Suchergebnisse

There are many skills required to an architect who intends to practice in cultural and landscape heritage protection, even within the public administration. The presence of the architect is an indispensable condition in the field of cultural heritage; however, the season of the self-sufficient architect seems to be over. There are so many disciplines that make up the restoration project which require the presence of more specialists. If the awareness to reduce land consumption seems to constitute a new paradigm in land use planning, the margins for action on existing heritage are considerably broadened. In the view of the need to reuse very heterogeneous spaces, their conservation requires first a careful and accurate project of the designated uses, based on a thorough historical knowledge of the building. The intended utilization of functions has therefore various implications in terms of plant installation and structural consolidation. Aspects that should constitute the architect's cultural background, together with the knowledge of the legislation. There is however another strategic challenge for the protection of heritage. It concerns the landscape and its transformations, often the prerogative of other specialists, in most cases implemented with the introduction of mitigation elements, far removed from the principle of correct landscape integration. A challenge the architect cannot escape from. ; Molte sono le competenze richieste a un architetto che intenda esercitare la professione nel campo della tutela dei beni culturali e paesaggistici, pure all'interno della pubblica amministrazione.Se la figura dell'architetto resta imprescindibile nel campo dei beni culturali, pare tramontata la stagione dell'architetto autosufficiente. Le discipline che alimentano il progetto di restauro, infatti, sono tali e tante da richiedere la presenza di più specialisti.Se la consapevolezza di dover ridurre il consumo di suolo pare costituire un nuovo paradigma nella pianificazione territoriale, i margini d'azione sul ...

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

UNC Italian Opera Libretto Collection. ; "Personaggi: REA SILVIA. Sig. Emilia Hallez; AMULIO. Sig. Luigi Rinaldini; NUMITORE. Sig. Filippo Colini; DARDANO. Sig. Pietro Rossi; LA SACERDOTESSA. Sig. Adelaide Orlandi; LA VOCE DELL' ORACOLO. Sig. N.N.; ROMOLO E REMO. [Sig. N.N.]--p. [5]. ; "Inpiegati: Architetti del R. teatro, Sig. Arcangelo Lauria, Sig. Emmanuele Palazzotto . Sorvegliatore del vestiario, scenario, ed attrezzeria, Sig. Girolamo Ferrara; Scenografo, Sig. Giuseppe Politi; Capo sarto, sig. Settimo Cane; Macchinista, Sig. Giuseppe Pipi."--Page [7]. ; "Orchestra: Primo violino e direttore dell' orchestra. Sig. Leonardo di Carlo."--Page [6]. ; "Maestro al cembalo e direttore dei cori. Sig. Agostino Lo Casto"--Page [6]. ; "Maestro di cappella. Sig. Andrea Montelfone, socio onorario dell' accademia filarmonica di Roma, socio onorario delle accademia filarmoniche di Messina e di Palermo."--Page [6]. ; "Maestro di cappella compositore e direttore. Sig. Pietro Raimondi, maestro di camera di S.A.R. il principe D. Leopoldo conte di Siracusa, direttore e maestro di contropunto e composizione del R. Conservatoria di musica in Palermo, e socio corrispondente della reale accademica delle Belle Arti in Napoli"--Page [6]. ; Note "Ai signori componenti l'impresa del R. teatro Carolino" by "l'autore"--Page [3]. ; Mode of access: Internet.

The construction of the new Citadel in Alessandria, since the 1730s, sparked several debates among the different actors involved in the project. Among the themes that were discussed, there are issues that are now considered crucial to the development of construction science in the 18th Century: from foundation systems to the form of vaulted structures.This essay considers the complex debate that developed on the best form to assign to the "bombproof" vaults of the buildings to be erected inside the fortified perimeter. In 1756, engineers, architects and State administrators met in a "congress" to discuss whether semi-circular or elliptical designs were to be preferred: while on the one hand this meeting highlighted a situation ofcrisis, on the other hand it became a favourable occasion of improvement, and promotion of a truly scientific approach to construction.The need to counteract the effects of the concentrated force due to the bomb impact on the vault extrados introduced a new and never before considered factor, in a debate on vault design which was by then widespread. In respect to the theories (notably De La Hire's) then considered as "state of the art", the problem was approached by considering the newest theoretical developmentsin balistics. The problem is analyzed by a close reading of the expertises, leading to more general observations on the relationship between science, technology and the architectural professions in the 18th Century. ; La costruzione della Cittadella di Alessandria, grande fortezza edificata a partire dagli anni trenta del Settecento, fu occasione a più riprese, ma soprattutto dopo la metà del secolo, di accesi dibattiti tra i diversi soggetti coinvolti che, in molti casi, toccano temi che la storiografia considera oggi "classici" per lo sviluppo della scienza del costruire, dai sistemi di fondazione alla stabilità delle strutture voltate.In questo saggio si analizza la discussione che si sviluppò intorno al tema della miglior forma – se circolare o ellittica rialzata – da ...

Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime changes; after centuries of Venetian rule, Istria and Dalmatia became part of the French Illyrian Provinces, later becoming a dominion of the Habsburgs. Against the background of these political events, the essay explores the contribution of French architects and artists to the European circulation of knowledge on ancient and medieval buildings in the region, in other words, to the formulation of an orientalizing and peripheral image, seen as an intermediate zone between Greece and Italy.

La figura di Domenico Paganelli, dopo la sua morte nel 1624, è rimasta quasi sconosciuta se non alla storiografia dell'ordine domenicano, a cui egli apparteneva. È stata recentemente restituita ad una fisionomia storica, ricostruendo i suoi rapporti con gli ambienti cardinalizi romani sotto il pontificato di Clemente VIII. Sebbene esiguo sia il catalogo delle sue opere (palazzo Bonelli ai Ss. Apostoli, navata di S. Salvatore in Lauro, progetto per il santuario di Mondovì e poco altro), numerosi indizi suggeriscono di approfondire la sua cultura architettonica, testimoniata dal fatto di essere stato "maestro di architettura" di Bernardino e Virgilio Spada. Essa è documentata dall'inventario della sua biblioteca custodita nel convento di Faenza e poi dispersa. Essa contava oltre un centinaio di titoli di matematica, astronomia, arte militare e meccanica, sino a trattati di architettura; tra questi ultimi si registra un inconsueto interesse per i trattatisti francesi, Du Cerceau e Jean Cousin. L'analisi della raccolta di libri di Paganelli pone pertanto questioni di più ampio respiro sulla circolazione delle idee e dei saperi architettonici a Roma e nelle Legazioni in un momento di transizione tra la fine del Rinascimento e gli inizi della stagione barocca.

In the mid 30' the Austrian architect Bernard Rudofsky (1905-1988) built, in Italy and in Brazil, a number of hauses that the critics defined as the best modern houses ever built. In 1941 he moved to the USA. In New York, working at MoMA, he organized some important exhibitions such as Architecture Without Architects and in 1958, commisioned by the government, the Cultural Exhibitions at the Brussel's World Fair. Despite those important results nonetheless, his work and thought were at the time hardly recognized by any Modern Architecture History book. The aim of my essay is to illustrate the causes of such unfair destiny which delivered his work and thought to oblivion for such a long time. ; L'architetto austriaco Bernard Rudofsky (1905-1988) tra gli anni '30 e '40 costruisce, prima in Italia e poi in Brasile, alcune case che la critica definisce tra le più belle costruzioni moderne in fatto di ville. Stabilitosi negli USA nel 1941, entra a far parte dell'organico del MoMA curando alcune celebri mostre tra cui Architecture Without Architects. In seguito, nel 1958 viene coinvolto dal governo americano nell'organizzazione delle Cultural Exhibitions alla Brussel's World Fair. Nonostante questi risultati prestigiosi, l'opera e il pensiero dell'architetto austriaco non sono contemplati nei testi di storia dell'architettura moderna. Scopo del saggio è illustrare le motivazioni di una condizione anomala che ha consegnato a un lungo oblio l'opera e il pensiero di Bernard Rudofsky.

UNC Italian Opera Libretto Collection. ; "Personaggi: IL CONTE DI ROCCAMONTE. Sig. Girolamo Cavalli; PALMETELLA. Signora Adelaide Benzoni [sic]; IL BARONCINO DEL CEDRO. Sig. Giovanni Grifo; DON EVARISTO. Sig. Luigi Donati; DONNA GELTRUDE. Signora Adelaide Orlandi; DONNA CANDIDA. Signora N.N.; SUSANNA. Signora Adelaide Petrazzoli; CORONATO. Sig. Francesco Vinco; CRESPINO. Sig. Filippo Colini; MORACCHIO. Sig. Basilio Deninnis; TIMOTEO. Sig. Mariano Sanzone [sic]; LIMONCINO. Sig. N.N.; TOGNINO. Sig. N.N."--Page [3]. ; Other members of the orchestra are named--p. [5]-[6]. ; "Primo violino e direttore dell' orchestra, Sig. Leonardo De Carlo"--Page [5]. ; "Maestro a cembalo e direttore dei cori, Sig. Agostino Lo Casto"--Page [5]. ; "Maestro di cappella, Sig. Andrea Monteleone, socio onorario dell' Accademia filarmonica di Roma, e socio onorario delle Accademie filarmoniche di Messina e di Palermo"--Page [5]. ; "Maestro di cappella compositore e direttore, Sig. Pietro Raimondi, maestro di camera di S.A.R. il principe D. Leopoldo conte di Siracusa, direttore e maestro di contropunto e composizione del R. Conservatorio di musica in Palermo, e socio corrispondente dell' Accademia delle belle arti in Napoli"--Page [5]. ; "Macchinista, Sig. Giuseppe Pipi"--Page [6]. ; "Capo sarto, Sig. Settimo Cane"--Page [6]. ; "Scenografo, Sig. Giuseppe Politi"--Page [6]. ; "Sorvegliatore del vestiario, scenario, ed attrezzeria, Sig. Girolamo Ferrara"--Page [6]. ; "Direttore del palco scenico, Sig. Ignazio Pellegrini"--Page [6]. ; "Architetto del R. Teatro, Sig. Arcangelo Lauria"--Page [6]. ; "La musica è del Maestro Sig. Pietro Raimondi"--Page [3]. ; "La poesia del Sig. Domenico Gilardoni"--Page [3]. ; Two acts. ; Mode of access: Internet.

The Urban planning needs a cyclical disciplinary renewal to respond adequately to the transformations of the society within which it operates. The last twenty years have been characterized by substantial changes in relationship to new urban and territorial issues. In particular, the new urban question, analysed by Bernardo Secchi, focuses on three aspects that are as critical as they are fundamental for the city of the new millennium, namely climate change, accessibility and urban safety. Moreover, there are also procedural and operational changes, as well as the evolution of stakeholders: this leads to the need for more flexible training courses and more effective teaching methodologies.In the professional field, the planner has always encountered obstacles in his work, also in relation to an operational rivalry with engineers and architects. The official recognition of the urban planner's work took place only in 2001, renaming the Order of Architects into "Order of Architects, Planners, Landscape Architects and Conservators". A few months ago, the CNAPPC defined a reform plan that once again places the architect in a generalist perspective, as an expert in all spatial issues at any scale and in any field, effectively making urban planning, like other disciplinary sectors, a post-graduate specialization to be entrusted to work experience in the field.In foreign countries, on the other hand, although there is still a certain overlap of skills with traditional architects and engineers, the figure of the urban planner appears to be widely recognized, in the professional sphere, within public bodies and in specialist and private consultancy. The skills of this figure range from site planning to urban design, from territorial analysis to the application of programs and policies that include social participation and the use of information technology and the treatment of big data.This issue of the TRIA magazine aims to explore the theoretical ideas of the XII INU Study Day dedicated to teaching urbanism and planning, through reflections and suggestions for the training of urban planners. ; L'urbanistica ha bisogno di un ciclico rinnovamento disciplinare per rispondere adeguatamente al rinnovarsi della società entro cui agisce. L'ultimo ventennio è stato caratterizzato da modificazioni sostanziali rispetto a nuove questioni di scala urbana e territoriale. In particolare, la nuova questione urbana, analizzata da Bernardo Secchi, si focalizza su tre aspetti tanto critici quanto fondamentali per la città del nuovo millennio, ovvero il climate change, la tematica dell'accessibilità e la sicurezza urbana. A questi avanzamenti teorici, si sommano i cambiamenti procedurali e operativi, nonché l'evoluzione degli stakeholders: ciò porta alla necessità di flessibili percorsi formativi e di più efficaci metodologie didattiche.In ambito professionale, il pianificatore ha da sempre riscontrato ostacoli nel suo operato, anche in relazione ad una presunta rivalità operativa con ingegneri ed architetti. Il riconoscimento ufficiale dell'esercizio lavorativo dell'urbanista è avvenuto sono nel 2001, rinominando l'Ordine degli Architetti in Ordine degli Architetti, Pianificatori, Paesaggisti e Conservatori. Pochi mesi fa, il CNAPPC ha definito un disegno di riforma che pone nuovamente l'architetto in un'ottica generalista, come esperto di tutte le questioni spaziali a qualsiasi scala e in qualsiasi ambito, rendendo di fatto la pianificazione, come altri settori, una specializzazione post laurea da affidarsi agli ordini o all'esperienza sul campo. In paesi esteri, invece, pur esistendo ancora una certa sovrapposizione di abilità con i tradizionali architetti e ingegneri, la figura dell'urbanista e del planner appare essere largamente riconosciuta, sia in ambito professionale, sia all'interno di enti pubblici sia in ottica di consulenze specialistiche anche private. Le competenze di questa figura spaziano dalla pianificazione dei luoghi alla progettazione urbana, dall'analisi territoriale all'applicazione di programmi e politiche che includano la partecipazione sociale e l'impiego dell'information technology e il trattamento dei big data.Questo numero della rivista TRIA punta ad esplorare gli spunti teorici della XII Giornata di Studi INU dedicata all'insegnamento dell'urbanistica e della pianificazione, attraverso riflessioni e suggerimenti per la formazione degli urbanisti.

Soon after the end of the second World War, Fiera di Milano (Milan trade exhibition) was eager to demostrate the Italian spirit of rebirth. Companies and enterprises invested in the design and building of pavilions, involving artists, architects and graphic designers like Erberto Carboni, Marcello Nizzoli, Enrico Ciuti, Franco Albini. Enrico Mattei, Agip and later Eni's president wanted to emphasize Italian energy politics based on gas, and, as this essay describes, Italian gas pipelines net was the central theme of Agip and Eni's presence at the Trade Fair. The story of Agip and Eni pavilion from 1949 to 1964 involves architects like Mario Bacciocchi, who designed the building, Carlo Mollino with Franco Campo, Carlo Graffi and Max Huber, Achille and Piergiacomo Castiglioni, BBPR, Errico Ascione. Particularly important was the presence of Leonardo Sinisgalli, the engineer-poet who directed Eni's communication section from 1958 to 1963. He left the company after Mattei's death, but he was also aware that the communication in the world of mass production and culture was radically changing and poets were being substituted by copywriters.

none ; The main purpose of the present work is to develop a methodological proposal for the evaluation of development policies and regeneration strategies for small historical towns and minor historical cities, while reconsidering the conceptual categories which define their territorial role. More specifically, the contribution of this investigation is to identify a flexible evaluation process and consequently to build an operational tool – the Evaluation Set of Indicators. The Evaluation Set is a tool to investigate how actions, programs and projects are implemented and the effects they produce; it aims at contributing directly to the continuous improvement of "territorial performances" and at supporting the possible rescheduling of interventions by government and local authorities. The investigation has been supported by both an historical and descriptive approach (analysis of the literature, legislation and the most significant experiences, not only with respect to regeneration strategies for historical towns, but also with respect to evaluation methodologies) and an empirical case study analysis; indeed the application of the Evaluation Set has been tested through two case studies (Regione Toscana and Regione Sardegna), used as benchmarks for the methodological proposal. Since the early '60s, Italian academic debate about architectural and heritage conservation of historic towns and cities has been extremely lively and it has produced a number of in-depth researches. Indeed, historic towns and cities are the larger part of Italian settlements and they are proper to this Country: they are part of the historic character of Italy, they tell the story of its unique development and give a sense of place, continuity and cultural identity. However, over the last few years, rapid economic changes and accelerated growth have caused a widespread abandonment and decay of historic towns: they have lost their primary functions and their territorial viability has faded away. Consequently, academic studies have pointed out ...

This study, starting from the unpublished graphic transcriptions of Giuseppe Vaccaro, subsequently published by Francesco Moschini in the volume "La casa di serie. Appunti sull'abitazione 1940-1942", intends to trace the elements of a part of the design thin- king that pervades rationalism and finds its strong expression in the form of the 'scheme'.The short manuscript of the Bolognese architect is a real manual on the mass production houses written between 1940 and 1942 when he was called to participate in military actions during the second World War.The text, the schemes and the drawings elaborated by the Bolognese architect on the one hand not only seem to anticipate the housing crisis that would have occurred at the end of the conflict, but on the other they highlight its imaginative power held firm both by the careful knowledge of the manuals and from the existenzminimum themes. The representations accompanying the manuscript represent an imaginative and prefigurative path of the future that would materialize shortly thereafter, tackled by Vaccaro in a different way as regards the building typology but not for the studies on the accommodations that are affected, in an evident way, of the previous analysis of Alexander Klein and Enrico Agostino Griffini.

L'architettura è un gesto. Ludwig Wittgenstein architetto [Architecture is a Gesture: Ludwig Wittgenstein, architect] Daniele Pisani. Quodlibet Studio, 2011 (261 pp., € 28) With great earnestness, Daniele Pisani tells the story of the Kundmanngasse house, designed by Paul Engelmann and Ludwig Wittgenstein, and built by Wittgenstein in the period from 1926 to 1928. Pisani quietly puts together all the pieces necessary for understanding the house and its role in the evolution of Wittgenstein's thought. He accurately describes the philosopher's biography as well as that of his sisters who were involved in the project (Margaret, but also Hermine), providing us with information about the Wittgenstein family and the political and cultural situation in Vienna at the time. He reconstructs the era's architectural debate in which the story of the house is (reluctantly) placed. The quiet tone and the accuracy of the story help eliminate the many legends that have accumulated over time about the house. The Kundmanngasse house is in fact a favourite subject for architects' philosophical dilettantism (second to this is only the exegesis, "Building, Dwelling, Thinking" by Martin Heidegger) as well as for philosphers' architectural dilettantism (think of the crazy interpretations that see in the house a petrified philosophy, a logic transformed into a house—hausgewordene Logik ).

Personaggi: ADOLFO BRAND DI GEWAL. Signor Tamberlick -- TERESA BERGH. Signora Dabedeilhe -- MICHELE COLMAN. Signor Massard -- WALFRIDA. Signora Gualdi -- FEDERICO HALLER. Signor Beneventano -- UN OFFICIALE DANESE. Signor Ceci -- CARLETTO. Signor N.N.--p. 6. ; "Direttore, appaltatore dell'illuminazione, Sig. Matteo Radice"--p. 5. ; "Direttore ed inventore de' fuochi chimici ed artificiali, signor Scipione Cerrone"--p. 5. ; "Pittore pe' figurini del vestiario, Sig. Filippo Buono"--p. 5. ; "Attrezzeria disegnata ed eseguita da' signori Luigi Spertini e Filippo Colazzi"--p. 5. ; "Direttore del vestiario, Sig. Carlo Guillaume"--p. 5. ; "Direttori e capi macchinisti, Sig. Fortunato Quèriau e Domenico Pappalardo"--p. 5. ; "Editore e proprietario esclusivo delle poesie de' libri de' reali teatri, Sig. Salvatore Caldieri"--p. 5. ; "Figurista, Sig. N.N."--p. 5. ; "Scenografo paesista, Sig. Leopoldo Galluzzi"--p. 5. ; "Scenografi per le scene d'architettura, signori Gaetano Sandri, Giuseppe Morrone, Giuseppe Castagna, Giuseppe Politi, Pasquale Bighenchomer, e Vincenzo Fico"--p. 5. ; "Capo scenografo inventore e direttore di tutte le decorazioni, Sig. Angelo Belloni"--p. 5. ; "Cav. D. Antonio Niccolini, architetto de' reali teatri"--p. 5. ; "La musica è del maestro Sig. Aurelio Bruno, napolitano, discepolo del celebre maestro Zingarelli"--p. 5. ; "La poesia è del Sig. Giovanni Emmanuele Bidera"--p. 5. ; "Parte I.a La fucilazione--Parte II.a Il campo funebre--Parte III.a La vallea di Gewal"--Title page; legal notice--p. 2; "Argomento"--p. 3. ; UNC Italian Opera Libretto Collection. ; Performance: Napoli, Teatro del Fondo, 1843? ; Mode of access: Internet.