In this second part, we talk together with Alessandro Melis about the different forms of expressive arts, expanding the architecture discourse with radical visions, and utopian-dystopian scenarios embraced in the world of mass media, literature, comic books, graphic novels, manga, films, sci-fiction, and cyberpunk. Industrial and Creative Arts have always conferred an additional value and a greater resonance to architectural design, as Alessandro explains, even if they have not always been adequately evaluated especially in the Italian cultural panorama. They have proven to be an essential tool, appropriate for the speed of the contemporaneity and of our dynamic continuously changing contexts. Considering architecture as the reference point of a vast interdisciplinary commitment, we have to accept with complete openness contaminations without barriers, building a bridge between the futuristic and realistic sides of the world. Often what could sound too innovative or could contradict our certainties, ‘para-dogmas’ as Alessandro defines them, has the tendency of not being accepted. It is instead important to reflect that, if we want to be truly resilient, we must listen to the polyphony of diverse artistic languages, not belonging only to the same sector.
In this second part, we talk together with Alessandro Melis about the different forms of expressive arts, expanding the architecture discourse with radical visions, and utopian-dystopian scenarios embraced in the world of mass media, literature, comic books, graphic novels, manga, films, sci-fiction, and cyberpunk. Industrial and Creative Arts have always conferred an additional value and a greater resonance to architectural design, as Alessandro explains, even if they have not always been adequately evaluated especially in the Italian cultural panorama. They have proven to be an essential tool, appropriate for the speed of the contemporaneity and of our dynamic continuously changing contexts. Considering architecture as the reference point of a vast interdisciplinary commitment, we have to accept with complete openness contaminations without barriers, building a bridge between the futuristic and realistic sides of the world. Often what could sound too innovative or could contradict our certainties, ‘para-dogmas’ as Alessandro defines them, has the tendency of not being accepted. It is instead important to reflect that, if we want to be truly resilient, we must listen to the polyphony of diverse artistic languages, not belonging only to the same sector.
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