essays
reviews by the editorial staff
FOUNDER
Federico Bucci
DIRECTOR
Elisa Boeri
DEPUTY DIRECTOR
Elena Fioretto and Claudia Tinazzi
SCIENTIFIC COMMITTEE
Ángela García de Paredes, Jean-Philippe Garric, Ana Tostões, Elisa Valero Ramos, Bianca Gioia Marino, Andrea Sciascia, Filippo Lambertucci, Chris Whitehead
EDITORIAL BOARD
Samanta Bartocci, Luca Cardani, Luciana Macaluso, Lorenzo Mingardi, Beatrice Moretti, Elena Pozzi, Rosa Sessa
EDITORIAL STAFF
Alessandro Benetti, Alberto Bologna, Stefania Campioli, Federica Causarano, Annalucia D’Erchia, Francesca Giudetti, Fabio Marino, Martina Meulli, Michela Pilotti
PHOTO BY
Gabriele Basilico, Beijing Daily, John Davies, Aidan Doyle, Ermentini Architetti, Sol Lewitt, Yves Marchand and Romain Meffre, Pino Musi, Marc Bernard Marie Petit Jean, Anna Positano, Tommaso Protti, Christian Püntener, Torsten Pursche, Narodnaja Volia
ARCHIVE
Architekturmuseum der Technischen Universität Berlin, Archives de Paris, Archivio Gabriele Basilico, Archivio Storico della Città di Torino, Associazione Archivio Storico Olivetti, Bibliothèque Nationale de France, Bibliothèque des Pasteurs de Neuchâtel, Canadian Centre for Architecture, Commission for Architecture and the Built Environment, Creative Commons, Derive Suburbane, Gallerie degli Uffizi, Estate of Gordon Matta-Clark, Estate of Lebbeus Woods, Harika-Kemali Söylemezoğlu Archive, London National Gallery, METU Department of City and Regional Planning Archive, Michael Hoppen Gallery, MIT Libraries Archives, Musée d'histoire naturelle Fribourg, Musei Civici Fiorentini, Oxford Films, SALT Research Archive, U.S. Department of Housing and Urban Development, Valer Pałściuk-Family archive, Vatican Library, VEKAM Archive, Zentralbibliothek Zürich, Zerkalo.io Archives
ISSN
2974-8216
Periodicity
Biannual Magazine
Code of Ethics
The full version of the ADH Journal code of ethics is available at this link.
Editorial guidelines
The submission of abstracts and the entire paper submission process takes place via the ADH Journal platform. The editorial guidelines, provided during the paper submission, are also available at this link.
Referee
ADH Journal subjects published contributions to a double-blind peer review process. The journal employs suitable reviewers to assess contributions for publication based on their background and specific research. The journal\'s editors may decide not to submit the text for review by the referees because it does not meet the editorial line of the issue (not scientifically rigorous or not legally acceptable). The judgments of the referees are promptly sent to the authors of the selected contributions.
The list of reviewers of ADH Journal is available at this link.
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Contacts
Politecnico di Milano, Polo Territoriale di Mantova
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Graphic layout
ParcoStudio - Milano
Destruction
memento
While dialoguing with the images' chain of the previous issue, destruction is here understood and figuratively represented as a process in continuity. The architectural scale gives way to that of landscape, to natural issues.
The narrative begins with a different perspective: the spectacularization of a tragic event, such as the blowing up of a highway bridge built in the 1960s (Genoa, 2019). There are, then, images that speak of risk, of loss resulting from destructive acts (Grajaù, 2019), of the construction of an “other” landscape (Passo di San Gottardo, 1997), of broken territories (Paesaggio interrotto II, 1970). Changes, alterations, and transformations follow one another until they affect the part of the whole. The cutting of the canvas, thus, turns into the destruction of a landscape that becomes a work of art (Gibellina, 2019), into a substantial cultural loss if we consider the example of the Buddhas of Bamiyan (Bamiyan Valley, 2021), monuments of memory, history, and national pride. The emptiness of the remains, at the same time, creates a sense of suspension, of removing pieces of the city (Sol Lewitt, 1978), of building by fragments (Terra Nova, 1988), realizing mega-structures to foster interaction between human and natural territories, and finally addresses the effects of a permanent state of destruction by proposing utopian realities (Academy on the Hill, 1979).
Anna Positano, Ponte Morandi, 2019. ©Anna Positano
Tommaso Protti, Photographic reportage for Fondation Carmignac, Grajaú, Brazil: a deforested area in the southern state of Maranhao, as seen from the helicopter of IBAMA, the national environment agency in Brazil, 2019. ©Tommaso Protti
Sol Lewitt, Photo of Part of Manhattan with the Area Between 117 Hester St, 420 W. Broadway and Morty’s Liquor Store Cut Out, 1978. ©Sol Lewitt
Lebbeus Woods, DMZ Project (from Terra Nova), 1988, in: Lebbeus Woods, «Building Landscapes», 13-09-2010, in Clare Jacobson (edited by), Slow Manifesto. Lebbeus Woods Blog, Princeton Architectural Press, New York 2015, p. 154. ©Estate of Lebbeus Woods
Gabriele Basilico, Passo di San Gottardo, Switzerland, 1997. ©Gabriele Basilico/Archivio Gabriele Basilico
Pino Musi, Grande Cretto di Alberto Burri, Gibellina, 2019. ©Pino Musi
Henry Wilkins, Plan de la ville de Pompeii, watercolor, pencil, ink, 250 x 382 mm, 1818, in: Wilkins, Suite de vues pittoresques des ruines de Pompeii et un precis historique de la ville.
Luigi Moretti, General view and detail of the tall building towards Via San Senatore, in: Cecilia Rostagni, Luigi Moretti 1907-1973, Electa, Milano 2008, p. 246.
Torsten Pursche, Buddha Staute in Bamiyan - Afghanistan. ©Torsten Pursche
Peter Cook, Academy on the Hill, 1979, in: Kristoffer Lindhardt Weiss (edited by), Peter Cook - On Paper, The Danish Architectural Press 2022, pp. 92-93.
Carlo Francini Vanessa Staccioli Gaia Vannucci
Maryia Rusak
Azize Elif Yabacı
Jiayao Jiang Pedro Marroquim Senna
