, Rosemary Stjernstedt moved to Sweden to work as town planner and returned to England after Second World War, joining the London County Council in the Housing Division. There, she was the first female architect to achieve Grade I status and she became the first woman to reach senior grade I status in any British council county division in 1950.

Rosemary Stjernstedt with her fellow architects in the LCC Housing Division (1950). | Image via Guardian

Her best-known project was the Alton Estate, which she designed in the role of the team leader in 1951-55, described by Pevsner as architecture at ease. When London County Council was dissolved in 1964, Stjernstedt started working for Lambeth Borough Council under the guidance of Ted Hollamby, a committed socialist architect and planner. 

Alton Estate has over 13,000 residents with the brutalist architecture inspired by Le Corbusier’s Unite d’Habitation. | Photo via The Modern House  

Under Hollamby, Lambeth's architects produced several housing and welfare buildings, making the borough now nationally known for the ambition and quality of its output. In 1968, Kate Macintosh also joined Lambeth's Architects' Department where she embarked on 269 Leigham Court Road, a sheltered housing for the elderly. Responsible for some of the most innovative housing schemes commissioned by several local authorities, Macintosh believed that one of the generators of our work was the search for social justice. She was only 26 when she began designing Dawson’s Heights. 

Leigham Court Road Robin London. | Photo © Kate Macintosh Archive 

Among architects who contributed to London’s social housing, Alison Smithson, born Alison Gills, gave life with Peter Smithson to the New Brutalism and its interest in accommodating and adapting to the real experiences and desires of ordinary people. She worked in the architecture department of the London County Council before starting a practice with her husband in 1950.  

Alison Smithson at Hunstanton Secondary Modern School, Norfolk, during its construction. | Photo © Nigel Henderson Estate If Rosemary Stjernstedt’s Alton Estate was clearly inspired by Le Corbusier’s Unite d’Habitation in Marseille, Alison and Peter Smithson brought to light new theories in antagonism to the Swiss-French master’s principles. As the only woman in Team X, a radical group formed to replace the CIAM philosophies of high modernism, Alison stressed the importance of the real social architecture needs and housing design solutions becoming internationally influential with numerous theoretical writings. Recently, the western block of their famous Robin Hood Gardens complex has been demolished opening a large debate so that now part of the building has been preserved by the Victoria and Albert Museum and was presented at the Venice Architecture Biennale 2018.

In the Robin Hood Gardens the street-in-the-sky concept took form as broad aerial walkways into the long concrete blocks. | Photo © Lorenzo Zandri 2018

These five women are a most representative example of the extraordinary female contribution to social architecture in the United Kingdom in the post-war period when, despite the high pressure of housing needs, they proposed high quality projects designed for people. At a moment when the number of social homes being built in England is at its lowes and local authorities struggle in providing quality housing, we can learn from their experiences, projects and theories, recognising them as best practices and monitors for the current and future challenges.

---

Pioneer Architects XV by Giorgia Scognamiglio and Lorenzo Zandri

[senzalinea-blog]

Il disprezzo e l'isolamento dalla nuova cultura in scena al Piccolo Bellini con l'opera "Ferdinando"

Il disprezzo e l’isolamento dalla nuova cultura in scena al Piccolo Bellini con l’opera “Ferdinando”

FERDINANDO

 di Annibale Ruccello

con

Donna Clotilde Gea Martire

Gesualda Chiara Baffi

Don Catellino Fulvio Cauteruccio

Ferdinando Francesco Roccasecca 

regia Nadia Baldi 

costumi Carlo Poggioli 

scenografia Luigi Ferrigno

consulenza musicale Marco Betta – aiuto regia Rossella Pugliese – organizzazione Sabrina Codato – Progetto luci Nadia Baldi – Foto in videoproiezione Davide Scognamiglio–…

[sinapsinews]

Dreaming Italia, 50 autori per un racconto del Paese

Mostra fotografica, in collaborazione con l’Assessorato alla Cultura e Turismo del Comune di Napoli

Progetto di Francesco Ciotola, a cura dell’Associazione di Promozione Sociale Nuova Fotografia Organizzata 

Inaugurazione mercoledì 29 novembre 2017, ore 17.00

Napoli, Castel dell’Ovo – Sala delle Terrazze

  La mostra sarà visitabile fino a lunedì 11 dicembre 2017

Orari: lunedì-sabato 10.00-18.00,…

[ofhouses]

Dear friends, we invite you to visit the Unfolding Pavilion at the Venice Architecture Biennale! On May 25th, 2018, at 19:00 h., the ’Unfolding Pavilion’ will open its doors to the public, inside Gino Valle’s Giudecca Social Housing. With works by: abacO; ANALOGIQUE; Arcipelago; Babau Bureau; Boano Prišmontas; Bunker; Campomarzio; Fabio CAPPELLO + Giuseppe RESTA; Fabio CAPPELLO + Rossella FERORELLI + Luigi MANDRACCIO + Gian Luca PORCILE; Michele D’ARIANO SIMIONATO & Caterina STEINER; Roberto DAMIANI ; ECÒL; ENTER; False Mirror Office, gosplan, LINEARAMA, pia, UNO8A; Davide Tommaso FERRANDO + Sara FAVARGIOTTI; Forestieri Pace Pezzani; Malapartecafé; oblò - officina di architettura + Figura/Sfondo; Giacomo PALA + Riccardo M. VILLA + Jörg STANZEL; Gabriele PITACCO; ROBOCOOP; Emilia ROSMINI & Emiliano ZANDRI; Giorgia SCOGNAMIGLIO & Lorenzo ZANDRI; STUDIO associates + atelier XYZ + Davide Tommaso FERRANDO; StudioERRANTE Architetture + Diego BEGNARDI + Giovanni BENEDETTI; Studiospazio; TCA THINK TANK + ZarCola Architetti; Davide TRABUCCO; WAR (Warehouse of Architecture and Research)... ... and a continuous stream of public events (round tables, discussions, film screenings) with, among others: Beatriz COLOMINA / Pierre Alain CROSET / Bart LOOTSMA / James TAYLOR FOSTER / Léa-Catherine SZACKA / Pietro VALLE, etc. INFO name: Unfolding Pavilion / Little Italy curators: Daniel Tudor Munteanu, Davide Tommaso Ferrando, Sara Favargiotti location: Gino Valle’s Giudecca Social Housing (IACP) address: Calle dei Lavraneri (Giudecca), 30133 Venezia, Italy dates: from May 25th to May 30th, 2018 opening: May 25th, 2018, at 19:00 Facebook Instagram www.unfoldingpavilion.com

[corciano-trasimeno-online]

La Stagione 23/24 del Teatro Cucinelli di Solomeo ospita, sabato 16 dicembre alle 21, lo spettacolo Stasera, punto e a capo! di e con Massimiliano Gallo: un viaggio indietro nel tempo nel fantastico mondo degli anni ’80. Sul palco insieme al popolare attore ci saranno Shalana Santana, Carmen Scognamiglio e l’ensemble diretta dal M° Mimmo Napolitano, Gianluca Mirra, Giuseppe di Colandrea, Davide Costagliola, Fabiana Sirigu. “Stasera, Punto e a Capo! Si mette un punto per ricominciare. Cominciare da capo, riprendere, ma non per forza facendo un passo avanti. – scrive Gallo nelle sue note – Si può ricominciare anche tornando […]

[yekuana]

🎬🌱🎞️ #LaDelicadeza (2011) Sinopsis Nathalie (Audrey Tautou) pierde en un accidente al hombre del que está perdidamente enamorada. Después de una etapa de duelo, no puede creerse que el amor llame de nuevo a su puerta de la mano de Markus, un compañero de trabajo que nunca ha tenido éxito con las mujeres, pero que rebosa bondad y ternura. Un hombre que para ella supone la vuelta a la vida. (FILMAFFINITY). Dirección David Foenkinos Stéphane Foenkinos Reparto Audrey Tautou François Damiens Bruno Todeschini Mélanie Bernier Joséphine de Meaux Pio Marmai Monique Chaumette Marc Citti Alexandre Pavloff Vittoria Scognamiglio Olivier Cruveiller Ariane Ascaride Christophe Malavoy Audrey Fleurot Año / País: 2011 / 🇨🇵 Francia Título original: #LaDélicatesse 👁️‍🗨️: Gnula2.co (en Isla de la Cuarentena) https://www.instagram.com/p/CJ4M-x6MRoq/?igshid=15nwqvr1ch9fl

[misslacito]

Billboard Music Awards 2017

Billboard Music Awards 2017

El pasado domingo se entregaron los premios Billboard. Drake fue el gran vencedor de la noche, se llevó 13 galardones de 22 nominaciones. Son unos premios muy importantes en la industria musical y allí fueron un montón de cantantes. Y dieron el cante no solo musicalmente hablando algunas. Pero también vimos actrices hechas un cuadro como Lea Michele y sus transparencias imposibles. Aunque hay…

[bjorkmexico]

Fantástico y hermoso photoshooting de Björk en Islandia por Tim Walker para la revista W, con prendas y accesorios de Sinéad O’Dwyer, David Ferreira, Viktor & Rolf, Dilara Findikoglu, Marlou Breuls, Maison Francesco Scognamiglio, Renee Verhoeven, Philip Treacy y James Merry.

En este artículo de W Magazine, Björk se entrevista a sí misma para hablar del amor, del pasado, presente y su utópico futuro: lee aquí.