There is a timeless way to built. It is like a million years ago, today and in the future. Building in this way leads to have edifices so old in their shapes like the trees, the hills and even our faces.
Chistopher Alexander, The way of timeless construction

Living in nature
into the water
next to the wood

Built using trees
with the colors of the islands
Listening the time goes by
the seasons
The sound of the see which changes
Its sweet smell

The future of housing
Leads ourselves to the roots
of the Mediterranean

Biography
Luca Bullaro graduated in Architecture at the University of Palermo, Italy. Working experience: EMBT Miralles-Tagliabue in Barcelona and Cannatà-Fernandes office in Oporto. Master Architecture: Critica y Proyecto, ETSAB School of Architecture, Barcelona. PhD Progettazione Architettonica, University of Palermo, in combination with PhD Proyectos arquitectonicos, UPC Universitat Politècnica de Catalunya. First Prize at the competition for the restoration of the San Paolo church in Castellammare del Golfo, Trapani, 2002. First Prize at the International Competition Misterbianco Città Possibile with a project of a public garden and a library in Misterbianco, Catania, 2003. Won the prize for sacral architecture Premio Europeo di Architettura Sacra, Fondazione Frate Sole, Pavia, with the project of Santa Lucia church in Gela, 2005. First Prize at the International competition Boa Vision for the reconfiguration of Papireto square in Palermo, 2007. In 2009 won a Special Mention for public spaces Spazi ed infrastrutture pub­bliche, Medaglia d’Oro dell’Architettura Italiana, Triennale di Milano with the project of a public garden in Bagheria.
María Paula Vallejo graduated at the School of Architecture, University of Pontificia Boli­variana, Medellín, Colombia. Master Architecture: Critica y Proyecto, ETSAB School of Architecture, Barce­lona. PhD Proyectos Arquitectónicos, UPC Universitat Politècnica de Catalu­nya.
Working experiences: at the office of Jose Luis Mateo, MAP Architects (2004-2006), Barcelona. First Prize Competition for a Congress centre in Medellín, Colombia, with Giancarlo Mazzanti, 2002. Won a Special Mention at the International competition Boa Vision with a project for the Foro Itálico and the old harbour La Cala in Palermo, 2007, with Luca Bullaro.

lucabullaro@hotmail.com

The artistic opera Lido shows the pecularity of mediterrean trip, the main theme of composition. Sea-landscape with white longs strips of seasides is the main form of the dream.

Biography
In 2005 Andrea Bozzi graduated to Classical Liceum Carlo Rinaldini, Ancona, and in 2007 started the university career to the Faculty of Letter and Philosophy of the Urbino University Carlo Bo with an historical artistic traced. In a second time he had been ammitted to the ISIA (Istituto Superiore per le Industrie Artistiche), an institute of Urbino where he is finishing the triennal universitary career.

andreabozzi85@yahoo.it

The plan shows five photographies, as the idea of a Mediterranean city and its culture. The photos portray the city of Genoa, whose identity is strictly Mediterranean and it’s formed by the infinites languages composing it. Being Earth and Air at the same time permits the interpreting of the city through the its roads and its sky. Passing through it, the form of the roofs anticipates that of the alleys, orienting and clearing the routes. This particular sight is linked to the human life itself, surviving thanks to the continuous changes, the stratifications, the languages, that brings new life to a strong identity. The object of the project is to represent the past, the present and the future of the Mediterranean Identity, showing the inner laws which leads to it.
Images showing Genoa, which shares with the other Mediterranean cities the same cultural identity.

Biography
Liliana Leone and Luca Mazzari graduated in Architecture at the University of Genoa, where they continue to live and work.
They inaugurated their design workshop in 1988 and started collaboration with the most important Italian furnishing companies, concentrating on the design of furniture and exhibition spaces as well as visual communication.
They work with some of the main companies of industrial design furniture, such as Move, Berloni, Falegnami, Ciat, Fimes, Laurameroni, Nardi, designing pieces of furnishings, tables, chairs.
They also are in charge of the setting up and lay out for some of the most important design exhibitions such as the Salone del Mobile in Milan, Paris, Cologne and Moscow, designing show-rooms and production sites.
In 1995, they took part in the Young & Design International Ideas Competition organized by the Milan International Furniture Fair and were given a special mention for their Altomare bed, designed for Fimes.
In the 1998 they participate, on invitation, to the first Design Biennale in St. Etienne, introducing some prototypes of containers and beds produced for the Italian company La Falegnami.
They participate to international competitions of architecture and design and won, in 2004, the first international competition for the redesign of the Chiavarina chair, which anticipated the Slightly One designed for Cassina by famous architect Giò Ponti.
In May 2006, with the project Led-Runner Lamp, they won the first International Competition from the lighting system company DeltaLight for a new concept of illuminant body with led, which conjugated innovation and sustainability.
The same project was presented during the Euroluce Exhibition in 2007.
They also teach Design at the Faculty of Architecture in Genoa, where they hold a workshop on Architectural Composition.
They have partecipated to numerous competitons, and they winning prizes and mentions, which:
- 2nd prize of the Competition of Bioarchitettura for Municipio XII of Rome for the Requalification of Pecile Public square in 2006;
- the mention for the project of Rizzolio public square to Genoa, in the within of the national competition of Ceramic planning and city requalification;
- the mention for the plan of the Archeological Park of Alba Docilia to Albisola in 2004, the mention for the plan of Garibaldi Public Square to S.Stefano Magra La Spezia.

info@archifax.it

How to represent the Mediterranean observing a small area of the sea and the Sicilian coast: the Tonnara of Bonagia, an ancient tuna fish factory near Trapani. The boats of the mattanza, the anchors, the iron tools, and the timber worn by sun and salt are visualized as archetypes of the past, present, and future. The sea, the fishing and the sailing have- from ancient times- joined all countries of the Mediterranean Sea.
The unintentional design of the masters of the adze has represented the wisdom and the culture of “doing” and the knowledge of work.
Furthermore, the history and the peoples of the Mediterranean have also been united by tuna fishing creating a multicultural and a sort of magical reality. The fishing tools, the rites and the symbolism that derive from it, are an expression of ancient trades, exchanges and even migrations from one land to another.
The future of the Mediterranean is inconceivable without an elaboration and transformation of its past along with a cultural and “factual” transmission among its peoples.
Observing simple pieces of wood and anchors dozing off on a windy shore in a winter afternoon, it is still possible to feel the life and the flavour of what once was and will be in the years to come.

Biography
Rosa Maria Villani Tedesco was born in Naples; works at present in Rome. She studied visual arts and was graduated in art history at the University of Rome La Sapienza. In 1990 she began a professional career in several sectors: design and development of prototypes for metal objects, graphic arts, restoration, art history and pedagogy, and the organization of cultural events. From 2001 she has undertaken an independent path of research in the visual arts, free from the constraints of clients and professional obligations.

rmvart@tin.it

Let’s try to think about water – in this case Mediterranean Sea of Palermo’s coast water – as a communication canal, as a flow bringing person with their cultural background and their baggage of ideals. We, as Italians, caught already some traditions coming from some Mediterranean countries, but probably without a real understanding of the sharing.
For instance, you could find the Macedonian Golden Dance with many different names throughout many European countries such as Greece, in the Southern part of Italy where its named Tarantella and in some Gypsies traditional dances.
During my wedding day, some friends made a circle around me and my wife. Only later I discovered this dance is a ritual accompaniment during weddings and often also during funerals. It is a dance made out of a single shape: the circle. If we would like to read Mediterranean Sea by design, we have to think not only on new shapes interpreting new realities, but we have to re-read the old shapes full of meaning to extend their boundaries.
My idea was born from a simple geographic observation on how the sea and its water laps on different coast of countries so different from each other. After this, I realised that the Mediterranean countries frequently are in dispute between them, even if it’s not an armed dispute; at least it is an ideological disagreement.
In a space delimited by a sea that join different world with his unstoppable flow of water and wind, paraphrasing Marseilles writer Jean Claude Izzo, nowadays we speak just about Europe. As Izzo wrote: “The Mediterranean Sea is made of two shores. Europe speaks only to one shore. Europe transforms this sea, for the first time, in a border between East and West. It separates us from Africa and Middle East”. We have to think the Mediterranean Sea as a common boundary of the same people. If we entrusted Mediterranean sea to carry people from a shore to the other – with all the baggage of traditions, thoughts, ideals – maybe we can open some bigger possibilities that an economic and politic European union and we can made in future an intercultural, pacific and open Mediterranean sea.

Biography
Vincenzo Di Michele was born in Palermo in 1974. He took his Art High Scholl diploma in 1992. After starting the school of architecture in Palermo University, he approached to the theatre as an actor, playing at first with the director Davide Enia in Malangelità show. In 2001 he became actor in Emma Dante’s acting company in several show that director: Carnezzeria (2002), Vita mia (2004), Cani di bancata (2006). During these years he made, with all of this stage shows, many Italian and Europeans tours.
In addition, he works for the same acting company in the organization and administration sector. Thanks to these several formations and work experiences, he acquired competences in both in employing informatics tools and in artistic expression. He developed a particular sensibility above all “Space perception”: architectural studies and actor work gave him the ability in understanding and handing of the space: physical space, as a theatre’s stage and exhibition areas; social space, in the organization of the communitarian spaces; abstract space, as in graphic composition.

zenzers@virgilio.it

Black and white digital photo. Pixel 18 Mb: 2765 x 2281 pixel; document’s dimension: resolution 300 dpi (23,41 x 19,31), Nikon D60.

Sicily as the Fortress of the Desert of Tartars by Dino Buzzati: a place where anxieties for enemy’s arrival concentrate. The certainty of the boundary works as a catalyst of identity.
Identity considered as a priori protection to prevent from contamination.
Sicily, in the middle of the Mediterranean Sea, reflects all the Mediterranean tensions in itself. Sicily exports its image as an own product, and then uses the term “turkish” in a disparaging way to point at each immigrant from the south.
It’s like a cultural amoeba that cyclically encompasses and disowns.
It segregates and points out the “stranger” as the only responsible of urban decay, touristic disaffection and illegality of employment, but - on the other hand - it appreciates the fact that a stranger living in a poor condition would be easily exploitable, dwelling in decaying houses; prior will be renovated with public contribution and media visibility, drawing attention and more cash flows from the Italian Government.
Sicily leads the struggle to defend its own autonomy from “the rest of the continent” – Italy and Europe- for whom represents the farthest periphery. Forgetting sometimes that Sicily represents another idea of Europe, with the center in the Mediterranean Sea, making Sicily as the center point.
Three different pictures about three pieces of sea, ideally placed on the three coasts of Sicily. They are the three Deserts of Tartars from where enemy will arrive. And yet that sea remains mysteriously free from enemies. Then a terrible doubt arises: probably no enemy will soon arrive, because he could have forgotten us.

Biography
Donato Faruolo was born in Potenza in 1985. He is obtaining his degree in Graphic Design at Fine Art Academy in Palermo. He writes about art and esthetic phenomena for magazines and associations.
He participated in many competitions and exhibitions. He carries on research projects about expressive chances for a meta-linguistic idea of photography.

thisguise@hotmail.it

The art of weaving, the profession of being. Weaving is a human skill. It is strictly related to the dextrous movements of the hands, and sometimes with the teeth… In such a way, weaving could be the mean through which humanity become to advance in culture and innovations by making dresses, tents and racks. On the basis of the above premise, I tempted to move forward with the conclusion that weaving is an inextricable –and universal- element of human culture.
Dreaming: weaving as cultural experience & life. Weaving is a form of craft but also a mean for story-telling. The trace left by the work of weaving hands is addictive with a steadily growing number of material/layers being superimposed upon the substrate. This is precisely how our story is created… This interplay of elements brings to mind the so-called songline that, in Aboriginal cosmology, crosses the entire continent of Australia and represents the enduring traces of the journeys of ancestral creator beings as they roamed the country during the ancient era known as the Dreaming.
Dreaming is the story I would like to recreate looking at the cultural background and experiences in Cyprus. I decided to do so through the use of textiles.
I have chosen to follow a journey into the past and tradition by letting my art “move”. Weaving in motion… this is my idea of Dreaming.
The real and the imaginary: rethinking the “boundary” between the two.
In my work, the boundary between the real and the imaginary becomes an issue not too easy to tackle. Each theme I work with is the transforming of one into another. For instance, the spider is a real creature and in some cultures, a metaphor of death or evil. The animals I selected to portray do exist in (or have once been part of) the Cypriot ecosystem and yet, in certain cases, they represent an abstract concept such as life, nature or even tradition.
Open work?
My work also aims to be seen as a visual open work, with no apparent beginning or end:
Weaving is an open-ended work
Experience and being is an open-ended work
History, stories and cultures are open-ended works
We are all an amalgam of emotions in motion

Biography
Kyriaki Costa was born in 1971 in Nicosia, Cyprus. She studied Byzantine and applied arts in Greece and the United Kingdom. She received her Masters degree in art from Kingston University, London. She is a member of the Cyprus Chamber of Fine Arts and the Cyprus Fashion Designers Association.
In 2006 she participated in the Saint Etienne biennale exhibition in France, where she received the public’s prize. In the same year, she represented Cyprus at the Cairo biennale, with the piece Sweet Land; the Cyprus delegation received the “Best Pavilion Prize”. In 2008, she received a Pancyprian prize at Υφάνσεις-Weavings-Dokuma, a competition organized by the Ministry of Education and Culture and the Cyprus Chamber of Fine Arts for the European Year of Intercultural Dialogue. She has participated in many group exhibitions and international art fairs. Her videos have been used as teaching material at the University of the Aegean.
Since 2005, she has regularly collaborated with German-based choreographer Alexandra Waierstall as a costume and visual designer.
In parallel with her work as an artist, Kyriaki Costa works as a fashion designer, active both locally and internationally. She is married to Giorgos Hadjipieris and has two daughters.

kycosta@cytanet.com.cy