1,720,988 research outputs found
VIRTUAL REALITY AND CAPTURED REALITY FOR CULTURAL LANDSCAPE COMMUNICATION
Full text linkIn the last twenty years, the process of digitization of art and cultural heritage in general has undergone considerable developments pursuing purposes of conservation and analysis, first, but also of dissemination and knowledge of the works themselves or of the sites of historical - archaeological – architectural interest. For years, museums and archaeological sites have begun to digitize their assets to make them usable on online platforms. In this way, multiple high-resolution digital archives and virtual reconstructions of the sites were born that provide immersive experiences to the user. Above all, the latter stimulate the cinematographic and videogame industries to continuous research to improve the immersive and interactive experience, thanks to the use of virtual reality devices applied to increasingly detailed digital models, in some cases obtained thanks to the most modern detection instruments
THE FARMHOUSES OF THE ROMAN COUNTRYSIDE: CENSUS AND CATALOG. THE CASE OF THE ESTATE OF FARNESIANA
No full textRome is one of the cities with the largest green areas in the world, spread in villas and estates, within the municipal territory. But there is also a landscape triangle that radially branches out from the historic center, including a variety of unique situations (archaeological, historical - social, settlement, agriculture ...) in the world: the Caffarella and aqueducts Park. Inside, the Farnesiana estate, Capo di Bove, it’s a witness of a widespread degradation process in the Roman countryside, which requires a gradual procedure of knowledge, cataloguing, restoration and re-functioning of the historical heritage. In this regard, the research is part of a larger study project of the Department of Architecture of Roma Tre, concerning farmhouses of the Roman countryside that deal with worrying degradation conditions and which require imminent intervention
Tradición e innovación en la expresión gráfica de la Roma consolidada
No full textEl dibujo, como muchos de nosotros lo definíamos, ha sufrido grandes cambios en los últimos veinte años. La llegada de las nuevas tecnologías, la posibilidad de disfrute cada vez más a bajo consumo de los instrumentos y la mentalidad de las nuevas generaciones que, a diferencia de nosotros, han crecido inmersas en la modernidad, han hecho que el dibujo de arquitectura se haya modificado.
Quizás sea «otro» más completo y de algún modo diferente a la concepción canónica vigente hasta los años noventa. Sin embargo, creemos que la actitud que debemos adoptar es de no cerrarse hacía lo nuevo fosilizando las propias convicciones, ni tampoco el de abrazar totalmente la innovación o repudiar la práctica de lo que el dibujo suponía. La demostración de cómo éstas estén estrictamente vinculadas, a pesar de los diferentes medios de comunicación, reside en que cualquiera que haya tenido y tenga una sensibilidad especial en el dibujo tradicional, posee la misma sensibilidad también en la comunicación mediante el instrumento digital. El ordenador, las plumas gráficas, los programas específicos, láser escáner, impresoras 3D y otras innovaciones, no son un obstáculo, sino medios adicionales que se unen a la mano libre para expresar al máximo la potencialidad de cada individuo así como la capacidad comunicativa de un proyecto.
Además, no debemos imaginar las dos componentes separadas entre sí: muchas veces, como en los ejemplos que se propondrán, relativos al estudio y al modelado del "Tridente » de Roma, éstas se funden de forma tan armoniosa que llegan a conseguir resultados únicos que no serían alcanzables mediante el uso de uno sólo de los instrumentos disponibles.
Las operaciones gráficas, analógicas o digitales que sean, poseen de hecho la característica de unir indisolublemente la técnica ejecutiva, entendida como operatividad manual y pensamiento abstracto.
La evolución del proyecto, el análisis, la interpretación de la arquitectura y del espacio arquitectónico, son aspectos que deben ir de la mano con el lenguaje expresivo y comunicativo contemporáneo, pasando por instrumentos y técnicas cada vez distintos y a menudo también coincidentes, confirmando o contrastando a su vez la necesidad de integración entre pensamiento teórico y expresión gráfica. El querer analizar, estudiar, comprender una realidad histórica consolidada como el "sistema urbano" del "Tridente" de Roma, surge de la necesidad de realizar un instrumento útil y, sobre todo, en continua evolución que pudiera expresar todas las potencialidades "visuales" y no visuales contenidas dentro de la complejidad arquitectónica y urbana existente.
La forma actual del 'Tridente' romano se define en la primera mitad del Quinientos y se completa a finales del Seiscientos con las dos iglesias gemelas de Santa Maria dei Miracoli y Santa Maria di Montesanto. El obelisco egipcio de la Piazza del Popolo, erigido por el arquitecto Domenico Fontana, es el punto de convergencia de los tres ejes viales de Roma y fue también, en nuestro estudio, el punto generador tanto del modelo tridimensional como de los estudios gráficos tradicionales.
Tradición e innovación pues, se han confrontado constantemente para generar un "producto" que fuese en su mejor forma, expresión de la complejidad y riqueza del patrimonio histórico romano
Using Virtual Reality as a Tool to Research, Analyze and Learn: The Competition for Palazzo del Littorio in Rome
No full textDue to the current global situation, the existing model of accessibility to cultural heritage is facing a crisis. Over the last year, security measures to restrain the pandemic led to travel restrictions that greatly decreased the influx to places dedicated to arts and knowledge. However, even though reality seems to slow down under the pressure of those constrains, the need of accessibility to culture and information keeps on encouraging the research for a new usability paradigm, accelerating its transformation through computerized communication. The use of virtual reality could be an alternative tool to learn and interact with historical and artistic heritage, much like the complete digital archives and virtual tours that an increasingly higher number of museums and places of interest are now providing. By developing a virtual reality model of Giuseppe Terragni’s unbuilt project for Palazzo del Littorio (Rome, 1934), it is possible to have an inside perspective of what Via dei Fori Imperiali would have looked like had this architecture been built. This innovative and immersive initiative could make it possible for anyone to experience the spaces recreated by this virtual representation of Terragni's vision, an opportunity that would not be attainable otherwise
Narrare l'irreale. Le citta' invisibili svelate
No full textItalo Calvino affermava che è possibile mettere a fuoco "visioni a occhi chiusi": l'uomo ha la capacità di vedere e lo sguardo non è altro che un processo di conoscenza mentale. Questa affermazione ha aperto le porte ad una nuova visione del pensiero creativo ed è da questa che la creatività ha origine. Le città invisibili sono una auto biografia e un elogio alla bellezza, alla ricchezza e alla diversità delle città.Italo Calvino said that it is possible to focus on "visions with closed eyes": man has the ability to see and the gaze is nothing but a process of mental knowledge. This statement has opened the door to a new vision of creative thinking and it is from this that creativity originates. Invisible cities are a self-biography and a eulogy to the beauty, richness and diversity of cities
Survey Experiences: The sistem of mills of Bagno Vignoni;The Etruscan urn of the Cacni Family; Rione Monti; The Loggia of the Rector Bulding.
No full textRilievo geometrico del sistema dei mulini ad acqua di Bagno Vignoni.
Geometric survey of the medieval water mills system of Bagno Vignoni, project integrated to the Detail ed Plan commissioned by the City of San Quirico d'Orcia. The survay and restoration were made with a loan granted by the European Commission under the "Raphael" Program, banned by the European Union and dedicated to the restoration and enhancement of European cultural heritage in the field of industrial archeology. General Manager: Francesco Riccardo Ghio. 2005.
Survay of the Loggia of the Rector Building, photogrammetric Survey and 3D modeling of one of the chiseled capitals of the portico that has a particular artistic merit.
Survey and photogrammetric survey of the Lodge of the Rector's Palace in Dubrovnik designed by Onofrio della Cava and photografic campaign aimed at creating a 3d mesh model through the use of software structure for motion of the engraved capitals by Pietro di Martino da Milano. Modeling, high resolution texturing and profiling of the capitals of the porch. Consultancy related to the Recovery Plan of the urban space promoted by the Municipality of Ragusa.
Topographic, architectural and urban survey of Rione Monti.
Topographic, architectural and urban survey of Rione Monti and 3D model for the reconstruction of the historical transformations of the district included between Via Panisperna, Via Cavour and Via dei Fori Imperiali. Cataloging and indexing of historical and iconographic data taken from the Gregorian Cadastre and related brogliardi (1818-24), and from the Geographic Web-GIS Information System of the Urbanism Laboratory of the Department of Architecture coordinated by Prof. Paolo Micalizzi. Since 2014, the research was focused on the virtual reconstruction of the Alessandrino District.
Photogrammetric survey and 3D modeling of the funerary urn depicting the myth of Oenomaus, found inside the tomb of the Etruscan family of Cacni in Perugia (III-I century BC).
The survey, aimed at the graphic documentation and implementation of a virtual model for the study and dissemination, has been performed with photographic processed with software modeling structure from motion. The urn, recovered in 2013 by the Cultural Heritage's Police Command along with other 21 and with the funeral set of the tomb of the Cacni family at Perugia, was exhibited at the Quirinale and then moved to Perugia, at the National Archaeological Museum of Umbria
Archeologia, storia e natura: il Borghetto Flaminio. Archeology,history and nature: Borghetto Flaminio
No full textArcheology,history and nature: Borghetto Flaminio
There are many places that offer beautiful and unique landscapes, of unequivocal historical importance and with a one of a kind artistic interest. All possess special characteristics that must be maintained for all future generations. However, these three components rarely coexist in one single place or they would consequently assume a unique value and would become very difficult to understand in view of the overlapping of the multiple systems involved. One of the sites with such characteristics is the subject of an articulated research and of this article: the Flaminio Village.
Introduction
Archeology of knowledge is made up of small inconspicuous truths that are detected with a strict method. Nietzche wrote that "we transformed knowledge into a passion that does not fear sacrifice and, in a final analysis, this knowledge is only afraid of extinguishing itself. The only real fear of those who acquire perfect knowledge is to see it all disappear."
The strategy chosen to document the transformations and permanence of the signs that characterize the area under study was long and complex.
A series of questions were raised several times during the research.
These questions vanished as soon as we assumed that the "history" had to be understood as a production of meanings based on the traces of events, such as the analytical and indefinite construction of history. This would become a tool used to break down well-established certainties and an "element" that must be preserved in its entirety and overcome at the same time.
Overcoming, the liberation of the tentacles of history, is the only way out of the "maze" where we can get lost at the end of a proper search, as stated by Tafuri.
That's the risk we face every time we are involved in a methodological research of the nature and history of a place
Il Mondo è un libro: visioni ispirate da "Le città invisibili" di Italo Calvino.
No full textIl Mondo è un libro: visioni ispirate da "Le città invisibili" di Italo Calvino.
«Non c’è uomo completo se non colui che ha viaggiato molto, che ha cambiato venti volte la forma del suo pensiero e della sua vita. Le abitudini limitate e uniformi che l’uomo prende nella vita ordinaria e nella monotonia della patria sono dei modelli che rimpiccioliscono tutto. Studiare i secoli nella storia, gli uomini nei viaggi e Dio nella natura è la vera scuola. Apriamo il libro dei libri, viviamo, viaggiamo: il mondo è un libro di cui a ogni passo si volta pagina: colui che non ha letto che una, cosa sa? ». (A.-M.L. Lamartine, 1820)
I luoghi immaginari sono meglio conosciuti nella mitologia e nelle opere di narrativa, dove sono creati come parte di un universo immaginario, con informazioni sulla loro storia passata ed attuale, in questo contesto un mondo immaginario potrebbe essere un mondo costruito con uno scopo preciso o creato per il divertimento personale, oppure può emergere naturalmente dalla narrazione della nostra mente: i ricordi, le prefigurazioni si accavallano e generano mondi nuovi .
Un esempio dell'ambizione ideale lo si ritrova nel Libro della Genesi, in cui la metafora biblica della Torre di Babele assume l'aspirazione dell'uomo a uno spazio abitativo la cui struttura riflette una forte carica utopica e ideale; ben presto, nella storia dell'uomo, questa aspirazione assume il carattere di una riflessione teorica, declinata in chiave di “Utopia filosofica” e l’idealismo di Platone ne è la più chiara espressione. Egli fa delle annotazioni estetiche sullo schema urbano, definendo inopportuna l’assoluta regolarità. Spesso proprio questa necessità di ritrovarsi in luoghi utopici, in luoghi nei quali ci si vuole riconosce, ha spinto noi architetti ad immaginare città, architetture ideali e a renderle palesi attraverso i nostri disegni.
Quando Sant’Elia disegna i suoi progetti visionari e monumentali non fa altro che immaginare, anticipare, prefigurare una “città nuova”; gli avveniristici disegni, che in molti casi hanno precorso alcuni esiti dell’architettura del dopoguerra, contengono molti dei sogni dell’autore.
Il desiderio di fuggire dal mondo reale, il farsi affascinare da realtà nuove o il rimandare la memoria a luoghi della vita vissuta con un distacco emotivo, possono essere solo alcuni degli spunti per avere voglia di disegnare, di schizzare sul taccuino. Quando le immagini si confondono nella memoria generano spesso interessanti creazioni, la sovrapposizione dei ricordi compone visioni assolutamente uniche e irripetibili, ed è proprio questo il momento più interessante per prendere appunti grafici. In quel preciso momento lo schizzo conterrà in sé tutto l’immaginario, sarà libero, senza alcuna costrizione ne geometrica ne compositiva; potrà materializzare sul foglio ogni tipo di pensiero.
La mano dunque, percorrerà il foglio velocemente, senza timore, tracciando con forza e decisione i tratti di una realtà nascosta, “immaginaria”, si soffermerà nell’appuntare particolari inesistenti e sorvolerà su altri.
..."L'atlante del Gran Kan contiene anche le carte delle terre promesse visitate nel pensiero ma non ancora scoperte o fondate: La Nuova Atlantide, Utopia, Oceania [...]" (Italo Calvino
Storia e contemporaneità nella ricostruzione della Chiesa di Santa Maria di Loreto
No full textThe research is structured around two parallel tracks; one linked to the historical reconstruction of the implementation phases of the church of St. Mary of Loreto in Rome, on which there is an interesting and detailed archive of material and a small bibliography; the other involves the comparison between the original Sangallo project and the instrumental survey of the existing situation through a specific photographic campaign. It is interesting to point out the existing similarities that were revealed between this comparison, which led to a 3D reconstruction of the project in phase 1.
The research project is configured as a monographic study of the Church, but especially on one of the most significant phases of the construction. In particular, themes connected to a check of the initial project (1507-1509) were investigated in depth and, therefore, also the ones that were more strictly connected to the construction plan of the church, from the moment the works were started to their completion (1509-1580).
This phase is well documented in the text of S. Benedetti on the church, but there aren't any pictures or drawings made by others other than the author's to document this phase. The only iconographic documentation is the Map of Rome of 1561 by Giovanni Antonio Dosio, in which the church is reproduced as far as its foundation is concerned with a double pitched roof and, later, also in an engraving of Cavallieri (National Cabinet of Prints, no. 121).
As far as the attribution of the original project is concerned, one of the first examples of a church with a central plan is the one built in Rome in the first half of the sixteenth century. The bibliographical sources and archives agree on when the works started, around 1507-1509, while there still is some doubt as to whether the work was attributed to Bramante or Antonio da Sangallo.
The work method with which the research was made is based on the analysis and elaboration of the data retrieved during the archival research and on the field. The photographic campaign substantially allowed us to reconstruct the church and provided the numerical data needed to carry out the dimensional check between the current state and the original designs.
The historical documents used for this reconstruction were preserved in the Archive of the Pio Sodalizio dei Fornari of Rome. As far as the iconographic sources are concerned, we consulted: the National Cabinet of Prints of Rome, the Municipal Cabinet of Prints of Rome and, finally, the “Congregazione del Censo” fund of the State Archive of Rome.
The building implementation of the church of St. Mary of Loreto, made possible thanks to offers and the legacies of the Fornari, was linked to spontaneous initiatives, reason for which a continuous execution of the works was not ensured, which made the historical reconstruction and its implementation phases more complex.
As confirmed by Sandro Benedetti, the first building phase, the one that dates back to 1507-1576, is without a doubt the one that most significantly marked the importance the church would have had over the century for the religious community. It would soon become a place of worship for the entire Fornari community that resided in the area surrounding the Alessandrino District. The evolution of the church can be narrowed down into two phases: the first, from the foundations of 1507 to 1552 when the building reached the first level, or the base ground up to the frame. This phase was attributed to Antonio da Sangallo and also to Bramante in part.
The external architectural layout was achieved in the only main façade around 1550, while the other two were completed around 1573 and 1574 by Giacomo del Duca.
The second, from 1577 to 1580, and in which the complex dome system was entirely built. The date on which the works started is cited by Armellini, Lanciani and finally confirmed in the documents contained in the church's archives and which show the original foundation bull issued by Giulio II.
The works actually started again in 1577 and, if we compare the date 1592 engraved in the base of the dome, we immediately see it took twenty years to accomplish the dome
THE URBAN STRUCTURE OF ROME BETWEEN HISTORY AND MODERN TIMES
Full text linkTHE URBAN STRUCTURE OF ROME BETWEEN HISTORY AND MODERN TIMES
The increasing use of computer technologies in projects involving the acquisition, documentation and communication of cultural heritage has led to a fast and ever more high demands of standards and methodologies in order to create best practices models. In the past years, in Europe it has been recorded a considerable interest in the digitization of Cultural Heritage and the creation of databases shared on the network (EUROPEANA, CARARE, 3D Icons), in the implementation of policies for the identification of shared global standards (EPOCH, MINERVA) and in the application of Web Gis (MAPPA, Mapping Gothic France). The research we project suits with this debate by proposing an innovative methodology for the investigation of the urban heritage. It should be able to document and represent the transformations that the city had during the time and the aim is to experiment a new methodology of knowledge and representation of the city
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