di Raffaele Aragona
In recent days, the activity of the employees of the Municipality of Naples has been highlighted, who have covered with white posters what appeared in the advertising tables of Santa Lucia; they, however, inexplicably left intact only the one that bore and bears the image of Ugo Russo, the very young robber about whom so much has been said and written about the mural made in his honor and still present in the Spanish Quarters.
In fact, there was also something else to be noted: just the same "darkening" of the other tables, as well as those existing in various areas of the city; with them also the billboards, digital advertising systems and luminous video billboards have been obscured. This occurred in relation to a dispute between an advertising company and the Municipality of Naples. Who knows, perhaps, following this affair, and with the establishment of the next administration, a virtuous management of the city's advertising systems could be achieved, which concerns not only contractual issues, but also aesthetics and decorum.
Street advertising has always created considerable disappointment in recognizing entire areas and extensive stretches of roads infested with advertisements of all kinds, with great limitation to the sight of panoramic views and damage to the aesthetics of the places, especially in prestigious places.
In Naples, in Piazza del Gesù, for example, in the historic center, the entire facade of the Liceo Genovesi is home to a series of wall boards;
in Piazza Vittoria, in what was one of the most beautiful squares in Naples, there are about 40 advertising systems between those of ordinary size and those of considerable size (including luminous): real "constructions" that also conflict with the requirements and the recommendations of the landscape constraint;
along the streets of Chiaja, without even sparing the facades of restricted buildings, in more or less recent times, luminous video-billboards have been placed which, in addition to badly distracting the gaze of passers-by, on foot or driving a car, they damage and limit the view of buildings worthy of attention. The repeated requests for intervention addressed to the Superintendency, which should also protect its "own" assets, have not yet been valid, nor has it yet reached the conclusion of a specific complaint presented to the Prosecutor's Office.
It is impossible to admire a monument or the facade of a building without being disturbed by the presence of advertising installations. It is something for which those who manage the city have indisputable responsibilities.
A recovery of the city is also necessary in terms of image, while continuing to have no respect for its streets, squares filled to the point of pain (and the example of Piazza Vittoria is significant). In no other city is it possible to witness such an intrusive and disordered havoc.
The argument is certainly not the most serious among those that afflict Naples but, in hindsight, it is linked to not only living the city in a more civilized way, but also a sort of "commercial" convenience. In Naples, tourists - who knows when they will return - are amazed by the natural beauty, but they are also committed to photographing the miseries of the city and among these the jumble of advertising installations and elements of street furniture that are certainly far from constituting something orderly. , consistent and decent.
To justify the concession of the many existing advertising solutions, what the Municipality of Naples can receive in return is certainly not enough; the damage caused to the image of the city, which has already been damaged in many ways, must be taken into account; and the comparison between (intangible) costs and (economic) benefits sees the former undoubtedly higher.
A mermaid that does not enchant