Suchergebnisse

[EN] The objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture's history, as it was one of the first experiments of fronte bastionato all'italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona's fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes' reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period. ; Rinaldi, S. (2020). L'architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo. Editorial Universitat Politècnica de València. 825-832. ...

The text proposes a comparison between the fortifications (bunkers and batteries) erected during the decade 1936-45 along the Mediterranean coasts of Spain and Italy and the network of defense architecture built in modern times. The needs to considering both architectural and landscape heritage gives opportunity for new debate concerning the matter of conservation. In particular because those latest elements are the oldest armored ruins of modern 20th-century architecture. This group of bunkers and coastal and anti-aircraft batteries is called Muro Mediterráneo for its formal and functional affinity with the Atlantic Wall built by the German army during World War II (circa 1942) along the coast from France to Norway. The comparison with the 'network of sentinel', erected by the Christian kingdoms in the Modern Age (XVI-XVIII sec.) along the Mediterranean coast for his defense, showed similar design criteria, location, functionality and materiality, however, while the 'sentinels' are protected by laws, the contemporary casemates are not. Among these, the differences are (without considering the age difference) as the towers have strong volumes emerging from the profile of the territory while bunkers and batteries (with similar geometric models) are mimetically integrated with the topography of the places where they are inserted. The elements of the Mediterráneo Wall form a new anthropic landscape which can be considered a monument for its allegory of tomb and memorial at the same time. ; El texto propone una comparación entre las fortificaciones (búnkeres y baterías) erigidas durante la década 1936-45 a lo largo de las costas mediterráneas de España e Italia y la red de defensas arquitectónicas construida en la edad Moderna. La necesidad de considerar el patrimonio arquitectónico y paisajístico da la oportunidad para un nuevo debate sobre el tema de la conservación. En particular porque esos últimos elementos son las ruinas acorazadas más antiguas de la arquitectura moderna del siglo XX. Este grupo de bunkers y baterías costeras y antiaéreas lo denominamos 'Muro Mediterráneo' por sus características formales y funcionales de afinidad con el Muro Atlántico (Atlantik Wall) construido por el ejército alemán durante la Segunda Guerra Mundial (alrededor de 1942) a lo largo de la costa de Francia hasta Noruega. La comparación con la "red de centinelas", erigida por los reinos cristianos reinos en la Edad Moderna (siglos XVI-XVIII) a lo largo de la costa mediterránea para su defensa, muestra criterios de diseño similares de ubicación, funcionalidad y materialidad; sin embargo, mientras que los "centinelas" son protegidos por las leyes, las casamatas contemporáneas no lo son. Entre estos, las diferencias son (sin considerar la diferencia de edad) que las torres tienen grandes volúmenes que emergen del perfil del territorio mientras que los búnkeres y baterías (con modelos geométricos similares) se integran miméticamente con la topografía de los lugares donde se insertan. Los elementos del Muro Mediterráneo forman un nuevo paisaje antrópico que puede considerarse un monumento por su alegoría de tumba y monumento al mismo tiempo como señaló Paul Virilio. ; Polo Museale della Sardegna; Università degli Studi di Cagliari; University of Edimburg; Istituto Italiano dei Castelli

In the first years of the Second World War along the coast of Sardinia, a system of military defenses was built consisting essentially of bunkers and concrete batteries, many of which are still standing, as "testarde rovine" that resist the passage of time. This network has been structured on the territory according to tactical criteria of vigilance, control and ability to respond against an attack and based on a project that has a link with the system of towers-sentinels of the Modern age and is simultaneous to the construction of other "walls" throughout Europe. His remains, numerous and repeated as industrial objects, are bearers of negative values and discord from his own conception: machines to kill, for self-defense, so it is difficult to relate this architectural heritage with the concept of shared identity. Sardinia is representative of this legacy because more than a thousand scattered elements have been built throughout the island; the proposed analysis deepens the theme in the study area of Bosa, on the west coast, bounded by two historical towers, proceeding with the inventory and classification of the pieces that remain (with the contribute of photogrammetric survey and 3d models) in order to propose options for the protection and conservation of this legacy of the twentieth century armed conflicts. The proposals for reuse distinguish the cultural and geographical context –both urban and rural– in which the ruins are inserted and try to integrate this singular heritage into the coastal historical landscape as a further layer of the actions of the men along the time. Tra la terra e il cielo. Architettura di guerra in Sardegna: un paesaggio da conservareNei primi anni della Seconda Guerra Mondiale sulla costa della Sardegna venne realizzato un sistema di difesa costituito essenzialmente da bunker e batterie in calcestruzzo armato, molti dei quali ancora conservatisi come "obstinadas ruinas " che resistono al passare del tempo. I nodi di questa rete, simultanea alla costruzione di altri "muri "in tutta ...

Lo studio dell'architettura rurale in Italia si sviluppa con un carattere sistematico dai primi decenni del novecento. Già dalla metà degli anni cinquanta l'esigenza di conoscere a caratterizzare le tipicità locali, ha spinto gli studiosi a definire la geografia dell'edilizia rurale individuando il rapporto fra le forme dell'insediamento nel paesaggio e le funzioni rispondenti a specifiche esigenze produttive e di vita quotidiana, in stretta relazione con i canoni della storia agraria, economica e politica. Questi principi si radicano su uno scenario naturale, che nel tempo, influenza e condiziona lo sviluppo e l'evoluzione dei caratteri insediativi dell'edilizia storica. Gli studi sull'architettura rurale nella pianura modenese sono volti a definire una metodologia di ricerca, che individui un'area di riferimento particolarmente significativa, da osservare a scala territoriale "insediamento per insediamento", sino alla scala architettonica "edificio per edificio", come evoluzione degli studi geografici e tipologici per macroaree del CNR. Attraverso la sequenza della cartografia storica è stato individuato il periodo ultimo di passaggio dal "paesaggio storico" (agrario) al "paesaggio moderno" (industriale), ridisegnando tutto il territorio nelle sue componenti essenziali: edifici, aree di pertinenza, appoderamenti, strade e corsi d'acqua. Attraverso le sequenze storiche, è stata delineata una puntuale evoluzione dei sistemi insediativi, stabilendo relazioni, significati, varianti e invarianti tipologiche. Sono stati individuati circa 180 casi studio significativi per forma, funzione, tipologia, e definito un catalogo dei tipi insediativi e dei tipi edilizi, definendo le forme compositive più significative. Dal ridisegno del territorio prende corpo l'analisi delle forme insediative per giungere a tracciare un'ipotesi circa l'origine della forma architettonica rurale nella pianura modenese, studiandone le aggregazioni funzionali e le variazioni compositive. ; Rural architecture study in Italy is developed with a systematic character from the first decades of the twentieth century. Already by the mid-fifties the need to know to characterize the local specialties, has led scholars to define the geography of rural buildings by identifying the relationship between the settlement forms in the landscape and the functions that meet specific production requirements and daily life, in close relationship with the canons of agrarian history, economics and politics. These principles are rooted on a natural setting, which over time, influence and affects the development and evolution of the historical construction of settlements characters. The rural architecture studies in Modena plain is aimed at defining a methodology of research, that individuals of particularly significant reference area, to be observed on a regional scale "settlement to settlement", up to architectural scale "building by building," as evolution of geographical studies and typological by macro of CNR. Through the sequence of historical maps it was identified last period of transition from the "historic landscape" (agrarian) to "modern landscape" (industrial), redesigning the entire territory in its essential components: buildings, areas of relevance, farms, roads and waterways. Through historical sequences, it has been outlined a detailed evolution of settlement systems, establishing relationships, meanings, typological variations and invariants. Approximately 180 significant case studies have been identified for form, function, type, and defined a catalog of settlement and building types, composition types, defining the most significant compositional forms. The redrawing of the territory takes shape the analysis of settlement patterns to reach trace hypothesis about the origin of the rural architectural form in the plain of Modena, studying the functional groupings and compositional variations.

In Paris, Capital of the 19th Century, Benjamin states that the goal of Haussmann's renovation of Paris was to avert civil war. This essay aims to explore this insight and to investigate it also in relation to the transformations of Barcelona by Cerdá. Relying on observations made by Foucault and Schwarte, the article will show that architecture and urban planning can be understood both as political tools that are deployed to manage conflict, and as elements that shape conflict. ; In Parigi. La capitale del XIX secolo, Benjamin afferma che l'obiettivo dei lavori haussmaniani nella capitale francese era quello di scongiurare la guerra civile. Questo saggio intende confrontarsi con questa intuizione e indagarla anche in riferimento alle trasformazioni di Barcellona a opera di Cerdá. Attraverso alcune riflessioni di Foucault e Schwarte, si arriverà a mostrare che l'architettura e l'urbanistica possono essere esaminate sia come strumenti politici impiegati per gestire la conflittualità, sia come elementi di strutturazione della conflittualità stessa.

Ferrara è tra le città con le quali Piero Bottoni (1903-1973) ha istaurato un rapporto proficuo e duraturo che gli permise di elaborare molti progetti e che fu costante lungo quasi tutta la parabola professionale dell'autore milanese. Giunto nella città estense nei primi anni Trenta, vi lavorò nei tre decenni successivi elaborando progetti che spaziavano dalla scala dell'arredamento d'interni fino a quella urbana; i diciannove progetti studiati, tutti situati all'interno del centro storico della città, hanno come tema comune la relazione tra nuova architettura e città esistente. Osservando un ampio spettro di interventi che abbracciava la progettazione sull'esistente come quella del nuovo, Bottoni propone una visione dell'architettura senza suddivisioni disciplinari intendendo il restauro e la costruzione del nuovo come parti di un processo progettuale unitario. Sullo sfondo di questa vicenda, la cultura ferrarese tra le due guerre e nel Dopoguerra si caratterizza per il continuo tentativo di rendere attuale la propria storia rinascimentale effettuando operazioni di riscoperta che con continuità, a discapito dei cambiamenti politici, contraddistinguono le esperienze culturali condotte nel corso del Novecento. Con la contemporanea presenza durante gli anni Cinquanta e Sessanta di Bottoni, Zevi, Pane, Michelucci, Piccinato, Samonà, Bassani e Ragghianti, tutti impegnati nella costruzione dell'immagine storiografica della Ferrara rinascimentale, i caratteri di questa stagione culturale si fondono con i temi centrali del dibattito architettonico italiano e con quello per la salvaguardia dei centri storici. L'analisi dell'opera ferrarese di Piero Bottoni è così l'occasione per mostrare da un lato un carattere peculiare della sua architettura e, dall'altro, di studiare un contesto cultuale provinciale al fine di mostrare i punti di contatto tra le personalità presenti a Ferrara in quegli anni, di osservarne le reciproche influenze e di distinguere gli scambi avvenuti tra i principali centri della cultura architettonica italiana e un ambito geografico solo apparentemente secondario. ; Ferrara counts among the cities with which Piero Bottoni (1903-1973) has created a rich link, which allowed him to elaborate many projects and that has a constant presence all along the professional circuit of the author. Residing at the Este town in the first Thirties, he worked there during three successive decades developing projects that spread between the scale of internal forniture to urban projects; the nineteen projects examined, all placed in the city's historic centre, have as a common subject the relationship among the new architecture and the existing city. Studying a large spectre of interventions that embraces projects based upon the existent buildings as well as new projects, Bottoni proposes a vision of architecture without disciplinary sub divisions, approaching restoration and new building as parts of a unitary projecting process. Upon this background, Ferrara's culture between the two wars and after the war is characterized by the permanent attempt to give actuality to its own renaissance history, notwithstanding the political changes. With the contemporary presence during the Fifties and Sixties of Bottoni, Zevi, Pane, Michelucci, Piccinato e Samonà, Bassani a Ragghianti, all participating to the construction of the historiographic image of the Renaissance Ferrara, the characteristics of this cultural context melt into the central subjects of the Italian architectonical debate and the debate for the defence of historical centres. The analytical study of Bottoni's Ferrarese works becomes thus the occasion to outline, on one side, the peculiar character of his architecture and, on the other side, to study a provincial cultural context with a view to show such points of contact among the personalities present at Ferrara in those years, to observe their reciprocal influence and to distinguish the exchanges occurred among the outstanding centres of Italian architectonic culture and a geographical environment only secondary in appearance.

[EN] The territory of the Roman countryside in the Late Middle Ages was extended from the city of Rome to 40 miles in the Suburb, between the coasts of the Tyrrhenian Sea, the Albani Mountains, the Lepini Mountains and the course of the Tiber. In the twelfth century various events started in this territory which will greatly influence its appearance until today: the castra arise, as forms of aggregation of a territory enclosed by defensive elements; burgi and villae, small fortified centers; and the casali, special production farmhouses characterized by the presence of a tower and other defensive, residential and productive structures. The militarization of the landscape began for reasons partly linked to the general instability of the period. Despite the basic differentiations in the forms of the population as in the functionalities themselves entrusted to the circumscribed territory, the forms of the basic architecture remained the same: the tower, the walls, albeit in variety in terms of technique, magnificence and complexity. This research can be tackled thanks to a direct analysis of the architecture of the towers which characterize the Roman countryside, occasionally accompanied by other elements, like the walls. The results of this study can be compared with the information reported in medieval sources, in which a specific language is used to describe the architecture and the characteristics of every form of human anthropization. The analysis of the differences and affinities between these territorially structures and the comparison with the contemporary urban architectures, allows to recreate a general picture of the architecture in the Roman countryside in the Low Middle Ages. ; Cosenza, F. (2020). I Casali e le Architetture della Campagna Romana nel Basso Medioevo. Realtà archeologica e fonti documentarie. Editorial Universitat Politècnica de València. 593-600. https://doi.org/10.4995/FORTMED2020.2020.11462 ; OCS ; 593 ; 600

In the Modern Age the relationship between ecclesiastical architecture and the city was regulated by symbolic and material boundaries. These were aimed at reaffirming the sacredness of the physical place, connected to the real presence of Christ in the sacrament of the Eucharist, according to the dictates of the Council of Trent. Such boundaries also identified jurisdictional, proprietary and fiscal privileges. In fact, ancient rights of immunity, considered inviolable, characterized the ecclesiastical spaces: rights of real immunity, which excluded ecclesiastical property from the payment of tax burdens; rights of local immunity, linked to the ancient privilege of asylum. Walls, gates, doors, parvises, steps, were therefore configured as real borders, around which the political-legal action of secular magistrates concentrated, intended to defend the prerogatives of the sovereign on the territory and cities. This study proposes a reflection about the relationship between the presence of the sacred, space border and forms of representation in the Modern age. For this purpose, the essay will consider eighteenth-century Savoyard State as field of observation. In such a context, the relationship between State and Church and the political struggle against privileges and immunities generated tensions, which, in turn, were projected on ecclesiastical spaces. ; In Età Moderna il rapporto tra architettura ecclesiastica e città è regolato da limiti simbolici e materiali, atti tanto a riaffermare la sacralità del luogo fisico – connessa alla presenza reale del Cristo nel sacramento dell'Eucarestia, secondo i dettami del Concilio di Trento – quanto a identificare privilegi di natura giurisdizionale, proprietaria e fiscale. Sugli spazi ecclesiastici, infatti, si addensano diritti di immunità antichi e ritenuti inviolabili: diritti di immunità reale, che sottraggono i beni ecclesiastici al pagamento dei carichi fiscali; diritti di immunità locale, connessi al privilegio, antico, dell'asilo. Murature, cancelli, porte, sagrati, gradini si configurano pertanto come veri e propri confini, attorno ai quali si concentra l'azione politico-giuridica esercitata dalle magistrature secolari, impegnate a difendere le prerogative del sovrano sul territorio e sulle città. Il presente studio propone una riflessione sul rapporto tra dispositivi di interdizione dello spazio, presenza del Sacro e forme di rappresentazione in Età Moderna, adottando, come campo di osservazione privilegiato, lo Stato sabaudo del XVIII secolo, un contesto in cui sugli spazi ecclesiastici si proiettano tensioni che investono, in un senso più ampio, le relazioni tra Stato e Chiesa, e la lotta contro privilegi e immunità.

The 'bowels of Milan Central Station' – an invisible manoeuvring space used for the deportation of Jews and political opponents to the extermination camps – bears witness to its own history revealed in physical aspects – organization of the space through juxtaposed spans that characterize the entire site's morphology – and cultural aspects: the testimonies of survivors.In the project of the Memorial of the Shoah, the 'remains' of the original concrete structures – what remains after the contamination of time, material and memory – are reworked. The 'remains' are considered an indispensable element of the project and their preservation legitimises the design of the new parts of the Memorial. The project also objectifies memory to create a sequence of spaces and objects, which document and testify the Shoah, and which, through the experience of visitors, is capable of creating a new narrative.In this sense, the station becomes the subject of a critical modification through an imaginary and physical excavation that reveals the immense, 'total' solidity of this archaeological find of our time. The project offers a new interpretation of correspondence between a plan and a construction system using a 'principle of distancing', a physical and temporal gap between the new parts and the 'remains'. By reworking all the elements of the station – through a process of reassembling – the project witnesses to the tragedy of the Shoah, without any further comment. Through the critical interpretation of the document-monument, architecture reaffirms the ethical dimension of memory.Keywords: Memory, Narration, Archaeology, Distancing, Assemblage ; Il 'ventre' della Stazione Centrale di Milano, invisibile spazio di manovra utilizzato per la deportazione di ebrei e oppositori politici verso i campi di annientamento, è portatore di una propria storia costituita da materiali fisici - la disciplina delle campate accostate come principio di organizzazione spaziale che permea l'intera morfologia del sito - e (materiali) culturali - le ...

It is not usual to be able to document in detail a mannerist temple which, until now, has not been sufficiently studied and whose origins were unknown. The Spanish expansion in the Mediterranean allowed many Italian engineers to take part in building walls and cities, and both Emperor Charles V and his son, King Philip II, counted on these engineers' experience and knowledge.Melilla is one of the North African cities with an intense presence of Italian engineers. This city would be the place where, a new temple commissioned by Philip II, would be erected by the end of the 16th century. The person in charge of designing the temple would be the King's engineer Giacomo Palearo Fratino. It is important to point out that these engineers mainly built walls, bastions and defence towers. They are outstanding designs as the one we have mentinoned before, which is also is Fratino's only known church.The clear Italian origins of the temple still prevail nowdays since most of its structure survives despite the Baroque enlargements. This might be the reason why there are some references to 16th century Italian treatises, mostly to Giacomo Barozzi Vignola or Sebastiano Serlio. These references are made evident, not only in the design of the façades and the inner arches but also in the mathematical proportions used in the construction of the temple, where the Golden Rectangle is not absent.Un'inedita architettura manierista di Gian Giacomo Palearo Fratino. La Chiesa della Purísima Concepción di Melilla (1579-1608)A seguito dell´espansione spagnola lungo il Mediterraneo, l´imperatore Carlo V e poi suo figlio, Filippo ll, si rivolsero a ingegneri italiani per la realizzazione di mura e città, affidandosi alla loro esperienza e conoscenza. Una delle città nordafricane con un´intensa presenza di ingegneri italiani fu Melilla. Qui, alla fine del XVI secolo fu eretta una chiesa per volontà di Filippo ll, fino a oggi poco studiata e di cui non si conosceva l'attribuzione. Le ricerche svolte hanno potuto individuare il nome del ...

[EN] The contribution intends to bring to the attention of the scientific community the important Heritage made of plastic models, more or less homogeneously spread throughout Europe, which constitutes a patrimony of knowledge that links theoretical contributions on fortification, realizations, historical studies, archive documentation, technical representations, surveys, iconographic material. The enhancement process records an orientation that in recent years has found in the relevant digital tools one of the possible keys for setting up a data system and, in digital modeling, the medium for interesting developments also in relation to the use. Starting from the studies conducted in recent years on this specific topic, the research group is trying to identify the best strategies to be locally applied to enhance and make available on web different models at the various scales that describe Turin fortification's system and some portions of it. ; Vitali, M.; Bertola, G.; Natta, F.; Ronco, F. (2020). Modelli plastici di architettura militare: valore di un patrimonio culturale da preservare e valorizzare nell'era digitale. Editorial Universitat Politècnica de València. 503-510. https://doi.org/10.4995/FORTMED2020.2020.11537 ; OCS ; 503 ; 510