Somaini wants to replace neither the architect nor the city planner. He is not a sculpture who presumes himself capable of building cities. He is simply a sculpture who wants to act as such within the urban complex. His aim is the emotional re-ordering of the city as a part of a possible “urbanization” and redemption of the city. His role is not to supplement the architect or the city planner, but to collaborate with them as a member of equal standing in a team of designers that will have the task of giving the city new life and its own inherent charge of human vitality. This vitality is a question of emotion and memory as well as function. “Art” writes Lefebvre, “is as necessary as science, though not sufficient, and it collaborates in the realization of urban society through the contribution of a rich meditation upon life as drama and joy. Furthermore and above all, art restores a sense of “the work”, and it creates the possibility of multiple interpretations of appropriate times and spaces – times and spaces not simply to be endured or accepted in passive resignation, but to be transformed into works. […] The social forces capable of realizing urban society must assume the task of effective and efficacious unification (synthesis) of art, technology and knowledge”.

(E. Crispolti, F. Somaini, Urban Urgencies, Edizioni Mazzotta, Milano, 1973, trad. di H. Martin)

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