3,748 research outputs found
Su Manlio Pastore Stocchi, l'Università, le Accademie e il mondo del diritto: contatti e rapporti con giuristi suoi contemporanei e del passato. Il caso di Luca da Penne.
No full textIn ricordo e memoria dell'italianista Manlio Pastore Stocchi, l'articolo tratta di quest'ultimo nei suoi rapporti con l’Università, le Accademie e il mondo del diritto, con riferimento a giuristi suoi contemporanei e del passato. Analizza, infine, un lavoro di M.P.S. dedicato al giurista Luca Da Penne
Ipogeo-Metrico
No full textUn nuovo, eccezionale progetto di Attilio Stocchi: una piccola galleria d'arte, costruita sotto terra, in forma di un grosso "diamante" di cemento armat
Inventario per autori: Attilio Stocchi
No full textAttilio Stocchi è un teorico del progetto di architettura e un fine realizzatore di visioni ardite. Le sue intuizioni creano turbolenze che scuotuono, ma anche cullano. Ha circuiti mentali che producono scintille che costringono improvvisamente ad accelerazioni o a pause di riflessione
All'ombra di Stocchi. Tra arte e architettura
No full textLAUREA MAGISTRALENel momento di pieno sviluppo internazionale e in Italia del fenomeno del postmodernismo e poi del decostruttivismo, Attilio Stocchi costruisce la sua formazione accanto a Vittoriano Viganò, architetto eclettico dal pensiero non solo tecnico ma anche filosofico e dal linguaggio originale con radici nel Movimento Moderno e dei sentori costruttivisti. Stocchi ne assume i caratteri in termini di utilizzo della struttura come generatrice di spazio, di confronto con l’intorno, di ricerca tecnologica e morfologica dei materiali, del rapporto con l’arte, di ricerca della verticalità dell’architettura come tensione verso.
Dopo gli anni accademici, trascorre un anno in Francia, dove era in atto un ricambio delle forze nella cultura progettuale, con la strepitosa energia de “les grands travaux” di Mitterrand che stavano modificando il volto delle città, a contatto con dei personaggi protagonisti del nuovo scenario. In particolare Claude Parent, che con la funzione obliqua ha dato una svolta al modo di concepire lo spazio, introducendo il concetto di movimento, Jean Nouvel, suo allievo, che ha influenzato enormemente la poetica di Stocchi rispetto a molti temi, dal rapporto col contesto e con la natura, ai giochi di luce e smaterializzazione, all’approccio concettuale al progetto e alla strutturazione professionale, e André Bruyère, che traspone in grattacielo la forma dell’uovo, come simbolo della creazione primordiale.
Stocchi, rientrato in Italia, si approccia al mondo del lavoro nello studio di Massimiliano Fuksas, dove approfondisce i temi della sperimentazione sulla materia, sulla forma, sui linguaggi in un’ottica di confronto con le arti visive, e sviluppa la prima idea di nuvola.
Subito dopo fonda il suo studio a Milano, in un momento di forte rinnovamento della progettazione a livello internazionale, dove intraprende un cammino che lo porta a sviluppare una metodologia originale, a contatto con autori che abbracciano i diversi campi delle arti e che influenzano e arricchiscono la sua poetica. In questa tesi Vittoriano Viganò, Gio Ponti, Italo Lupi, Achille Castiglioni, Lucio Fontana, Bruno Munari, Tonino Guerra, Mimmo Paladino, Iginio Balderi e Luciano Berio sono raccontati come chiavi di lettura della poetica di Stocchi, ad ognuno dei quali è accostato un suo progetto, salvato o sommerso, influenzato dal pensiero degli stessi o nato da una loro collaborazione.
Segue un compendio della poetica dell’architetto veneto, che indaga profondamente la sua visione progettuale, la sua ricerca sperimentale sulla parola, sul suono, sull’ombra e sulla luce, la sua visione dinamica dell’opera, il processo scientifico come approccio al progetto, improntati su punti chiave quali il dialogo con la natura come generatrice di spazio, l’”ascolto ad occhi chiusi” come ascolto e dialogo con il contesto e il committente, il gioco, la luce, il nome che racconta una storia, la metamorfosi della materia, l’anima animale come essenza e principio di movimento. Un approccio critico e multidisciplinare, in continuo dialogo con le altre arti.
Si analizza subito dopo la sua produzione architettonica, classificandola in maniera originale secondo cinque “mondi”, parole-forma come declinazioni concettuali di oggetti, di forme che ritornano: cristallo, iride, uovo, spirale, nuvola, ad ognuno dei quali sono associati tre progetti, salvati e sommersi. Si trova poi in appendice una risoluzione grafica dell’intera produzione.
Vengono trattate, infine, le relazioni con la committenza, le maestranze e l’utenza.
Uno sguardo attento e profondo al suo intero operare, alla sua ombra.In the moment of full international and Italian development of the phenomenon of postmodernism and then of deconstructivism, Attilio Stocchi has been inspired by Vittoriano Viganò, an eclectic architect with both technical and philosophical thinking, an original language based on the Modern Movement and constructivist hints. Stocchi assumed his characteristics in terms of the use of the structure as a generator of space, of comparison with the surroundings, of technological and morphological research of materials, of the relationship with art, of research of the verticality of architecture as a tension towards. After the academic years, he spent a year in France, getting in touch with the protagonists of a new scenario, a movement in the design culture with the amazing energy of Mitterrand's "les grands travaux" that were changing the face of the cities. Especially, Stocchi was influenced by Claude Parent, who with the oblique function has given a change to the way of conceiving space, introducing the concept of movement, Jean Nouvel, his pupil, who has greatly influenced Stocchi's poetics with respect to many themes, from the relationship with the context and with nature, the play of light and dematerialisation, the conceptual approach to design and professional structuring, and André Bruyère, who transposed the shape of the egg into a skyscraper, as a symbol of primordial creation. One back in Italy, Stocchi approached the world of work in the study of Massimiliano Fuksas and explored the themes of experimentation on matter, form, languages in a perspective of comparison with the visual arts, and develops the first idea of cloud .
Immediately afterwards he founded his studio in Milan, in a moment of strong renewal of design at an international level, where he embarked on a path that led him to develop an original methodology, in contact with authors who embraced the different fields of the arts and who influenced and enriched his poetics. In this thesis Vittoriano Viganò, Gio Ponti, Italo Lupi, Achille Castiglioni, Lucio Fontana, Bruno Munari, Tonino Guerra, Mimmo Paladino, Iginio Balderi and Luciano Berio have been the keys to the reading of Stocchi's poetics, each of which is associated with a his project, saved or submerged, influenced by their thinking or born from their collaboration.
Following is a compendium of the poetics of the Venetian architect, who deeply investigated his design vision, his experimental research on the word, sound, shadow and light, his dynamic vision of the work, the scientific process as an approach to the project, based on key points such as dialogue with nature as a generator of space, "listening with closed eyes" as listening and dialogue with the context and the client, the game, the light, the name that tells a story, the metamorphosis of matter, the animal soul as essence and principle of movement. A critical and multidisciplinary approach, in continuous dialogue with the other arts.
It is analyzed immediately after its architectural production, classifying it in an original way according to five "worlds", form-words as conceptual declinations of objects, of forms that return: crystal, iris, egg, spiral, cloud, each of which are associated with three projects, saved and submerged. There is also a graphic resolution of the entire production in the appendix.
Finally, relations with the client, workers and users are treated.
A careful and profound look at his entire work, in his shadow
Pig red blood cell hexokinase: evidence for the presence of hexokinase types II and III, and their purification and characterization
No full text: Pig erythrocytes, in contrast to red blood cells from other mammals (M. Magnani, V. Stocchi, F. Canestrari, M. Dachà, and G. Fornaini (1982) Biochem. Int. 4, 673), have been shown to contain hexokinase (EC 2.7.1.1) types II and III. Hexokinase type III is the predominant form, accounts for 98% of the total glucose phosphorylating activity, and has been purified 290,000-fold by a combination of ion-exchange chromatography and affinity chromatography on Sepharose-N-hexanoylglucosamine. The enzyme was shown to be homogeneous by polyacrylamide and sodium dodecyl sulfate-gel electrophoresis. The highest specific activity obtained was 190 units/mg protein with a yield of 60%. Because the amount of hexokinase II was small, it was only partially purified by ion-exchange chromatography. The native proteins have the same molecular weight of 100,000 by gel filtration on Ultrogel AcA44. The apparent isoelectric point of hexokinase type II was shown to be 4.8 and 4.9 pH units, whereas hexokinase type III was shown to have a pI of 4.3 to 4.4 pH units by isoelectric focusing. Both hexokinases are able to phosphorylate several hexoses. However, while hexokinase II shows an apparent Km for glucose of 1.5 X 10(-4) M with negative cooperativity (nH = 0.4), hexokinase III shows an apparent Km for glucose of 1.5 X 10(-5) M and a positive cooperative effect (nH = 1.5). Furthermore, glucose at concentrations higher than 0.4 mM becomes an inhibitor of hexokinase III. Amino acid analysis of hexokinase type III revealed a low number of the aromatic residues Phe, Tyr, and Trp; this is in agreement with the low extinction coefficient of E1(0nm = 12.5
Eustatic and Relative Sea Level Changes
No full textSea level changes can be driven by either variations in the masses or volume of the oceans, or by changes of the land with respect to the sea surface. In the first case, a sea level change is defined ‘eustatic’; otherwise, it is defined ‘relative’. Several techniques can be used to observe changes in sea level, from satellite data to tide gauges to geological or archeological proxies. Regardless of the technique used, ‘eustasy’ cannot be measured directly, but only calculated after perturbing factors of different origins are taken into account. In this paper, we review the meaning and main processes that contribute to eustatic and relative sea level changes, and we give an overview of the different techniques used to observe them
Hexokinase inactivation induced by ascorbic acid/Fe(II) in rabbit erythrocytes is independent of glutathione-reductive processes and appears to be mediated by dehydroascorbic acid.
No full textRecent studies performed in our laboratory demonstrated that rabbit red blood cell hexokinase was remarkably inhibited by the cocktail ascorbic acid/Fe(II) (Stocchi et al., 1994, Arch. Biochem. Biophys. 311, 160-167) and that the formation of dehydroascorbic acid was a key event in this process (Fiorani et al., 1996, Arch. Biochem. Biophys, 334, 357-361). The present study was undertaken to determine the final hexokinase-inactivating species using cell-free extract as a model. Our results demonstrate superimposable kinetics of hexokinase decay promoted by either ascorbic acid/Fe(II) or dehydroascorbic acid in erythrocyte lysates in which the reduced glutathione (GSH) levels were variously manipulated. In particular, neither removal nor addition of this tripeptide was able to significantly alter the rate or extent of hexokinase inhibition. Thus, GSH-reductive processes are dispensable events in the process of hexokinase inhibition promoted by ascorbic acid/Fe(II) in red blood cells. As a consequence, dehydroascorbic acid appears to be the species which directly inhibits hexokinase. This inference is further supported by the observation that addition of dehydroascorbic acid to the purified enzyme leads to a remarkable inhibition in its activity
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