a magazine on the
power of the project.
Ardeth aims at opening up a space for design theory. A space for reflecting and discussing around an object that is in need of a redefinition, despite the fact that it informs all design practices. Often erroneously likened to the architect’s poetics or worldview, design theory has its own theoretical foundation, which has been under discussion for centuries, and which needs to be further discussed in order to understand the power of design actions.
Unlike the many magazines that revolve around the architectural world, Ardeth concerns neither with outcomes (architecture) nor with the authors (architects). Ardeth concerns instead with their operational work, i.e. projects. The shift from subjects (their good intentions, as taught in Universities and reclaimed in the profession) to objects (the products of design, at work within the social system that contains them) engenders an analytical and falsifiable elaboration of the complex mechanisms that an open practice such as design involves. Through a process of disciplinary redefinition, Ardeth explores the falsifiability of design hypotheses as the object that allows the project to scientifically confront errors and approximations.
Ardeth builds on the exhaustion of the legitimization model for the project of architecture as based exclusively on the seduction with the subject-author. Starting from the analysis of the difficulties encountered by architecture in socializing its merit, Ardeth aims at defining the field of action for design to establish its own specific operative dimension, which is technical, symbolic and political together. The project is intended here not as the outcome of a supposed artistic will of a subject informed by an all-inclusive interpretation of the world, but as the documental result of a complex negotiation between agents of a various nature (subjects, rules, writings, collective representations). Starting from this assumption the magazine intends to explore the various phenomenologies of performativity of the project which are able to offer convincing answers – in terms of narrative as well – to the socially founded request for the transformation of physical space.
Ardeth came into being in Italy: the place where in the second half of the 20th century the currently dominant interpretive paradigm of the designer’s role originated, as well as the place where such a paradigm encounters the most trouble in renewing its own social function. Ardeth opens to the world, aware that the problems of architectural practice concern global urban challenges, and that the scale of the effects engendered by the project changed radically with the turn of the millennium.
Ardeth looks to two kinds of readerships. Firstly to those motivated by operative purposes, who will be interested in the analyses on the performativity of design production, the estimates of its implications within the bureaucratic and symbolic dimensions, and the project’s ability at producing effects. Secondarily to those with interest in the purely social dimension of the project, the framing of specific forms by means of which it operates within the community, and finally in connecting the narrative to the forms of a socially constructed and analytically verifiable rationale, not centered on the exclusive intentionality of the architect.
Ash Amin – University of Cambridge
Tiziana Andina – Università di Torino
Ariga Takashi – Waseda University
Pepe Barbieri –Università degli Studi ‘G. d’Annunzio’ di Chieti-Pescara
Petar Bojanic – Univerzitet u Beogradu
Alessandra Capuano – Sapienza Università di Roma
Pierre Chabard – criticat
Marco Cremaschi – Università degli Studi Roma Tre
Marco Dugato – Università di Bologna
Giovanni Durbiano – Politecnico di Torino
Franco Farinelli – Università di Bologna
Maurizio Ferraris – Università di Torino
Hélène Frichot – KTH Stockholm
Gevork Hartoonian – University of Canberra
Felipe Hernandez –University of Cambridge
Anton Kalgaev – Strelka Institute
Sandra Kaji’O’Grady – The University of Queensland
Carlo Manzo – Università degli Studi della Campania ‘Luigi Vanvitelli’
Carlo Olmo – Politecnico di Torino
Juan Manuel Palerm Salazar – University of Las Palmas de Gran Canaria
Igor Marjanovic – Washington University in St. Louis
Rahul Mehrotra – Harvard University
Gabriele Pasqui – Politecnico di Milano
Mario Perniola – Università degli Studi di Roma ‘Tor Vergata’
Piero Ostilio Rossi – Sapienza Università di Roma
Andrea Sciascia – Università degli Studi di Palermo
Felicity D. Scott – Columbia University
Jeremy Till – Central Saint Martins
Fabio Todeschini – University of Cape Town
Stephan Trüby – Technische Universität Munchen
Ilaria Valente – Politecnico di Milano
Albena Yaneva – University of Manchester
Zhang Li – Tsinghua University
Alessandro Armando, Daniele Campobenedetto, Leonardo Caffo, Francesca Frassoldati, Valeria Federighi.
Politecnico di Milano, DAStU
(Dipartimento di Architettura e Studi Urbani)
Politecnico di Torino, DAD
(Dipartimento di Architettura e Design)
Università IUAV di Venezia, DCP
(Dipartimento di Culture del Progetto)
Università di Roma La Sapienza, DiAP
(Dipartimento di Architettura e Progetto)