86,640 research outputs found
Forgery and Narrative in Architecture Design Communication
No full textAlthough in the wake of the tradition of photomontage and collage, the communication Alberto Campo Baeza and Raphaël Gabrion adopted to present their architectural proposal for a new facility building for the Louvre in Liévin demonstrates an innovative connotative power of intertextual elements added to the basic renderings. In particular, artworks and cinema-referred elements added to the perspective renderings are used to unfold their semantic range, to orient the reception and to discuss on the threshold between fictive and scientific, where forgery can be paradoxically used to tell the truth
Methodological Notes on Modelling Reconstructions After Literary Architecture
No full textThe manifold relationships between text and image are investigated by analysing attempts at a three-dimensional reconstruction of the Palace of Love and Venus described in Giovan Battista Marino’s Adonis. From text analysis and iconographical precedents to free-hand sketching and three-dimensional modelling, the article describes the progressive translation of some verses of the poem into a consistent system of drawings and models, which, besides revealing some hidden features of text, addresses the implicit limits of the ineffable quality of Marino’s literary space
Rem Koolhaas and the Landscape as an Urban Medium
No full textThis chapter investigates Rem Koolhaas’ early architectural work in the perspective that he gradually adopted the landscape as a concept to innovate OMA’s architecture practice and communication, also by means of the negotiation of Robert Venturi and Denise Scott Brown’s achievements. After introducing the historical rise of the landscape, this hypothesis is explored along three parallel levels, dealing with concept, experience, and representation. The chapter enquires: the idea of using the landscape, through the postcard-mediated experience of New York, as a medium to get free from architectural figures, conventions and ideologies; then, OMA’s office organization able to turn the design process into a collective process, in which Koolhaas plays the role of editor and critic, and to give centrality to program, actions and movement, by declining Le Corbusier’s idea of promenade architecturale; finally, the role of representation in orienting both the research and the communication to present OMA’s work inside a fictive landscape made of different gazes and popular images
Between the Layers. Transparent Paper as a Modernist Architectural Design Environment
No full textThis chapter describes the transparent paper and its operative and theoretical contribute to architects’ education and practice between 19th and 20th century. Dedicated literature on the topic is currently lacking and many of the sources analyzed refer to impressions and individual attitudes. Anyway, the chapter provides a first, deductive reconstruction of the multifaceted relationship between architects’ and transparent paper, a favorite medium. After an historical summary on the techniques for manufacturing, it overviews how the practices of designing, drawing and reproducing were affected by the diffusion of cheap transparent paper. It analyses the use of transparent paper in the architects’ daily practice and the diffusion of layer-structured analysis and design tools it inspired, in parallel with the mounting quest for transparency in architecture and media. Transparent paper is then analyzed as a peculiar medium and analogic design environment capable of addressing the choices of the architects. The chapter provides insights about how a new tool is first used as a substitute of the former, generally enhancing efficiency and results, and only later suggests peculiar uses that brings to an actual step forward in the way of thinking and practicing. It also suggests how any further instrumental development, like the CAD mimicking and taking the place of drafting on tracing, can promote a better knowledge of the previous practices
The Labyrinth as an Architectural Mediator: Vredeman De Vries and the Geometric Garden in The Netherlands
No full textIn 1583, together with Philips Galle, Hans de Vries Vredeman (1527-1609) published a treatise on the Gardens entitled Hortorum Viridariorumque Elegantes et Multiplicis Formæ to have a large influence in the Netherlands and throughout Northern Europe, mainly thanks to its subsequent expanded editions in 1600 and 1636-1640. With this book, Vredeman cast a fundamental bridge between Italian Renaissance Garden and Northern Europe Garden. By organizing the presentation of the schemes referring to architectural orders (Doric, Ionic and Corinthian), Vredeman tries to confer on garden art an architectural status. Thus it is not to be considered a book of models or a theoretical work but rather a recueil exemplifying how to decline garden designs to his own idea of Vitruvian architecture. Among the many fantastic plan lay-outs for gardens, no less than nine are the form of labyrinths. To be precise they are mazes, where one can get lost. Mazes are supposed to be born in Italy between the end of XVI and the beginning of XVI century as a Mannerist variant of the classic labyrinth.While Serlio had presented four labyrinths in plan, in order to be easily understood and copied, Vredeman’s mazes are represented in a perspective view, like all other pictures in the book, even if the high point of view offers the spectator the illusion of dominating the garden general design.Despite of being just intellectual exercises, Vredeman’s labyrinths negotiate an architectural way not only to the garden design – they are far too large for Dutch urban garden size - but to a geometrization of landscape that is to manifest most in his book on Perspective . It is our opinion that Vredeman adopted labyrinths in order to give an architectural dignity to Garden Art both by evoking an architectural archetype of antiquity and by enriching it with elements taken from the mythical Maison Dedalus, not to say that some of his labyrinths seem to hide an architectural plan in their mazy scheme
Street art tra rappresentazione urbana, rivendicazione sociale e art-washing: il caso di Roma
No full textL’Objet Trouvé come modello tra approcci analogici e digitali
No full text[EN] This article frames and discusses the use of found-objects as scale models or part of them in the architecture design and communication. While this age of digital technologies and semiautomatic production techniques has affected most of the traditional workflow and tools of architectural design process, the use of foundobjects in model-making is still practiced, revealed and promoted by contemporary architects and teachers. The historical roots and critical function of this practice in the artistic vanguards is here briefly presented before discussing their potential roles in relationship with the digital tools currently permeating the design process. Three different categories of found-objects modeling are finally identified and discussed, in relationship with the semantic and operative opportunities they offer to architectural representation.[IT] Sebbene questa stagione di tecnologie digitali e tecniche di produzione semiautomatica ha condizionato la maggior parte della tradizionale catena di montaggio e gli strumenti del processo di progettazione e rappresentazione, l'uso di found-objects nella modellistica è ancora praticato, rivelato e promosso da architetti e docenti contemporanei. Questo potrebbe essere interpretato come il sintomo di una sorta di resistenza analogica o un modo per introdurre incidenti pianificati e incertezza in un processo di progettazione deterministico e omologante, ma lo scenario è sfaccettato. Questo contributo discute l'uso di found-objects come modelli nella progettazione dell'architettura e nella pratica della comunicazione. In particolare, descrive le loro radici storiche e la loro funzione critica nella ricerca delle avanguardie artistiche, classifica il loro ruolo nelle diverse fasi del processo di progettazione tradizionale e contemporaneo e si concentra su interazioni e differenze degli approcci analogici e digitali, in relazione alle opportunità semantiche della rappresentazione architettonica.Colonnese, F. (2020). Mapping the Objet Trouvée as a model, between analogical and digital approaches. EGA Expresión Gráfica Arquitectónica. 25(40):156-167. https://doi.org/10.4995/ega.2020.12934OJS1561672540- Buchloh, B., 1985. Readymade, Objet Trouvée, Idée Reçue. In: Dissent: The issue of Modern Art in Boston. Boston: Institute of Contemporary Art, pp. 106-22. Carpo, M., 2001. Architecture in the Age of Printing. Cambridge, MA: The MIT Press. Dal Co, F. (ed.), 2010. M9: a new Museum for a New City. Bergamo: Mondadori.- Ford, C., 2012. The Found Object in Design. Forward: The Design Journal of AIA NAC, no. 112, pp. 38-51. Gay, F., 2004. Tra forma e figura. Venezia: Cafoscarina.- Hertzberger , H., 1959. Untitled. Forum voor Architectuur en Daarmee Verbonden Kunsten, no. 14, 8, pp. 271-277.- Isenberg, B., 2009. Conversations with Frank Gehry. New York: Knopf Doubleday Publishing.- Le Corbusier, 1957. Entretiens avec les étudaints des écoled d'Architecture. Paris: Minuit.- Mindrup, M., 2014. Kurt Schwitters' architectural models. Kurt Schwitter Society Journal, no. 4, pp. 23-38.- OMA, 2004. Prada-sponge. https://oma.eu/projects/prada-sponge (September 2013).- Politakis , C., 2017. Architectural Colossi and the Human Body. London: Routledge. https://doi.org/10.4324/9781315512938- Robbins, D., 1990. The Independent Group: Postwar Britain and The Aesthetics of Plenty. Cambridge, MA: The MIT Press.- Samonà, G. (ed.), 1974. Frülicht (1902-22). Milano, Mazzotta.- Supermodels, 2014. A+U, no. 522.- Ungers, O.M., 1976. Designing and Thinking in Images, Metaphors and Analogies. In: Hans Hollein (ed.), MANtransFORMS: An International Exhibition on Aspects of Design. New York: Smithsonian Institution, pp. 98-113.- Weston, R., 2002. Utzon: Inspiration, Vision, Architecture. Hellerup: Bløndal.- Yagou, A., 2013. Modernist complexity on a small scale: The Dandanah glass building blocks of 1920 from an object-based research perspective. Deutsches Museum Preprint, no. 6, pp. 5-62.- Yaneva , A., 2009. Made by the Office for Metropolitan Architecture: An Ethnography of Design. Rotterdam, 010 Publishers.- McKnight, J., 2015. Sou Fujimoto creates installation from potato chips and ping-pong balls. Dezeen, 23 October 2015. https://www.dezeen.com/2015/10/23/sou-fujimoto-architecture-is-everywhere- installation-chicago-biennial-2015-household-items
Quality of experience meets operators revenue: dash aware management for mobile streaming
No full textIn this paper, we apply the recent MPEG-DASH SAND standard for streaming-aware networking elements to develop and investigate an integrated mobile network bandwidth management and resource allocation mechanism. It is used to achieve high quality of experience of the mobile streaming users while jointly assuring high revenue operations by the network operator and by the system's video service providers. The Integrated Manager (IM) leverages its DANE functionalities as defined by SAND standard, namely the capability of using feedback from base stations forming a cluster and from streaming clients, to associate to each user both a dynamic Quality of Experience (QoE) related priority and a static Willing-to-Pay factor related to the user service plan. These two metrics are used by the IM to manage resources belonging to the base stations cluster first at a distributed and then at a centralized level. Specifically, the IM is able to statistically share a bandwidth pool among multiple cells of a single operator, and possibly of multiple operators, to allocate at times excess bandwidth for use in certain cells for the purpose of providing enhanced QoE to identified streams. Simulation results show that the users' need for valuable (higher payoff) bandwidth is of statistical and possibly burst nature so that integrated management and statistical sharing of the bandwidth pool by multiple entities becomes highly effective, when compared to a competitive centralized approach
Imaging techniques in ALS
No full textAmyotrophic Lateral Sclerosis (ALS) is a progressive neurodegenerative disease characterized by degeneration of both upper and lower motor neuron located in the spinal cord and brainstem. Diagnosis of ALS is predominantly clinical, nevertheless, electromyography and Magnetic Resonance Imaging (MRI) may provide support. Several advanced MRI techniques have been proven useful for ALS diagnosis and, indeed, the combination of different MRI techniques demonstrated an improvement in sensitivity and specificity as far as 90%. This review focus on the imaging techniques currently used in the diagnosis and management of ALS with brief considerations on future applications
Alle radici della boule-de-neige: indagine sull’immagine del Campidoglio
No full textNonostante si differenzino per i materiali e le tecniche di produzione, alcuni souvenir tipici del XX secolo come le boule de neige affondano le loro radici nelle pratiche artistiche dei secoli precedenti. È il caso delle strategie visive adottate dagli artisti ingaggiati da editori e antiquari per produrre immagini efficaci a vantaggio dei ricchi committenti romani e dei facoltosi turisti del Grand Tour. Questa breve indagine si concentra in particolare sulle
immagini elaborate tra XVII e XVIII secolo del complesso spaziale del Campidoglio. Si tratta, come è noto, della sede del potere civico romano, progettata nella sua forma attuale da Michelangelo e realizzata in gran parte da Giacomo della Porta nei decenni successivi alla sua morte, fino al completamento nel 16403. Non si tratta di un unico edificio ma piuttosto di un sistema di spazi e quinte che ha inizio nella lunga cordonata e si sviluppa nella piazza, che si rivela solo agli ultimi gradini, rivelando un articolato sistema di centri prospettici, percorsi alternativi e scorci sulla città, con le quinte laterali divergenti che mascherano le irregolarità, alterano prospetticamente la profondità e la dimensione apparente del Palazzo Senatorio. Le rappresentazioni sopravvissute nei secoli4 testimoniano di un modello spaziale poco compreso e accettato, soprattutto da chi era impegnato a tradurlo in immagini per turisti
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