ISBN 978-88-6242-296-3

Prima edizione: Marzo 2018

© 2018 LetteraVentidue Edizioni© 2018 Gli autori per i loro testi e le immagini se non diversamente indicato

È vietata la riproduzione, anche parziale, effettuata con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico. Per la legge italiana la fotocopia è lecita solo per uso personale purché non danneggi l’autore. Quindi ogni fotocopia che eviti l’acquisto di un libro è illecita e minaccia la sopravvivenza di un modo di trasmettere la conoscenza. Chi fotocopia un libro, chi mette a disposizione i mezzi per fotocopiare, chi comunque favorisce questa pratica commette un furto e opera ai danni della cultura.

Le immagini all’interno del testo appartengono ai rispettivi autori.Gli autori rimangono a disposizione degli aventi diritto con i quali non è stato possibile comunicare.

Book design: Ernesto AlberghinaTraduzioni ita-eng: a cura degli autori

LetteraVentidue Edizioni S.r.l.Corso Umberto I, 10696100 Siracusa, Italia

www.letteraventidue.com

CollanaRicerche in Composizione UrbanaResearch in Urban Composition

ResponsabileBruno Messina

Comitato scientificoArmando Dal FabbroGino MalacarneCarlo MocciaRaffaella NeriUwe Schröder

a cura di Luigi Pellegrino

Laboratorio Estivo Siracusa

Il paesaggio dell'archeologia:Tre occasioni per fare cittàSeminario Internazionale di Progettazione 29 Settembre-8 Ottobre 2012, Siracusa

Consorzio Universitario Archimede Siracusa

Università degli studi di Catania

Struttura Didattica Speciale di Architettura Siracusa

IL PAESAGGIO DELL'ARCHEOLOGIA TRE OCCASIONI PER FARE CITTÀLaboratorio Estivo Siracusa 2012 - Seminario Internazionale di Progettazione

CREDITI

Promosso daUniversità degli Studi di CataniaStruttura Didattica Speciale di Architettura, Siracusa

Coordinamento ScientificoLaboratorio di Tesi Finale 2011-2012 “Siracusa. Archeologia e città” - SDS Architettura SiracusaEmanuele Fidone, Carmelo Nigrelli, Luigi Pellegrino

ProfessoriCarlo Terpolilli, Lucia Celle, Ipostudio - Firenze, Nikos Ktenàs, Nikos Ktenàs Architecture - Atene, Simona De Giuli, Mendrisio, Vincenzo Melluso, Mellusoarchitettura - Palermo

Professori ospitiAntonio Tejedor Cabrera, Mercedes Linares Gómez del Pulgar, Tejedor Linares & Associados - Siviglia

TutorArch. Antonio Biancucci, Arch. Mariano Capitummino, Arch. Annamaria Ciabatta, Arch. Connie Di Filippo, Arch. Giuseppina Farina, Arch. Marcello Galiotto, Arch. Angelo Marletta, Arch. Alessandra Rampazzo, Arch. Viviana Schimmenti

StudentiAlberghina Ernesto, Angarella Veronica, Apa Rosella, Barberi Rita, Bartoloni Tommaso, Catania Alessandro, Falcone Flavio, Garro Sebastiano, Giallanza Chiara, Lorello Virginia, Lupo Simona, Magro Giuseppe, Maugeri Manfredi, Ossino Massimiliano, Platania Roberta, Putrino Valentina, Ranieri Giulio, Ravesi Rossana, Santacroce Roberta

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Indice

CONTRIBUTI INTRODUTTIVI

Archeologia e progetto di architettura:Distanza, recinto, continuità.Emanuele Fidone

Archeologia, Materia e Forma della cittàLuigi Pellegrino

AREE DI PROGETTO

Parco Neapolis – Cimitero; Villaggio Miano; Tremilia – Eurialo: Le Mura Dionigiane come occasione per fare cittàLuigi Pellegrino

PROGETTI

PARCO NEAPOLIS – CIMITERO Carlo Terpolilli, Lucia Celle

VILLAGGIO MIANONikos Ktenàs, Simona de Giuli

TREMILIA – EURIALOVincenzo Melluso

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CONFERENZE E CRITICHE FINALI

Guardare da una certa distanzaAntonio Tejedor Cabrera, Mercedes Linares Gómez del Pulgar

“Quel rispetto che ci stringe l'anima”Marco Mannino

La fortuna estetica dell’archeologia Nicola Piazza

RACCONTO FOTOGRAFICO

Sopralluogo

Workshop

Mostra

NOTE BIOGRAFICHE

ENGLISH TEXTS

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TREMILIA – EURIALOVincenzo MellusoPalermo

Alberghina Ernesto Apa Rossella Bartoloni Tommaso Giallanza Chiara Maugeri Manfredi Ossino Massimiliano Putrino Valentina

Prof. Vincenzo Melluso

Tutor: Arch. Antonio BiancucciArch. Giuseppina FarinaArch. Angelo Marletta

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Al di là del muro.Il progetto affronta la difficile e delicata questione di recupero e valorizzazione di una vasta area archeologica collocata a sud est del Castello Eurialo e segnata dalla pre-senza delle Mura Dionigiane. All’interno degli indirizzi suggeriti dal programma del workshop, la proposta fornisce una rispo-sta - in termini di soluzione formale e figu-rativa - al complesso tema della ricomposi-zione dei margini di questa parte di territo-rio e della connessione tra parti eterogenee e, soprattutto, di come restituire a questa importante traccia archeologica un ruolo di forte connotazione rispetto al paesag-gio in una dinamica di relazioni fisiche e visive con il territorio circostante. In questo modo si è data forma tangibile ad una serie di frange e soluzioni di discontinuità, at-tualmente prive sia di una propria identità urbana che di una riconoscibilità rispetto ai temi dell’abitare. A partire da queste pre-messe si è quindi immaginata una nuova e articolata fruizione da parte della colletti-vità di questo spazio molto vasto e storica-mente carico di significato, restituendogli ruolo in relazione alla città e al paesaggio.Il contesto è ricco di complessità e carat-teristiche differenti. La morfologia dei luoghi è definita, con notevoli variazio-ni altimetriche, dalla balza rocciosa, che sottolinea anche la relazione profonda tra architettura storica e natura, con la

presenza delle Latomie e dell’acquedotto ipogeo d’epoca greco-arcaica.Le consistenti differenze di quota hanno an-che condizionato l’evoluzione e gli sviluppi non sempre felici dell’edificazione recente che lambisce in alcuni punti l’intera area.Le riflessioni e le questioni che nascono nell’affrontare il progetto del limite della città, così come accade anche nella defini-zione dell’architettura, conducono sempre all’interessante definizione di nuovi spazi, capaci di svelare inattese potenzialità dei luoghi. Sul limite la città si intreccia con il suo altro: altri edifici e altri spazi aperti con le loro differenti nature.Sebbene qui il limite sia complesso e frammentato, costituito dal segno stori-co delle Mura Dionigiane che attraversa spazi labili e indefiniti, esso comunque rimane come una traccia di straordinaria forza rispetto al paesaggio, ancora capa-ce di evocare con la massa pietrosa delle vestigia del segno architettonico possibi-li occasioni di sviluppo nella dimensione della contemporaneità.Il progetto, nelle sue varie articolazioni, si svolge quindi lungo l’antica linea for-tificata che cingeva completamente la Pentàpoli, l’antica città di Siracusa, e si attestava al Castello Eurialo. Oggi, in pros-simità della roccaforte, la cinta muraria è composta ancora da lunghi brani, a volte poderosi, ed è qui più visibile, mentre nel

Nella pagina precedente: planimetria generale dell'area di progetto all'interno del Parco Archeologico delle Mura Dionigiane.

In questa pagina: schizzo dell'intervento.

Nella pagina a fianco: planimetria di progetto nell'intorno del Castello Eurialo.

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resto del perimetro che corona la collina rimangono solo pochi frammenti com-promessi dal trascorrere del tempo.

“Da qualche parte deve pur esistere, credo, una regione protetta nella quale il nuovo, deponendo le armi ed issando la bandiera bianca della pace, possa penetrare senza far troppi danni … tra queste c’è il Sud Eu-ropa. Qui ho imparato che sopravvive at-traverso i secoli solo ciò che rappresenta una continuazione di qualche cosa. Non esiste l’illimitato e puro “avvenire” così come non esiste niente che vada definiti-vamente perduto”1.

Attraverso la citazione di questo breve pen-siero di Joseph Roth, autore de “Le città bian-che”, straordinario manifesto del rapporto quasi “carnale” tra tempo e architettura, evidenziamo le questioni fondamentali che hanno caratterizzato l’idea di progetto sviluppata per l’area Tremilia-Eurialo, e che hanno stabilito le regole per il complesso rapporto istituito con la “preesistenza”.La pietra qui trascolora in un’altra pietra, e il tempo diventa materia “viva” del progetto.La riconfigurazione generale dell’area, se-guendo un concept di base, si è offerta come introduzione di nuovi segni e come conti-nuazione e completamento delle emergen-ze presenti nell’area. I “nuovi segni” intro-dotti dal progetto, e le funzioni che essi ospi-tano, si basano sul concetto di“flessibilità” nel loro disporsi ed essere rapportati alla trama degli elementi archeologici, sui qua-li spesso si adagiano riconfigurandoli e

restituendo un nuovo carattere.Sono stati progettati secondo questa lo-gica gli spazi di arrivo e sosta, i servizi, i percorsi e il belvedere. Frammenti disse-minati nella vasta area che danno il senso di una struttura di forte riferimento, sug-gerendo delle nuove modalità per leggere il rapporto con il paesaggio e tentare di connettere la città che la lambisce.I caratteri delle “nuove forme”, evocando Ovidio, sono dedotti da alcune suggestio-ni scaturite dalla visita ai luoghi, in alcuni casi ci si è mossi infatti per sottrazione, at-traverso lo scavo, nel tema appunto dello scavo/ipogeo che conduce al belvedere. In altri invece si è proceduto per addizione e/o ricomposizione del tema formale del muro e delle tracce delle porte, attraver-so le suggestioni della macchina visiva e della messa in luce dei segni di bordo e di confine. In ogni caso però, ciò che ha te-nuto insieme le scelte di progetto, è stato sempre il desiderio di portare nuova linfa vitale attraverso il tema della connessio-ne, dei raccordi. Attraverso il progetto in-fatti l’architettura vuole dimostrare uno dei propri compiti fondamentali ovvero trasformare per unire e avvicinare.«A narrar il mutar delle forme in corpi nuovi, mi spinge l’estro»2.

VM, AB, GF

In questa pagina: schizzo dell'intervento.

Nella pagina a fianco: fotografie dei percorsi ipogei, trincee e fossati del Castello Eurialo; sezioni progressive del versante meridionale delle Mura Dionigiane.

1. Joseph Roth, Conservazione, restauro, riuso, in “Ca-sabella” n.636, luglio/agosto 1996.2. Ovidio, Le metamorfosi.

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In queste pagine: sezione generale del progetto.Viste del nuovo ingresso ovest della città e restituzione delle Mura ricostruite verso il Porto Grande di Siracusa.

Nelle pagine successive: sezione del progetto sul versante settentrionale con vista sul porto di Augusta, sezione tecnica della ricostruzione delle Mura.

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the edge of this urban formation, while there is no trace of the Galermi aqueduct that runs parallel to the road, just as there is no relationship with the geography of the territory. The isolated village in itself, not only cannot determine a formal continuity with the rest of the urban for-mation but because of its position and the current structure of the road network, it is impossible to imagine any future evolution.THE PROJECT. The need to define a new dialectic between the contempo-rary city, its past and the unique morphology of the landscape, led us to consider all the existences as historical testimonies without establish-ing a priori a hierarchy: the scope is to make history re-emerge which intrinsically belongs to the topography and make it coexist with the ac-tual reality, in order to restore a historical and geographical continuity that has been drastically interrupted today. Five different approaches in five distinct particular sites attempt with few gestures to re-deliver a conscience of the place that is inhabited, but also to draw up a new pal-impsest that can guide any possible future development.1. VILLAGE MIANO, ACQUEDOTTO GALERMI. The redefinition of the functions of the two main roads that run perpendicularly to each other within the built fabric, delivering a new polarity to this area today de-void of any architectural presence. Along the viale Epipoli, the presence of the aqueduct, is evoked through a water canal, while walls delineate the boundaries between public space and private areas of housing, con-cealing their existance, and at times revealing them. The second axis atempts bring the totally introverted housing structure to open up to-wards the landscape: the pedestrianized street begins in the heart of the village with the re-design of the churchyard and the park of the church of San Francesco, from where it reaches the viale Epipolius where two proposed buildings with public functions define the margins of the crossing, a sort of gateway to the neighborhood; a great void, a pause in the dense urban matrix, accompanies the path up to the limit of the rocky cliff, where the landscape reveals itself in its entirety.2. DESCENT. The pedestrian path ends through a staircase inside a new building that while evoking the shape of the ancient walls, resolves the descent towards the lower part of the city: a succession of experiences that reveal the scenery through a series of openings that direct the visi-tor's gaze towards precise points such as a succession picture frames in movement. The expedient of resolving the connection between the up-per city and the lower city has dictated this proposal which in a way, not only absolves a functional problem but functioning as a metrum reveals the real scale of the site.3. PANOPTICON. In a precise point of the cliff, to the west of the pedes-trian descent, a tower is inserted, a sort of lighthouse projected towards the sea. The internal path allows those who take it to embrace the en-tire geography of Syracuse through a continuous movement, making it possible from this point to vision the island of Ortigia and perceive its particular form as a large ship anchored in the port.4. LANDSCAPE PATH. Below, beyond the pedestrian descent, a new cycle path winds its way, conceived as a succession of rooms carved into the rock, each determined by its own spatial peculiarity. In this specific loca-tion we wanted to recall the experience that can be perceived through the narrow passages of the Eurialo castle, or of the open-air rooms of the Maniace castle, as well as in the hidden city of the Ortigia catacombs to the caves of the quarries, an unprecedented landscape built by subtrac-tion within the geology of the calcareous territory.5. ROAD AXIS. Viale Epipoli being the only road connecting the village Mi-ano to Syracuse, creates peaks of intense traffic in particular moments of the day. In order to solve this long-standing problem and at the same time move the center of gravity of the new inevitable suburban expansion, an alternative roadway is proposed: starting from the outer edge of this dis-trict, the road slowly submerges into the ground and then emerges below the cliff to connect with the highway 124. The new route will not only al-low for a direct connection between the upper and the lower city, but also becomes the organizational element for the future urban expansion.

page 52Tremilia, EurialoVINCENZO MELLUSO, ANTONIO BIANCUCCI, GIUSEPPINA FARINA

Beyond the wallThe project tackles the difficult issue of recycle and development of a large archaeological area located southeast of the Eurialo Castle and marked by the presence of the Dionysian walls. Within the workshop guidelines, the design provides a solution to the difficult question of the re-composition of the margins of this part of the territory, pointing also to the connection between heterogeneous parts and, above all, on how to give again a role of strong connotation to this important archaeologi-cal trace, strengthening the landscape through physical and visual re-lationships with the surrounding. In this way, a clear shape has been given to fringes and solutions of continuity, currently without an urban identity. Starting from these premises, the community will have a new fruition of this extended historical place, giving it back its role in rela-tion to the city and the landscape.The context is rich in complexity and different characteristics. The mor-phology of the places is defined, with notable variations in height, by the rocky cliff, which also underlines the profound relationship between historical architecture and nature, with the presence of the Latomie and the greek-archaic hypogeum aqueduct.The substantial differences of height have also influenced the recent ur-ban developments that enclose, not always happily, the entire area.Addressing the project of the city limit, some reflections and issues have lead, as frequently happens working on architecture, to the interesting definition of new spaces, capable of unveiling unexpected potentials of the places. Along this border the city intertwines with its other: other buildings and other open spaces with their different natures.Although here the limit is complex and fragmented, consisting of the historical sign of the Dionysian Walls that crosses undefined spaces, it still remains as a trace of extraordinary strength, compared to the land-scape, still capable of evoking with the stony mass of the remains pos-sible opportunities for new development.The project, with its various articulations, takes place along the ancient fortified line that completely encircled the Pentàpoli, the ancient city of Syracuse, and stood at the Eurialo Castle. Today, near the ruins of fortress, the walls are still composed of long pieces, sometimes powerful, being so more visible, while in the rest of the perimeter that surrounds the hill there are only a few fragments compromised by the passage of time.«Somewhere must exist, I believe, a protected region in which the new, laying down its weapons and hoisting the white flag of peace, can pen-etrate without doing too much damage ... among these regions there is the Southern Europe. Here I learned that only what represents a continuation of something can survives through the centuries. There is no unlimited and pure “future” as same as nothing is definitively lost». (Joseph Roth, Conservazione, restauro, riuso, in “Casabella” n.636, luglio/agosto 1996.)Through this quotation by Joseph Roth, author of “The White Cities”, an extraordinary manifesto of an almost “physical” relationship between time and architecture, we highlight the fundamental issues that char-acterized the design for the Tremilia-Eurialo area, establishing rules in a complex relationship with the “pre-existence”.The stone here passes into another stone, and time becomes “living” ma-terial of the project.The reconfiguration of the area offered itself as an introduction to new signs and as a continuation and completion of the emergencies of the area. The “new signs” introduced by the project, and their functions, are based on the concept of “flexibility” being related to the plot of the archae-ological elements, where they often rest on, giving them a new character.

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Conferences and Final criticismsAntonio Tejedor Cabrera, Mercedes Linares Gómez del Pulgar Marco ManninoNicola Piazza

page 64To look from a certain distanceAntonio Tejedor Cabrera, Mercedes Linares Gómez del Pulgar

We would like the projects destined to facilitate the intellectual and emotional connection of visitors with historical heritage and with the cultural landscape to have the vital intensity that we have experienced in some places of the memory. Places where architecture is more than a container or a support for museography, like the Baño de Comares of the Alhambra; the Patio de la Acequia of the Generalife; the Palazzo Fortuny of Venice, or the museum of the Centrale Montemartini of Rome, to give just a few offhand examples.From the point of view of the architectural project, what purposes should be fulfilled by visitor spaces? In a very synthetic way, for us they would be the following:-To facilitate a personal and collective experience that allows an explora-tion that, at least in part, is free and personal, not completely directed by the museography. To wander through space without an established route can be very rewarding and almost essential for those who want to make a sec-ond or a third visit; To wander through space as if it were a landscape, a park or a garden, without having to follow the didactic logic of museography.-To experience a temporal immersion, not as a "trip to the past" or as a nostalgic memory of what the historical place was, but as a quest for the distance that separates it from the routine of our lives, as a partial interruption of our reality.-To discover the beauty of material objects. Information and digital devices should be in the background. More important than "interpre-tation" and didactics is the physical experience of the monument, the work of art, the ruin, the landscape. Physical experience is irreplaceable if it becomes an emotional experience of beauty.Which then, ought be the the architectural attributes of the new visitor reception centres? As a modest museum of objects of memory, the project of a Visitor Reception Center should bring together at least three qualities:1. Historical density. The project should draw out the arguments or ideas from both the program of needs that, in general, the architects receive from the client, as well as the landscape - that is, the place understood as a significant reference, full of culture. The project of the visitor recep-tion center can be understood in a relevant historical and landscape en-clave as a kind of temporal intensification that condenses the past, the present and the future of "present things", in the words of St Augustine (Confessions, Book 11, Chapter XX, 26), which is to say, that it calls at the same time to the memory, to the vision and to the expectation that we impose on the patrimonial landscapes.2. The material presence of the ruin or landscape. The incorporation of fragments of historical architecture and landscape into interior spatial-ity. At the time of projecting, we must place the material at the same level as the program and the landscape. The matter gives things the pre-cise order that allows the enjoyment of the variations of light, the tem-perature of materials, the serenity of the atmosphere. For this reason, our interests as architects are closely related to the work of artists who

Arrival and parking spaces, services, paths and belvedere have been de-signed according to this logic. Like fragments scattered in the vast area that give us the sense of a strong structure, suggesting new ways to read the relationship with the landscape and trying to connect the city that laps it.The characters of the “new shapes”, evoking Ovid, are deduced from some suggestions of the places, in some cases we moved by subtraction, through the excavation, into the theme of the excavation/hypogeum that leads to the belvedere. On the other hand, we proceeded by adding and/or recomposing the formal theme of the wall and the traces of the doors, through the suggestions of the visual machine and the highlight-ing of the border signs. In any case, the project core has always been the desire to bring new lifeblood through the theme of connections. Through the project, in fact, architecture wants to demonstrate one of its fundamental tasks, that is to transform things in order to link and bring closer them.«The talent pushes me to tell of mutated forms in new bodies». ( Ovidio, Le metamorfosi.)

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page 80BIOGRAPHICAL NOTES

Carlo TerpolilliIpostudio - Firenze

Associate Professor in Architectural Technology, and founder of Ipostu-dio architetti. Visiting professor at the IUAV, in the summer workshops from 2004 to 2006.Member of the scientific committee of the workshop "The architect of the city: tribute to Giuseppe Piermarini" held in the summer of 2010 in Foligno. Referent for the Faculty of Architecture in Florence at the "Ar-chitecture Marathon" at FESTARCH 2012.Its activity has as its field of investigation the relationships between ar-chitectural and technological design.He edited the volume Emergenza del progetto - project of the emergen-cy, architectures con-temporaneità by Federico Motta Editore of 2005.The work of ipostudio was published in the volume Ipostudio: the con-creteness of modernity published by Mondatori Electa in 2008.Among the awards: finalist for the Gold Medal Award for Italian Archi-tecture (2006), Venice Biennale - International Architecture Exhibition, III editions (1985), VI (1996), VIII (2002), IX (2004), reported at the XIX Compasso d'oro ADI 2001.First prize winner for: the new Museo degli Innocenti - MUDI in Flor-ence, 2008; the project of an assisted residence, Lommel (Belgium), 2008; the project for La città della scuola in Sarno (Sa), 2000; the new Library of the Faculty of Architecture of Florence (in progress).Among the achievements we mention: the New entrance of the Careggi Hospital in Florence (in coll), the Care Residence of Montemurlo and the Banca del Chianti Fiorentino in Sambuca.Among the international research projects funded by the European Un-ion: SuRE-Fit, 2007; IFD Buildings, 2004.

Lucia CelleIpostudio - Firenze

Catania, 1960. Studied at the Faculty of Architecture of the FSocia Uni-versity, founder of Ipostudio Architetti (since 1984), of which he is cur-rently president of the CDA.Previous design experiences in the field of product and interior design (at International Design in Florence, 1981/83 and architect Massimo Gennari, Florence, 1976/80, among which he takes care in particular of the executive details for the FATA headquarters, Pianezza (To) , designed by Oscar Niemeyer).Tutor at the Intensive International Workshop of prof. Carlo Terpolilli at the IUAV, July 2004/2005/2006.Tutor at the Laboratory of Final Synthesis of Construction of the Archi-tecture Works of prof. Paolo Felli at the Faculty of Architecture of Flor-ence (from 2000 to 2009).Visiting professor at the School of Industrial Technologies in Florence, 2005, and the LIUC-Carlo Cattaneo-CREMS University, Research Center in Economics and Management in Health and Social Sciences, 2009.Its activity has as its field of investigation the architectural and urban design in the sector of complex public and private projects.Invited, with Ipostudio, to numerous international exhibitions, includ-ing the Venice Biennale - III, VI, VIII and IX -, the Triennale di Milano, the Festival of Architecture of Parma.Invited to present their work in various universities around the world.Works and projects are published in international magazines including Casabella, Area, d'A, Abitare, L'Arca, Ottagono, UME, Future, C3, A10.

In 2008, the monograph of Marco Mulazzani "Ipostudio, the concrete-ness of modernity", Electa Milano, was published on Electa Mondadori.Among the international research projects funded by the European Un-ion: Proficient, Pantura; SuRE-Fit, 2007; IFD Buildings, 2004.Among the awards: Gold Medal for Italian Architecture (2006, finalist), XIX Golden Compass ADI 2001 (report).First prize winner for: the new Museo degli Innocenti - MUDI in Flor-ence, 2008; the project of an assisted residence, Lommel (Belgium), 2008; the project for La città della scuola in Sarno (Sa), 2000.Among the achievements: the New entrance of the Careggi Hospital in Florence, the Care Residence of Montemurlo and the Banca del Chianti Fiorentino in Sambuca.

Nikos KtenàsAtene

Graduated in architecture in 1983 at Cornell University, Ithaca, New York (US). In 1984 he moved to Switzerland and began collaborating at the "Ecole Polytechnique Fédérale" of Lausanne in the chair of Luigi Snozzi.In 1987 he opened a studio in Lugano in Switzerland and in the mid-90s he returned to Athens where he began a rich professional activity.From 2004 to 2007 and Visiting Professor at the Academy of Mendri-sio, Switzerland, since 2003 he has been a critic for design diplomas at the Athens Polytechnic, and since 2005 at the Ecole Superieure d'Architecture de Paris Belleville.For two times he was nominated for the Mies van der Rohe award and in 2000 he was called to represent his nation at the VII Venice Biennale of Architecture. In 2009 he received the special prize for the integrity of his work from the Hellenic Institute of Architecture.

Simona De GiuliMendrisio

She graduated in architecture at the "La Sapienza" University of Rome and obtained a Ph.D. in Architectural Design at the Faculty of Architec-ture of Palermo.From 1994 to 2003 he worked at the studio Franco Purini and Laura Thermes in Rome.From 1997 to 2004 he collaborated with the "University of Reggio Calab-ria, Faculty of Architecture" and in 2004 he was a contract professor at "Enna. School of Architecture. University of Palermo ".Since 2003 he has started a collaboration with Nikos Ktenàs of which he is assistant from 2005 to 2007 at the "Academy of Architecture of Mendriso, University of Italian Switzerland" and since 2007 he has been design assistant in the course of Antonio Citterio.Since 2011 he is the owner of a design studio in Lugano, Switzerland.

Vincenzo MellusoPalermo

Vincenzo Melluso (Messina, 1955) graduated in 1981 at the Faculty of Ar-chitecture of the University of Palermo where, since 2006, he is Profes-sor of Architectural and Urban Design.In his scholarly activity, he has undertaken, through various cultural and editorial initiatives, to deepen and promote experiences related to modern and contemporary architecture, with specific attention to the Mediterranean context.In this sense of particular interest are the research dedicated to the terri-tory of the Messina area, within which he identified, studied and valued specifically the figures of architects Vincenzo Pantano and Filippo Rovigo.

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Since 2006 his research is also strongly oriented towards the issues related to the relationship between architecture and infrastructure, identifying issues useful for the definition of virtuous dynamics for the transformation of the city and the anthropized landscape.Within this theme his studies find application field in various research opportunities and also through teaching activities.He is the author of various essays and publications, including the most significant: architecture as distance (Rome, 1999); Architecture and Urban Composition (Messina, 1999); Writings and comments (Messina 1999); Mazzoni in Messina (Messina, 2002); A house in Puglia (Milan, 2012).He has taught and held conferences in the programs of various cultural and university institutions. These include the Academy of Architecture in Mendrisio, the IUAV in Venice, Cornell Architecture Art Planning in Ithaca / NY, and the Tecnische Universität in Vienna.Invited to the VI and the VIII edition of the International Architecture Exhibition of the Venice Biennale, as part of the latter he created the Pavilion "A box of light, a game of glances" that in 2011 was definitively built inside the park of Dusenszky-Vitale House in Valle d'Itria.In 2001 he was selected for the Piranesi Prize and in 2006 for the Interna-tional Architecture Award "ECOLA. European Architectural Award Plaster ".In 2012 he was a finalist for the "Gold Medal for Italian Architecture" promoted by the Milan Triennale.Participates with significant results in numerous international design competitions, in Italy and abroad.His design activity has often been to the attention of the critics.Documented on various publications and magazines and illustrated in the context of numerous exhibitions, in Italy and abroad, his projects have always highlighted great attention to the themes of the landscape and the characteristics of the urban settlement structure.Among these we can mention: the Building for craft and exhibition activi-ties at Saponara M. (1995), Casa Costanza on the Sicilian Tyrrhenian coast (2002); the Church and parish center in Potenza (2000, undergoing com-pletion); the administrative buildings and the Museum for the Wurth in Capena / Rome (2004); the project for the reconfiguration of the Piazza del Ponte area in Mendrisio (2010), Casa Dusenszky-Vitale in Valle d'Itria (2011).Since 2000 he has founded and directed the "Mellusoarchitettura" de-sign studio based in Palermo and Messina.

Emanuele FidoneSDS of Architecture (Siracusa), University of Catania

Emanuele Fidone from Modica (Sicily), graduated in Architecture in 1984 from I.U.A.V. in Venice.Since 2000, he has taught Architecture Design at the University of Cata-nia in the Faculty of Architecture in Siracusa. In 2005, he was visiting researcher at the Escuela Tècnica Superior d’Arquitectura di Barcellona.In 2008, he has been contract Professor at the University of Bologna at the “Aldo Rossi” Faculty of Architecture in Cesena.He has taught, held seminars and contributed criticism in various Ital-ian and foreign universities and institutes.He has been involved in various design projects (most recent):Tourist Services Centre in the ex-covered market in Ortigia, Siracusa; The Multifunctional Centre in Modica; The restoration of the paleochristian basilica of San Pietro in Siracusa; The restoration of the convent complex of S. Maria del Gesu in Modica (with B. Messina).He has entered national and international design competitions winning prizes and recognitions.His projects have been published in Italy and abroad in journals and books: A10, Abitare, Bauwelt, Area, Betonart, Casabella, D’Architettura, Domus, Il Giornale dell’Architettura, l’Industria delle Costruzioni, Ot-tagono, Recuperare.

More recently, his work has been exhibited at the X^ Biennale Interna-zionale di Architettura di Venezia (2006), “Emanuele Fidone, Vincenzo Latina, Bruno Messina - Restauri iblei”, (Venezia e Roma, 2007-2008), “Sustainab.Italy” (London 2008, Singapore 2009), finalists designs at “Medaglia d’Oro dell’Architettura Italiana”, Triennale di Milano (2009), XII^ Biennale Internazionale di Architettura di Venezia (2010), and at “Pi-ranesi Pix de Rome” (Roma 2011).

Bruno MessinaSDS of Architecture (Siracusa), University of Catania

Bruno Messina (b.1960, Catania) graduated in Architecture at the Fed-erico II University of Napoli in 1986.Since 2000, he has taught Architecture and Urban Design at the Univer-sity of Catania.His projects have been documented in journals and publications nation-ally and internationally.He has exhibited at: “Architetti italiani under 50”, Triennale di Milano (2005); “Laboratorioitalia, genealogie”, Festival dell’Architettura, Parma (2005); “Restauri iblei”, IUAV, Venezia (2007);“Architetti italiani a confronto”, Facoltà di Architettura civile del Politec-nico di Milano (2008); “Nuova Architettura Razionale”, Palazzo della Gran Guardia in Piazza dei Signori, Padova (2012). He has been a researcher at the Faculdade de Arquitectura dell’Universidade do Porto (1988) and at the Fondation Le Corbusier a Parigi (2006).In 2008/9, he taught “Conservazione dei materiali nell’edilizia storica” (Material conservation in historical building) at the “Aldo Rossi” Faculty of Architecture of the Università Alma Mater Studiorum di Bologna.Publications: Le Corbusier, eros e logos, Clean, 1987; Spazi domestici del XX secolo, Letteraventidue Edizioni, 2008; Percorsi d’architettura, Casa Edi-trice Librìa, 2008.He edited the Italian edition of Une petite maison and Mise au point of Le Corbusier.

Luigi PellegrinoSDS of Architecture (Siracusa), University of Catania

Born in Monte Sant’Angelo (FG), 01.07.1963.Graduated on 9th April 1990 from The Faculty of Architecture at the Uni-versity of Florence.PhD course in Architectural Design, Faculty of Architecture at the Uni-versity of Palermo – XIV cycle from 1999 – 2002. In March 2004, awarded PhD in Architectural Design.Researcher in the ICAR/14 sector “Architectural and Urban Settings” at SDS of Architecture (Siracusa), University of Catania, 2005 – 2010.Contract Professor at SDS of Architecture (Siracusa), University of Cata-nia since 2002.Critic and conferences at national and international universities: Flor-ence, Venice, Palermo, Mendrisio, Seville.Recognitions and awards in numerous architectural competitions.Publication in major national and international architecture journals: Casabella, Domus, Arquitectura y Vida, C3 – with various awards and recognitions – Medaglia d’oro all’architettura italiana (The Gold Medal of Italian Architecture), The Architettando Padova Prize, The Barbara Cappochin Prize, The Premio Prize, The Riuso Prize.