No. 01 (1994): Anuario de Espacios Urbanos, Historia, Cultura y Diseño

If we could express the greatest concern of the authors of the Yearbook. We would say with Gide: "Everything has been said, but since no one pays attention, we always have to start again." This publication on the urban is the result of the intentionality of different researchers who make up the Urban Planning area of ​​the Department of Design Evaluation over Time. Different perspectives such as the historical, the planning, the economic, the anthropological, the sociological and the architectural itself that respond to the fact that the city becomes an entity that cannot be exhausted with a single reading, since it will always exist, a enormous disproportion between a finite space and the infinite imagination of the researcher that allows him to interpret it from very many angles. Those of us who designed the Yearbook conceive the city as a complex entity that can hardly be covered by a single discipline. Baste mentions that the Enacarta 94 Encyclopedia has 605 references to the concept of urbanism: from municipal government, education and urban planning, to industry, social movements, police and commerce, history, music, pollution, public transportation and agriculture. The study of urban areas requires the collaboration and participation of several specialists who, at different levels and levels, can shed light on the economic, political and social aspects conceived as a city. We could say that the spirit that animates the Yearbook is like that of the Dada movement, which was born at the beginning of the century to exalt, almost recalcitrantly, individualism, the petit-bourgeois protest against facism, synonymous with intolerance and outdated morality. We feel, then, committed to the principles of tolerance for free acts and the acceptance of personal expressivity, rebellion in behavior and, why not?, the subversive bias of Dadaism. The design of the Yearbook comes from Francis Picabia's 1919 Dada drawing entitled The World. The logo was selected, adapted and redesigned by Stella Fabbri, who from our first indecisions knew very well what we wanted.