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= RISORSE FFT di BIOEDILIZIA =
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= Contemplating the Rondanini Pietà =
  
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{|border="0" cellspacing="10" cellpadding="2" align="center"
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'''''Maria Angela Padoa Schioppa''''' -- Sunday, June 11th 2006
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|[[File:Bioedilizia.jpg|200px|link=https://www.hoepli.it/libro/bioedilizia/9788820358822.html]]
 
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|[https://www.hoepli.it/libro/bioedilizia/9788820358822.html <big>'''Luca Rubini - BIOEDILIZIA - Hoepli'''</big>]
 
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Bioedilizia presenta in un volume autonomo i contenuti, aggiornati e rivisti, dell’omonimo capitolo presente nell’85a edizione del Nuovo Colombo, Manuale dell’ingegnere. Il testo propone una rassegna, sintetica ma completa, delle soluzioni ecosostenibili che si possono oggi adottare nella moderna progettazione edilizia. Vi sono illustrati i requisiti minimi stabiliti dalla normativa vigente nonché i criteri della buona pratica progettuale. Figure e tabelle di dati a corredo supportano la chiara esposizione degli argomenti. L’opera è un utile riferimento specifico per la preparazione all’Esame di stato per l’abilitazione professionale degli ingegneri edili e degli architetti.<br />
 
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''Autore.'' Luca Rubini, è docente presso la Facoltà di Ingegneria dell’Università di Roma 1 La Sapienza e ha collaborato all’ultima edizione del Manuale dell’ingegnere. È inoltre autore, insieme a Silvia Sangiorgio, di diversi testi per Hoepli, fra cui Il nuovo edificio green e Le energie rinnovabili.<br />
 
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''Sommario.'' Sistema normativo relativo all’efficienza energetica nell’edilizia - Esposizione solare di un edificio: orientamento e disposizione dei luoghi interni - Guadagno solare - Isolamenti termici - Soluzioni per il benessere acustico - Soluzioni per il benessere visivo - Tecnologie attive per l’edificio.
 
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|}
 
  
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= FIGURE =
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Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.
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<gallery mode="traditional">
 
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Image:Bioedilizia_04_01.png|Figura 3.1
 
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Image:Bioedilizia_04_02.png|Figura 4.2
 
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Image:Bioedilizia_04_03.png|Figura 4.3
 
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Image:Bioedilizia_05_01.png|Figura 5.1
 
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Image:Bioedilizia_05_02.png|Figura 5.2
 
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Image:Bioedilizia_05_03.png|Figura 5.3
 
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Image:Bioedilizia_07_01.png|Figura 7.1
 
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Image:Bioedilizia_07_02.png|Figura 7.2
 
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Image:Bioedilizia_07_03.png|Figura 7.3
 
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Image:Bioedilizia_07_04.png|Figura 7.4
 
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Image:Bioedilizia_07_05.png|Figura 7.5
 
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Image:Bioedilizia_07_06.png|Figura 7.6
 
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Image:Bioedilizia_07_07.png|Figura 7.7
 
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</gallery>
 
  
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= FORMULE =
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If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.
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'''Nota''' Si fornisce per primo il formato LaTex, poi il formato immagine
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Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.
  
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== Capitolo 1 - Sistema normativo relativo all’efficienza energetica nell’edilizia ==
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I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.
  
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=== p.003 ===
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It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.
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| align=center| [[File:pieta-rondanini_1b.jpg|border|right|thumb|200px|link=pieta-rondanini_1b.jpg]]
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If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.
  
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<span style="background-color:#00ffff;">
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This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.
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<math> EP_{\rm gl} = EP_{\rm i} + EP_{\rm ACS} + EP_{\rm e} + EP_{\rm ill}</math></span> &larr;  
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| align=center| [[File:pieta-rondanini_2b.jpg|border|right|thumb|200px|link=pieta-rondanini_2b.jpg]]
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EP_{\rm gl} = EP_{\rm i} + EP_{\rm ACS} + EP_{\rm e} + EP_{\rm ill}
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|-
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<br />[[File:image001.png]] &larr; Formato immagine
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|}
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The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.
  
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== Capitolo 3 - Guadagno solare ==
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The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.
  
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=== p.015 ===
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This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.
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| align=center| [[File:pieta-rondanini_3b.jpg|border|right|thumb|200px|link=pieta-rondanini_3b.jpg]]
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<span style="background-color:#00ffff;">
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|-
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<math> F = \frac{E}{E_0} \; \times \; 100 \; [\%]</math></span> &larr;
 
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F = \frac{E}{E_0} \; \times \; 100 \; [\%]
 
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<br />[[File:image002.png]] &larr; Formato immagine
 
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=== p.016 ===
 
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<span style="background-color:#00ffff;">
 
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<math> FLD_{\rm m} = A_{\rm f} \; t \; \epsilon \; \psi \; A_{\rm tot} \; (1-r_{\rm m})</math></span> &larr;
 
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FLD_{\rm m} = A_{\rm f} \; t \; \epsilon \; \psi \; A_{\rm tot} \; (1-r_{\rm m})
 
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<br />[[File:image003.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> A_{\rm f} = 0,75 \cdot A_{\rm i}</math></span> &larr;
 
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A_{\rm f} = 0,75 \cdot A_{\rm i}
 
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<br />[[File:image004.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> t = 0,9 \cdot \tau </math></span> &larr;
 
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t = 0,9 \cdot \tau
 
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<br />[[File:image005.png]] &larr; Formato immagine
 
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=== p.018 ===
 
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<span style="background-color:#00ffff;">
 
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<math>\epsilon = (1 - \sin\alpha) / 2</math></span> &larr;
 
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\epsilon = (1 - \sin\alpha) / 2
 
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<br />[[File:image006.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math>\epsilon = \sin\alpha_2 / 2</math></span> &larr;
 
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\epsilon = \sin\alpha_2 / 2
 
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<br />[[File:image007.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math>\epsilon = (\sin\alpha_2 - \sin\alpha) / 2</math></span> &larr;
 
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\epsilon = (\sin\alpha_2 - \sin\alpha) / 2
 
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<br />[[File:image008.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math>\frac{\eta_{\rm min}}{\eta_{\rm max}} > 0,16</math></span> &larr;
 
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\frac{\eta_{\rm min}}{\eta_{\rm max}} > 0,16
 
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<br />[[File:image009.png]] &larr; Formato immagine
 
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=== p.019 ===
 
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<span style="background-color:#00ffff;">
 
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<math>{\rm DGI} = 10 \; \log \; \sum_i \nolimits \, G_i </math></span> &larr;
 
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{\rm DGI} = 10 \; \log \; \sum_i \nolimits \, G_i
 
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<br />[[File:image010.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> G_{\rm i} = 0,48 \, (L_{\rm s}^{1,6} \Omega^{0,8})/L_{\rm b} + 0,07 \cdot \omega^{0,5} L_{\rm w}</math></span> &larr;
 
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G_{\rm i} = 0,48 \, (L_{\rm s}^{1,6} \Omega^{0,8})/L_{\rm b} + 0,07 \cdot \omega^{0,5} L_{\rm w}
 
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<br />[[File:image011.png]] &larr; Formato immagine
 
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=== p.023 ===
 
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<span style="background-color:#00ffff;">
 
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<math> D_{\rm v} \, A \, n = q \, (T_{\rm i}-T_0) \, 24</math></span> &larr;
 
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D_{\rm v} \, A \, n = q \, (T_{\rm i}-T_0) \, 24
 
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<br />[[File:image012.png]] &larr; Formato immagine
 
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== Capitolo 4 - Isolamenti termici ==
 
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=== p.031 ===
 
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<span style="background-color:#00ffff;">
 
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<math> EP_{\rm estivo} = a \cdot {\rm 0,1} \cdot EP_{\rm lim}</math></span> &larr;
 
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EP_{\rm estivo} = a \cdot {\rm 0,1} \cdot EP_{\rm lim}
 
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<br />[[File:image013.png]] &larr; Formato immagine
 
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=== p.032 ===
 
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<span style="background-color:#00ffff;">
 
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<math> Y_{\rm ie} = f_{\rm a} \cdot U \;\; \rm [W/m^2K]</math></span> &larr;
 
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Y_{\rm ie} = f_{\rm a} \cdot U \;\; \rm [W/m^2K]
 
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<br />[[File:image014.png]] &larr; Formato immagine
 
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== Capitolo 5 - Soluzioni per il benessere acustico ==
 
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=== p.048 ===
 
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<span style="background-color:#00ffff;">
 
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<math>\alpha = \rm \frac{Energia \; sonora \; assorbita \; dal \; materiale}{Energia \; sonora \; incidente \; sul \; materiale}</math></span> &larr;
 
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\alpha = \rm \frac{Energia \; sonora \; assorbita \; dal \; materiale}{Energia \; sonora \; incidente \; sul \; materiale}
 
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<br />[[File:image015.png]] &larr; Formato immagine
 
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== Capitolo 7 - Tecnologie attive per l'edificio ==
 
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=== p.066 ===
 
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<span style="background-color:#00ffff;">
 
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<math> FS = \frac{Q_{\rm s}}{Q_{\rm s} + Q_{\rm t}}</math></span> &larr;
 
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FS = \frac{Q_{\rm s}}{Q_{\rm s} + Q_{\rm t}}
 
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<br />[[File:image016.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math>{\rm Efficienza} = \frac{Q_{\rm s}}{E \cdot A}</math></span> &larr;
 
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{\rm Efficienza} = \frac{Q_{\rm s}}{E \cdot A}
 
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<br />[[File:image017.png]] &larr; Formato immagine
 
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=== p.067 ===
 
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<span style="background-color:#00ffff;">
 
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<math> Q_{\rm richiesta} = m \cdot c \cdot \Delta t </math></span> &larr;
 
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Q_{\rm richiesta} = m \cdot c \cdot \Delta t
 
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<br />[[File:image018.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> Q_{\rm mese, \, richiesta} = {\rm giorni} \cdot Q \;\;\;\; \rm [kcal]</math></span> &larr;
 
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Q_{\rm mese, \, richiesta} = {\rm giorni} \cdot Q \;\;\;\; \rm [kcal]
 
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<br />[[File:image019.png]] &larr; Formato immagine
 
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=== p.068 ===
 
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<span style="background-color:#00ffff;">
 
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<math> S = \frac{Q_{\rm mese, \, richiesta}}{Q_{\rm effettiva}}</math></span> &larr;
 
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S = \frac{Q_{\rm mese, \, richiesta}}{Q_{\rm effettiva}}
 
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<br />[[File:image020.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> m = \frac{Q \cdot S}{\Delta t} \;\;\;\; \rm [kg, \; litri]</math></span> &larr;
 
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m = \frac{Q \cdot S}{\Delta t} \;\;\;\; \rm [kg, \; litri]
 
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<br />[[File:image021.png]] &larr; Formato immagine
 
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=== p.069 ===
 
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<span style="background-color:#00ffff;">
 
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<math>{\rm Efficienza} = \frac{P_{\rm max}}{P_{\rm sol} \cdot A}</math></span> &larr;
 
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{\rm Efficienza} = \frac{P_{\rm max}}{P_{\rm sol} \cdot A}
 
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<br />[[File:image022.png]] &larr; Formato immagine
 
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=== p.072 ===
 
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<span style="background-color:#00ffff;">
 
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<math> I_{\rm a} = I_{\rm g} \cdot 365 \;</math></span> &larr;
 
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I_{\rm a} = I_{\rm g} \cdot 365 \;
 
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<br />[[File:image023.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> E_{\rm a} = I_{\rm a} \cdot \eta_{\rm mod} \cdot \eta_{\rm BOS} \;</math></span> &larr;
 
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E_{\rm a} = I_{\rm a} \cdot \eta_{\rm mod} \cdot \eta_{\rm BOS} \;
 
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<br />[[File:image024.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> S = C_{\rm a} / E_{\rm a} \;</math></span> &larr;
 
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S = C_{\rm a} / E_{\rm a} \;
 
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<br />[[File:image025.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> n_{\rm m} = S / S_{\rm m}</math></span> &larr;
 
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n_{\rm m} = S / S_{\rm m}
 
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<br />[[File:image026.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> W_{\rm p} = W_{\rm m} \cdot n{\rm m}</math></span> &larr;
 
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W_{\rm p} = W_{\rm m} \cdot n{\rm m}
 
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<br />[[File:image027.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> m_{\rm s} = V_{\rm max,inv} / V_{\rm oc}</math></span> &larr;
 
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m_{\rm s} = V_{\rm max,inv} / V_{\rm oc}
 
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<br />[[File:image028.png]] &larr; Formato immagine
 
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<span style="background-color:#00ffff;">
 
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<math> n_{\rm s} = I_{\rm max,inv} / I_{\rm sc}</math></span> &larr;
 
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n_{\rm s} = I_{\rm max,inv} / I_{\rm sc}
 
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<br />[[File:image029.png]] &larr; Formato immagine
 
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=== p.074 ===
 
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<span style="background-color:#00ffff;">
 
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<math>\eta = \frac{E_{\rm e}+E_{\rm t}}{E_{\rm c}}</math></span> &larr;
 
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\eta = \frac{E_{\rm e}+E_{\rm t}}{E_{\rm c}}
 
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<br />[[File:image030.png]] &larr; Formato immagine
 
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= TABELLE =
 
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{|border="0" cellspacing="10" cellpadding="2" align="left"
 
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|- style="vertical-align:top;"
 
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|[[File:Bioedilizia_tab_2.png|300px|link=http://www.euwiki.it/images/a/a1/QMI_BioEdil_Capitolo_02_Tabelle.xlsx]]
 
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|[http://www.euwiki.it/images/a/a1/QMI_BioEdil_Capitolo_02_Tabelle.xlsx <big>'''Capitolo 2 – Esposizione solare di un edificio: orientamento e disposizione dei luoghi interni'''</big>]
 
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Tabella 1. Disposizione dei luoghi interni di un edificio.<br />
 
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Tabella 2. Gradi Giorno di alcuni Comuni italiani.<br />
 
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Tabella 3. Zone climatiche d'Italia (DPR 26 agosto 1993, n. 412, art. 2).<br />
 
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Tabella 4. Indice di prestazione energetica invernale.
 
 
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If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.
  
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{|border="0" cellspacing="10" cellpadding="2" align="left"
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This position of Mary reminded me of the gesture of giving birth.
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|- style="vertical-align:top;"
 
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|[[File:Bioedilizia_tab_3.png|300px|link=http://www.euwiki.it/images/7/74/QMI_BioEdil_Capitolo_03_Tabelle.xlsx]]
 
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|[http://www.euwiki.it/images/7/74/QMI_BioEdil_Capitolo_03_Tabelle.xlsx <big>'''Capitolo 3 – Guadagno solare'''</big>]
 
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Tabella 5. Coefficienti di riflessione luminosa.<br />
 
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Tabella 6. Coefficiente di trasmissione luminosa di alcuni vetri.<br />
 
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Tabella 7. Coefficienti di correzione per le condizioni di pulizia del vetro.<br />
 
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Tabella 8. Valori limite del fattore di luce diurna.<br />
 
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Tabella 9. Valori dell'indice di abbagliamento DGI, secondo le attività.<br />
 
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Tabella 10. Criteri di valutazione dell'abbagliamento.<br />
 
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Tabella 11. Sistemi di captazione solare.<br />
 
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Tabella 12. Valori di trasmittanza (W/m2K) per strutture opache verticali e orizzontali.<br />
 
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Tabella 13. Valori dei coefficienti Cm in funzione della massa frontale.<br />
 
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Tabella 14. Valori di trasmittanza di alcuni elementi vetrati.<br />
 
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|}
 
  
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{|border="0" cellspacing="10" cellpadding="2" align="left"
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A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.
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|- style="vertical-align:top;"
 
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|[[File:Bioedilizia_tab_4.png|300px|link=http://www.euwiki.it/images/3/3e/QMI_BioEdil_Capitolo_04_Tabelle.xlsx]]
 
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|[http://www.euwiki.it/images/3/3e/QMI_BioEdil_Capitolo_04_Tabelle.xlsx <big>'''Capitolo 4 – Isolamenti termici'''</big>]
 
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Tabella 15. Classe prestazionale dell'involucro in funzione dello sfasamento e dell'attenuazione.<br />
 
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Tabella 16. Coefficiente a in funzione della classe e della zona climatica.<br />
 
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Tabella 17. Limiti imposti secondo la normativa.<br />
 
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Tabella 18. Confronto delle alternative possibili per il posizionamento dell'isolante.<br />
 
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|}
 
  
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{|border="0" cellspacing="10" cellpadding="2" align="left"
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The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.
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|- style="vertical-align:top;"
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| align=center| [[File:pieta-rondanini_4b.jpg|border|right|thumb|200px|link=pieta-rondanini_4b.jpg]]
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|[[File:Bioedilizia_tab_5.png|300px|link=http://www.euwiki.it/images/9/9f/QMI_BioEdil_Capitolo_05_Tabelle.xlsx]]
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|-
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|[http://www.euwiki.it/images/9/9f/QMI_BioEdil_Capitolo_05_Tabelle.xlsx <big>'''Capitolo 5 – Soluzioni per il benessere acustico'''</big>]
 
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Tabella 20. Requisiti acustici passivi degli edifici, dei loro componenti e degli impianti tecnologici.<br />
 
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Tabella 21. Classificazioni, degli ambienti abitativi (art. 2).<br />
 
 
|}
 
|}
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{|border="0" cellspacing="10" cellpadding="2" align="left"
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{| style="border-spacing:0;"
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|- style="vertical-align:top;"
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|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
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|[[File:Bioedilizia_tab_6.png|300px|link=http://www.euwiki.it/images/1/1e/QMI_BioEdil_Capitolo_06_Tabelle.xlsx]]
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||
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| [http://www.euwiki.it/images/1/1e/QMI_BioEdil_Capitolo_06_Tabelle.xlsx<big>'''Capitolo 6 – Soluzioni per il benessere visivo'''</big>]
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It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.
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Tabella 22. Valori raccomandati secondo la norma UNI 10380.<br />
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| align=center| [[File:pieta-rondanini_5b.jpg|border|right|thumb|200px|link=pieta-rondanini_5b.jpg]]
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Tabella 23. Caratteristiche comparative delle sorgenti luminose.<br />
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|-
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Tabella 24. Criteri di scelta del tipo di lampade.<br />
 
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Tabella 25. Consumi e risparmio per le diverse tipologie di lampade.<br />
 
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|}
 
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{|border="0" cellspacing="10" cellpadding="2" align="left"
 
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|- style="vertical-align:top;"
 
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|[[File:Bioedilizia_tab_7.png|300px|link=http://www.euwiki.it/images/b/b1/QMI_BioEdil_Capitolo_07_Tabelle.xlsx]]
 
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|[http://www.euwiki.it/images/b/b1/QMI_BioEdil_Capitolo_07_Tabelle.xlsx <big>'''Capitolo 7 – Tecnologie attive per l’edificio'''</big>]
 
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Tabella 26. Fabbisogno pro‐capite di acqua calda sanitaria per alcune utenze.<br />
 
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Tabella 27. Irraggiamento giornaliero medio annuo (kWh/m2) in tre località italiane.<br />
 
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Tabella 28. Conto Energia (2010) – Tariffe incentivanti (€/kWh).<br />
 
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Tabella 29. Rendimenti a confronto.<br />
 
 
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Versione attuale delle 19:51, 20 giu 2023

Contemplating the Rondanini Pietà[modifica]

Maria Angela Padoa Schioppa -- Sunday, June 11th 2006

Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.

If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.

Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.

I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.

It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.

Pieta-rondanini 1b.jpg

If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.

This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.

Pieta-rondanini 2b.jpg

The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.

The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.

This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.

Pieta-rondanini 3b.jpg

If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.

This position of Mary reminded me of the gesture of giving birth.

A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.

The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.

Pieta-rondanini 4b.jpg

It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.

Pieta-rondanini 5b.jpg
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