Issue 05 of 4A Journal is dedicated to the relationship between architectural design and the space of the mise-en-scène, understood both as a site of traditional representation (theatre, cinema, television) and in a broader sense, encompassing retail environments, museography, exhibitions, and urban spaces.
The scenography created for Guido Salvini’s European tour of Oedipus Rex, which celebrated the reopening of Vicenza’s Teatro Olimpico in 1948, is the subject of the exhibition L’Olimpichetto. Il ritorno di un ambasciatore (The Return of an Ambassador), held at the Basilica Palladiana (20/12/2025–22/02/2026). It provides a significant point of departure for reflecting on the relationship between scenography, architecture, communication, and conservation. The “almost 1:1 scale” reproduction of the Scaenae Frons of Palladio’s theatre represented Italian cultural rebirth through one of the most emblematic elements of Renaissance architecture, transformed into a mobile icon. Eighty years later, after the season of urban ephemera, the relationship between theatre and the city appears to have exhausted its potential, both in ephemeral practices and in architectural thinking related to the construction and reconstruction of spaces.
The space built on stage—partly as a result of increasing specialisation, which has led to an academic “separation” of design among interior and exhibition design, architecture, and scenography proper (now almost entirely confined to the Academy of Fine Arts)—has progressively lost its status as non-permanent architecture. Instead, it has acquired heterologous characteristics, ranging from fully digital designs with cinematic effects to the use of iconic design fragments that construct space through objects.
Instead, Architecture is Scenography, and Scenography can only be Architecture. For this reason, going back to the scene to find a new direction in the design method is anything but obvious and can be a way to look ahead. Despite a recent and strong reaffirmation of the dramatic value of architecture and the growing use of the term “scenographic” in design narratives, its deeper aesthetic and project-based meaning has largely been lost, reduced to a superficial association with visual impact, amazement, or sensationalism.
This new issue of 4A Journal reflects on what remains of scenography today and on the possibility of recovering qualities that can enhance the clarity and effectiveness of narrative design in the space of the mise-en-scène. The issue approaches the topic from three complementary perspectives: first, a critical analysis of innovative design experiences related to theatrical and cinematographic stage spaces; second, an exploration of the creative and narrative potential of spaces constructed at the intersection of architecture and scenography outside traditional performance venues, with particular attention to reversibility and sustainability in ephemeral design; and finally, an investigation into the increasingly urgent need to safeguard a rich historical heritage linked to temporary theatre and exhibition practices, including the development of procedures and protocols for their physical and/or digital conservation.
Building on these reflections, the call for the next issue of 4A Journal aims to collect contributions in the form of:
− Critical reflections on the contemporary relevance of theatrical and cinematic scenographic design, through the presentation of exemplary case studies;
− Design experiences of mise-en-scène that are particularly significant in terms of architectural narration and the construction of representational space within ephemeral projects;
− Innovative practices of conservation, archiving, and presentation of the heritage of ephemeral architecture;
− Historical, critical, and theoretical reflections investigating the relationship between scenographic space and architecture, understood as a field of design experimentation and interdisciplinary exchange.
Among the possible (though not exclusive) thematic articulations:
• Spaces designed for performance (theatrical and cinematic);
• Scenography as a perceptual and representational device (exhibitions, gardens, urban perspectives, etc.);
• Narration and performativity of architectural space;
• The scenographic approach to architectural design (architecture as scenography / scenography as architecture);
• Temporary architecture in relation to the principles of reversibility and sustainability
References
Altarelli, Lucio. Light City. Roma: Meltemi, 2006
Atelier Bruchner, Scenography – Szenografie 2: Staging the Space – Der inszenierte Raum. Basel: Birkhäuser Verlag, 2019
Devlin, Es, Lipps Andrea, Grau Donatien. An Atlas of Es Devlin. London: Thames & Hudson, 2023
Cattiodoro, Silvia. Architettura scenica e teatro urbano. Milano: Franco Angeli, 2007.
Fiore, Vittorio, Serrazanetti, Francesca (a cura di). Stratagemmi – Prospettive teatrali
– Stratagemmi 045 “Il teatro e i suoi spazi 1 # Architetture”. 2022
– Stratagemmi 046 “Il teatro e i suoi spazi 2 # Scene”. 2022
– Stratagemmi 047 “Il teatro e i suoi spazi 2 # Paesaggi”. 2023
Mazzoni, Stefano. Atlante iconografico. Spazi e forme dello spettacolo in occidente dal mondo antico a Wagner. Corazzano: Titivillus, 2017.
Panza, Pierluigi. “Piranesi e la veduta performativa”, Studi di Estetica, XLIX, IV serie. 2021. 31-41
Panza, Pierluigi. “Napoleone alla Scala. L’Egypte manqué nella nuova città”, Ananke 93. 2021. 19-29
Trione, Vincenzo (ed). Il cinema degli architetti. Monza: Johan & Levi editore, 2014.
Participation in the Call for Abstracts
The call is open to anyone who has conducted research related to the theme in the academic, professional, or personal research field, regardless of the disciplinary or scientific area of reference.
For the first phase of selection, we kindly ask you to submit via email by March 9, 2026, to the address redazione.4ajournal@gmail.com a file in .doc or .docx format containing:
− Author’s full name
− Affiliation (if applicable)
− Email address and phone contact
− Title (max. 30 characters, including spaces)
− Optional subtitle (max. 100 characters, including spaces)
− Abstract
max. 1,900 characters, including spaces. No footnotes.
Bibliography excluded from character count, up to a maximum of 5 references). The bibliography should follow the “Author-Date” system of the Chicago Style. For guidelines and more information, please consult the following link: Chicago Style Citation Guide.
− 1 image
If the contribution is accepted, the deadline for submitting the full paper will be May 18 th, 2026, according to the editorial guidelines indicated on the website www.4ajournal.online.
Please consider in advance that for final publication, high-quality images (ranging from 3 to 10) for which you hold the rights or have authorization to publish will be required. Note that no financial contribution is required for publication.
Important Dates Call launch: January 2026
Abstract submission: March 9, 2026
Abstract acceptance notification: March 23, 2026
Full paper submission: May 18, 2026
Peer-review result notification: June 2026
Submission of final full paper with any revisions: July 2026
Publication: August 2026