Vele – Scampia

218.dCaptura de pantalla 2016-05-12 a las 19.32.43Captura de pantalla 2016-05-12 a las 19.32.19Born as a result of Law 167 of 1962, the seven sail of Scampia (designed by the architect Franz Di Salvo) were part of a housing development minded which also included a development of the city of Naples in the east, that is Ponticelli.
They are, after all, the work realized that best represents the architect’s architectural poetics: social housing. After years of continuous design experiments, he found himself entrusted by the Cassa del Mezzogiorno commissioned to create a large residential complex in Scampia.

Inspired by the principles of unités d’habitation of Le Corbusier, Di Salvo articulated the system of the district on two building types: a “tower” and “tent.”
The latter type, which imprints the predominant image of the complex of Sails, is characterized (in section) by the combination of two buildings inclined flap, separated by a large central vacuum crossed with long balconies suspended at a height intermediate compared the housing units.
They were also provided social centers, a play space and other community facilities.
Failure to fulfill this “socialization nucleus” was certainly a contributory cause of the failure.

The architect’s idea was to create the perfect tenement, a real autonomous city, (with garden terrace, a running track about 300 meters long, an indoor and an outdoor gym, a club, a maternal school na and so on), where each family was not actually in itself but to become part of a real community.
Unfortunately, since 1980, after the tragic earthquake in Irpinia, the sails began their sad decline, with the houses occupied by the homeless and a widespread state of decay that continues today.


Scampia in video at 20 minutes:

Enrica Sacco


Frida Kahlo’s Fashion Sense

“She had the courage to paint women’s pain, which must never be revealed in patriarchal warrior societies. Yet she was true to her longing, as a female, to create beauty even out of an imperfect female body. Viva Frida! I visited Casa Azul, and everything I see and read about her still touches the deepest core of my feminine soul,”

Frida Kahlo wore her heart on her sleeve, though not the way one might think. In real life, as on the canvases of her many self-portraits, Kahlo used fashion to channel her physical and emotional insecurities into statements of strength, heritage, and beauty. Yet for nearly 50 years, her personal wardrobe remained hidden to scholars and fans alike, locked away shortly after Kahlo’s death in 1954.

“Because of its geometry, it was the perfect dress to disguise Kahlo’s imperfections and distinguish her from her famous husband.”


When Kahlo passed just after her 47th birthday, her husband and fellow artist, Diego Rivera, began placing her most personal belongings into a bathroom of their Mexico City house. Upon Rivera’s death in 1957, their home, also known as La Casa Azul or “The Blue House,” became the Museo Frida Kahlo. But shortly before Rivera died, he gave instructions to a close personal friend, Dolores Olmedo, that the room containing Frida’s wardrobe should stay locked for the next 15 years. Olmedo took Rivera’s request so seriously that she ultimately decided to keep the room sealed until her own death in 2002.


During the last decade, the museum has finally been able to catalog and organize the bathroom’s contents, which included hundreds of documents, photographs, and artworks, in addition to around 300 articles of clothing and personal objects, from a pair of earrings Picasso gave Kahlo to her customized prosthetic devices. Just last November, in collaboration with Vogue México, the museum opened the first exhibition of Kahlo’s personal garments, presenting her attire through the lens of disability and female empowerment, as well as her continued influence on fashion. The exhibition focuses on the ways Kahlo used her iconic style, often composed of traditional Tehuana garments, to project her feminist and socialist beliefs while also masking her debilitating injuries.



the history:

Enrica Sacco


Ouka Leele

She was born in Madrid in 1957, under her real name of Bárbara Allende Gil de Biedma. She was interested in painting since childhood, although she decided to train as a photographer. She mastered the technique, and at the age of 18 various of her photographs were included in the book ‘Principio’, together with other promising young photographers, and published in the specialist magazines ‘Zoom’ and ‘Nueva Lente’. In 1978 the magazine ‘Star’ asked her to create a colour photograph for its front cover, and as she specialised in black and white photography she decided to use a technique from the beginning of the century consisting of colouring the photograph with bright watercolours.

Ouka Leele wanted to be a painter but discovered photography as another medium of looking at figurative work. At a unique moment in Spanish history in the aftermath of Franco’s death, she invented a fresh and original way of looking at images.
With great ease she became a part of the nation’s “movida Madrileña” movement and defined a contemporary approach to seduction located between provocation and playing with the concept of beauty.
She has never considered photography to be merely a tool to render reality visible. Rather, she uses it as an instrument to impose her point of view through both intimacy and distance.

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Stories and works:

Enrica Sacco