Archaeology and nature: hyblean cultural landscape and territorial ...

features of his family structure, are manifested in intuitive and instinctive forms of spontaneous architectures,
but marked by testimony and a sentimental memory of the past.
We may, for a moment, consider that the intervention of man, in light of the concept expressed by De
Rubertis, instils the canons with an intrinsic natural quality, so much so as to be considered formidable and
certainly channelled among the interventions of a strong nature, of continuity with the past and with a
powerful chromatic, pictorial and aggregating content.
And so these considerations, ironically, allow a reflection, namely that those individual and successively
concerted interventions, may deserve reference to a general fabric and to have some value of note if seen in
a context in which appraisal, comparison and competition must or may be regarded as a stimulus and spur to
achieve results that have features of a certain quality in the panorama of artistic production.
But these spontaneous, sincere and impulsive formulations, reassessed in the light of opportune stylistic
interpretations, face and are confronted with the distinguished interventions by those who, operating in the
field with profundity of intention, bring into play a composure of forms studied in accord with the vigorous and
forceful lines of the topos.
They are interventions that leave a mark, with decisive and significant character, upon the territory,
sanctioning rigorous relationships with the site, in which one acts, with determination, in full accordance with
the lines dictated by the morphologic configurations of the places.
In this sense, the perfect synchronous behaviour between the distinct features of particular interest
suggested by places and acting according to the dictates of a meticulous rigor that envisages cultural
preparation and sensitivity of those operating in the field, is successful and of certain efficacy in the
outcomes of the interventions on the territory and in the increasingly dynamic, singular and articulated
morphology of the projected compositional whole.
They are interventions that, precisely in being fully integrated in the environment, manifest morphological
logic, sometimes sinuous, sometimes fragmented and subdivided, which in their evolutionary development,
imply a coherent set of iterative and matrix processes.
Fig. 8: Zaha Hadid, Dividing Curvature is a method that creates curvature sensitive mesh.
They are interventions that express the intention of being liberated from the rigidity of Euclidean geometric
schemes in order to arrive at decidedly more evolved new systems.
They are interventions that in a structural unicum of form, fuse art with nature, evoking “sharp, incisive and
memorable images”, in a word “vivid”; an “inner need should characterize every image, as form and as
meaning (…) as a wealth of possible meanings”. [8]
They are interventions in which the choices and treatment of materials, the relationships between solids and
voids, the transparencies and the epidermic folding of the skin of the building, in relationship to the
definitions of volumetric complexity of the architectonic organism, are determining.
It would be fantastic today to be able to reason in terms of transformation and flexibility in instantaneous time
of the material and therefore of the morphological configuration of our volumetric layout.
The intelligent man-structure relationship, in which the space is deformed and adapts in real time in rapport
to the needs of man, may certainly be a stimulating search, but in the utopian current state of things, it would
seem at best to be able to combine with the dynamic and virtual qualities of an electronic game and certainly
not with the problematics of real space.
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