Claudia Faraone is an architect (2004, IUAV Venezia), has a PhD in territorial policies and local projects (2011, RomaTre, LAA|Paris Villette), and holds an EMU/ European Postgraduate Master in Urbanism (2007, UPC Barcellona, Delft University of Technology and KU Leuven). Since 2004 she has participated in and organised several workshops, research projects, exhibitions and audio-visual productions, exploring cultures of production and practices of urban space. She was involved in the development of ‘descriptions’ and design proposals for urban landscape transformations in territories after natural and human disasters (Skopje, L’Aquila, Karst region) and affected by socioeconomic transformations (Veneto region and Rome). Since 2005, she has been teaching at the IUAV Venice School of Architecture, at the Architecture Department at Roma 3 University, and the Advanced Course of visual arts at the Fondazione Ratti in Como (2006). She is a founding member of the multidisciplinary research group ETICity-Exploring Territories, Imagining the City.
issues 1–112 are available in PDF format
does the author’s ‘owning’ of a project mean? And does this sense of
ownership still prevail in contemporary architecture culture? Other more
open forms of cooperation and co-creation are emerging alongside the
concept of individual singular authorship.
series of concrete projects, the contributions in this issue explore the
field of tension between architectural aesthetics and issues of energy,
technology and materiality. Ecological practices in architecture must
not only be effective in providing solutions, but inevitably raise
questions of beauty, affection and perception as well.
Call for Abstracts OASE #115 about “Interferences: Migrating Practices in Europe”, written by Justin Agyin, Kornelia Dimitrova,
Christoph Grafe and Bernard Colenbrander. Deadline is June 19, 2022. Read the full text of the OASE #115 Call for Abstracts in the PDF.
Museums stage public encounters between visitors, objects and
stories. This is not limited to a tour through the exhibition spaces, it
starts already with monumental or ‘tresholdless’ entrances.