From the Tendenza to the avant garde, ìcontinuity with architectural historyî was used as a means of reclaiming Italian material heritage from authoritarian ideology. The historicization of monuments according to personal narrative and ephemerality served to bolster monumentality by repeatedly and freely reasserting existence in the present, designed moment. Felliniís Mastroianni and Ekberg in the Trevi Fountain, as they physically occupy a monument itself built from repurposed antiquity, are exemplary of this process. The image of this adulteration was self-consciously projected across the world, becoming part of a concomitant exploration of the productive capacities of reproducible media: at the moment of its dissemination, La dolce vita joined the discursive landscape, and became a part of the Trevi Fountainís total construction. We too embrace the interpretive act and propose an exploration of Romeís psychogeographies by retracing its occupation through alternative mappings.

Marcello in the Fountain: Contemporaneity, the Ephemeral, and the Absolute: Monumentality in Rome, Reconstructed, 2014.

Proposal for American Academy in Romeís 2015 Rome Prize; in collaboration with Rebecca X Fitzgerald. A preservation-oriented analysis of filmic representations and contemporary realities of architecture in Italy 1922-1985.