Observing the Moon and studying the Space in the research of new Planets represents the highest aspiration of human intellect. Marx intends this form of labor as part of the general intellect, including here all the scientific and intellectual inventions of the “social brain”, a fruit of the global work made in cooperation. In a context where labor absorbs affectivities, individual care, free time, all life, We propose DOMES: Communal Aule for liberating ourselves from the discipline of the office/factory and for finding time to observe the Space. DOMES are communal rooms, designed as generic architectures to be collocated within the capitalistic metropolis as places to organize ourselves as workers, where to cooperate deciding together democratically when to produce, when to play sports and when to create microcosms of nature.
Within the contemporary landscape of poor work opportunities, architects, students, and researchers – the most fragile workers that are dealing with freelance, precarious, part-time jobs – are starting to cooperate and organize themselves into new mutualistic associations. In recent times, we witness an increase in the number of collectives, student platforms, working groups that are challenging traditional architectural offices whose goal was to capture and subsumed the creative labour by organizing it in structures of waged work. Only by recognizing this new working condition and by placing ourselves in a critical position towards this totalizing working condition, we could face this last phase of cognitive exploitation. That is because only when the whole life is put at work that the common can establish itself as a real alternative.
“The Albanian word Mikpritja has not a specific translation… Perhaps, is the Italian translation of mikpritja (të presësh mikun) literally “accogliere un amico” which better explains the meaning of this word where the act of accogliere, to welcome, to accept, to let come in someone in one’s own house, in Albania is related to the realm of domestic space and to a defined space of the Albanian house… For this 17th Biennale, we have decided to respond to the call of Hashim Sarkis “How we will live together” by proposing a reinterpretation of the historical Oda, the emblem of how Albanian used to live together… transforming it in a “collective room” for visitors, architects, researchers and students that will have the possibility to sit down together, meeting each other… a room open to a multitude of spontaneous relationships and cooperation…”
“In his article ‘The form of territory’, Vittorio Gregotti invites architects to break up their disciplinary boundaries and to challenge the way in which we are currently building our territory… Current territorial planning is unable to contain the dissolution of the original formal characters of the landscape. It is therefore essential not to simply conceive territory as the surface or the background where architecture takes place but, on the contrary, as an architectural field calling for the same methodological approach and the same categories of analysis as the architectural discipline. For the first Biennial of Architecture and Landscape of the Île–de-France, we have decided to answer Gregotti’s call and to reconsider the territory as a project of resistance to contemporary forms of exploitation of the natural environment.”
“Writing, studying and yet our capacity to be creative has shifted from the terrain of beauty, of the not labor, to the terrain of productivity. Many of us, young workers, unknown the organization of production within the 8h factory/office working time and tasks should be always invented anew. Working penetrates within the personal intimacy of the domestic sphere, turning it into a productive space and isolating any possibility of collectivity. Not many choices are permitted within a room which seems an office rather than a place of beautiful creativity. We are beautiful refers to us, architects, researchers, creative workers. A multitude living within a society that with the rhetoric of beauty tries to hide the political problematics of precariousness, instability, and all-day working. We propose co-working as a first step to escape from isolation…”
“Historic centers are obsolete. Their buildings hardly fit the uses and the habits of contemporary society while possible transformations are denied by a system of law that does nothing but immobilizes this condition. The only hope to revive this part of the city is to let the market free to reorganize its structures, its uses and regulate the access of peoples who will finally live there. Against this fate, we propose instead to let the historic center of Floridia be reappropriated by its locals by opening its spaces and land to the commons. A series of communal gardens allow those physical and social change needed to reuse this part of the city; introducing spaces openly accessible and self-managed by the neighbors through. A space to institute new social relations based on cooperation and solidarity.”
“Public spaces are everything but spaces open to the use and the free initiative of citizens. Parks, squares, sidewalks, are usually controlled and normed by a strict series of rules defining what use is or is not allowed. Yet, these spaces are constantly suffering continuous processes of enclosure and are easily exploited by private initiative though paid concessions and renting contracts. This is for instance what happened to the main boulevard of the city of Avellino, where the municipality has occupied the 1km long pedestrian street with a series of small structures to be used by commercial activities as an extension of their private domain. Against this occupation of public space, we propose a canopy for all, to be occupied by all the citizens who wish to freely use this space.”
“In 1962 six artists, N. Frascà, P. Santoro, A. Pace, N. Carrino, G. Uncini and G. Biggi, join together under the name of ‘Gruppo Uno’ with the goal to contrast the Informalism of Alberto Burri and Emilio Vedova. By researching precise geometric forms with hight perceptive value, they aspire to a different role of the artist within society, able to act within the city and to interact with its users. Like ‘Gruppo Uno’ we aim to challenge the permanence of informal within our contemporary city by reaffirming the centrality of form and a new role for architecture within the process of city-making. We do not want to simply question the lack of formal quality and architectonic principles of this specific product of the city but also the way in which the city itself is developed under the regime of property in land.”
“Cemeteries are often perceived as neglected spaces within contemporary cities. They are external to our daily life, enclosed areas hidden from view, ‘heterotopias’ surrounded by blackness and old wives’ tales. Yet, space for the dead was one of the primordial spaces of humankind, which linked us with the transcendental realm of our existence. This research tries to reaffirm the social role of funerary architectures within the construction of a collective dimension of a community. Refusing any sappiness, we reconsider funerary typologies, such as cemeteries, chappels, memorial gardens, and crematorium temples as places where to perform laic rituals tied to concrete collective experiences. Design becomes the tool through which shape this possibility.”