Panteon was born in spring 2019 in Rome. The layout is refined and unconventional: a twentieth-century style and A3 format, printed in Trastevere by O.Gra.Ro.
The contents deal with contemporary architectural themes, the chronological horizon is 1911-1989 and the localization is the GRA that surrounds the city of Rome.
Created in two languages (ITA/ENG), it has a thematic logic, with five contributions per number linked by a red thread that intercepts them. For example, in the case of the number 0 is anachronism while for the last number, just printed, the theme is aqueducts/ infrastructures.
With "subversive" feeling, in relation to the state of the art, to this apparent escape from the analogy of things, Panteon wants to be an educational and transverse tool and has a price of 16 euros.
Panteon won the Creature 2019 award and New Generations 2020 award.
PANTEON is a six-monthly periodical of architecture that arises from the urgency to put back in the center the architectural debate.
The initiative is based on a dual objective: PANTEON seeks to develop targeted research topics and firmly believes in the possibility of disseminating them with universities, academies and study centers.
The project presupposes a specific identity but in the same way it firmly believes in the best involvement and dissemination of ideas PANTEON is an anachronistic project: the contents, the realization, the distribution are anachronistic; the choice of themes (lesser known
architectures of the city of Rome as protagonists between 1911 and 1989 narrating and relating according to unusual relationships) is anachronistic; the graphic project is anachronist, it has chosen a large paper format and awkward reading, consistent with the provocative attitude.
In Issue #1:
Palazzo della Civiltà Italiana - editoriale di Jacopo Costanzo, Antonio Schiavo
Casa del Girasole - di Giovanni Romagnoli
Palazzo Eni - di Giulia Ines Bianchi, Pier Luigi Ortolani
Complesso per uffici di via Morgagni - di Andrea Bentivegna
Piezometro di piazza Rosolino Pilo - di Marco Russo