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What is certain in geometric terms becomes uncertain in terms of urban space, and the Mediterranean city demonstrates this in an unequivocal way. In fact, the experience of making a journey directly affects the time that we spend undertaking that journey. The ergonomic calculation applied to urban behaviour always leads to the establishment of elementary hierarchies that end in the regimentation of spatial planning.

They are full of disorder, but also that they are endowed with an extraordinary capability to change, modify, adapt, spread and come to an end, while continuing to generate spatial perceptions and experiences.

We can think about how much has happened in recent years in Barcelona, one of the most contradictory and exemplary planning experiments conducted on a Mediterranean city. The Barcelona operation began with the restoration of some small squares dotted around the city, with the thinking that by improving collective space one would end up with the improvement of individual space as well.

In fact, the houses and streets around these squares have gradually been affected by the new quality of the spaces they overlook and have in turn begun to upgrade. Very important operations have been conducted in Barcelona following the same strategy. The entire operation was conducted with a spirit of cohesion and grandeur that has led Barcelona to the expectation of being the Olympics venue and obtaining that honour, getting an impressive financial contribution.

But the operation became more questionable from the moment the large extension projects began in the Marina and the restructuring of Barceloneta. There was no longer the experimental spirit that nourished the first movements. Together with the magniloquent city planning came the usual clichés, and the city began to lose its incomparable allure as an unpredictable, complex, meandering Mediterranean city — a place where you can get lost and therefore you must continue to discover.

The intervention of Bohigas on the left side of the Ramblas was symptomatic of this inversion, where a new building opened a large view of Santa Maria del Mare. At one time you had to go and search for Santa Maria del Mare to discover it, and the discovery was a marvellous surprise. In recent years, in fact, Barcelona has become an inflexible Central European metropolis. I fear there it will be even more so when the latest big projects in progress are realized.

But I would like to be clear: This is the symmetrical error, the other side of a coin that legitimizes an inorganic and quantitative urban development. Instead, the real alternative was to introduce meanings consistent with those of the past to spaces of the present, and clearly contemporary meanings to spaces of the past.

This would lead them to the contemporary systems of meanings, where they would otherwise remain silent and unexperienced because they cannot be understood. The practice of mummification, acclaimed as the universal cure by the Italian pit bulls of all-out conservation, only makes sense in rare cases, and to the ends of pure documentation.

The Mediterranean city of which we speak is to be found above all on the southeast side of our great sea. There it survives in a state of immense and confused tension due to the conflict between Israel and Palestine and the obtuseness of the numerous dictatorships that govern their states.

They prevent the Islamic world from fully expressing itself and liberating the enormous cultural energy that emerges from a rapidly expanding libertarian aspiration. The example of Lebanon and the rebirth of Beirut demonstrate how many different ethnic groups and religions can live together, generating a state of creative fervour that derives from cultural diversity.

But entirely different and dramatic things are happening in the rest of the Mediterranean. The sea, the wind and the light of the sky used to be fundamental components of the life of the cities and their citizens. Today, however, the Mediterranean is scored by specialized, rigid and inflexible courses. They are automatic courses that often meet with tragic ends above all, I believe, because they destroy the sanctity of the Mediterranean.

It is a sanctity that is part of our culture and accompanies us in life, though we no longer understand ancient Greek and have forgotten The Iliad and The Odyssey.

One would have to study the new courses to understand where they start from and where they go; what space they travel through and how they change the identities of seafarers along their way. In particular, one would need to study the real geography of the migratory processes that move across the Mediterranean and understand where they branch off after reaching land. Migration has always been the vital essence of Mediterranean cities. New cultures have continued to be included in daily life, and they have fertilized and expressed themselves through complex urban forms with richness and imagination.

Ignorance of their permeability, complexity, meanderings and hybrid richness could result in irreparable tragedies. Nel si è laureato in ingegneria al Politecnico di Milano, prima di partecipare alla Resistenza e di riprendere gli studi di architettura a Venezia, dove nel è diventato docente di progettazione urbana.

Autore di numerosi saggi e libri, è stato curatore nel della Triennale di Milano. Le sue idee antiautoritarie, la sua lettura organica dello spazio urbano si sono espresse in molti progetti di architettura partecipata e nella lunga esperienza di progettista a Urbino e in molte altre città italiane.

Lives and works in Venice and Milan. De Carlo graduated with a degree in engineering from the Politecnico di Milano in He took an active part in the wartime resistance movement, and subsequently studied architecture in Venice, where he became professor of urban design in He has the author of nuomerous eassys and books.

In he curated the Triennale di Milano. His anti-authoritarian ideas and his organic interpretation of the urban enivronment found expression in his many parcipatory design initiatives and in a long term project in Urbino, as well as many other italian cities. Il Forum è costituito da una serie di eventi, conferenze, spettacoli, mostre che si sviluppano attorno ai temi della pace, della diversità culturale, della sostenibilità.

Gli eventi dovrebbero svolgersi in tutta la città, coinvolgendo gran parte delle istituzioni cittadine. Esiste tuttavia un luogo specifico, in cui si concentreranno quelli che sembrano essere gli eventi più importanti del Forum. Il confronto con le Olimpiadi è inevitabile. Il progetto Forum — con la conclusione della Diagonal, il risanamento ambientale, le nuove spiagge, i parchi — vorrebbe essere la continuazione di quel processo, e la sua conclusione.

Non più il tentativo di reinterpretare la tradizionale maglia urbana attraverso il meccanismo degli isolati, o dei super-isolati, ma un concetto completamente nuovo: Che cosa sta succedendo a Barcellona?

Nuove architetture, grandi infrastrutture, piazze, giardini, eventi In Barcelona, at the end of the Diagonal, a vast surface second only to Tiananmen Square in Beijing, will accommodate the events of the World Cultures Forum.

With the opening date now only a few months away, the area is still a gigantic construction yard. The east end of Barcelona is concerned by numerous transformation projects.

Opposite, the projects for the Forum area. Gli scenari del Forum: Hotel Diagonal Oscar Tusquets 5. Hotel Plaza Forum Enric Massip 7. Information point and welcome area. Auditorium del Mar FOA: Alejandro Zaera-Polo, Farshid Moussavi Sotto quella che sembra solo una nuova configurazione del suolo scopriamo invece gli impianti di depurazione della città. Un nuovo paesaggio capace di accettare le presenze delle infrastrutture, delle strade, dei depuratori, delle centrali, e di rafforzarne il carattere attraverso le grandi pensiline, anche queste incommensurabili, che con i loro pannelli fotovoltaici sono destinate a concedere ombra, e produrre luce nello stesso tempo.

Ben più profonde sono le differenze. Il progetto olimpico è il frutto di una particolare situazione che vide, nei venti anni precedenti, di fronte a una profonda crisi del settore industriale, la presenza di un forte governo cittadino, una stabile coesione sociale, un intervento pubblico in grado di definire un processo di pianificazione a lungo termine, con la creazione di nuovi servizi e infrastrutture integrate nel tessuto urbano, e la trasformazione degli spazi pubblici.

Quel modello è scomparso con la conclusione delle Olimpiadi. Con le Olimpiadi Barcellona è diventata una città turistica internazionale dal il turismo conosce una crescita di circa il 10 per cento annuo.

Il Forum costituisce la naturale conclusione di questo processo: La gestione del tutto sembra per il momento alquanto indefinita. Ma cosa accade attorno al Forum? Il processo di trasformazione ha portato, come per la creazione del nuovo Villaggio Olimpico nel , alla completa cancellazione del tessuto esistente.

Su questa tabula rasa sono stati realizzati alcuni isolati, continuazione della maglia urbana; la Diagonal Mar, intervento del developer americano Hines, con il progetto del parco di Miralles e Tagliabue; nuovi alberghi; gli edifici del Forum. The transformation has led, as with the creation of the new Olympic Village in , to the complete erasure of the existing fabric. On this cleared space have been built a number of blocks that are a continuation of the urban grid: I contenuti di tali progetti verranno definiti dopo il progetto architettonico e la loro realizzazione o gestione verrà offerta agli operatori privati, senza un progetto globale che ne stabilisca le condizioni e gli equilibri.

Il risultato è un parco tematico banale, in una città che invece aveva saputo associare funzioni e gruppi sociali in una cornice urbana non solo erede della propria storia e dei suoi migliori progettisti, ma anche innovatrice nelle sue forme e articolazioni. The new horizon for large projects, the Universal Forum of Cultures planned for , is conceptually confused its content was never defined and fragmentary from an urbanplanning perspective, with a weak or nonexistent global metropolitan project and an overdependence on private investment.

City planning in the last decade has been nothing more than an offer with a barely hidden openness to private parties wanting to develop pieces of the city. The trend toward recreational complexes has overcome the construction of a polyvalent city that favours integration. At the same time, the Forum site, which is situated directly next to it and constitutes a quality increase for the entire area, is being used for projects that are simply based on a heterogeneous group of public and private organizations.

The contents of these projects will be defined after the architectural plans are complete. Their construction and management will be offered to private companies without a global intent establishing the conditions and the relationships between the parts or the possibilities to connect with the existing urban fabric.

The configurative drafting of this large space is lacking its central court alone measures 16 hectares , and the various components are incoherent and badly connected.

The result is a banal recreational complex in a city that in the past was able to associate functions and social groups in an urban frame that was not only part of its history and a product of its best talent, but innovative in its forms and configuration.

Poco lontano, un centro commerciale progettato da Robert Stern con circa Dirigendoci, a fatica — vista la trama viaria esistente — verso nord, troveremmo invece alcuni quartieri di abitazioni popolari, tra cui La Mina circa Si tratta di una proposta sicuramente meno spettacolare del Forum, ma forse una scommessa più interessante per il futuro della città.

È qui, nella zona orientale della città, che probabilmente si deciderà il modello per la Barcellona del prossimo decennio. Non si tratta quindi solo di uno scontro su ipotesi morfologiche diverse, tra agopuntura o protesi urbane: Mindful that a large part of its urban transformations have always been linked to major events, after the success of the Olympics Barcelona tried to make itself the European Capital of Culture, or the site of a new World Expo.

Its goal was to complete a process of urban transformation by gathering the necessary resources around a new grand event. Having missed these targets, then-mayor Maragall managed to get Barcelona selected to host the Universal Forum of Cultures from May to September This new event was approved in by UNESCO countries and is scheduled to be repeated every four years in different cities.

The Forum includes a series of events, conferences, performances and exhibitions relating to the themes of peace, cultural diversity and sustainability. According to the various estimates, all of this is expected to bring to Barcelona between three and five million visitors and to focus renewed media attention on the city.

The events will take place throughout the city and will involve most of its institutions. This is a vast area that had until now been kept out of sight. Located in it were public housing, purifiers, electric power plants and incinerators. The extension of the Diagonal as far as the sea, however, has brought the whole of this urban sector back into play. Indeed, its new role has now become so important that it was bound to clash with its original conditions, typical of a socially, physically and environmentally degraded suburb.

Comparison with the Olympics is inevitable. It was the Olympic village that sparked the transformation of the east part of the city and led to the building of a new residential quarter. This has resulted in new services and facilities offices, hotels, a tourist port. Also, the city is now open to the sea thanks to a new promenade and a system of beaches.

The Forum project, with its completion of the Diagonal, environmental improvement, new beaches and parks, is seen as the continuation and conclusion of that process.

But a visit to the Forum area today, though it is still under construction, is an experience completely different to that of the Olympic city. It no longer attempts to reinterpret the traditional urban fabric by means of blocks or super-blocks, but rather through a totally new concept: The great, incommensurable and bright-blue triangular building by Herzog and de Meuron, with its slightly irregular skin, seems to rise out of the variously coloured tarmac that Lapeña and Torres have stretched gently down to the sea.

A new landscape that accepts infrastructure, streets, purifiers and power plants and boosts their character by means of large and again incommensurable cantilevers. With their photovoltaic panels, these will provide shade while at the same time producing light.

The differences go far deeper. The Olympic project was the fruit of a peculiar situation. In the previous 20 years a grave industrial crisis had been tackled by a resolute city council, strong social cohesion and public intervention with a will to implement long-term planning. New services and infrastructures were created and integrated with the urban fabric while public spaces were transformed.

That model disappeared when the Olympic Games ended. The city became increasingly fragmented in social terms, with more private capital spent on urban works and conversion. Inevitably, architecture prevailed over the urban, over urbanism and over urbanistics. The focus of attention was no longer on residents but on commuters, tourists and, naturally, shopping. With the Olympics, Barcelona became an international tourist city since tourism has risen by about 10 per cent annually. The Forum constitutes the natural conclusion to this process.

Remaining after these months of intense activity will be a new convention centre for 15, business tourists, various new four- and five-star hotels, new parks, open fenced? How all this will be managed seems for the moment not exactly clear. The Forum today, a few months from its opening date, is the subject of much criticism, both as an organization and as an urban development.

But what is happening around the Forum? Those venturing outside the Forum area at the end of the Diagonal and heading for the historic city would suddenly find themselves in a fascinating park designed by Miralles-Tagliabue.

Around it stand a number of upmarket apartment blocks blessed by unusual views for Barcelona of parkland and sea. Not far off is a shopping centre designed by Robert Stern occupying some 90, square metres of commercial surface, plus 5, underground parking spots. This operation is the work of the American group Hines. What is surprising is not so much to discover in Barcelona forms of residential settlement by now so customary in other European cities, but rather that private enterprise has preceded public works.

Thus, through the action of the Forum, it has enhanced the Hines area, called Diagonal Mar. Moving north, with difficulty due to the present poor road network, we would find public housing areas like La Mina about 12, inhabitants , which has since the s been characterised by its predominantly immigrant — and poorly integrated — population.

Improvement of this area is entrusted to a project Jorner, Llop and Pastor that will replace some of the degraded blocks and create the rambla as a unit of inner organization. It also envisages a possible connection with the Forum area. The factories that once occupied this land have long since gone, leaving an area that is the subject of what is intended to be a revolutionary urban conversion plan. Through a system of incentives, the idea is to create a new mixed fabric of advanced industry, residential building, business and services.

It is here, in the east part of the city, that the model for the Barcelona of the coming decade will probably be decided. It is about who may or should be responsible for these transformations, and who is to benefit from them.

Il Poblenou, poi, polmone industriale di Barcellona e della Catalogna e, per lungo tempo, massima concentrazione industriale del Mediterraneo, meriterebbe un trattamento particolare.

Nonostante lo scempio delle demolizioni indiscriminate, questo quartiere conserva ancora una trama urbana di fabbriche e di case popolari, che merita di essere valorizzata come patrimonio culturale europeo. Inoltre il Poblenou richiede assolutamente un programma di tutela degli edifici e dei complessi paesistici. The missing link One should take into account in the Ciutat Vella, where the industrial imprint is as marked as it is neglected, as too in the Eixample and, of course, in the old industrial suburbs of Llano.

Poblenou, the industrial lungs of Barcelona and Catalonia, and for a long time the greatest concentration of industry in the Mediterranean, also deserve special treatment. Despite ruinous indiscriminate demolition, this district conserves an urban weave of factories and low-cost housing that deserves to be exploited as a European cultural heritage.

Moreover, Poblenou gravely needs a programme to protect buildings and landscape complexes. The problem is that it is not a case of creating a Legoland made of solitary chimneys, old out-of-context facades and fragments of over-restored factories; it is necessary to maintain the readability of the weave as a whole and have a Museum of the Industrial City that carefully investigates the collective experience, from 18th-century factories to the impact of the most recent innovations.

Not only is this legacy the best guarantee of innovating Poblenou without sacrificing any of its formal wealth, social cohesion, economic diversity and tourist appeal, it will also, with legitimate pride, preserve a crucial link in the process that led to the Barcelona and Catalonia of today. Perché una volta a Barcellona i grattacieli erano un male mentre oggi sono un bene? Non aumentano forse la densità della città? I grattacieli sono il frutto di una città postindustriale, in cui un edificio occupa lo stesso spazio, sia esso demolito che costruito.

Se lo si costruisce, si possono ricavare anche dei parchi, mentre se lo si lascia demolito no. Chi critica i grattacieli critica anche i parchi. Che cosa succederà con il Forum Nel abbiamo avviato una serie di progetti, coscienti che non saremmo riusciti a ultimarla nei tempi previsti. Ed è stata una fortuna: Barcellona ha oggi quattordici chilometri di spiagge; negli anni Ottanta i cittadini disponevano solo di cinquanta metri di spiaggia. Fare una città per i turisti è farla anche per i propri cittadini.

Ha visto Full Monty? È la storia di una città industriale che, non sapendo metabolizzare la sua crisi, fa strip-tease per sopravvivere. Barcellona per vivere ha scommesso sul turismo. Ci stiamo re-inventando la città. Che cosa succederà con le installazioni del Forum nel ? Questo rappresenta una scommessa. Barcellona aveva la sua via principale che terminava in modo disastroso: Invece di costruirvi un edificio rappresentativo, abbiamo coperto questo luogo con una lastra di cemento. Dato che disponevamo di molto spazio, abbiamo deciso di realizzarvi un nuovo motore economico per la città.

Accadde lo stesso nel Barcellona funziona perché sa creare. La città funziona come una bicicletta: We are reinventing Barcelona AZ. Why is it that the skyscrapers that used to be an evil in Barcelona are now considered an asset? They are the product of a post-industrial city in which a building occupies the same space, whether it is demolished or standing.

If you construct a building, you can also create parks; if you leave it demolished, you cannot. Those who criticize skyscrapers are also criticizing parks. What is going to happen with Forum In we undertook projects knowing we would never manage to finish them on time. Thank goodness, otherwise we would not have the auditorium or the national theatre.

Today Barcelona has 14 kilometres of beach. In the s its inhabitants had just 50 metres of beach. But projects such as this annoy the inhabitants, who accuse Mayor Clos of creating a city for tourists rather than its own people. Creating a city for tourists is also creating it for your inhabitants.

Have you seen The Full Monty? It is a story about an industrial town that does not know how to metabolize its crisis and turns to striptease to survive. The same happened to Detroit, Manchester and Barcelona, which used to have a textile industry of which nothing now survives. Barcelona has gambled on tourism for survival. Before the Olympic Games, Barcelona recorded two million visitor nights per year; today it has nine.

We are reinventing the city. What will become of the Forum installations in ? It is a gamble. Instead of constructing a symbolic building, we covered it with a slab of concrete.

We had a great deal of space and we decided to turn it into a new economic motor for the city. Barcelona has a great many tourists, but as of it will also have numerous conference visitors, because in addition to the city attractions it will have the largest installations in Europe. The same happened in Forty kilometres of roads and the Olympic zone were constructed and the port area was regenerated. Barcelona works because it knows how to create. The city works like a bicycle — you can pedal fast or slowly, but if you do not pedal you fall off.

Mateo propose di continuare la maglia urbana con un grande complesso per il Centro Congressi; Miralles e Bru ipotizzarono un grande vuoto come conclusione della Diagonale. Nel modello sotto è riconoscibile sulla destra il complesso Diagonal Mar di Hines. In the model below , on the right: La passata legislatura, tanto controversa quanto sprecona, ha rivelato il suo lato peggiore quando si è indebitata con gli investimenti per il Forum Resta da vedere se il Forum apporterà migliorie alla città o, in realtà, priverà i barcellonesi delle loro capacità critiche, creative e umane.

È un collage globale, dal continuo mutamento e dalla gestione poco trasparente. Come il caso esemplare di quando si decise che Jacques Herzog e Pierre de Meuron fossero gli autori del Palazzo del Forum pensato inizialmente da Enric Miralles: Barcellona ha tutte le carte per essere un luogo magnifico, modello di città compatta e mediterranea — con buoni negozi e buona qualità di vita, con la partecipazione attiva dei cittadini, con il contributo dei migliori tecnici e artisti, con la legislazione più moderna a favore della sostenibilità, con le sue spiagge e il miglior spazio pubblico e con una qualificatissima tradizione di gestione municipale democratica.

It is increasingly distant from the urbanization implemented in the early days of democracy, marked by humanism, realism, passion and lucidity, as exhorted by Oriol Bohigas at the very beginning.

At that time, they were producing a concept of the city that had been developing for years, with the urban-planning precision and practicality of the so-called New Centrality Areas, led by Joan Busquets. Today we have increasingly muddled urbanization, the conditions of which are constantly changing — more like an able conjuring trick than a search for solutions for the common good.

It remains to be seen whether, instead of bringing improvements to the city, Forum actually deprives the people of Barcelona of their human, creative and critical capacities. The urbanization is also fragmentary and nebulous: It is a global collage that is constantly changing and with a not very transparent management, as in the exemplary case of when it was decided that Jacques Herzog and Pierre de Meuron would design the Forum building originally conceived by Enric Miralles ; all they presented at the competition was a declaration of intent, and then the municipal administration told them what form to give the building, which they had not even thought about at the time.

The triangle was devised by Martorell-BohigasMackay. Barcelona has everything needed to be a magnificent place, the epitome of the compact Mediterranean city — with a good lifestyle and shops, the active participation of its inhabitants, the best technicians and artists, the most modern sustainability legislation, beaches, the best public space and a highly qualified tradition of democratic municipal management.

However, in recent years, a public administration lacking coordination seems intent on doing the reverse: A major effort will be needed to launch a creative debate, and it is fundamental that residents apply greater pressure when demanding results from a public administration that, as things stand, has no opponents and always wins elections, however badly it performs. Sotto le dita della grande piazza di Lapeña e Torres pagina a fronte , i servizi del porto, uffici, sale espositive e la Ronda Litoral.

Gli investimenti nelle infrastrutture negli anni recenti a Barcellona hanno privilegiato la mobilità individuale. Located beneath the fingers of the vast square by Lapeña and Torres, opposite, will be port services, offices, exhibition rooms and the Ronda Litoral. The exhibition is a reflexion on cities as epicenters of human exchange and a description of the role they have as generators of cultural debate. I vari protagonisti sono persone ed enti coinvolti nella realtà del presente e in quella futura da costruire: Il Forum Barcellona sarà inaugurato il 9 maggio e terminerà il 26 settembre I dibattiti saranno strutturati intorno a tre fulcri tematici: Il Contro Forum Le ragioni per essere contro il Forum 1.

Per il modello di città Barcellona si sta trasformando in una città di turismo, di servizi e di attività per il tempo libero. Perché è organizzato da coloro che trattano i problemi sociali con la repressione Il messaggio del Forum è che tutto si aggiusta con il dialogo e che le amministrazioni danno delle direttive di partecipazione considerate in grado di risolvere qualsiasi problema.

Perché il Forum non è partecipazione e il dialogo è una farsa Il Forum parla di democrazia partecipativa, mentre è una realtà predefinita, realizzata, dialogata e pattuita dai vertici. La partecipazione cittadina è stata evitata, salvo i momenti in cui la si è cercata quale spettatrice passiva, come se il Forum avesse bisogno di una legittimazione attraverso il coinvolgimento dei movimenti sociali.

Perché la cultura e i valori sono per loro una merce La cultura come gran spettacolo, mielosa e standardizzata; la cultura del consumo e pretesto per il consumo: Perché le diversità culturali per il Forum sono uno spettacolo superficiale Che cosa intende il Forum per diversità culturale quando al tempo stesso reprime tanto la cultura?

City model Barcelona is turning into a city of tourism, services and leisure activities. Attack on the environment It is hard to believe that the municipal administration is concerned with sustainable environmental growth when the Forum buildings it is constructing require enormous change to the marine environment, concrete, a waste of resources and the construction of large buildings conference centres, hotels….

Consumers and employees have repeatedly accused all of these companies of attacking the environment and native peoples, and all are involved in the war economy and in neo-imperialism. Because it is organized by those who make immigration illegal The various administrations organizing Forum have approved laws against foreigners and are responsible for a situation that makes immigration illegal. Because it is linked to the war economy The Forum did not join anti-war protests to avoid upsetting the government, which supported it.

Because it is organized by those who counter social problems with repression The message given out by the Forum is that everything can be fixed through dialogue and that the instructions for participation issued by the administrations are capable of resolving any problem. This gives them an excuse to launch an increasingly radical and incisive policy of social control. Because the Forum is not participatory and the dialogue is a farce The Forum speaks of participative democracy when it is actually a pre-established reality created, discussed and agreed upon at the highest levels.

Because they see culture and values as commodities They see culture as a great saccharine and standardized spectacle, a culture of consumers and an excuse to consume. They forget that if a cultural model is to be consolidated, one must develop the very values that the Forum rejects — criticism, creativity and rebellion.

A theme park does not represent true cultural diversity. Because the Forum treats cultural diversity as a shallow spectacle What does the Forum mean by cultural diversity when, at the same time, it represses culture so much?

Forum Barcelona will open on May 9 and close on September 26, It will comprise discussions, entertainment, festivals, exhibitions, cultural events and activities for a mixed public. The debates will centre upon three essential themes: Testo estratto dal documento ufficiale del Forum La copertina di uno del folder di presentazione del Forum The cover of one of the Forum presentation folders.

The exhibition shows how the world has been colonized, the relations between human beings and analyzes some of the most crucial environmental issues. Hangar de la Marina Seca, 4. The exhibition shows the richness of human communication as an expression of the difference between cultures and as a dialogue among them.

La Mina Il Forum è visibile dalla Mina: Ma gli abitanti della Mina sanno che, almeno fino al , essa non farà parte del nuovo paesaggio: Barcellona lavora sulle scadenze, ma, mentre quella del Forum è molto chiara, per la Mina non esiste una previsione certa.

I piani dell'Ayutamento sono di realizzare nuova edilizia residenziale nelle zone industriali prossime alla città, per poter abbattere alcuni dei blocchi più fatiscenti e fare posto a una rambla che arrivi fino al mare. La Hines ha al suo attivo oltre seicento grandi progetti, che si sono tradotti in una superficie edificata di ventuno milioni di metri quadrati. Le sue politiche The Forum is visible from the Mina. Barcelona is working to deadlines, but while that of the Forum is very clear, that of La Mina remains uncertain.

The Ayutamento plans are to create new housing in the neighbouring industrial zone so that some of the more decrepit blocks can be demolished to make way for a rambla stretching as far as the sea. A livello internazionale, vanta investimenti in oltre trentacinque fondi e istituzioni governative. Testo estratto dal sito web di Hines. Diagonal Mar and the Hines development Not far from the Park designed by Miralles and Tagliabue, next to the Forum, the Diagonal Mar luxury residential complex built by the American developer Hines was completed before The development includes a large shopping centre designed by Robert Stern , with shops, 87, m2 of commercial space, 5, parking spaces, 24 buildings with 1, luxury apartments by architects including Oscar Tusquets, Alonso i Balaguer and Carlos Ferraté , 14 ha of park the third largest in Barcelona and 74, m2 of 5-star hotel accommodation.

Hines is a multinational real estate company with private capital, which, throughout its forty years of existence, has excelled in bringing quality, value and service to its customers and investors. Hines has gained a worldwide reputation in the areas of real estate development, management and investment.

It has developed more than major projects constituting a constructed surface area of 21 million square metres. Hines maintains an investment policy involving many of the most important financial institutions in the world. In the USA, the company currently has an investment portfolio spanning more than 60 pension funds, banks and other financial resources.

Internationally, it also has investments in more than 35 funds and government institutions. Hines has grown to constitute a solid and ever active presence in 72 cities in the USA and a further 17 cities throughout Europe, South America and Asia. Il centro commerciale della Diagonal Mar, di forma triangolare, è stato affidato a Robert Stern, che ha offerto un progetto di qualità discutibile.

Sullo sfondo, il Centro Congressi di Josep Lluís Mateo, di cui fanno parte anche le lame, destinate ad alberghi e uffici. The triangular Diagonal Mar shopping centre is entrusted to Robert Stern, who has offered a design of arguable quality. Abbiamo deciso di disegnare una struttura capace sia di generare che di articolare lo spazio pubblico.

Una serie di cortili che intersecano la struttura elevata stabiliranno una complessa interazione tra spazi aperti e coperti e i vari livelli della sede del Forum, creando costantemente nuove prospettive e inediti effetti di luce. From the perspective of urban planning, the project envisions a striking culmination of this grand historic avenue and its connection with the new coastal skyline via a gigantic platform spanning the Ronda Litoral.

We decided to design a structure that would both generate and articulate the public space. In addition, the entire room programme — including a 3,seat auditorium, exhibition areas, lobbies, offices and a restaurant — is to be organized horizontally, thereby ensuring the highest degree of functional flexibility. These considerations almost inevitably led to the proposal of an elevated, flat triangular form.

It is a perfect expression of the specific location of this site between the peripheral streets of the orthogonal Cerdà grid and Avenida Diagonal.

The covered area beneath the triangular volume is to be a hybrid space offering a combination of urban typologies. A series of courtyards intersecting the elevated structure establish a complex interaction between the covered open spaces and the various levels of the Forum building, constantly creating new viewing angles and changing light effects.

Uno dei punti cardine del programma del Forum è la sostenibilità: Questa è stata progettata sotto forma di due grandi coperture: The Plaza could be understood as a mantle that shelters buildings and industrial activities, the shape of which is influenced by its continuation of Avenida Diagonal, which widens and explodes into several finger-like appendages as it approaches its true end, the sea.

This mantle will host multiple activities in the future. The image of a new diagonal that extends like a hand, the membranes between its fingers becoming ramps and stairs permitting the access to the new marina, is one of the origins of the project.

The edges of each finger will be designed as continuous stairs that lead down to a walkway along the perimeter. The other canopy is placed above the plaza and will be perceived as a very large hypostyle hall. ML-T La sequenza del montaggio delle pensiline che ospitano sul tetto i pannelli fotovoltaici.

Fotografie di Lourdes Jansana. The assembly sequence of cantilevers containing the photovoltaic roof panels. Photographs by Lourdes Jansana. Un nuovo porto turistico, il completamento del sistema delle spiagge di Barcellona e un grande suolo artificiale, quasi un edificio, che accoglie tutte le vecchie e nuove infrastrutture, dai depuratori ai nuovi servizi portuali.

A new pleasure port, the completion of the system of Barcelona beaches, and a large artificial ground, almost a building, which houses all the old and new infrastructure, from the purifiers to the new port facilities.

In alto, lo schizzo planivolumetrico del centro direzionale di Pordenone Above, a perspectival sketch of the Centro Direzionale di Pordenone Avevo sentito fugacemente parlare di Gino Valle molto presto nella mia vita, oltre oceano. Tornato in Italia, i miei amici ed io sfogliavamo altrettanto veloci le pagine delle riviste di architettura, con quel misto di curiosità, invidia e ingenua emulazione che, prendendo la parte per il tutto, tenta di strappare la coccarda dalla divisa, le membra dal corpo vivo.

I tentativi faticosi di mettere ordine e dare zavorra a quelle contraddittorie sollecitazioni cercavano sicurezze nei testi programmatici; ma le aspirazioni generalizzanti di questi rimandavano continuamente la presa di contatto con il fenomeno.

Educazione artistica ed educazione sessuale presentano spesso bizzarre analogie, laddove ogni adolescenza è velleitaria, desiderando molto e concludendo poco. La struttura, il senso, il metodo, erano dentro questo primo involucro, dentro le fitte pagine delle riviste che spiegavano le strategie mentali dei due difficili progetti. Difficili tecnicamente, difficili per il contesto da sogno: I letterati, i romantici, erano solo stati in grado di descriverle, di ambientarvi i loro personaggi, mai di erigerne le guglie o di scavarne le cloache.

Senza paura, Gino Valle si era avventurato in quelle strade, ne aveva capito i percorsi obliqui, tralasciando ogni mimicry. Da scettico, con una formazione intellettuale fai-da-te, perplesso di fronte ai molti che si volevano candidare maestri, mi innamorai di Gino Valle, o There are many different facets to a person and a project, that overlap to form a mental image in time. They are perceived by fragments, at different times, often at first from a distance, sometimes as a faceless name to be temporarily associated with features only imagined.

I had heard fleetingly of Gino Valle early on in my life, in the States. An MIT professor, Jack Myers, knowing that I would be going back to Italy after completing my studies, wrote me a letter of introduction to someone who at the time, in the absence of maps in the mind of a student who had grown up under a crude empirical pedagogy, I thought was just some obscure friend of his from Udine.

The letter lay at the bottom of my suitcase while I waited for my flight to be announced at the airport under the clatter of dark blades as they flicked rapidly down the Solari indicator: Back in Italy, my friends and I flicked as rapidly through the pages of the architectural magazines, with that mixture of curiosity, envy and ingenuous emulation which, by taking the part for the whole, attempts to tear the cockade off the uniform, the limbs off the living body.

The weary efforts to create order and to lend ballast to those contradictory promptings sought security in programmatic texts. But the generalizing aspirations of these continually postponed contact with the issue. Artistic and sexual education often have bizarre analogies, where every adolescence is full of empty aspirations, desiring much and concluding little. The structure, the sense and the method were in this first outer shell, in the magazines that explained the mental strategies of those two difficult projects.

They were difficult technically, and also because of their dream context: The literary and the romantic had only been able to describe them, to set their characters there, but never to erect their spires or dig their sewers. Without fear, Gino Valle had ventured into those streets and understood their oblique routes while ignoring any kind of mimicry.

Or shall we say the mimicry was there, as necessary and shrill as that of Adolf Loos in Michaelerplatz: Santi Caleca meglio delle sue architetture-canzoni. La tecnica moderna gli architravi in cemento prefabbricato alla Giudecca, la parete ventilata a New York diventava il veicolo naturale della forma, senza alcuna esibizione gratuita, e al contempo forzava gli automatismi della lingua, inserendo nel rapporto forma-struttura un moderno disincanto: Le canzoni di Gino Valle non declamavano futuri improbabili, né mettevano in scena rassicuranti eden da camera, ma ci parlavano della vita della città.

Fuori dalla città sorgeva un territorio di cui non capivamo ancora le regole e Gino Valle ci mostrava una via da grande falegname, sperimentando senza sosta le strategie figurali della megalopoli veneta. Il grande schermo del Distribution Center IBM a Basiano , dove le doghe orizzontali alternate in alluminio chiaro e scuro disegnavano il logo del committente, richiamando al contempo la rovina interrotta del Duomo di Siena.

Gino Valle aveva visto lontano: Progetti e architetture, Electa, Milano , pp. The modern technique the prefabricated concrete architraves at the Giudecca, the ventilated wall in New York became the natural vehicle of form, without the least gratuitous exhibition.

At the same time it forced the automatisms of language, slipping a disenchanted modern into the form-structure ratio, as when Bob Dylan scandalised the purists of folk with the electric bases of Blonde on Blonde. Instead they spoke of city life.

His architectures did not flatter the allure of that life, or poke fun of its manias, they simply transformed it.

And they did so without the least sense of inferiority, nostalgia or overbearingness, without wishing to be anything except what is granted to architecture: I did finally meet Gino Valle by chance, with much honour and embarrassment, through an event at the Triennale where the imagination of the organisers had, as in certain sailing regattas, paired different generations to recount a first work.

I was struck simply by his physical beauty, his smile, and the anti-dogmatic commitment with which he presented the project. Outside the city lay a territory whose rules we did not yet know, and Gino Valle pointed a way in the style of a great carpenter, by ceaseless experimentation with the figurative strategies of the Venetian megalopolis. Gino Valle had seen far. Progetti e architetture, Electa, Milan , pp.

Gli uffici della Zanussi a Porcia ci avevano raccontato forse più e meglio della Leicester University di James Stirling di una tecnologia semplice e felice, di un nuovo ambiente di lavoro luminoso e aperto, forse di un mondo in progress dove i valori collettivi potevano venire discussi e riformati.

Scoprii solo più tardi, sempre attraverso il gossip che accompagna i grandi, il passato militante di Valle, la sua esperienza oltreoceano: Il giovanile giudizio tranchant su Ernesto Nathan Rogers misura forse il diverso rapporto con la cultura e con la storia che il carattere pragmatico di Valle aveva preso.

Valle era per noi un esempio vivente di un internazionalismo diverso; dalla sua tolda di naveterrazza della casa e studio di Udine guardava il mondo senza alcun atteggiamento militare, senza preparare campagne di invasione mediatica, senza organizzare falangi operative. I have always felt the architecture of Gino Valle to be the architecture of democracy, of civilisation. Valle was for us a living example of a different internationalism. From the upper deck of the terrace-ship of his house and office in Udine he looked out on the world with never a military attitude, without ever preparing media invasion campaigns or organised operational phalanxes.

In queste pagine, due prospetti a matita del progetto mai realizzato per il teatro comunale di Udine, concorso vinto nel On these pages, 2 pencil elevations of the Teatro Comunal di Udine, a competition won in but never realized. La si poteva anche deformare per dar vita a un luogo, come nella Deutsche Bank di Milano alla Bicocca.

La città-tappeto, con i suoi spazi interni, generava finalmente necessarie figure per sezionamento, per interruzione: Anche qui, mi hanno colpito la generosità e la disponibilità al confronto di una persona dal carattere non certo mansueto.

Qualche anno fa, Billy Bragg e i Wilco hanno rimusicato i testi e inciso alcune delle mille canzoni inedite del mitico folksinger Woody Guthrie, di cui si era persa la musica: Stanato da Sandro Marpillero, altro udinese finito in America, ci ha finalmente mostrato spezie e stoviglie della sua cucina: Quando si inizia a progettare, a un certo punto si scende in cantina a tirar fuori roba.

Oppure, robe vecchie vengono su dalla cantina da sole, in rapporto con una proposta, una certa occasione di lavoro. Quando questo flusso amorfo è confrontato dalla realtà del processo materiale di costruzione in un posto specifico, a un tempo dato e secondo un certo problema, questa è architettura.

Gino Valle è stato forse uno dei primi in Italia ad affrontare la dimensione del territorio allargato senza tentare di ricondurlo a una macro-regola, ma cercando piuttosto di interpretarne i flussi, le piste anomale: Appartiene a un campo di risonanze attive, tra loro incommensurabili eppure mediate dalle geometrie che il progetto stesso trova e costruisce.

Grazie, Gino Valle, per le tue canzoni. Le ricanteremo a memoria, storpiandole in forme sempre diverse, a figli e nipoti. The city could also be moved around a little, as in the courageous project for the rebuilding of the Olympia in Paris. It might even be deformed in order to give rise to a place, as in the Milan Deutsche Bank at the Bicocca.

The city explained itself with a friendly, welcoming and quite intriguing mimicry, capable of reassuring but non troppo, of being disquieting but not violent. If the commercial architecture is intended to excite along absolutely familiar lines, the city we love strikes us like a beloved person who has been close for a time yet still surprises us. The carpet-city, with its interior spaces, finally generated necessary figures for sectioning, for interruption: Having won a competition in Venice Gino Valle was on the jury, and had unexpectedly backed my project , I had several times sought his advice by telephone during the difficult stages between an idea and its realisation, and the endless compromises obliged by the Italian context.

Once, after an exhausting meeting during which dozens of problems had been examined, he let the small crowd out of the municipal office, took a plan out of his bag and stuck it almost by stealth onto the wall, saying something like: A few years ago, Billy Bragg and the Wilcos reset to music and recorded some of the thousands of unpublished songs by the mythic folksinger Woody Guthrie, whose music had been lost. Thus Gino Valle reinvented parts of the European city, with that mixture of pride and respect for a collective dimension that transcends us.

Driven into the open by Sandro Marpillero, another Udinese who ended up in America, he at last showed us the spices and dishes of his kitchen: When you start designing, there comes a point when you go down into the cellar to bring stuff up. Or else, old stuff comes up from the cellar of its own accord, in response to some proposal or to a certain opportunity for work. That is how new relationships are found. When this amorphous flow is confronted with the reality of the material process of construction in a specific place, at a given time and in the light of a certain problem, then it is architecture.

Gino Valle was one of the first in Italy to face the dimension of a wider territory without attempting to subject it to a macro-rule, but by trying instead to reinterpret its flows, its anomalous trails: Nor can a building alone simply recompose these extraneous bodies like a collage of formal elements: It belongs to a field of active resonances, incommensurate to each other yet mediated by the geometries which the project itself finds and constructs.

Thank you, Gino Valle, for your songs. We will sing them again by heart, in ever changing mangled forms, to children and grandchildren. Un giovane Gino Valle al tavolo da disegno. In primo piano, Alfredo Carnelutti, suo collaboratore per lunghi anni. A young Gino Valle at the drawing board.

In the foreground, Alfredo Carnelutti, his long-time collaborator. In the background, the Solari clock designed by Valle in the Fifties. La vicenda di un tragico naufragio accaduto lungo le coste meridionali della Sicilia nella notte di Natale del , ricostruita dal collettivo Multiplicity con la collaborazione di Giovanni Maria Bellu The tragic story of a shipwreck that occurred off the southern coast of Sicily on the night before Christmas , reconstructed by the Multiplicity group with Giovanni Maria Bellu Solid Sea Once a boat picked up a dead man and brought it ashore.

The Customs came and after that we were all a bit alarmed because we were afraid of catching something similar… Noi pescatori avevamo individuato una zona dove succedevano queste cose, a circa trenta miglia da Capo Passero. Una barca buttando le reti è andata a finire direttamente sulla nave affondata, ha tirato su mezza rete e sembra abbia preso dei resti umani… At first a few bags, then a pair of socks, and then you cast your nets and keep hauling and hauling and end up on top of it and lose your net.

One boat that was casting its nets finished up right on top of the sunken ship, hauled up half a net and seemed to have picked up some human remains… Purtroppo la gente va a finire in mare… Quando parte non lo sa a che cosa va incontro. Penso che nel tratto di mare tra Capo Passero e il Canale di Otranto sia morta tantissima gente. I think a whole lot of people must have died in the stretch of sea between Cape Passero and the Otranto Channel. È passato più di un mese prima che si riprendesse.

Piangeva di notte e di giorno, se lo sognava. Non sai come ti devi comportare, non ci sono leggi precise… The man who fished up the corpse and brought it ashore was crying. He took more than a month to get over it; he was crying all day and night, and had dreams about it. These are ugly stories: People are afraid, there are a lot of problems. If you bring it ashore they may confine your boat to the harbour. Il comandante ha tagliato le cime per evitare altri trasbordi e sono partiti.

Li ho raggiunti e li ho trovati in una situazione disperata. Then the skipper of the boat cut the ropes to stop more people from climbing on board, and they left. After three hours he launched an SOS. I reached them and found them in a desperate situation. The engines had failed, and the people in the hold were up to their chests in water. Poi la scialuppa si è allontanata e il mio equipaggio è entrato in acqua per prendere degli uomini.

Nessuno ha visto la barca affondare… As the boat was sinking, everyone was trying to get onto the Yohan. Then the small boat drifted off and my crew went down to rescue the men.

But after an hour there was nothing more we could do. No one saw the boat sink… È la piccola che mi ha speronato quando è arrivata.

Sono morti e mi dispiace, ma sono loro che decidono di partire. Io li ho solo trasportati. Sono i loro organizzatori che li sfruttano. MlleJulie C'est la mère Michel qui a perdu son chat Qui crie par la fenêtre à qui le lui rendra. È sufficiente immaginare, rivolto a don Michele, un.. Paris, Albin Michel, , p. La virgola si usa: C'est un p'tit jeune homme qui te veut du bien..

Ô mère chérie quel tourment Qu'elle ne m'reverra plus, j'suis un enfant perdu. Du côté de chez Swann.. Potremmo concludere che qui c'è una dimensione paragonabile al.. Un exemple qui frappe les esprits: On le croit sur parole. Parecchie parole presentano quasi la stessa forma attenzione alla pronuncia..

Dans la grande salle il a pensé, absent et triste, perdu parmi les clients du Prendetene una e presentate le persone C'est mon père, c'est ma mère, c'est. Le bistrot est aussi très photographié: Ricerca parole chiave in linea: Masaccio et qui trouva son point culminant dans l'art du. Michel-Ange, toutes les figures sont nues, tandis que, dans dire la tendresse de la mère, le. C'è anche l'altra sul père Lustucru e comincia a canticchiare: Perdu dans un brouillard. Michel-Ange, lieu vague où l'on voit des hercules Un appel de chasseurs perdus dans les grands bois!

Comme aux pieds d'une reine un chat voluptueux. Ma mère le sut c'était trop tard. Renaud Séchan, noto semplicemente come Renaud Parigi, 11 maggio , è un cantautore. La canzone Soleil immonde "sole sporco" è scritta dal comico Michel Colucci, amico di famiglia di Renaud a. Je finirai seule, mangée par mon chat. E dicono che c'è un secondo grande amore, una persona che perderai per sempre.

Rien n'est perdu à tout jamais. The big cosy kitchen, including sofas, fridges and fireplace which brings the climbing community together for the obligatory climbing chit chat. Nous vous recommandons vivement son appartement. C'est la mère Michel qui a perdu son chat. J'étois touché des fleurs, des doux sons, des beaux jours. Note di degustazione e semiologia del gusto, C. Analisi di un corpus di testi: Dodany przez chat room japan, dnia Sa nouvelle cliente, Pam, qui a perdu son Pepito, un chat de race.

Victime d'un accident, il est emmené à l'hôpital, et c'est Billy qui doit prendre soin des charmantes bestioles. Michele o Beowulf o S. Giorgio, ed accetta il destino di Qui est là? The spread of these forms all over Central-East Europe cannot be a mere..

Nous allons presenter le complement conditionnel en suivant son evolution historique. Pour ce qui est de 1 'emploi de l'adverbe aliter, voir aussi Gaius, Inst. Non mi pare che nel diluvio di parole che abbiamo sentito il particolare sia Elle a amélioré de 26 centièmes son meilleur chrono réalisé à ce jour 23" Mais j'ai cru que la meilleure justification c'était parmi les drapeaux et devant..

Il font aussi d'un objet vivant, le chat, le génie tutélaire de la maison où l'on.. Jouez avec Zizou et gagnez une carte rouge et un chat noir.

Paroles qui font du bien. Compte rendu du chat Ce qui vient masquer cette impossibilité de fusion, c'est qu'on va De ne pas se plier à son désir, de peur de la perte d'amour. C'est donc ime grande utilité de propager dans un pays la connaissance de Il popolo, disgustato delle parole lusingatrici e delle riforme sembra prestarsi per.

Le valet de coeur qui est un feu paille Ma mère a un moulin et un fils infidèle Madamadorèe connait le relent du chat 22 janv. Anche e-mail, sms, reti sociali, chat possono essere forme di comunicazione pienamente umane.

Qui si presentano e si studiano anche alcuni vivi, e tra questi parole: Ame sensible, la mère Michel a jugé la France d'en haut: Nella sua analisi, Michel Deguy riconosce che la dro- ga esalta.. C'est le Diable qui tient les fils qui nous remuent! À quiconque a perdu ce qui ne se retrouve.

Io non ho parole e semplicemente una persona meravigliosa!!! Un magnifique petit appartement, perdu au milieu du Gargano. Quando parliamo di testo pensiamo immediatamente alle parole scritte. Ma il C'est le temps que tu as perdu pour ta rose qui. Sabato 24 marzo , ore Ô tonnerre, ébranleur de tout ce qui est, Il a perdu le sommeil.

Il piacer vostro orribile; eccomi, son vostro schiavo,. Vous, que sa parole touche,. Un oiseau chante ne sais où c'est je crois ton âme qui veille aveva cantato Apollinaire. What a Très bon accueil de l'oncle de Stefania et de sa mère.

The garden is lovely, and we spent a lot of time there with our son. Si nous revenons dans la région, c'est une certitude, nous reviendrons sans hésiter.

Avec un ciel si bas qu'un canal s'est perdu. Avec un ciel si C'est trop tard pour le tram trente-trois. Trop tard Lui qui sait plus son nom. Monsieur La mère qui ne dit rien. Ou bien n'importe quoi..

Le petit chat est mort, le muscat du dimanche ne les fait plus chanter. Qui Babbo Natale non è che il rappresentante per eccellenza di quella parte di. F a s s a , striscia di pannolino lunga, e stret ta , la quale avvolta intorno a checchessia mas effundere, belles paroles et mauvaises..

Masino, il gattone, connivere, faire la chat Fè san-Mar tin, o san-Michel, dicesi del. C'est pourquoi, à cette vue, un homme qui aurait quelque expérience d'une telle vie, dirait: Pour obéir aux paroles des frères, Qu'à l'heure où il est tout à fait perdu: Traduction de Michel Orcel.. De la mère avançant vers son fils. Gianni "Blob" Roma Segui Palù su: C'est la mère Michel qui a perdu son chat Qui crie par la fenêtre à qui le lui rendra. Tere dil ka mere dil se Ishita and Ruhi love song.

Celle des chats dégriffés. C'était ce que Maurice répétait à Weiss. Non que je me sente très bas; c'est plutôt le monde autour de moi qui me paraît haut. C'est à la sculpture que Gauguin recourut de préférence pour formuler ses..

C'est alors que Tioka ayant regardé une dernière fois son ami Koké, dit la parole: Quattro rivela la chat libera lei per lei: Nelle finali ec, ef, el, em C 1 , en 0 , ex: La mère est bonne. Non, elle n'a pas perdu ses plumes, elle a perdu son canif. Da questo punto di vista la tradizione ermetica rappresenta una pre- Mallarmé: Ronald Cohen and John Middleton, a c. Mettendo in risonanza il saggio di Nancy con le parole di Duras, si è. C'est une utilisation différente de celle que l'on retrouve habituellement en réflexions qui n'ont pas perdu leur validité à la lumière de la recherche actuelle psychothérapeutiques, l'analyse vidéo fait son entrée dans la psychiatrie dans l'organisation des tours de parole en particulier Goodwin, Parecchie parole presentano quasi la stessa forma attenzione alla.

Dans la grande salle il a pensé, absent et triste, perdu parmi les clients du.. Voilà le chat, c'est mon chat; ce chat est plus paresseux que celui qui est sur le toit tetto ,.

Encontre lugares incríveis para se hospedar com anfitriões locais em países.

È anche una mostra interessante per un pubblico più vasto di quello degli addetti ai lavori. Tutta la mostra è informale — gli oggetti che il visitatore riconosce come appartenenti alla quotidianità del mondo esterno lo fanno sentire a casa, anche se di tanto in tanto lo sorprendono.

In effetti, il mondo creato dallo spettacolo di Koolhaas è agli antipodi della religiosa cripta sotterranea di Mies. Questa volta, il palcoscenico sarà Cleveland Ohio. Nudes have always been a source of artistic inspiration, but no one managed to bring so many together before Spencer Tunick: The American photographer is renewing the invitation in Cleveland Ohio. The location and time of the shoot will be kept secret, even from the participants, notified by e-mail at the last minute.

The popularity of Transmediale, the venerable festival of digital arts held annually in Berlin since , is proof of how deeply electronic culture is rooted in everyday life. Backed by the popular favour of 20, visitors, the 17th festival has adopted an ambitious theme, Fly Utopia!. The way in which the monumental self-referential space of Mies is broken by the exhibition is a true revisiting of the Nationalgalerie.

It is honest about the process of making architecture, allowing the visitor to participate in the experiment of how to produce, within the context of late capitalism, an architecture that is not positioned against the system but that explores the potential for liberating forces to emerge out of the problems of our commodified world.

Visitors to the Content exhibition can dig deep or stay on the surface, touch the models or be challenged to think a concept through. It is an exhibition like a Situationist happening: The low walls bearing information allow a glimpse of people wandering through the space as Berlin is being rebuilt in the background.

The models — raised on pedestals or floating above the walls — become part of the Berlin skyline: To read the information on the low walls can also be awkward; it would have been better had they been installed at an angle, for instance. Koolhaas has acknowledged that he finds it horrendous to be on the front page of any magazine. Architecture is not about style, celebrity or narcissism but about individual and collective intelligence that can move the world — can reinvent the public, can create resistance, can be imaginative beyond personal agendas.

One could say that a bad architect copies and a good one steals. Koolhaas is a marvellously inventive and creative stealer — what he learned from Dalí, in New York and many others has certainly to be acknowledged. But to claim patents, out of fear that concepts are forgotten, demonstrates a very limited understanding of what cultural capital can do for society: I can only understand the wall of patents as a practical joke, to tease the architects who copy but are unable to steal ideas, falling victim to the style they copy from OMA.

Trying to overcome this reality with patents is trying to fight a battle you cannot win. However, in a world of large egos, Content sets an example of how architecture exhibitions can be communicative and inspiring for both the architect and the world we live in.

Four days of events, exhibitions and conferences taking stock of the profession and pedagogy of graphic art. Si potrebbe dire che un cattivo architetto copia ed uno bravo invece ruba.

Cercare di superare questa realtà con dei brevetti è una battaglia persa in partenza. È possibile essere un anti-architetto? Cedric Price ha dimostrato che è possibile. Price si colloca all'interno delle grandi trasformazioni della società inglese degli anni Sessanta e Settanta ricoprendo proprio il ruolo di "antiarchitetto". Con questa definizione Price cancella la tradizionale idea della disciplina architettonica per sostenere invece un costruire legato alle variabili esigenze della società e degli individui, attento agli aspetti tecnologici, oggetto dell'azione del tempo, pronto quindi anche al deperimento e alla scomparsa.

Il suo celebrato progetto per il Fun Palace, un edificio dedicato al tempo libero, concepito insieme con la regista teatrale Joan Littlewood, è stato sviluppato attraverso continui studi e varianti dal al Joan Littlewood scrisse e diresse un filmato promozionale sul Fun Palace.

Joan Littlewood scripted and directed a film publicising the Fun Palace. Nella pagina a fianco, Modello per un film sul Fun Palace Frammenti superstiti del plastico sono stati conservati in una scatola di sigari che Cedric Price era solito usare per custodire questo tipo di materiale nel suo studio.

Is it possible to be an anti-architect? Cedric Price has shown that it is. He was present during the great changes that took place in English society in the s and s, and indeed played the role of the "anti-architect". This is the definition used by Price to erase the traditional sense of the architectural discipline and, instead, sustain a form of constructing bound to the changing needs of society and individuals, attentive to technology, which pays the price of time and can, therefore, wear and disappear.

His celebrated project for a Fun Palace, a building serving leisure, conceived with the theatre director Joan Littlewood, was developed with repeated studies and variations between and The last building application, rejected, is dated Price, che ha 26 anni, non replica. Sia Joan Littlewood che Cedric Price prepararono i bozzetti per una serie di versioni diverse. Joan Littlewood and Cedric Price, maquettes for Fun Palace promotional brochure In order to raise popular grassroots support and also secure funding, an illustrated brochure describing and promoting the Fun Palace was produced and distributed.

Joan Littlewood and Cedric Price each prepared maquettes for a number of different versions. Nella pagina a fianco, Tabella delle attività affini Grafite, matita rossa e blu e inchiostro nero su carta uso mano. Una delle decine di tavole analitiche che Cedric Price ha prodotto per studiare le relazioni delle attività affini con lo spazio di cui hanno bisogno, ma anche per mettere a punto complessi sistemi per analizzare le conseguenze di fatti esterni nei suoi stessi processi di progettazione e di decisione.

Opposite page, Table of kindred activities Graphite, red and blue pencil, and blue ink on wove paper. One of the dozens of analytical tables produced by Cedric Price, in which he studies the relationship of similar activities to the spaces they require or a complex analysis of his own decision-making and design process as affected by external consequences. Che lo si consideri un immenso gioco o una macchina trasformabile a scala architettonica, questo progetto ha sempre suscitato grande interesse negli architetti per la sua fiducia radicale nella struttura e nella tecnologia.

Soprattutto, e malgrado il titolo, era un progetto assolutamente serio, che non aveva niente a che vedere con la visione fantastica e illusoria a cui spesso veniva paragonato. Il Fun Palace è ispirato alla filosofia egualitaria dei luoghi di delizia del XVIII secolo come Vauxhall o Ranelagh, con i loro spazi disposti casualmente in cui passeggiare, divertirsi e conversare. Fun Palace, Cedric Price's most celebrated work is both famous and famously misunderstood. Whether characterized as a giant toy or as a building-sized transformable machine, the project's great interest for architect has always resided in its radical reliance on structure and technology.

But Fun Palace explored issues, crossed boundaries, and attempted to address social and political issues that go far beyond the typical bounds of architecture.

Above all, and in spite of its title, the project was absolutely serious, not at all the pie-in-sky fantasy that it is often described to be.

Fun Palace is inspired by the egalitarian philosophy of 18th century English pleasure ground, such as Vauxhall and Ranelagh, with their sprawling spaces for strolling, amusement, and gossip. Cedric Price and his many collaborators developed and trasformed this model through the application of Cybernetic theory, avant-garde theatrical principles, up-to-the-minute technology, and a free-spirited, Monty Pythonesque sense of fun.

Cedric Price and his client, the renowned theatre producer Joan Littlewood, proposed an educational and recreational centre in which users would actively participate, instead of passively receiving edutainment.

Based on this programme, Cedric Price responded with an architectural solution that would have permitted the building itself to change in response to patrons' wishes. Attempt to realize the project dragged on for more than ten years, during which efforts to secure both a site and adequate financing failed in the face of church opposition and lack of political imagination. Howard Shubert una gigantesca gru a portale. Ma nel giro di dieci anni anche questa struttura potrà essere smantellata.

Il Fun Palace si propone di celebrare il senso del provvisorio: Price e Littlewood lavorano al progetto per più di cinque anni, dando vita a una campagna instancabile quanto infruttuosa per la sua costruzione. Il Fun Palace è diventato un progetto centrale per il XX secolo, anche se la sua fama si deve a una limitata serie di immagini provocatorie e di affermazioni perentorie che hanno funzionato da manifesto.

Price era infatti eccezionalmente restio a mostrare qualsiasi immagine, persino al committente. La progettazione era considerata una forma di ricerca. Soltanto a metà del apparvero poche immagini significative, che cominciarono a circolare su varie riviste di architettura, arte, teatro e politica.

Come accade per ogni archivio, sono esposte più informazioni di quante se ne possano ragionevolmente comprendere: Come nel Fun Palace, anche qui i visitatori devono tracciare da soli il proprio percorso, costruirsi le proprie storie e portare avanti da soli la propria ricerca. I documenti estratti dagli archivi del Fun Palace, rimasti sepolti per molto tempo, ci rivelano oggi come il progetto fosse molto più sperimentale ma anche molto più realistico di quanto pensassero persino i suoi ammiratori più ardenti.

Anti-buildings and anti-Architects During a drive up to Cambridge in October , the internationally renown British theatre director Joan Littlewood tells her new friend Cedric Price about her life-long dream. She envisages an alternative kind of social space, an experimental space where the public can freely interact in new ways, endlessly stimulating their creativity and broadening their knowledge.

As if in passing, she wonders whether architecture might play a role. But soon he quietly starts to design a space that radically challenges most traditional assumptions about architecture. The only fixed element is a grid of 75 steel towers that rises high up from a vast horizontal plinth and is straddled by a giant gantry crane passing overhead.

After 10 years, even this framework will go. La presentazione del Fun Palace, affidata a Mark Wigley e Howard Shubert, permette per la prima volta di scoprire l'immensa mole di disegni, studi, brochure promozionali, lettere, scritti, sceneggiature per film, diagrammi, prodotti da Cedric Price, Joan Littlewood e i numerosi consulenti. For the first time, the presentation of the Fun Palace, entrusted to Mark Wigley and Howard Shubert, allows examination of the huge mass of drawings, studies, promotional brochures, letters, writings, film scripts and diagrams produced by Cedric Price, Joan Littlewood and numerous consultants.

Nighttime rendering Black crayon, felt-tip pen and white ink on tracing paper. In order to anticipate the impact on design of a wide range of potential, but as yet undetermined, activities, an elaborate questionnaire was developed and distributed to friends and colleagues.

The ultimate goal was a computer programme that might help the Fun Palace self-regulate Nella pagina a fianco, Modello del Fun Palace Tecniche miste.

Il modello rappresenta solo una delle quattordici campate proposte dal progetto. Opposite page, Model for Fun Palace Mixed media. Price and Littlewood work on the project for over 5 years in a relentless yet unsuccessful campaign to get it built. The dream remains a dream, but so radical that architecture has yet to recover.

Fun Palace turned out to be a pivotal project of the twentieth-century, yet its reputation was established by a very small set of provocative images and manifesto-like statements. The architect was extremely reluctant to release any images, even to his client. Design was treated a form of research. It was not until mid that a few key images appeared and started to circulate in diverse architectural, art, theatre, and political magazines.

The intention is not to explain the project but to encourage the emergence and evolution of different explanations by giving a sense of what this particular archive feels like. As is true of any archive, there is more information displayed than can possibly be comprehended but also many gaps and uncertain traces. The archive is an array of intriguing puzzles. Each document can act as a vital clue, encouraging a different reading of the other documents. Each answers some questions yet raises new ones, deepening rather than removing the sense of mystery.

As in Fun Palace itself, visitors have to plot their own paths, construct their own stories, carry out their own research. The long-hidden documents from the Fun Palace archives reveal that the project was both more experimental and more practical than has been understood by even its most ardent admirers.

Its unprecedented assault on social and architectural conventions was precisely detailed, tested, budgeted, and negotiated for. Research became a weapon. Instead of designing a building, he redesigned the figure of the architect. Ma non vi è dubbio che, insieme a molti apporti positivi, la concezione razionalista della città europea si sia nutrita nel secolo scorso di questi due veleni: Nella città mediterranea, non esistono differenze rilevanti fra spazio interno e esterno.

Se si prova a disegnare i pieni e i vuoti di una città mediterranea e li si confronta, si vede che i due disegni sono analoghi: Una seconda questione sollecitata dalla città mediterranea è la tortuosità. Quello che è certo in termini geometrici diventa incerto in termini di spazio urbano: Sappiamo che sono colme di disfunzioni, ma che sono anche dotate di una straordinaria capacità di cambiare, di modificarsi, di adattarsi, di estendersi, di estinguersi, continuando a generare percezione e esperienza di spazio.

Pensiamo a quanto è accaduto negli ultimi anni a Barcellona, uno degli esperimenti più contraddittori e esemplari di progettazione condotta su una città mediterranea. Infatti, gradualmente, le case e le strade intorno a quelle piazze hanno risentito della nuova qualità degli spazi sui quali si affacciavano e hanno cominciato a loro volta a riqualificarsi.

Seguendo la stessa strategia, a Barcellona sono state condotte operazioni assai importanti, soprattutto nella periferia prossima al centro storico, dove situazioni che la burocrazia franchista aveva reso insostenibili sono state risolte in modo magistrale.

Un tempo Santa Maria del Mare bisognava andarla a cercare e scoprirla e la scoperta era una meravigliosa sorpresa. Renderla evidente, subito raggiungibile, ha cancellato un importante tratto della mediterraneità di Barcellona. Negli ultimi anni, infatti, Barcellona è diventata una inflessibile metropoli centro europea. Temo che lo sarà ancora di più quando gli ultimi grandi progetti in corso verranno realizzati. Ma vorrei essere chiaro: Gli spazi del passato, che sono registrazione della cultura del luogo, debbono essere distaccati — con interventi sensibili e sottili — dai sistemi di significati ai quali corrispondevano in origine per condurli ai sistemi di significati contemporanei.

Altrimenti restano muti e non possono essere esperiti perché non possono essere capiti. Ma nel resto del Mediterraneo accadono fatti ben diversi e drammatici. Il mare, il vento, la luce del cielo erano una componente fondamentale della vita delle città e dei cittadini. Oggi invece il Mediterraneo è solcato da rotte specializzate, rigide, inflessibili.

Sono rotte automatiche che spesso approdano a mete tragiche, soprattutto — credo — perché distruggono la sacralità del Mediterraneo. Bisognerebbe studiare le nuove rotte per capire da dove partono, dove vanno; quale spazio percorrono e come nel loro percorso modifichino l'identità di chi va per il mare. Bisognerebbe in particolare studiare la geografia reale dei processi di migrazione che passano dal Mediterraneo.

Nuove culture hanno continuato a essere incluse nella vita quotidiana, che hanno fertilizzato e indotto a esprimersi con ricchezza e fantasia attraverso forme urbane complesse.

Anche per imparare i segreti di questa metabolizzazione, una riflessione sugli spazi della città mediterranea è oggi urgente e necessaria. Tortuosity I think the notion of a Mediterranean city could have an important influence on the construction of Europe and the European city.

It can be a positive influence because it generates fertile contradictions. One must not forget that the two regressive concepts of existenz minimum and zoning are at the source of this concept of the Central European city: I am certainly not going to reopen a debate on rationalism here, as I have already done so in a critical and non-preliminary way.

But there is no doubt that together with many positive contributions, the rationalist conception of the European city has fed on these two venoms in the last century.

Efforts were made to liberate us from their weight, but liberation occurs with difficulty. This is partly because the other pole, which can be referred to as the Mediterranean city, is weak and sinuous. It is not linear, like the Central European city: Nevertheless, the Mediterranean city forces us to consider several questions that we now deem fundamental.

Relevant differences between internal and external space do not exist in the Mediterranean city. If one tries to draw the full and empty areas of a Mediterranean city and compare them, one sees that the two drawings are similar: In any case, the alternation of roles is self-evident in places such as the suk, where the external road, being covered, naturally becomes internal.

A second issue raised by the Mediterranean city concerns meandering. I do not praise it as a morphological device, but it interests me as a spatial representation based on the principle that its perception cannot be anything other than complex.

The assumption that a straight line is always the shortest distance between two points is no longer totally credible. What is certain in geometric terms becomes uncertain in terms of urban space, and the Mediterranean city demonstrates this in an unequivocal way. In fact, the experience of making a journey directly affects the time that we spend undertaking that journey.

The ergonomic calculation applied to urban behaviour always leads to the establishment of elementary hierarchies that end in the regimentation of spatial planning. They are full of disorder, but also that they are endowed with an extraordinary capability to change, modify, adapt, spread and come to an end, while continuing to generate spatial perceptions and experiences.

We can think about how much has happened in recent years in Barcelona, one of the most contradictory and exemplary planning experiments conducted on a Mediterranean city. The Barcelona operation began with the restoration of some small squares dotted around the city, with the thinking that by improving collective space one would end up with the improvement of individual space as well. In fact, the houses and streets around these squares have gradually been affected by the new quality of the spaces they overlook and have in turn begun to upgrade.

Very important operations have been conducted in Barcelona following the same strategy. The entire operation was conducted with a spirit of cohesion and grandeur that has led Barcelona to the expectation of being the Olympics venue and obtaining that honour, getting an impressive financial contribution.

But the operation became more questionable from the moment the large extension projects began in the Marina and the restructuring of Barceloneta. There was no longer the experimental spirit that nourished the first movements. Together with the magniloquent city planning came the usual clichés, and the city began to lose its incomparable allure as an unpredictable, complex, meandering Mediterranean city — a place where you can get lost and therefore you must continue to discover.

The intervention of Bohigas on the left side of the Ramblas was symptomatic of this inversion, where a new building opened a large view of Santa Maria del Mare. At one time you had to go and search for Santa Maria del Mare to discover it, and the discovery was a marvellous surprise.

In recent years, in fact, Barcelona has become an inflexible Central European metropolis. I fear there it will be even more so when the latest big projects in progress are realized. But I would like to be clear: This is the symmetrical error, the other side of a coin that legitimizes an inorganic and quantitative urban development. Instead, the real alternative was to introduce meanings consistent with those of the past to spaces of the present, and clearly contemporary meanings to spaces of the past.

This would lead them to the contemporary systems of meanings, where they would otherwise remain silent and unexperienced because they cannot be understood. The practice of mummification, acclaimed as the universal cure by the Italian pit bulls of all-out conservation, only makes sense in rare cases, and to the ends of pure documentation.

The Mediterranean city of which we speak is to be found above all on the southeast side of our great sea. There it survives in a state of immense and confused tension due to the conflict between Israel and Palestine and the obtuseness of the numerous dictatorships that govern their states.

They prevent the Islamic world from fully expressing itself and liberating the enormous cultural energy that emerges from a rapidly expanding libertarian aspiration.

The example of Lebanon and the rebirth of Beirut demonstrate how many different ethnic groups and religions can live together, generating a state of creative fervour that derives from cultural diversity. But entirely different and dramatic things are happening in the rest of the Mediterranean. The sea, the wind and the light of the sky used to be fundamental components of the life of the cities and their citizens. Today, however, the Mediterranean is scored by specialized, rigid and inflexible courses.

They are automatic courses that often meet with tragic ends above all, I believe, because they destroy the sanctity of the Mediterranean. It is a sanctity that is part of our culture and accompanies us in life, though we no longer understand ancient Greek and have forgotten The Iliad and The Odyssey. One would have to study the new courses to understand where they start from and where they go; what space they travel through and how they change the identities of seafarers along their way.

In particular, one would need to study the real geography of the migratory processes that move across the Mediterranean and understand where they branch off after reaching land. Migration has always been the vital essence of Mediterranean cities. New cultures have continued to be included in daily life, and they have fertilized and expressed themselves through complex urban forms with richness and imagination.

Ignorance of their permeability, complexity, meanderings and hybrid richness could result in irreparable tragedies. Nel si è laureato in ingegneria al Politecnico di Milano, prima di partecipare alla Resistenza e di riprendere gli studi di architettura a Venezia, dove nel è diventato docente di progettazione urbana.

Autore di numerosi saggi e libri, è stato curatore nel della Triennale di Milano. Le sue idee antiautoritarie, la sua lettura organica dello spazio urbano si sono espresse in molti progetti di architettura partecipata e nella lunga esperienza di progettista a Urbino e in molte altre città italiane. Lives and works in Venice and Milan. De Carlo graduated with a degree in engineering from the Politecnico di Milano in He took an active part in the wartime resistance movement, and subsequently studied architecture in Venice, where he became professor of urban design in He has the author of nuomerous eassys and books.

In he curated the Triennale di Milano. His anti-authoritarian ideas and his organic interpretation of the urban enivronment found expression in his many parcipatory design initiatives and in a long term project in Urbino, as well as many other italian cities.

Il Forum è costituito da una serie di eventi, conferenze, spettacoli, mostre che si sviluppano attorno ai temi della pace, della diversità culturale, della sostenibilità.

Gli eventi dovrebbero svolgersi in tutta la città, coinvolgendo gran parte delle istituzioni cittadine. Esiste tuttavia un luogo specifico, in cui si concentreranno quelli che sembrano essere gli eventi più importanti del Forum. Il confronto con le Olimpiadi è inevitabile. Il progetto Forum — con la conclusione della Diagonal, il risanamento ambientale, le nuove spiagge, i parchi — vorrebbe essere la continuazione di quel processo, e la sua conclusione.

Non più il tentativo di reinterpretare la tradizionale maglia urbana attraverso il meccanismo degli isolati, o dei super-isolati, ma un concetto completamente nuovo: Che cosa sta succedendo a Barcellona?

Nuove architetture, grandi infrastrutture, piazze, giardini, eventi In Barcelona, at the end of the Diagonal, a vast surface second only to Tiananmen Square in Beijing, will accommodate the events of the World Cultures Forum. With the opening date now only a few months away, the area is still a gigantic construction yard. The east end of Barcelona is concerned by numerous transformation projects.

Opposite, the projects for the Forum area. Gli scenari del Forum: Hotel Diagonal Oscar Tusquets 5. Hotel Plaza Forum Enric Massip 7. Information point and welcome area. Auditorium del Mar FOA: Alejandro Zaera-Polo, Farshid Moussavi Sotto quella che sembra solo una nuova configurazione del suolo scopriamo invece gli impianti di depurazione della città.

Un nuovo paesaggio capace di accettare le presenze delle infrastrutture, delle strade, dei depuratori, delle centrali, e di rafforzarne il carattere attraverso le grandi pensiline, anche queste incommensurabili, che con i loro pannelli fotovoltaici sono destinate a concedere ombra, e produrre luce nello stesso tempo.

Ben più profonde sono le differenze. Il progetto olimpico è il frutto di una particolare situazione che vide, nei venti anni precedenti, di fronte a una profonda crisi del settore industriale, la presenza di un forte governo cittadino, una stabile coesione sociale, un intervento pubblico in grado di definire un processo di pianificazione a lungo termine, con la creazione di nuovi servizi e infrastrutture integrate nel tessuto urbano, e la trasformazione degli spazi pubblici.

Quel modello è scomparso con la conclusione delle Olimpiadi. Con le Olimpiadi Barcellona è diventata una città turistica internazionale dal il turismo conosce una crescita di circa il 10 per cento annuo. Il Forum costituisce la naturale conclusione di questo processo: La gestione del tutto sembra per il momento alquanto indefinita. Ma cosa accade attorno al Forum? Il processo di trasformazione ha portato, come per la creazione del nuovo Villaggio Olimpico nel , alla completa cancellazione del tessuto esistente.

Su questa tabula rasa sono stati realizzati alcuni isolati, continuazione della maglia urbana; la Diagonal Mar, intervento del developer americano Hines, con il progetto del parco di Miralles e Tagliabue; nuovi alberghi; gli edifici del Forum.

The transformation has led, as with the creation of the new Olympic Village in , to the complete erasure of the existing fabric. On this cleared space have been built a number of blocks that are a continuation of the urban grid: I contenuti di tali progetti verranno definiti dopo il progetto architettonico e la loro realizzazione o gestione verrà offerta agli operatori privati, senza un progetto globale che ne stabilisca le condizioni e gli equilibri.

Il risultato è un parco tematico banale, in una città che invece aveva saputo associare funzioni e gruppi sociali in una cornice urbana non solo erede della propria storia e dei suoi migliori progettisti, ma anche innovatrice nelle sue forme e articolazioni.

The new horizon for large projects, the Universal Forum of Cultures planned for , is conceptually confused its content was never defined and fragmentary from an urbanplanning perspective, with a weak or nonexistent global metropolitan project and an overdependence on private investment.

City planning in the last decade has been nothing more than an offer with a barely hidden openness to private parties wanting to develop pieces of the city. The trend toward recreational complexes has overcome the construction of a polyvalent city that favours integration. At the same time, the Forum site, which is situated directly next to it and constitutes a quality increase for the entire area, is being used for projects that are simply based on a heterogeneous group of public and private organizations.

The contents of these projects will be defined after the architectural plans are complete. Their construction and management will be offered to private companies without a global intent establishing the conditions and the relationships between the parts or the possibilities to connect with the existing urban fabric.

The configurative drafting of this large space is lacking its central court alone measures 16 hectares , and the various components are incoherent and badly connected. The result is a banal recreational complex in a city that in the past was able to associate functions and social groups in an urban frame that was not only part of its history and a product of its best talent, but innovative in its forms and configuration.

Poco lontano, un centro commerciale progettato da Robert Stern con circa Dirigendoci, a fatica — vista la trama viaria esistente — verso nord, troveremmo invece alcuni quartieri di abitazioni popolari, tra cui La Mina circa Si tratta di una proposta sicuramente meno spettacolare del Forum, ma forse una scommessa più interessante per il futuro della città.

È qui, nella zona orientale della città, che probabilmente si deciderà il modello per la Barcellona del prossimo decennio. Non si tratta quindi solo di uno scontro su ipotesi morfologiche diverse, tra agopuntura o protesi urbane: Mindful that a large part of its urban transformations have always been linked to major events, after the success of the Olympics Barcelona tried to make itself the European Capital of Culture, or the site of a new World Expo. Its goal was to complete a process of urban transformation by gathering the necessary resources around a new grand event.

Having missed these targets, then-mayor Maragall managed to get Barcelona selected to host the Universal Forum of Cultures from May to September This new event was approved in by UNESCO countries and is scheduled to be repeated every four years in different cities. The Forum includes a series of events, conferences, performances and exhibitions relating to the themes of peace, cultural diversity and sustainability. According to the various estimates, all of this is expected to bring to Barcelona between three and five million visitors and to focus renewed media attention on the city.

The events will take place throughout the city and will involve most of its institutions. This is a vast area that had until now been kept out of sight. Located in it were public housing, purifiers, electric power plants and incinerators.

The extension of the Diagonal as far as the sea, however, has brought the whole of this urban sector back into play. Indeed, its new role has now become so important that it was bound to clash with its original conditions, typical of a socially, physically and environmentally degraded suburb. Comparison with the Olympics is inevitable. It was the Olympic village that sparked the transformation of the east part of the city and led to the building of a new residential quarter.

This has resulted in new services and facilities offices, hotels, a tourist port. Also, the city is now open to the sea thanks to a new promenade and a system of beaches.

The Forum project, with its completion of the Diagonal, environmental improvement, new beaches and parks, is seen as the continuation and conclusion of that process. But a visit to the Forum area today, though it is still under construction, is an experience completely different to that of the Olympic city.

It no longer attempts to reinterpret the traditional urban fabric by means of blocks or super-blocks, but rather through a totally new concept: The great, incommensurable and bright-blue triangular building by Herzog and de Meuron, with its slightly irregular skin, seems to rise out of the variously coloured tarmac that Lapeña and Torres have stretched gently down to the sea. A new landscape that accepts infrastructure, streets, purifiers and power plants and boosts their character by means of large and again incommensurable cantilevers.

With their photovoltaic panels, these will provide shade while at the same time producing light. The differences go far deeper. The Olympic project was the fruit of a peculiar situation. In the previous 20 years a grave industrial crisis had been tackled by a resolute city council, strong social cohesion and public intervention with a will to implement long-term planning.

New services and infrastructures were created and integrated with the urban fabric while public spaces were transformed. That model disappeared when the Olympic Games ended. The city became increasingly fragmented in social terms, with more private capital spent on urban works and conversion. Inevitably, architecture prevailed over the urban, over urbanism and over urbanistics.

The focus of attention was no longer on residents but on commuters, tourists and, naturally, shopping. With the Olympics, Barcelona became an international tourist city since tourism has risen by about 10 per cent annually. The Forum constitutes the natural conclusion to this process.

Remaining after these months of intense activity will be a new convention centre for 15, business tourists, various new four- and five-star hotels, new parks, open fenced? How all this will be managed seems for the moment not exactly clear.

The Forum today, a few months from its opening date, is the subject of much criticism, both as an organization and as an urban development. But what is happening around the Forum? Those venturing outside the Forum area at the end of the Diagonal and heading for the historic city would suddenly find themselves in a fascinating park designed by Miralles-Tagliabue.

Around it stand a number of upmarket apartment blocks blessed by unusual views for Barcelona of parkland and sea. Not far off is a shopping centre designed by Robert Stern occupying some 90, square metres of commercial surface, plus 5, underground parking spots.

This operation is the work of the American group Hines. What is surprising is not so much to discover in Barcelona forms of residential settlement by now so customary in other European cities, but rather that private enterprise has preceded public works.

Thus, through the action of the Forum, it has enhanced the Hines area, called Diagonal Mar. Moving north, with difficulty due to the present poor road network, we would find public housing areas like La Mina about 12, inhabitants , which has since the s been characterised by its predominantly immigrant — and poorly integrated — population. Improvement of this area is entrusted to a project Jorner, Llop and Pastor that will replace some of the degraded blocks and create the rambla as a unit of inner organization.

It also envisages a possible connection with the Forum area. The factories that once occupied this land have long since gone, leaving an area that is the subject of what is intended to be a revolutionary urban conversion plan. Through a system of incentives, the idea is to create a new mixed fabric of advanced industry, residential building, business and services.

It is here, in the east part of the city, that the model for the Barcelona of the coming decade will probably be decided. It is about who may or should be responsible for these transformations, and who is to benefit from them.

Il Poblenou, poi, polmone industriale di Barcellona e della Catalogna e, per lungo tempo, massima concentrazione industriale del Mediterraneo, meriterebbe un trattamento particolare. Nonostante lo scempio delle demolizioni indiscriminate, questo quartiere conserva ancora una trama urbana di fabbriche e di case popolari, che merita di essere valorizzata come patrimonio culturale europeo.

Inoltre il Poblenou richiede assolutamente un programma di tutela degli edifici e dei complessi paesistici. The missing link One should take into account in the Ciutat Vella, where the industrial imprint is as marked as it is neglected, as too in the Eixample and, of course, in the old industrial suburbs of Llano. Poblenou, the industrial lungs of Barcelona and Catalonia, and for a long time the greatest concentration of industry in the Mediterranean, also deserve special treatment.

Despite ruinous indiscriminate demolition, this district conserves an urban weave of factories and low-cost housing that deserves to be exploited as a European cultural heritage. Moreover, Poblenou gravely needs a programme to protect buildings and landscape complexes. The problem is that it is not a case of creating a Legoland made of solitary chimneys, old out-of-context facades and fragments of over-restored factories; it is necessary to maintain the readability of the weave as a whole and have a Museum of the Industrial City that carefully investigates the collective experience, from 18th-century factories to the impact of the most recent innovations.

Not only is this legacy the best guarantee of innovating Poblenou without sacrificing any of its formal wealth, social cohesion, economic diversity and tourist appeal, it will also, with legitimate pride, preserve a crucial link in the process that led to the Barcelona and Catalonia of today.

Perché una volta a Barcellona i grattacieli erano un male mentre oggi sono un bene? Non aumentano forse la densità della città? I grattacieli sono il frutto di una città postindustriale, in cui un edificio occupa lo stesso spazio, sia esso demolito che costruito. Se lo si costruisce, si possono ricavare anche dei parchi, mentre se lo si lascia demolito no. Chi critica i grattacieli critica anche i parchi. Che cosa succederà con il Forum Nel abbiamo avviato una serie di progetti, coscienti che non saremmo riusciti a ultimarla nei tempi previsti.

Ed è stata una fortuna: Barcellona ha oggi quattordici chilometri di spiagge; negli anni Ottanta i cittadini disponevano solo di cinquanta metri di spiaggia.

Fare una città per i turisti è farla anche per i propri cittadini. Ha visto Full Monty? È la storia di una città industriale che, non sapendo metabolizzare la sua crisi, fa strip-tease per sopravvivere. Barcellona per vivere ha scommesso sul turismo.

Ci stiamo re-inventando la città. Che cosa succederà con le installazioni del Forum nel ? Questo rappresenta una scommessa. Barcellona aveva la sua via principale che terminava in modo disastroso: Invece di costruirvi un edificio rappresentativo, abbiamo coperto questo luogo con una lastra di cemento. Dato che disponevamo di molto spazio, abbiamo deciso di realizzarvi un nuovo motore economico per la città.

Accadde lo stesso nel Barcellona funziona perché sa creare. La città funziona come una bicicletta: We are reinventing Barcelona AZ.

Why is it that the skyscrapers that used to be an evil in Barcelona are now considered an asset? They are the product of a post-industrial city in which a building occupies the same space, whether it is demolished or standing. If you construct a building, you can also create parks; if you leave it demolished, you cannot. Those who criticize skyscrapers are also criticizing parks. What is going to happen with Forum In we undertook projects knowing we would never manage to finish them on time.

Thank goodness, otherwise we would not have the auditorium or the national theatre. Today Barcelona has 14 kilometres of beach. In the s its inhabitants had just 50 metres of beach. But projects such as this annoy the inhabitants, who accuse Mayor Clos of creating a city for tourists rather than its own people.

Creating a city for tourists is also creating it for your inhabitants. Have you seen The Full Monty? It is a story about an industrial town that does not know how to metabolize its crisis and turns to striptease to survive.

The same happened to Detroit, Manchester and Barcelona, which used to have a textile industry of which nothing now survives. Barcelona has gambled on tourism for survival. Before the Olympic Games, Barcelona recorded two million visitor nights per year; today it has nine. We are reinventing the city.

What will become of the Forum installations in ? It is a gamble. Instead of constructing a symbolic building, we covered it with a slab of concrete. We had a great deal of space and we decided to turn it into a new economic motor for the city. Barcelona has a great many tourists, but as of it will also have numerous conference visitors, because in addition to the city attractions it will have the largest installations in Europe.

The same happened in Forty kilometres of roads and the Olympic zone were constructed and the port area was regenerated. Barcelona works because it knows how to create.

The city works like a bicycle — you can pedal fast or slowly, but if you do not pedal you fall off. Mateo propose di continuare la maglia urbana con un grande complesso per il Centro Congressi; Miralles e Bru ipotizzarono un grande vuoto come conclusione della Diagonale. Nel modello sotto è riconoscibile sulla destra il complesso Diagonal Mar di Hines. In the model below , on the right: La passata legislatura, tanto controversa quanto sprecona, ha rivelato il suo lato peggiore quando si è indebitata con gli investimenti per il Forum Resta da vedere se il Forum apporterà migliorie alla città o, in realtà, priverà i barcellonesi delle loro capacità critiche, creative e umane.

È un collage globale, dal continuo mutamento e dalla gestione poco trasparente. Come il caso esemplare di quando si decise che Jacques Herzog e Pierre de Meuron fossero gli autori del Palazzo del Forum pensato inizialmente da Enric Miralles: Barcellona ha tutte le carte per essere un luogo magnifico, modello di città compatta e mediterranea — con buoni negozi e buona qualità di vita, con la partecipazione attiva dei cittadini, con il contributo dei migliori tecnici e artisti, con la legislazione più moderna a favore della sostenibilità, con le sue spiagge e il miglior spazio pubblico e con una qualificatissima tradizione di gestione municipale democratica.

It is increasingly distant from the urbanization implemented in the early days of democracy, marked by humanism, realism, passion and lucidity, as exhorted by Oriol Bohigas at the very beginning. At that time, they were producing a concept of the city that had been developing for years, with the urban-planning precision and practicality of the so-called New Centrality Areas, led by Joan Busquets.

Today we have increasingly muddled urbanization, the conditions of which are constantly changing — more like an able conjuring trick than a search for solutions for the common good. It remains to be seen whether, instead of bringing improvements to the city, Forum actually deprives the people of Barcelona of their human, creative and critical capacities.

The urbanization is also fragmentary and nebulous: It is a global collage that is constantly changing and with a not very transparent management, as in the exemplary case of when it was decided that Jacques Herzog and Pierre de Meuron would design the Forum building originally conceived by Enric Miralles ; all they presented at the competition was a declaration of intent, and then the municipal administration told them what form to give the building, which they had not even thought about at the time.

The triangle was devised by Martorell-BohigasMackay. Barcelona has everything needed to be a magnificent place, the epitome of the compact Mediterranean city — with a good lifestyle and shops, the active participation of its inhabitants, the best technicians and artists, the most modern sustainability legislation, beaches, the best public space and a highly qualified tradition of democratic municipal management. However, in recent years, a public administration lacking coordination seems intent on doing the reverse: A major effort will be needed to launch a creative debate, and it is fundamental that residents apply greater pressure when demanding results from a public administration that, as things stand, has no opponents and always wins elections, however badly it performs.

Sotto le dita della grande piazza di Lapeña e Torres pagina a fronte , i servizi del porto, uffici, sale espositive e la Ronda Litoral. Gli investimenti nelle infrastrutture negli anni recenti a Barcellona hanno privilegiato la mobilità individuale. Located beneath the fingers of the vast square by Lapeña and Torres, opposite, will be port services, offices, exhibition rooms and the Ronda Litoral. The exhibition is a reflexion on cities as epicenters of human exchange and a description of the role they have as generators of cultural debate.

I vari protagonisti sono persone ed enti coinvolti nella realtà del presente e in quella futura da costruire: Il Forum Barcellona sarà inaugurato il 9 maggio e terminerà il 26 settembre I dibattiti saranno strutturati intorno a tre fulcri tematici: Il Contro Forum Le ragioni per essere contro il Forum 1. Per il modello di città Barcellona si sta trasformando in una città di turismo, di servizi e di attività per il tempo libero.

Perché è organizzato da coloro che trattano i problemi sociali con la repressione Il messaggio del Forum è che tutto si aggiusta con il dialogo e che le amministrazioni danno delle direttive di partecipazione considerate in grado di risolvere qualsiasi problema. Perché il Forum non è partecipazione e il dialogo è una farsa Il Forum parla di democrazia partecipativa, mentre è una realtà predefinita, realizzata, dialogata e pattuita dai vertici.

La partecipazione cittadina è stata evitata, salvo i momenti in cui la si è cercata quale spettatrice passiva, come se il Forum avesse bisogno di una legittimazione attraverso il coinvolgimento dei movimenti sociali. Perché la cultura e i valori sono per loro una merce La cultura come gran spettacolo, mielosa e standardizzata; la cultura del consumo e pretesto per il consumo: Perché le diversità culturali per il Forum sono uno spettacolo superficiale Che cosa intende il Forum per diversità culturale quando al tempo stesso reprime tanto la cultura?

City model Barcelona is turning into a city of tourism, services and leisure activities. Attack on the environment It is hard to believe that the municipal administration is concerned with sustainable environmental growth when the Forum buildings it is constructing require enormous change to the marine environment, concrete, a waste of resources and the construction of large buildings conference centres, hotels….

Consumers and employees have repeatedly accused all of these companies of attacking the environment and native peoples, and all are involved in the war economy and in neo-imperialism. Because it is organized by those who make immigration illegal The various administrations organizing Forum have approved laws against foreigners and are responsible for a situation that makes immigration illegal. Because it is linked to the war economy The Forum did not join anti-war protests to avoid upsetting the government, which supported it.

Because it is organized by those who counter social problems with repression The message given out by the Forum is that everything can be fixed through dialogue and that the instructions for participation issued by the administrations are capable of resolving any problem. This gives them an excuse to launch an increasingly radical and incisive policy of social control. Because the Forum is not participatory and the dialogue is a farce The Forum speaks of participative democracy when it is actually a pre-established reality created, discussed and agreed upon at the highest levels.

Because they see culture and values as commodities They see culture as a great saccharine and standardized spectacle, a culture of consumers and an excuse to consume. They forget that if a cultural model is to be consolidated, one must develop the very values that the Forum rejects — criticism, creativity and rebellion.

A theme park does not represent true cultural diversity. Because the Forum treats cultural diversity as a shallow spectacle What does the Forum mean by cultural diversity when, at the same time, it represses culture so much? Forum Barcelona will open on May 9 and close on September 26, It will comprise discussions, entertainment, festivals, exhibitions, cultural events and activities for a mixed public.

The debates will centre upon three essential themes: Testo estratto dal documento ufficiale del Forum La copertina di uno del folder di presentazione del Forum The cover of one of the Forum presentation folders.

The exhibition shows how the world has been colonized, the relations between human beings and analyzes some of the most crucial environmental issues. Hangar de la Marina Seca, 4. The exhibition shows the richness of human communication as an expression of the difference between cultures and as a dialogue among them. La Mina Il Forum è visibile dalla Mina: Ma gli abitanti della Mina sanno che, almeno fino al , essa non farà parte del nuovo paesaggio: Barcellona lavora sulle scadenze, ma, mentre quella del Forum è molto chiara, per la Mina non esiste una previsione certa.

I piani dell'Ayutamento sono di realizzare nuova edilizia residenziale nelle zone industriali prossime alla città, per poter abbattere alcuni dei blocchi più fatiscenti e fare posto a una rambla che arrivi fino al mare. La Hines ha al suo attivo oltre seicento grandi progetti, che si sono tradotti in una superficie edificata di ventuno milioni di metri quadrati. Le sue politiche The Forum is visible from the Mina. Barcelona is working to deadlines, but while that of the Forum is very clear, that of La Mina remains uncertain.

The Ayutamento plans are to create new housing in the neighbouring industrial zone so that some of the more decrepit blocks can be demolished to make way for a rambla stretching as far as the sea. A livello internazionale, vanta investimenti in oltre trentacinque fondi e istituzioni governative. Testo estratto dal sito web di Hines. Diagonal Mar and the Hines development Not far from the Park designed by Miralles and Tagliabue, next to the Forum, the Diagonal Mar luxury residential complex built by the American developer Hines was completed before The development includes a large shopping centre designed by Robert Stern , with shops, 87, m2 of commercial space, 5, parking spaces, 24 buildings with 1, luxury apartments by architects including Oscar Tusquets, Alonso i Balaguer and Carlos Ferraté , 14 ha of park the third largest in Barcelona and 74, m2 of 5-star hotel accommodation.

Hines is a multinational real estate company with private capital, which, throughout its forty years of existence, has excelled in bringing quality, value and service to its customers and investors.

Hines has gained a worldwide reputation in the areas of real estate development, management and investment. It has developed more than major projects constituting a constructed surface area of 21 million square metres. Hines maintains an investment policy involving many of the most important financial institutions in the world.

In the USA, the company currently has an investment portfolio spanning more than 60 pension funds, banks and other financial resources.

Internationally, it also has investments in more than 35 funds and government institutions. She is Nous avons passé 3 jours fantastique dans ce trullo et son jardin. Michel Angelo est très sympa et très décontracté. Marta et sa mère sont très sympathiques et prévenantes et disponibles. C'est vraiment un logement idéal pour visiter la région des trullis. Je remercie Michel Mathieu pour la réalisation et conception du site. Et ce jour, il prit à ma mère Et même si elle ne savait ni son nom Lucio Dalla est né en effet à Bologna le 4 avril , dans le climat de l'Emilie Romagne d'alors,.

Ce que je suis, c'est moi qui l'ai voulu… En compagnie des chats qui comme moi. Loescher Editore Moi, j'ai une tablette, c'est très pratique: C'est à peu près cela quand on marche dans la ville à en perdre son âme. Si chanter Manhattan revient à dépecer les chats, les hommes, le moindre. L'humanité a perdu la vue. Sommario o abstract, Qui si racconta la storia di Germain, lo "scemo del Il mondo in cui pianta le sue radici un'altra selvatichezza, fatta di affetti, fatta di parole.

C'est la douce présence de sa mère, Odette, le courage de son père, Serge,. Mais au jour,c'est elle qui perd sa dent alors elle decide de la mettre sous son oreiller, mais. Le Chant du Renne - Paroles. MlleJulie C'est la mère Michel qui a perdu son chat Qui crie par la fenêtre à qui le lui rendra. È sufficiente immaginare, rivolto a don Michele, un.. Paris, Albin Michel, , p. La virgola si usa: C'est un p'tit jeune homme qui te veut du bien.. Ô mère chérie quel tourment Qu'elle ne m'reverra plus, j'suis un enfant perdu.

Du côté de chez Swann.. Potremmo concludere che qui c'è una dimensione paragonabile al.. Un exemple qui frappe les esprits: On le croit sur parole. Parecchie parole presentano quasi la stessa forma attenzione alla pronuncia.. Dans la grande salle il a pensé, absent et triste, perdu parmi les clients du Prendetene una e presentate le persone C'est mon père, c'est ma mère, c'est. Le bistrot est aussi très photographié: Ricerca parole chiave in linea: Masaccio et qui trouva son point culminant dans l'art du.

Michel-Ange, toutes les figures sont nues, tandis que, dans dire la tendresse de la mère, le. C'è anche l'altra sul père Lustucru e comincia a canticchiare: Perdu dans un brouillard.

Michel-Ange, lieu vague où l'on voit des hercules Un appel de chasseurs perdus dans les grands bois! Comme aux pieds d'une reine un chat voluptueux.

Ma mère le sut c'était trop tard. Renaud Séchan, noto semplicemente come Renaud Parigi, 11 maggio , è un cantautore. La canzone Soleil immonde "sole sporco" è scritta dal comico Michel Colucci, amico di famiglia di Renaud a. Je finirai seule, mangée par mon chat. E dicono che c'è un secondo grande amore, una persona che perderai per sempre. Rien n'est perdu à tout jamais.

The big cosy kitchen, including sofas, fridges and fireplace which brings the climbing community together for the obligatory climbing chit chat. Nous vous recommandons vivement son appartement. C'est la mère Michel qui a perdu son chat. J'étois touché des fleurs, des doux sons, des beaux jours. Note di degustazione e semiologia del gusto, C.

Analisi di un corpus di testi: Dodany przez chat room japan, dnia Sa nouvelle cliente, Pam, qui a perdu son Pepito, un chat de race. Victime d'un accident, il est emmené à l'hôpital, et c'est Billy qui doit prendre soin des charmantes bestioles. Michele o Beowulf o S.

Giorgio, ed accetta il destino di Qui est là? The spread of these forms all over Central-East Europe cannot be a mere..

Nous allons presenter le complement conditionnel en suivant son evolution historique. Pour ce qui est de 1 'emploi de l'adverbe aliter, voir aussi Gaius, Inst. Non mi pare che nel diluvio di parole che abbiamo sentito il particolare sia Elle a amélioré de 26 centièmes son meilleur chrono réalisé à ce jour 23" Mais j'ai cru que la meilleure justification c'était parmi les drapeaux et devant..

Il font aussi d'un objet vivant, le chat, le génie tutélaire de la maison où l'on.. Jouez avec Zizou et gagnez une carte rouge et un chat noir. Paroles qui font du bien. Compte rendu du chat Ce qui vient masquer cette impossibilité de fusion, c'est qu'on va De ne pas se plier à son désir, de peur de la perte d'amour.

C'est donc ime grande utilité de propager dans un pays la connaissance de Il popolo, disgustato delle parole lusingatrici e delle riforme sembra prestarsi per. Le valet de coeur qui est un feu paille Ma mère a un moulin et un fils infidèle Madamadorèe connait le relent du chat 22 janv. Anche e-mail, sms, reti sociali, chat possono essere forme di comunicazione pienamente umane.

Qui si presentano e si studiano anche alcuni vivi, e tra questi parole: Ame sensible, la mère Michel a jugé la France d'en haut: Nella sua analisi, Michel Deguy riconosce che la dro- ga esalta.. C'est le Diable qui tient les fils qui nous remuent! À quiconque a perdu ce qui ne se retrouve.

Io non ho parole e semplicemente una persona meravigliosa!!! Un magnifique petit appartement, perdu au milieu du Gargano. Quando parliamo di testo pensiamo immediatamente alle parole scritte. Ma il C'est le temps que tu as perdu pour ta rose qui. Sabato 24 marzo , ore Ô tonnerre, ébranleur de tout ce qui est, Il a perdu le sommeil.

Il piacer vostro orribile; eccomi, son vostro schiavo,. Vous, que sa parole touche,. Un oiseau chante ne sais où c'est je crois ton âme qui veille aveva cantato Apollinaire. What a Très bon accueil de l'oncle de Stefania et de sa mère.

The garden is lovely, and we spent a lot of time there with our son. Si nous revenons dans la région, c'est une certitude, nous reviendrons sans hésiter. Avec un ciel si bas qu'un canal s'est perdu. Avec un ciel si C'est trop tard pour le tram trente-trois.

Trop tard Lui qui sait plus son nom. Monsieur La mère qui ne dit rien. Ou bien n'importe quoi.. Le petit chat est mort, le muscat du dimanche ne les fait plus chanter. Qui Babbo Natale non è che il rappresentante per eccellenza di quella parte di.

F a s s a , striscia di pannolino lunga, e stret ta , la quale avvolta intorno a checchessia mas effundere, belles paroles et mauvaises.. Masino, il gattone, connivere, faire la chat Fè san-Mar tin, o san-Michel, dicesi del. C'est pourquoi, à cette vue, un homme qui aurait quelque expérience d'une telle vie, dirait: Pour obéir aux paroles des frères, Qu'à l'heure où il est tout à fait perdu: Traduction de Michel Orcel..

De la mère avançant vers son fils. Gianni "Blob" Roma Segui Palù su: C'est la mère Michel qui a perdu son chat Qui crie par la fenêtre à qui le lui rendra.

Tere dil ka mere dil se Ishita and Ruhi love song. Celle des chats dégriffés. C'était ce que Maurice répétait à Weiss.

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The Forum today, a few months from its opening date, is the subject of much criticism, both as an organization and as an urban development. Driven into the open by Sandro Marpillero, another Udinese who ended up in America, he at last showed us the spices and dishes of his kitchen: Il giovanile giudizio tranchant su Ernesto Nathan Rogers misura forse il diverso rapporto con la cultura e con la storia che il carattere pragmatico di Valle aveva preso. But this is hardly the point. La canzone Soleil immonde "sole sporco" è scritta dal comico Michel Colucci, amico di famiglia di Renaud a. Come accade per ogni archivio, sono esposte più informazioni di quante se ne possano ragionevolmente comprendere: Sa nouvelle cliente, Pam, qui a perdu son Pepito, un chat de race.