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This paper reflects on the category of authorial heritage in twentieth-century architecture, addressing the epistemological and political dimensions implicit in the relationship between author and work. It considers the metamorphosis of the author from the second half of the century onwards – progressively emptied of the work itself and transformed into an image, a media construct within the architectural star system – and the consequences of this shift for conservation. Three critical pathways are examined: the re-involvement of the original author, the hereditary succession of relatives, pupils, or collaborators, and the poetics of the unfinished, which questions the legitimacy of possible completions. Through paradigmatic case studies, the analysis highlights heterogeneous outcomes – ranging from interpretation to rewriting and alteration – showing intervention as a critical space of negotiation between the primacy of the intentio auctoris and the autonomy of the intentio operis.

The year 1958 marked the beginning of the history of the new Town Hall of Cesenatico, to be realised on the site of the previous building, which had been severely damaged during the Second World War. It is the time period when the Pirelli Skyscraper was built in Milan and the year immediately following the inauguration of the Garzanti Foundation in Forlì, which would pave the way for Gio Ponti’s experience in Romagna. Although Saul Bravetti, a local 20th century architect, was initially called, the parallel involvement of Gio Ponti led to the final decision to take the opportunity to entrust the design of the new municipal building in Cesenatico to a renowned firm. Built in the early 1960s by the Brandolini company of Cesena, the new Town Hall of Cesenatico underwent a series of modifications during the design phase, the construction moment and its life, making it an emblematic case of modern metamorphoses.

Sanatın temel ilham kaynağı olan doğa, insanlık tarihinde sanatçıların üretim odağında yer almaktadır. 20. yüzyılın ilk yarısında sanatçılar, galeri mekânlarını ve sanat piyasasını sorgulamaya başlamışlar ancak 1960’lı ve 1970’li yıllarda bu sorgulama daha geniş bir ölçekte ve belirgin bir şekilde kendini göstererek sanatçıların doğayı sanatsal üretimlerine ortak etmesiyle sonuçlanmış ve doğa sadece yüzey üzerine aktarılan bir tema olmaktan çıkmıştır. Bu çalışma kapsamında 1970’li yıllarda ekolojik sanatın doğayı iyileştirici yaklaşımına yön veren temel etmenlerle birlikte sanatçı Bilge Friedlaender’ın bu alandaki eserlerine yer verilmiştir. Sanatçının doğaya duyduğu hassasiyetin sanatsal üretim sürecinde nasıl yol gösterici olduğu analiz edilmiş, eserlerin malzeme dili üzerinden sanatçı merkezli yaklaşım yöntemi ile betimsel bir analiz yapılmıştır. Bulgular sonucunda sanatçının materyalist dünyaya karşıt bir duruş sergileyerek eserlerinde ekolojik düşünceyi kucaklayan, sürdürülebilir malzemelerle çalışarak fiziksel alanda az yer kaplayan, el yapımı kâğıt gibi doğal malzemelerin yol gösterici olduğu bir sanat anlayışını benimsediği tespit edilmiştir. 1970’li yıllarda ekolojik sanatın yalnızca büyük arazi projelerini destekleyen sanatçıları değil, aynı zamanda daha küçük ölçekli çalışmalarıyla sistemin dışında kalmayı tercih edip doğal olanı destekleyen sanatçıları da kapsadığı ortaya çıkmıştır.

This present paper aims to reconstrut the archaeological landscape of a territory, belonging to the Regio XII Augustea, named Piscina Publica. This is achievable through the study of unpublished materials and by analyzing the archival sources, the historical maps and some aerial photographs of 20th century.

In post-war Italy the research about prefabrication largely went beyond the functional use of the elements. The theme of modularity, seriality and prefabrication was explored with many nuances: from the desire to combine the theme of prefabrication with the limits and the compositional and architectural potential of the systems, to the theme of modular coordination of architecture, in which they found space for a greater or lesser number of components, with their assembly leading to almost endless variations. Italy, unlike other European countries, never opted decisively and in a widespread way for this type of approach. However, it did develop its own response to this issue, on an occasional basis, in the period between the wars and in a broader and more highly articulated way in the 1950s and 60s. The paper intends to investigate the situation in Italy after the war regarding the prefabrication and its use in the construction process was highly articulated and manyfaceted. After an initial phase, which was characterized by a substantial time lag in this sector, in the Fifties a mature approach to the theme of industrialization in building was addressed at numerous national and international conferences, as well as in numerous projects.

In the 1930s, the construction of psychiatric hospitals in Italy was rooted in a well-established design tradition, yet it introduced formal and technological experimentations that marked an opening towards modernity. The Piedmontese context offers significant examples in the complexes of Racconigi and Vercelli. At Racconigi, the new service pavilions adopted innovative solutions compared to earlier buildings, while at Vercelli Luigi Martini, from the Gardella-Martini practice, designed a layout combining typological continuity with updated construction methods, employing materials consistent with contemporary modern experimentations. Archival research, including the Gardella Archive, has brought to light new documents on the genesis and realisation of these complexes. Today, this heritage – marked by fragility and the absence of reuse strategies – calls for a reflection on intervention criteria for twentieth-century heritage, to be framed within the broader debate on the conservation of psychiatric hospital complexes.

The article presents some notes taken on the biography of Lamberto Borghi regarding Livorno Judaism during the early twentieth century, which is characterized by significant figures in the cultural and political life of the city.

Information about individual-level genetic ancestry is central to population genetics, forensics and genomic medicine. So far, studies have typically considered genetic ancestry on a broad continental level, and there is much less understanding of how more detailed genetic ancestry profiles can be generated and how accurate and reliable they are. Here, we assess these questions by developing a framework for individual-level ancestry estimation within a single European country, Finland, and we apply the framework to track changes in the fine-scale genetic structure throughout the 20.sup.th century. We estimate the genetic ancestry for 18,463 individuals from the National FINRISK Study with respect to up to 10 genetically and geographically motivated Finnish reference groups and illustrate the annual changes in the fine-scale genetic structure over the decades from 1920s to 1980s for 12 geographic regions of Finland. We detected major changes after a sudden, internal migration related to World War II from the region of ceded Karelia to the other parts of the country as well as the effect of urbanization starting from the 1950s. We also show that while the level of genetic heterogeneity in general increases towards the present day, its rate of change has considerable differences between the regions. To our knowledge, this is the first study that estimates annual changes in the fine-scale ancestry profiles within a relatively homogeneous European country and demonstrates how such information captures a detailed spatial and temporal history of a population. We provide an interactive website for the general public to examine our results.