T H E   C I T Y   S T A G I N G

TEATRI URBANI is an answer to the urge of a different interpretation and planning approach to the city. 

The primary aim is to compact back the URBAN TEXTURE — for every single part is fundamental to the well functioning of this particular organism — and then to create for it a LUMINOUS ENVELOP OF BEAUTY AND COMFORT for the individuals that are somehow immerged in it, temporarily or permanently.

In this sense, the path implies the true knowledge of the CITY IDENTITY as the very starting point, and by identity we mean the VISION that the city evokes, which is far more powerful than the material surface it shows of itself.

This task is only achieved by investigating the actual way it is perceived by those who actually live it. What emerges from this investigation is translated into a global light plan, where the rediscovered identity is THEATRALISED and STAGED PERMANENTLY for the benefit of the community.

This is the project direction.
And three are the main inspirations around which it is build.



T H E   S E N S E D   U R B A N I S M 

PERCEPTION is the central concept of Kevin Lynch’s intuition, which profoundly inspired the present work as follows:

→  The  n e e d  is to get to a  COHERENT  PLACE  LEGIBILITY  

→  The  s t r a t e g y  is going through how people understand the urban layout and create their MENTAL MAP with their own peculiar sensitivity

→  The  t o o l s are 5 distinct features, what Lynch calls THE 5 INTENSIVE FOCUS  that characterize the image of the city as a vibrant organism

1 PATHSP  A  T  H  S 

2 EDGESE  D  G  E  S

3 DISTRICTSD  I  S  T  R  I  C  T  S

4 NODESN  O  D  E  S

5 LANDMARKSL  A  N  D  M  A  R  K  S 

kevin lynch

Kevin Lynch


L I G H T 

W H A T   A   W O N D E R F U L   W O R L D !

One can say that LIGHT IS LIFE ITSELF. And no better words could define it, from all perspectives. The level of human knowledge has now widely confirmed that light affects inexorably every human performance or experience — spiritual, physical, or psychological it may be — for the very one reason that it rules the basic system all living beings are set upon: ELECTROMAGNETISM

In particular for the visual experience, it means speed of perception and imprinting in the personal or collective imaginary, and is the only projectual matter that can be described as follows:

IN-MEDIATE / it overcomes the rational barrier and imprints in no time the senses


extraordinarily VERSATILE and FLUID

PLAYS GENIUOSLY with the matter



T H E   S T A G E   O F   H U M A N   L I F E 

THEATRE, one of the most ancestral compulsion of human race.
Through it, the whole range of experiences is explored and revealed, in a very seductive way: NARRATION.
But theatre itself can hardly be narrated, for indeed it can only be lived, perceived as an intimate matter.

A pure matter of emotions.

And beyond the world of wooden stages sounding feet of passion behind red curtains being raised and shut like gigantic eyelids facing shiny gold decorations hanging on the walls and on sophisticated necks immerged in piercing notes moving through vibrant lights and darks where conscious masks dominate the life business…

Beyond all that, the WORLD itself, the main theatre. An endless stage designed with breathtaking spaces, overwhelming heights and glorious architectures of colors, sounding with heavy silences, lifting melodies and cries, teeming with a crowd of moving or unmoving actors lighted by soft contrast and strident contradictions.

Always mutating anew its mask to perform its everlasting omnipotent opera: LIFE.


pittura rupestre