1,721,001 research outputs found
Les apports de la photogrammetrie analytique a l'etude des coupoles autoporteuses de la renaissance
No full textSelon les études les plus récentes sur l'œuvre de F. Brunelleschi, c'est bien au grand architecte florentin que l'on doit 1’introduction du système de construction dit «a spinapesce» (c'est à dire «en arête de poisson»), grâce auquel des coupoles ont pu être réalisées - alors meme qu elles étaient de très vastes dimensions - sans avoir recours aux cintres en bois. Cette "spinapesce" (arête de poisson), introduite par Brunelleschi, consiste à insérer, à intervalles réguliers, une brique mise sur la tranche («a coltello») dans la rangée de briques à plat qui servent à monter la coupole. La brique posée sue la tranche, qui est bloquée par les autres et qui dépasse du mur, sert d'appui et empêchera la rangée suivante de glisser vers l'intérieur de la coupole, lorsqu'on la posera. Ce procédé est répété pour chaque rangée et la brique «a coltello» est toujours placée à coté de celle de la rangée inférieure, de sorte que le décalage est décalée de l'épaisseur de la brique elle-même. Ce a comme résultat que les briques «a coltello» forment une nervure qui s'enroule en spirale sur la surface de la coupole; ces spirales, qui naissent à la base à intervalles régulier, composent un dessin d'une grande puissance expressive qui met en évidence les énergies prises dans la maçonnerie et, en même temps, rappelle des symétries et des formes naturelles. Ces sont les deux Sangallo qui firent connaître ce nouveau système architectural dans différentes régions d'Italie, recueillant ainsi l 'héritage de Brunelleschi. On trouve à Rome, dans la Basilique Saint Pierre, des coupoles en «arète de poisson» réalisées par A. de Sangallo le Jeune: elles couvrent les octogones sur les côtés de la coupole centrale. Nous relèverons, en particulier, celle de l'Octogone de Simon Mago (son nom lui vient de la salle octogonale qu'elle recouvre) qui est particulièrement intéressent à cause de sa double nervure en spirales tressées, et aussi parce que sa maçonnerie étant à nu, on peut l'étudier sans difficultés.According to the most recent studies on the work of F. Brunelleschi, it is the great Florentine architect that must 1'introduction building system called "a spinapesce" (ie "fishbone"), through which domes have been achieved - even then that they were very large dimensions - without resorting to wooden hangers. This "" spinapesce "" (fishbone), introduced by Brunelleschi, is to insert, at regular intervals, a brick placed on the wafer ("coltello a") in the row of flat bricks serving to mount the dome. The question sue slice brick, which is blocked by others and which protrudes from the wall, serves to support and prevent the next row from sliding inside the dome when the arise. This process is repeated for each row and the brick "has coltello" is always located to one side of the lower row, so that the offset is shifted by the thickness of the brick itself. This has the result that the bricks "has coltello" form a rib spirals on the surface of the dome, these spirals, born at the base at regular intervals, make up a drawing of a great expressive power that puts identify energy taken in the masonry and at the same time, said symmetries and natural forms. These are the two who made Sangallo about this new architectural system in different regions of Italy, and collecting the legacy of Brunelleschi. Is located in Rome, in St. Peter's Basilica, the domes "Fishbone" performed by A. Sangallo the Younger: they cover the octagons on the sides of the central dome. We will address, in particular, that of the Octagon Simon Mago (its name comes from the octagonal room it covers), which is of particular interest because of its double braided spiral rib, and also because its masonry being naked, we can study without difficulty
L'architettura dipinta da Agostino Tassi a Palazzo Lancellotti in Roma
No full textPalazzo Lancellotti in Rome is the work of Francesco Capriani and Carlo Maderno, who restored several old buildings, giving them aristocratic unity and dignity. In a room on the first floor, created by restructuring the pre-existing medieval fabric, is preserved an extraordinary fresco by Agostino Tassi, depicting a loggia over a portico, covered by elegant cross-vaults in the midst of a fertile and hazy Roman country side. The spectator always has the illusion of depth, from any position in the room. The authors decided to apply the reverse perspective procedure to represent the painted architecture as if it were real and study its relationship with the solid architectural contest. This, however, meant that first of all they had to decipher the painting’s latent geometric code, whence the need to determine the focal point and the vanishing points. It was therefore decided to make a study two of the frescoed walls by close-range photogrammetry, and to extend the images of the parallel symmetrical edges on the model by computer, in an attempt to identify their point of intersection. But, against all expectations, they discovered a whole series of possible focal points, and found themselves faced with the impossibility of obtaining a model by adopting familiar well-proven methods. They accepted the fact that the problem could not be solved and proceeded experimentally, ready to apply statistical methods if necessary. Before formulating a hypothesis, however, they asked themselves what might have been the most likely technique used in transferring the original drawing onto the walt. By examining the accessible part of the fresco under a close oblique light they established that Tassi had mainly resorted to the use of cartoons. It was therefore presumed that, given the dimensions of the larger wall, the original drawing was at least ten times smaller than life size and had been divided into a matrix of more than a hundred elements. This would explain two errors present from the outset: one was generated by changing from one scale to another, and the other when positioning the cartoon on the wall. This led to the formulation and study of five hypotheses, three of which yielded positive results and produced the following conclusions. The painting was definitely preceded by a careful project, which must have materialized in the form of a considerably large original drawing (possibly measuring 1.00 x 1,5 m); in this original drawing the artist respected Leonardo da Vinci's principle of linear perspective, adopting the same width for all the column shafts. It is likely that in the original sketch the apparent distortions were reduced by extending the observation point to the entire central part of the room. It can therefore reasonably be assumed that a certain number of vanishing points were used in the original drawing for the lines in perspective. The sketch was then enlarged (not all of it, however) in the production of a series of cartoons, limiting the operation to one or two overlapping orders, and then making use of the symmetrical elements. This would have produced the errors of transfer and positioning. At this point, the initial project of giving a spatial rendering to Agostino Tassi's architectural painting, was no ordinary affair, and not so much due to the technical difficulties of the enterprise but rather because it involved a philological problem. Indeed, we learn from geometry that no real space can ever be equivalent to simulated space, in the sense that simulated space can evoke shapes and emotions in a way that is unique. So what would be the point of reducing a daydream, perpetuated over the centuries in the art of a dreamer, to an architectural project
Storia e restauro del castello di Banffy a Bontida in Romania
No full textThe contribution traces the research phases aimed at the study of the Banffy Castle in Romania, at the characterization of the forms of degradation of the architectural remains, and at the definition of a conservation project integrated by new architectures and a re-functionalization program of the whole complex
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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