Giuseppe Resta

This study explores the profound impact of oil’s aesthetic legacy on contemporary Iranian art, offering a multidisciplinary examination that intersects economy, society, and culture. It highlights how Iranian artists, including painters, filmmakers, sculptors, and designers, navigate and reflect upon oil’s dual role as a material resource and a metaphorical entity. The study talks about how the way oil is extracted and the infrastructure that supports it, along with its social and political effects, affects how people talk about art, how artists get money, and how artists express themselves in Iran. The study draws upon interviews with six contemporary artists (Hamze Farhadi, Anahita Rezvani-Rad, Amin Roshan, Sona Safaei-Sooreh, Sanaz Sohrabi, and Soheila Sokhanvari), who shared their critical reflections and theoretical frameworks on oil aesthetics. The text makes the case that oil in Iran has an aesthetic impact beyond its economic value. It is seen as a geopolitical tool and a social force that significantly impacts how people see the landscape. It addresses the ethical and environmental dilemmas faced by the art world due to its reliance on the oil industry’s support since the first discoveries of 1908 led to the establishment of industrial cities, which became relevant venues for presenting artworks. In the interplay between industry and arts, four main lines of reasoning have emerged: the introduction of new materiality based on oil infrastructure and the use of oil as an artist’s tool; the inherent contradiction of aestheticization between the celebration of wealth and the reparation of environmental emergencies; the criticism against external influences in domestic politics and the inattention to local communities; and the formation of visual ideologies that employ oil for partisan messages. Ultimately, the ongoing dialogue between art and oil in Iran enriches our understanding of contemporary artistic practices and invites a broader reflection on the future of cultural expression in the shadow of industrial and ecological change.

The article discusses methods of combining visual and literary sources to study heritage sites with rich narratives and scarce material traces. It also examines the use of GIS in historical research and the challenges of integrating historical sources with digital mapping technologies. Taking as a case study the European maps and description of Hormuz Island, Iran, and their impact on the perception of that emporium in a global trade network, the ideological agency of representations can be approached by studying the untold, the invisible. Two main spatial practices have been analysed: the organisation of the built environment due to the lack of fresh water on the island and the disappearance of its main architectural landmark, a monumental minaret represented in many travellers' accounts. The research problem is approached in a three-stage methodology: comparative analysis of historical maps and descriptions dating from the sixteenth to the nineteenth century; visual material analysis by redrawing architectural features; GIS-based spatial analysis. Overall, the article emphasises the importance of critically examining historical maps, integrating various sources of information, and employing multidisciplinary approaches to gain a deeper understanding of the historical urban pattern and cultural significance of heritage sites. This perspective provides scientific knowledge but also leaves space for imagination, hinging on the state of latency historical artifacts provide.

This study explores the architectural and urban design strategies for revitalizing non-formalized open spaces within the historical context of former Ottoman cities, focusing on the Ulus central neighborhood in Ankara, Türkiye. Ulus Square served as a testing ground for a collaborative studio methodology conducted with third-year students in the Department of Architecture at Bilkent University. By examining the design studio’s efforts to integrate various architectural languages amidst Ankara’s eclectic/historicist backdrop, this paper highlights the complexities and opportunities in transforming Ulus Square into an ‘active void’. The methodology we adopted involves reimagining these open spaces through a revised understanding of spatial analysis, departing from three key principles: favoring multiplicity over uniform solutions; designing public spaces as urban thresholds; and prioritizing inactivity over complex functional programs. We observed that the charrette format, moving from collaborative visions to individual tasks, was ideal for incrementing students’ participation compared to more rigid studio structures experimented with in previous years.

This article explores the use of travelogues as a tool for narrating the vitality of cultural heritage sites in the contemporary city. To strengthen the existing understanding of narration in architecture and spaces, this study discusses the role of travelogues in capturing the multiple layers of a heritage site, the intersection of imaginary narratives with tangible portrayals, and the importance of the bodily experience in shaping the perception of a place. It also examines the influence of prior knowledge and cultural frameworks on the visitor’s experience and the potential for travelogues to challenge stereotypical constructs and create new narratives. As an ideal extension of the traveler’s body, the travelogue offers a unique perspective on heritage sites by incorporating personal experiences, local facts, and new issues that arise in contemporary society. The authors conducted a workshop in Çanakkale, Turkey, organized for the EU COST action “Writing Urban Places,” where participants created travelogues to document their experiences and reflections on the mythological city of Troy.

On the 17th of May 2020, the Albanian National Theatre in Tirana was demolished overnight, in the days of the first major lockdown due to the COVID-19 pandemic. The theatre was built in 1939, when the Italian military occupation of the Albanian territory was officially established, after decades of increasing influence on the local economy by the fascist regime. That day was the climax of a two-year-long protest against its demolition by local associations, and international organisations. This event demonstrates the importance of debating on the contested material and immaterial traces that the Italian presence in Albania left behind, culminating with a military occupation during WWII. This text surveys the exhibitions, curated or organised by Italian institutions, with the aim of tracing the evolution of the colonial narrative from fascist propaganda to contemporary initiatives. Starting in the 1920s, the Italian Ministero delle Colonie opened trade exhibitions, ethnographic displays, political and recreational events. During the occupation, Albania was featured in the Mostra Triennale delle Terre Italiane d'Oltremare (1940) and many other venues up to recent shows in Tirana. The first exhibitions were essential devices to support Italian territorial claims, built on the argument of an alleged Mediterranean tradition of the area, reunited once again under the “Roman” identity flag. The political-ideological nature of the artistic productions, the biased historical discourses around the myth of Roman origins, and the aesthetics employed in such events formed a strong narration that lasted much longer than the military presence on the territory. Taking this case as an example, we will see how exhibitions were instrumental to the authoritarian regime in the identity-building process; how contested narratives can be twisted in the contemporary political debate; and to what degree this heritage can be considered a shared legacy by both parties, the coloniser and the colonised.

Rendering an alternative world where to project human existence, beyond the constraints of Earthly reality, has been a major component of religions that acknowledge the existence of surrogate dimensions to be inhabited. In the text, we suggest looking at Metaverse with a spiritual gaze, understanding this new collective (digital) space as just another version of those promised lands that all religions have rendered with frescoes and epic narrations. In this sense, the idea of a Metaverse is very old, although its technological manifestation is a recent creation. In the text we analyse Dante’s metaverse as is represented in the "Assunzione della vergine" by Francesco Botticini and "Dante and his Comedy" by Domenico di Michelino; the "Garden of Earthly Delights" by Hieronymus Bosch; up to contemporary artist and techno animism.

The City and the Myth collects the results of an international workshop organised in July 2022 as a part of the COST Action Writing Urban Places. In line with the focus on narrative methods for urban development in European medium-sized cities, we investigated the relationship between the city and the myth, namely the visible and the invisible surrounding the story of Troy, travelling from Istanbul to Çanakkale. Within this frame, thirty researchers, professors and artists followed outdoor itineraries and narrated their personal interpretations through a travelogue, which is intended as a tool that spatialises their sentimental journey. The event was hosted at the Faculty of Architecture of Yeditepe University, in Istanbul, and in collaboration with Çanakkale Savaşları Gelibolu Tarihi Alan Başkanlığı [Çanakkale Wars Gallipoli Historical Sites Presidency].

The present collection of translations arises from our work within Writing Urban Places, a network of researchers interested in the different ways citizens appropriate meaningful built environments through stories, and in doing so are also better able to integrate with others. A key locus in this respect is what our network has termed the ‘mid-sized’ [or ‘intermediate’] European city. Often afforded only cursory attention in the discussion of both culture and society, overlooked in favour of more usual suspects, such urban places allow for a more de-centred, and on occasions regionally focused, view of urban practices, even as they play host to a significant element of contemporary European life and experience. The quest for meaningfulness and appropriation of the urban environment through co-creative, adaptive, and transformative processes (many of which have a textual quality) became central to the theoretical framework of this initiative. Between the individual places in which such processes could be observed and documented, we hypothesized, arises the problem of intermediation – the move from place to place, and its techniques. Translation, more than a textual practice among others, emerged as a structuring consideration of the project at a European scale. Other Destinations is the outcome of this collective process presented here, offering entry into this work to an English-language readership for the first time. We hope that, even as they bring their cities of origin somewhat closer to a new readership, those readers will be uprooted and moved some distance in the direction of these ‘other destinations.’ The edited volume Other Destinations. Translating the Mid-sized European City thus features English translations of 15 21st century (mainly) literary texts published in different media (books, podcasts, journals, online/social media) originally written in languages other than English and that have not previously been translated into English. The selected texts cover the topic of mid-sized European cities, where mid-sized does not solely refer to the size in terms of geographical scope or the number of inhabitants, but also to their socio-historical context of urban identity where these cities are neither metropolises nor small towns, but “other”, lesser-known European cities. The texts selected to be translated in this edited volume cover cities like Volos, Canakkale, Varna, Plovdiv, Durres, Tirana, Porto, Den Haag, Osijek, Salzburg, Naples, Zrenjanin, Loule and others…. The publication intends to enhance the dissemination and accessibility to an international readership of texts about overlooked urban contexts, “other”, lesser-known European cities, their stories and signifying practices in order to develop a better awareness of these cities, their self-constructions, and their responses to the challenges of the present.