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courses and workshops

mediterrean architecture | convention

Friday 18 October 2019, at OCRA Montalcino, Permanent School of the Living with the patronage of the Municipality of Montalcino and the Order of Architects of Siena, organizes the convention “Mediterranean architecture” and the inauguration of the exhibition The Land That Remains.

Friday 18 October 2019 from 2:00 pm | 4 Professional Training Credits for Architects

Register on IMateria or in site on the day of the convention | participation fee Euro 20 euro in site
(only for members of Prefessional Orders of Architects)

Friday 18 October 2019, at OCRA Montalcino, Permanent School of the Living with the patronage of the Municipality of Montalcino and the Order of Architects of Siena, organizes the convention “Mediterranean architecture” and the inauguration of the exhibition The Land That Remains.

download the poster



2.30 pm registration of participants for assignment of Professional Training Credits
3:00 pm intervention by Carlo Pozzi
3.45 pm ntervention by Suad Amiry
4.30 pm Speech by Giovanni Fontana Antonelli
5:15 pm Intervention by Daniela Tartaglia and Federico Busonero

Debate coordinated by Edoardo Milesi

7.00 pm Vernissage The Land That Remains.

Presentation of the exhibition by Federico Busonero.
At the end of the study day it will be possible to have dinner at BistrOCRA. Reservation required (+39 0577 847065 or by sending an email to by Thursday 17 October, (€ 25 per person).



Focus on interventions

The Mediterranean as a myth for architecture
by Carlo Pozzi

The communication must be framed starting from the wide-ranging studies on the Mediterranean and in particular from the books of Fernand Braudel and Predrag Matvejević, to subsequently tighten the field with the small book by Benedetto Gravagnuolo (The myth of the Mediterranean in contemporary architecture). The relationship with Il Mediterraneo expressed by K. F. Schinkel and later by the painters of the 1900s (De Chirico, Savinio, Severini, Guttuso) will be examined later. The instrumental use of the reference to the Mediterranean through classical architecture during the fascist period, with some masterpieces (works by Figini and Pollini, Libera, Moretti, Terragni). Luigi Cosenza and the Olivetti factory in Pozzuoli. Le Corbusier’s journey to the East, architecture and references to harmony and theories of proportions, Le Cabanon and the tomb at Roquebrune-Cap-Martin.


Mediterranean architecture for European construction
by Giovanni Fontana Antonelli 

The merit of this conference is that of focusing the attention on Architecture and the Mediterranean by focusing on a crucial question of our time, that is how much Europe and how much Mediterranean, how much West and how East permeate our architecture, our cities and, for extension, our lives. I think that the idea of ​​Europe cannot be separated from that of the Mediterranean, and I also think that Mediterranean Architecture and Cities are among the most successful places – and fascination – in terms of aggregation of spaces and the social fabric, of hybridization cultural and gastronomic and, why not say it, in terms of beauty. It is starting from these considerations, therefore, that one can try to define the Mediterranean Architecture, despite its definition escapes the categories; nevertheless, what seems even more important to me today is to talk about living space and public space in a Mediterranean environment, in the light of the migratory flows that necessarily change the spaces and their uses.


Photographing Mediterranean architecture
by Daniela Tartaglia

The function of the photographic act is to document the shape underlying the chaos, to reveal the stubborn beauty of some architectures and places but also to take back the world around us and its residuality. And it is on this important aspect that I would like to dwell, because today – as a Domus editorial in 2004 already pointed out – architectural photography pursues different paths with the pretense of replacing real architecture. “It seeks objective poses, thanks to an impersonal point of view, purified of all emotion, isolates the buildings from their context and their inhabitants; produces images that try to capture what the public expects from a signed architecture: wonder, charm, spectacle. “(Domus, n. 871/2004). Photography has, in my opinion, an enormous and fruitful interpretative potential. It is an extraordinary tool through which to discover the world and, in the case of architecture, it can reach its essence.


he photographic look at architecture
by Federico Busonero

Photography, by its very nature, is measured by the landscape and, in particular, by the inhabited space – the architecture – present in it: it acquires them, makes them their own, modifies them. It is an acknowledged fact that we remember a photograph of a place, of a landscape, of a person – that image that over time sediments in the psyche up to become an inseparable part of our biography. It could not be otherwise, since photography deals with the existing, where we are; photographing a subject, be it a landscape, a historical monument, an inhabited building means first of all trying to circumscribe it and place it in a context that changes according to the personality of the photographer and the needs and expectations of those who use the image created by photographer. This applies to the architecture of the Mediterranean as well as to any other architecture. There is a long and consolidated tradition of photographic campaigns in France, Spain, Italy, the United States and the Middle East. They, to a more or less effective extent, have had a specific purpose: to take over the architecture, to make it transportable image due to the customer’s need or to the pleasure of an increasingly more demanding public eager to learn about other places, far away. In the personal vision of the photographer, architecture acquires a citizenship and a new dimension, different, no longer local and limited. For many generations, photographs have literally shaped a perception of dreams, epic of exotic architecture and landscapes, otherwise inaccessible.


The Land That Remains
by Federico Busonero

On behalf of UNESCO (United Nations Educational Scientific Cultural Organization), Federico Busonero undertook in 2008/2009 three long journeys through the West Bank of the Occupied Palestinian Territory. The purpose of his photographic studio was to “document landscapes of particular cultural significance”. The research was published by Hatje Cantz in 2016 in the book The Land That Remains. In addition to the author, the curator Anne Sanciaud-Azanza, professor of Heritage Preservation at the François Rabelais University in Tours, and the architect Giovanni Fontana Antonelli, specializing in the restoration and preservation of cities and landscapes, participated in the publication project. historians. In the author’s words, The Land That Remains “transcribes and renders in images the beauty and suffering of the landscapes of Palestine – meditation on an epic civilization today on the verge of disappearing, an elegy and a form of affection for its past and his present. The earth that remains is an indefinable state of the immanence of all things, of all that we have already seen and known in other places and in other times and that we have forgotten. The Palestine I visited remains elusive, transfixed in the immobility of its time. I felt almost an intruder in approaching the contradictory topography of the present and the demanding past it contains: places of great weight and history, places of innumerable memories, places that resound with human suffering and dignity.”



About Carlo Pozzi

Carlo Pozzi is Full Professor in Architectural Design in the Architecture Department of Pescara (University “G. D’Annunzio” of Chieti and Pescara); he carries out research in the Department of Architecture, of which he was director from 2012 to 2014, especially on the topic of urbansprawl along the middle-Adriatic coast line, on the important role of infrastructures and on the identification of new centralities. In recent years it has established the Informal City Laboratory, applying teaching and design to the urban regeneration of Brazilian favelas and the slum of Kibera (Nairobi). He worked on numerous renovations in the Sassi of Matera, winning the INARCH 1990 award. He is responsible for international conventions between the University of Chieti, the University of Florida at Gainesville (USA), the Escola da Cidade in San Paolo (Brazil) , the University of Nairobi (Kenya). He has published numerous essays, including “The climate as a construction material, and other writings by Le Corbusier” (Libria, 2015). His projects have been published in the major architectural magazines, in “Almanacs of Italian Architecture”, “History of Italian Architecture. Il Secondo Novecento “,” Almanacco di Casabella. Young Italian architects ’97 / ’98 “,” China Arch. 100 Italian architects and their works “,” ItalyNow. Architecture 2000-2010


About Suad Amiry

Born in Damascus to a Syrian mother and a father from Jaffa, she lived in Amman, Beirut, Cairo; graduated from Michigan University, she specialized in Edinburgh. Since 1981 he lives in Palestine, in Ramallah, in the West Bank, where he teaches at the University of Bir Zeit and directs the Riwaq Center for Architectural Conservation. Between 1991 and 1993 he was part of the Palestinian delegations for peace in the Middle East in meetings in the United States. [1] He has made numerous studies, publications and catalogs on historical Palestinian architecture and discovers himself as a writer collecting diaries in a volume which held during the Israeli siege of the headquarters of Arafat in Ramallah in 2001 and 2002. It is known to the international public with the work Sharon and my mother-in-law (2003), translated into 11 languages and with which it won the Viareggio prize in 2004.


About Giovanni Fontana Antonelli

Graduated in Architecture at the University of Florence in 1994, he is an architect, urban planner and landscape architect. Specialized in Design and Urban Recovery, Landscape Restoration and Planning, he began working for UNESCO in 1998, as a specialist in cultural programs in sub-Saharan Africa; after a year at the UNESCO World Heritage Center in Paris (2001-02), he was in charge of the Middle East. He worked in Palestine (2003-13), completing about 40 projects in the districts of Bethlehem, Ramallah, Nablus, Jericho and the Gaza Strip, focusing on the protection of cultural heritage, and in particular on the conservation and management of cities and historical landscapes, as well as on the intangible aspects of heritage conservation, favoring the involvement and support of local communities. After a semester in Nigeria in 2013, he leaves UNESCO to devote himself to technical projects. He served as Senior Advisor to the Department of Antiquities and the Municipality of As-Salt in Jordan, directing the project to register the historic city of As-Salt and its eclectic architecture on the World Heritage list. As a senior consultant to the UNESCO Office in Iraq, a position he held until March 2019, he developed and implemented projects on heritage conservation in various cities of Iraq (Bagdad, Basra, Samarra, Kirkuk and Mosul).


About Daniela Tartaglia

Daniela Tartaglia (1954, Forte dei Marmi) has been involved in photography since the late 1970s and in 1981/82 was one of the founders of Fotostudio, the first Florentine gallery dedicated entirely to photography. Since then he has always tried to add to his personal research the passion for philosophical-cultural problems borrowed from his university studies. He lived for over ten years in Milan where he worked as an iconographic researcher for B. Mondadori, RCS Libri, Edumond, Sansoni, Le Monnier, Alinari. At the same time he was teaching as a photography teacher at the European Institute of Design and the CFP Bauer of the Lombardy Region. From 1995 to the present he is a lecturer in the history of photography in the Triennial Photography Course of the Fondazione Studio Marangoni in Florence. As a lecturer he taught at the Fine Arts Academies of Palermo, Bologna, Florence and at the Faculty of Architecture in Florence. In the nineties he worked on the cataloging project of the photographic heritage of the Fratelli Alinari Museum of the History of Photography in Florence (Alinari 2000-Save our memory). Together with Italo Zannier he published the cataloging manual The photograph in archive (Sansoni, Milan, 2000). With Bononia University Press (Bologna) he published, in 2011, the volume The body in pose. He published his artistic research in the volumes Appartenenze (Art &, Udine, 1998, texts by Jean-Claude Lemagny and Lella Ravasi Bellocchio), Assoluto Naturale. Shapes of marble in the photography by Daniela Tartaglia (Arti Grafiche Friulane, Udine, 2005, texts by Roberta Valtorta and Lella Ravasi Bellocchio), Become a river (Edizioni Polistampa, Florence, 2017, texts by Federico Busonero, Liliana Grueff, Giovanni Fontana Antonelli) . She is one of the thirty Italian photographers whose experience, artistic and life, has become part of the volume Talking to you. Meetings with Italian photographers, curated by Giovanna Chiti and Lucia Covi, Danilo Montanari Editore, Ravenna, 2013. On the initiative of Giovanni Gastel, president of the AFIP (Professional Photographer Association) the publishing project has become an itinerant exhibition / installation (MIA / Milan 2014, Frame Foto Festival, Salsomaggiore 2014, Le Murate / Projects for contemporary art, Florence 2015, La Triennale, Milan 2016). Numerous collective and personal exhibitions. Among the most important personal exhibitions are the exhibitions at the Corrente Foundation, Milan 1990, the Landscape Museum of Verbania and the Dryphoto of Prato in 1994, the Limonaia of Villa Strozzi in Florence in 1998, the Medici Palace in Seravezza and the Torre aldobrandesca in Capalbio in 2005, at the Fortino Medici in Forte dei Marmi in 2010, at the Galleria Spazio Farini 6 in Milan in 2011.


About Federico Busonero

Training doctor, I undertook the photographic research in 1988. My first book Fiji The Uncharted Sea, a study of the reef of the Fiji Islands, was published in 1996 by the European Union and the Government of Fiji. This publication was followed by other research published in the books Foresta, Il Castagno, Sant’Antimo (Polistampa Edizioni, 2000/2003), The Land That Remains (Hatje Cantz, 2016) and in the portfolio The Chapel of St. Ignatius. (Seattle, 2005). For Les Editions Ottezec, Paris, I published Color and Form On The Reef (1997) in collaboration with Rodney de.C. Gray, and Permanent Blue Light (1997) together with the poet and artist Cozette de Charmoy. In collaboration with the poet Stefano Vincieri, an artist’s book was published on Every Stone Layer / On Every Laid Stone (MAVIDA Editore, 2017). My photographic works are collected in the National Library of France and in private collections, in Italy and abroad. I have lectured on photography at various institutions, including: the Cornell and Columbia Universities, Alwan for the Arts, the Benetton Foundation, the Marangoni Studio Foundation, the Regional Council of Tuscany, the Italian Cultural Institutes of Paris and Cologne. I have exhibited in various locations, in Italy, France, Germany, United States of America, Jerusalem, Hebron. On behalf of the United Nations agencies – UNESCO, WHO, UNIFEM – I undertook photographic research in Palestine in 2008-2009 and 2017. The CARBON project, a research on the consequences of climate change in the Fiji Islands, is underway.


Friday 18 October 2019 from 2.00pm | 4 Professional Training Credits for Architects
Register on iM@teria
or in site on the day of the convention
OCRA Officina Creativa dell’Abitare
Via Boldrini 4, Montalcino (SI)
Phone +39 0577 847 065


OCRA – Officina Creativa dell’Abitare
Via Boldrini 4, Complex of Saint Augustine – Montalcino (SI)
+39 0577 847 065 | Viola Grassenis