1,720,988 research outputs found
Suomi Seven. Architetti emergenti in Finlandia
No full text“Finland Cool”, questo è lo slogan scelto dal Paese scandinavo, ospite principale della Fiera del Libro di Francoforte del 2014, ad affermarne, o meglio a ribadirne, la capacità di essere una nazione al passo coi tempi, dal volto giovane e dinamico. È per questo che per la mostra “Suomi Seven”, contenuta al suo interno, sono stati selezionati sette studi emergenti nel settore dell’architettura, di età media inferiore ai quarant’anni. La scelta di proporre alla prestigiosa manifestazione tedesca questa “meglio gioventù” è in linea con l’attenzione che da sempre è riposta in Finlandia alla formazione dei giovani architetti, cui sono riservate numerose possibilità di crescita e affermazione professionale, su tutte l’istituto del concorso. Il concorso viene percepito come luogo privilegiato per lo sviluppo di idee e proposte progettuali, in grado di stimolare il dibattito architettonico attraverso la partecipazione diretta o mediata di una pluralità di protagonisti. L’articolo vuole pertanto ripercorrere quali scenari architettonici è possibile tracciare dalla selezione svolta dagli organizzatori della mostra
LOW-COST 4D BIM MODELLING: A COMPARISON BETWEEN FREECAD AND COMMERCIAL SOFTWARE
Get PDFThe paper aims to investigate the potential inherent in a FOSS (Free and Open Source Software) approach for the 4D BIM modelling using Freecad. In order to reach this goal it shows a comparison of Freecad features with those of commercial software, considering the evaluation of the effective application of this Open Source software in the professional environment, and highlighting the progress in the FOSS BIM area, that still represents an unexplored study field if compared to the vast publications related to BIM modelling that occurred in the last two decades. To this end, the study has been carried out on a singular case study, a steel canopy which has been designed for the urban renewal of a public space in Teramo. Despite its size, the canopy required the definition of complex details. Its structural system has addressed the study to compare Freecad with some software dedicated to steel structures or particularly suitable for the modelling of this specific structural typology: Tekla Structures and Sketchup. Starting from a concise historical reconstruction of the FOSS spread, the paper introduces a brief overview of the potential of Freecad in terms of BIM modelling - also proposing an operational modality to facilitate the drawing of BIM elements within the software - and finally reaching to the examination of three simulations which has been carried. This comparison can be useful to establish the current state of development of Freecad in the field of 4D BIM
The Promotion of the Carbon Neutrality of Ukrainian Cities Through Participatory Processes
No full textThe subject of post-conflict reconstruction in
Ukraine has prompted the scientific community to deliberate
on the most effective and suitable methods of intervention in a
nation that has been significantly impacted by war. A brief
examination of the most recent positions on the topic reveals a
paucity of research in the field. The present study proposes a
methodology for the promotion of participatory processes for
the carbon neutrality of Ukrainian cities. This approach is
predicated on twofold objectives: firstly, to delineate the
objectives of the decarbonisation reconstruction activity based
on the actual interests of each city; and secondly, to reconstruct
a framework of both EU and Ukrainian regulations to be used
as a starting point for the study. The results obtained from the
survey demonstrated that, with a few exceptions, the Pilot
Cities have a well-defined vision for the future and a clear
model for achieving it
L'architettura delle colonie climatiche in Abruzzo. Un patrimonio del Moderno da salvare
No full textNegli anni trenta in Abruzzo sono state costruite diverse colonie climatiche di soggiorno, tra le quali le colonie marine Rosa Maltoni Mussolini a Giulianova e Stella Maris a Montesilvano, nonché la colonia montana IX Maggio all’Aquila, edifici che rappresentano oggi un patrimonio dell’architettura moderna da preservare. La necessità di conservare si misura però con la specificità d’uso cui erano destinati in origine: le colonie sono state infatti realizzate in aree ai margini della città e questa singolare condizione di spazi periferici che sono oggi ad un tempo dentro e fuori lo spazio urbano rende complesso la definizione di efficaci strategie di riuso e di compatibili interventi di conservazione ricondotti alle particolari e specifiche vicende di ogni singolo edificio. La marginalità di questi edifici non si misura, del resto, in una esclusiva condizione di eccentricità della loro collocazione rispetto ai centri urbani su cui insistono e nella più generale atipicità del tema architettonico rispetto a quelli più consolidati negli anni Trenta, ma anche alla marginalità cui sono relegati dalle dinamiche di crescita e sviluppo delle città contemporanee, che le relegano ad un incipiente, e in alcuni casi più pronunciato ,stato di abbandono. Nel caso delle colonie marine il progressivo degrado suggerisce la necessità di un progetto di rifunzionalizzazione come condizione necessaria ad ogni possibile azione conservativa. Nel caso aquilano della colonia montana di Monteluco di Roio, attualmente non utilizzata a causa dei danni del terremoto aquilano del 6 aprile 2009, la conservazione, al contrario, sembra dover essere garantita attraverso un progetto di rimodulazione delle modalità di uso e di fruizione dello spazio. Il contributo si pone pertanto come ambito di riflessione per definire un equilibrio possibile tra la necessità della conservazione e le opportunità del riuso, diluendo l’incidenza dei diversi fattori che regolano i due termini del binomio in rapporto alle diverse condizioni al contorno secondo registri interpretativi dettati dalla singolarità delle vicende che hanno caratterizzato gli edifici nelle prime fasi di progetto e i processi trasformativi del tessuto edilizio circostante. Una modulazione dei fattori tale da rendere conservazione e riuso termini complementari e non oppositivi, e definire strategie che non si limitino al solo dato oggettuale dell’edificio ma ricomprendano il contesto costruito, in modo da ridefinire una marginalità possibile, perché sostenibile ed integrata nella più fitta trama delle relazioni tra le differenti parti della città
HBIM AND THE 20TH CENTURY STEEL BUILDING HERITAGE. A PROCEDURE SUITABLE FOR THE CONSTRUCTION HISTORY IN ITALY
Get PDFThe use of steel technologies in Italian architecture still represents an unexplored field of research, characterised by limited and
fragmented episodes that reveal important design experimentations and relevant architectural results of the 20th century. For this
reason, the aim of the research consists of defining a HBIM methodological approach addressed to the study of modern steel
architectures, considering their specific features and their hybrid constructive nature. Indeed these buildings are often characterized by a high level of industrial production of building components merged with the recovery of a craftsmanship tradition, particularly appearing at the scale of structure and envelope details. The balance between standardization and traditional techniques in production processes, leads to the definition of a HBIM method composed of three steps: an operational tools for existing buildings of 20th century made of steel that could support the construction of building digital archives, the organisation of maintenance programs and possible transformative actions, avoiding the loss of this heritage sometimes caused by bad interventions that deeply change original and valuable features of these architectures
The factory for workers. Olivetti in Spain
No full textAdriano Olivetti, the “Italian Rathenau”, was the author of an ambitious industrial plan that had no equals in the productive scenario of the country, managing to balance between the scientific organization of the work, proposed by the models of Fordism and Taylorism, and the social issues that focused primarily on the working class conditions. A new conception of production spaces, an original configuration for the underdeveloped Italian context, was crucial for the fulfilment of Adriano’s plan: he conceived a factory as a cosy place which was able to accommodate the arrangement of new assembly lines, experimented by the company located in Ivrea near Turin, and to guarantee at the same time comfortable and suitable spaces for the workers. With a view to subverting the mechanistic alienation induced by the Taylorism, well stigmatized by Chaplin in his movie “Modern Times”, Adriano assigned a key role to architecture and in particular to the proposals of Modern Movement, that could support the conception and the development of a new form of factory.
These are the reasons that led to the construction of the new complex in Ivrea designed by Figini and Pollini in the early 1930s, followed by other realisations a few years later, like the big factory in Barcelona, designed by Italo Lauro and Josep Soteras i Mauri. The Spanish industries, built for the new company branch Hispano Olivetti, were innovative buildings, designed with environmental parameters and equipped not only with systems and work spaces, but also with canteens, sport facilities and other services for workers, that certainly improve their work-life in this urban microcosm. The same arrangement was followed for the other industries involved in the great expansion plan directed by Adriano Olivetti that led to the construction of several factories beyond the borders of Italy, like the industries built in Argentina and Brasil after the second world war with the projects of Marco Zanuso.
The contribution retraces the history of Hispano Olivetti, trying to focus on the differences and the similarities between Italian and Spanish factories built by the Piedmontese company, in order to understand how corporate policies inspired and guided the project of meaningful modern architectures, developed far from the well-known epicentres of the Modern Movement, but still used nowadays in their cities, after the abandonment and the reconversion of the buildings due to the intense downsizing of the company in 1990s
Riuso tra antico e moderno. Dalla trasformazione di Palazzo Ardinghelli al ripristino della Colonia Montana a Roio
No full textThe reconstruction of L’Aquila is an outstanding issue, rather than a long-awaited conclusion. Therefore it seems untimely to propose a detailed report on the outcomes reached up to now; however, reasoning about what happened, could be useful to understand the dynamics that have characterized the rebuilding phase. The events of almost ten years are iconic representations of a technological and building scenario that has been often addressed only to reasons of building seismic reinforcement, mainly marked by the uncritical use of intervention measures and materials, which despite their ostensible innovation and conformity to building regulations, have not triggered an incisive reflection concerning the “unwritten” congruence principles of architectural restoration. The few proposals, that have tried to take a position against this trend, seem to be more meaningful than others, accepting the design challenge arranged to achieve a better and more rational reorganization of spaces, to reconfigure spatial and functional layouts, according to fitting and updating logics. Among them, the experimental design dealt by some professors of the University of L'Aquila open to an "other" path, based on a methodological approach to functional refurbishment, which is suitable both to interventions on the antique and modern architectures. They are organized on univocal operating phases defining adaptive and resilient strategies in relation to different conditions of the operational and technique context. The paper proposes two case studies: the Palazzo Ardinghelli, and the summer holiday camp “Colonia elioterapica” in Roio, near L’Aquila. In these re-use projects, the space-functional reconfiguration chooses different intervention strategies: in the case of the antique they are based on adaptive logic, which are open and updatable according to different needs of use; in the case of the modern architecture they are connected to a re-proposal of their own logic, in order to reconstruct consistent and compatible ways of use. According to guidelines provided by different clients, the interventions on the eighteenth-century architecture concern single parts in the perspective of a controlled and balanced transformation of the building, while the choice of full preservation of the building for the summer holiday camp entails the inclusion of underground additions. From this point of view chosen strategies would seem to contradict current restoration practices, but they find an intrinsic congruence in the methodological assumptions which have been assumed as a basis for reuse interventions
The finite light, Symbol and constructive nature of footbridge
No full text" In the Italy of the Second World War the issue of the bridge assumes distinct paths, each pursuing well defined different objectives. The professional acclaim of Italian Engineering involved the most important engineers of the time who were mainly interested in large infrastructure projects. On the other hand certain architects involved themselves in the development of design of footbridges. This different line of research which is of no less importance than that of large infrastructure projects, is what we are going to talk about. This talk will thus explore certain Italian architects and their works; it will demonstrate an alternative view of the footbridge, as a tool, which is at same time syntactic and paratactic, creates a new fluid reality, blending the different characteristics of the areas needed to be spanned. . Over the last 60 years, with a booming economy, shows a phase of innovation and structural experimentation in a cultural context characterized by a profound technological backwardness compared to other European countries. Given this background, the principal aim of Italian structural engineers concentrated on the reconstruction of 2600 bridges destroyed during the war. The greatest innovation in structural engineering of the bridge was aimed at research and testing of prestressed concrete, which started in the pre-war years and continued by Gustavo Colonnetti, even during his exile in Switzerland. In the mid-50s the construction of highways was an occasion for the construction of new reinforced concrete arch bridges but that also offered the opportunity to test the technique of prestressed concrete. . It’s possible to regard the prestressed concrete as a reinterpretation of reinforced masonry, respect to which the theme of its light weight properties is wanted in the formal study of the molded surfaces. This aspect appears in the Olympic Overpass in Rome, designed by Morandi, where the resistant elements of the bridge, struts, beams, tie rods, show both the nature of mechanical object that the character of a molded shape, almost giving it the appearance of having been hand-crafted, cast in situ as in a traditional masonry construction. . On the other hand the experimental technique of prestressed concrete has used by Zorzi in an exemplary way in the bridge Pinzano, in formal terms through a language that defines the bridge in its essential elements and through the transformation of these elements into design components. . Looking at Musmeci, in Basento bridge and in one of the last bridges built over the Tiber, the structural innovation was expressed in formal experiments generated by an original mathematical procedure determined by the "minimal area" which resulted in the plastic surfaces being used to great effect and also led to a reduction in the use of construction materials. . Other experiences in Italy have explored the theme of the bridge as a problematic place, able to determine new horizons for, and able to overcome the specific domain of the 'infrastructure', trying to transfer this theme into the domain of architecture with respect to several aspects, functional, dimensional and temporal. . The pedestrian bridge, leaving its infrastructural nature changes to a different technical entities with a presence in space that goes beyond his role. The footbridge is therefore a powerful expression which defines the space becoming a generator of new artificial topographies and its effect of the space defines new relationships depending on the distance of the viewer from the structure. In this way the Italian examples of footbridges designed and built in the second half of the twentieth century, make a particularly interesting case study, a scenario unicuum in Europe. We will explore aspects that cannot be limited solely to construction issue or the general aesthetic of the footbridge but reflect and represent a deepening relationship between the city\/landscape and the bridge. The theme of the connection thus becomes the occasion for a reflection of stronger relationships between different areas of the city or areas of land and the passing of a division that is not only physical but morphological, historical and social. An object situated between things and not on things, between one side and the other, a fragment that binds and mediates, exists for this purposes and not only to declare the artistic value or the technological expertise of the designer who conceived the project. This theme has shown in significant examples which we are talking about. . In 1995 Giancarlo De Carlo was employed to study seven new gates for the city of San Marino republic and one of them was a footbridge. The architect reinterprets the towers of Mount Titano in a steel tower structure which forms the supports to hold the bridge and give the impression of being a drawbridge built on the street below. A spiral staircase snakes its way around the outside of the tower, a clear echo of the past. . As a result of winning a competition (which also included the construction of two additional pedestrian bridges, never built) in the Jubilee Year Two Thousand, Francesco Cellini built the footbridge in via degli Annibaldi in Rome. The initial proposals did not include the area next to the Colosseum as a possible site for the bridge, but were expected at an early stage to be situated in different locations. Cellini therefore had to adapt his original proposal and it’s interesting to trace his final design to understand how his choices were guided by the features of the site. The symmetrical disposition to the initial project is replaced by an asymmetrical one, as we can see from the two different systems which connect the bridge with the streets. In the initial design the arc profile was enhanced by the terminal straight sections, but in final design there is only a slight curvature, indicating the desire to avoid confrontation with the arches of the nearby Colosseum. . At the same time, in Rome, the reorganization of the archaeological areas in the Trajan's Market offered the opportunity to build new pedestrian walkways. The design of the first intervention, by Olevano Franciosini and D'Aquino, provides walkways in wood and iron: the parapets consist of a repetition of horizontal iron profiles while the wooden slabs pavement allow us to see the archaeological remains under bridges. The steel rods and the technical solutions show aims to pursue a technological minimalism which doesn't attempt to alter the perception of the area, given its large historical value. The walkway over the Campo Carleo street, designed by Nemesis studio in the second intervention, is a weathering steel bridge, with slim parapets to obtain the minimum visual impact and not affect the character of the massive monument which is preserved in its material and visual consistency. . In 1964 Aldo Rossi designed the footbridge in the park of the “Triennale di Milano”, a triangular section bridge which was composed of two parts, with tubular frame structure and covered with wire mesh. It was supported by columns and cylinders. The bridge, later removed, reached directly the first floor in the Triennale building. . This way of constructive approach to the issue of the footbridge is shown by the experience of Carlo Scarpa, who also transfers in the dimension of this "object" the complexity of the architectural design. . Scarpa shows how the footbridge is an interval between one side and another, between internal and external, emphasizing diversity and separation of margins through asymmetric configurations and connections where these margins are carefully assessed and resolved. In the "bridge-walkways", the art of joining, typical Scarpa’s approach, which achieves one of its best expression of quality, is the bridge which when completed, recovers the void between the two margins, between the two thresholds, between two limits. . The bridge-walkway that connects the Campiello Querini, along the canal, with the Querini Stampalia Building, reaches its final structural design, through several steps and best represents the exercise of the "curious faculties" of Scarpa. . This faculty, according to the architect, allows us to consider that a dimensional aspect is an important quality of the physical value of things. The bridge-walkway is asymmetric, both for functional reasons, given the different levels of the two areas of support and for conceptual reasons due to the different nature of the two fronts: one open on the Campiello, the other closed to mark the entrance to the building. . The new entrance is opened in an eccentric position on the façade through the transformation of a window. . The bridge is hinged to the Campiello and to the base of the building: the two beds are in Istrian stone, molded to accept the steel structure of the deck, which exhibits a low arch profile, with an asymmetrical configuration due to the different levels of starting and ending. . During the restoration of the castle of Castelvecchio in Verona, part of the fourteenth-century fortress called the rampart La Scala was discovered. The excavation of the site made it necessary to build a footbridge at the southern tip to ensure maintenance access at the south entrance. Scarpa designed an asymmetrical bridge which overcame the difference in between the two opposite sides of the bridge. The architect managed to overcome the problem of height difference with small flights of concrete steps leading to the footbridge. . While still in the design stage Scarpa included another bridge in order to facilitate movement after he had removed the first floor of one part of the castle, he decided to angle the walkway at 45 degrees, instead of the geometry of the building. This choice is due to emphasize the vertical space of the site overlooking the statue of Cangrande della Scala, and not just as a connection between two sides. Two horizontal beams support irregular concrete slabs, which contrast the regular pattern of the floor in the other rooms, as it to suggest a passage in the passage of the uncertainty over the void below. . In Italy cultural heritage and craft traditions that have characterized the construction of the bridges are a common path which have connected two different parts of the technical design of the bridge. The first part which is related to large infrastructure employed the craftsmanship to overcome the backwardness of the construction industry but at the same time being aware of theoretical advances in Italian engineering. In the case of footbridges craftsmanship has allowed the creation of architectures which are unique from an aesthetic angle but also for a constructive one. Italian footbridges confront the complexity of historical morphological and social urban contexts..
Acciaio e architettura per l’industria. Sperimentazioni tecnologiche nell’Italia degli anni Sessanta
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