The author introduces the main topics of the convention “THE MUSIC PLACE - Flexibility and new spatial configurations”, referring to some innovative proposals of the past times about the spaces for the performances (the Gropius Total Theatre and the Sacripanti Cagliari Theatre). At the same time, she points out the current lack of adequate places, that do not satisfies the social need and the more and more numerous schools, companies and show associations request. Therefore, she describes the critic Italian reality, devoid of a performance place “new/contemporary” culture, that considers, almost only, big buildings (as the big ancient theatres) designed to the greatest events, ignoring the requests coming from the smaller and newly undertakings (often related to the small districts). In this scenery, one proposes new conceptions (spatial, functional, etc.) – as the innovation of the spread “theatre” - denouncing the fact that in the contemporary planning often the flexibility factor is not considered, even if it is very important, above all today (also in the economic sense). In this writings, it is hoped a “re-organisation” and “renewal” of the designs objectives for the current social and cultural requests, considering some past progress and promoting the development of them. As regards, the author points out the innovative factors introduced by the contemporary composers, above all about the “direction” and the “movement” of the sound, understanding the importance of spaces flexibility, not only acoustical but also physical (remembering the Ircam), achievable not necessarily with sophisticated systems but also with, more or less, simple technologies (see American experiences, G. Izenour, etc.). So, one stimulate new design attitude and the evolution of functional model and of re-use proposals, referring to the available building heritage (above all theatres, churches e industry buildings, often unused) and to the possibilities of rehabilitating and staging it (see the Farnese Theatre of Parma and the Gewandhaus Altes Auditorium of Lipsia). The author concludes expressing the necessity of integrating the common planning methods with those specific of the re-use topic, availing oneself of multi-disciplinary competences and having interactions among different “arts”.
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