This is not the same old magazine. Compasses is the opportunity for architects, interior designers or just for followers to keep in touch with the most up-to-date ideas, innovations and new trends within urban planning, architecture and design. Our scientific committee members select papers, reflections and in-depth detailed articles which will then form each magazine number with a monographic slant. Every Compasses issue has a central topic, summed up in a key word, with each article revolving around it. Compasses thus comes out as a definitely actual and seducing object, while also being a volume to be collected, a place rich of high quality contents in which one can dialogue and compare himself in a worldwide context.
This is not the same old magazine. Compasses is the opportunity for architects, interior designers or just for followers to keep in touch with the most up-to-date ideas, innovations and new trends within urban planning, architecture and design. Our scientific committee members select papers, reflections and in-depth detailed articles which will then form each magazine number with a monographic slant. Every Compasses issue has a central topic, summed up in a key word, with each article revolving around it. Compasses thus comes out as a definitely actual and seducing object, while also being a volume to be collected, a place rich of high quality contents in which one can dialogue and compare himself in a worldwide context.
This section proposes, in the first 24 pages, reflections and ideas concerning the main topic of the issue based on a critical and historical approach
A total of 8-10 designs, both architectural and urban scale, of reputable international architects are presented with pictures, renderings, sketches, graphs, comments
The interiors section is devoted to interior design, new materials, new forms of design.
A substantial part of the cathedral of Notre-Dame is not anymore. A few hours of fire, inexplicably started and recklessly uncontrolled, have destroyed centuries of history.
The courage of firemen and the strength of stone have saved the structure, but much – too much – is lost forever. Someone has written that the damage is not so serious and in part it is true, considering the dismay we all felt, that night of April the 15th, in front of the fear of waking up the next day and finding only the exterior shell of the great cathedral standing.
But this doesn’t mean that what has been lost did not have an inestimable value: wooden structures that for the most part dated back to the 13th century, later additions all congruent with the traditional Gothic construction and, above all, parts restored or reconstructed by Eugène-Emmanuel Viollet-le-Duc, among which the famous flèche – the spire – which constituted (it is difficult to use the past tense, but unfortunately it is so) a piece of history of the 19th-century stylistic restoration.
An intervention, that of Viollet, internationally well-known and a topos of the basic education of any architecture student.
The works realized by the famous architect between 1844 and 1864, first in collaboration with the oldest and most authoritative Jean-Baptiste Lassus, then on his own, now represent a piece of history of the Parisian cathedral as significant as the previous stratification and it is not admissible to consider their loss a “lesser evil”. A brilliant and learned architect – still waiting for a full reassessment of his multiform and complex personality, especially in France, although new publications and some exhibitions have proliferated on the occasion of the 2014 bicentenary – Viollet-le-Duc had carried out the restoration of Notre-Dame with love and dedication.
A substantial part of the cathedral of Notre-Dame is not anymore. A few hours of fire, inexplicably started and recklessly uncontrolled, have destroyed centuries of history.
The courage of firemen and the strength of stone have saved the structure, but much – too much – is lost forever. Someone has written that the damage is not so serious and in part it is true, considering the dismay we all felt, that night of April the 15th, in front of the fear of waking up the next day and finding only the exterior shell of the great cathedral standing.
But this doesn’t mean that what has been lost did not have an inestimable value: wooden structures that for the most part dated back to the 13th century, later additions all congruent with the traditional Gothic construction and, above all, parts restored or reconstructed by Eugène-Emmanuel Viollet-le-Duc, among which the famous flèche – the spire – which constituted (it is difficult to use the past tense, but unfortunately it is so) a piece of history of the 19th-century stylistic restoration.
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