2,048 research outputs found
Architettura & Disegnodal Centro Storico al concorso di Architettura
No full textIl volume raccoglie gli esiti degli interventi di undici architetti nazionali ed internazionali, chiamati a confrontarsi sul campo dell'architettura costruita e dell'architettura disegnata, in due cicli di conferenze, dai titoli: Centri storici e architettura e Il progetto nei concorsi di architettura, curati da Riccardo Florio, quale coordinatore della Commissione Cultura dell’Ordine degli Architetti di Foggia, e che hanno avuto luogo a Foggia dal 1992 al 1995
Approcci integrati per l’analisi ed il recupero dei centri storici. Procedure e metodologie per la lettura e la conoscenza dei sistemi architettonici e urbani – Integtrated approaches for the analysis and restoration of historic centers. Procedures and methodologies for the reading and the knowledge of the architectural and urban system
No full textThe contributions in this volume represent the result of the research conducted by the group ICAR 17 of DiARC - Department of Architecture, University of Naples Federico II, in reference to the Project Metrics (methodologies and technologies for the management and renovation of historic town centers and of prestigious buildings), Lender institution of the funding STRESS Scarl (Development Technologies and Research for the Construction seismically safe and sustainable), scientific director Renato Capozzi, scientific driver Riccardo Florio.
The specific area of interest, defined in the project by the sub-activity 1.1.1 and called critical analysis and characterization of the evolutionary development of the structural aggregates in the historical town centers, although generated by integrated multidisciplinary contributions - in particular byt the competition of the disciplines of the Architectural and Urban Design , History of architecture, Design and Detection of the architecture and of the city - is characterized by the reference to the common consideration that it is necessary to deepen the level of knowledge of the reality settled through investigations on the urban complexity and the knowledge possibilities now offered by the integrated systems of space acquisition, infographic return, urban representation
MAED Materioteca fisica e virtuale per l'Architettura e per il Design
No full textLo scopo fondativo del progetto MAED è la creazione di una banca dati virtuale interrogabile ed interattiva e l’allestimento di un correlato museo fisico di materiali rivolto in maniera specifica all’architettura e al design che abbiano quale finalità precipua la creazione di una struttura universitaria permanente, e continuamente in progress, per la ricerca e per la didattica.
La ricerca muove dalla constatazione del ruolo fondamentale assunto dai materiali nei processi progettuali, attuativi e di recupero dell’architettura e del design e studia le connessioni esistenti tra i molteplici aspetti e ambiti di interesse dei materiali, per ottimizzarne una conoscenza, allo stesso tempo particolare e globale, da trasmettere attraverso i dispositivi di esplorazione posti in essere dal progetto MAED. Gli esiti della ricerca sono rivolti in particolare a ricercatori e studenti e indirizzati ad un approccio di tipo integrato verso i materiali, specificamente all’interesse verso la complementarietà tra dimensione fisica e dimensione percettiva dei manufatti architettonici e degli oggetti di design
Workshop Progettuale Social Housing Vienna Naples Visiting Professor Elsa Prochazcka_Vienna
No full textWORK DAILY PLANNING_ May 05th /09th 2014
01_MONDAY 5th MAY
h.10,00-h.13,00 –CLASSROOM SL 4.2
WORKSHOP START UP
Welcome Remarks:
Mario Losasso Dean of the DiARC
Riccardo Florio Coordinator of the Degree Course MAPA
Introduction to the Workshop activities
Alfonso Morone Work planning
Federica Visconti Topics and site description
h.13,00-h.14,00 break
h.14,00-h.15,00
Speech by
RENATO CAPOZZI
Social housing: from the rationalist districts to contemporary city
h.1,00-h.13,00 –
identification of students’ work teams
Tutor introduction
Start working in team
02_THUESDAY’ 6th MAY
h.9,00-h.13,00 site visit
Visiting the work site in Bagnoli by bus
h.13,00-h.14,00 break
h.14,00-h.15,00 classroom sl 4.2
Lecture by
elsa prochazka_vienna housing
h.15,00-h.16,00
Speech by
SAAB architettura_ abitarecostruire
h.15,00-h.18,00
working in team
03_WEDNESDAY_ 7th MAY CLASSROOM SL4.2
h.10,00-h.13,00 –
working in team
h.13,00-h.14,00 break
h.14,00-h.15,00
Speech by
VULCANICA ARCHITETTURA_ Lifestyle
h.15,00-h.18,00
working in team
04_ THURSDAY 8th MAY CLASSROOM SL4.2
h.10,00-h.13,00 –
working in team
h.13,00-h.14,00 break
h.14,00-h.15,00
Speech by
CORVINO+MULTARI_ Social Housing a L'Aquila e a Quarto
h.15,00-h.18,00
working in team
05_FRIDAY 9th MAY CLASSROOM SL4.2
h.10,00-h.13,00 –
Setting up the final work
h.13,00-h.14,00 break
h.15,00-h.17,00
Group presentation with the partecipation of
Carmine Piscopo Urban Office Councilor of Naples Municipality
Introduction to the workshop results
elsa prochazka
Results description by the teams and tutors
Daniela Buonanno, Mirko Russo, Francesca Solaro, Claudia Sanso'
Comments to the results:
Mario Losasso, Riccardo Florio, Alfonso Morone, Federica Visconti, Renato Capozzi, Salvatore Solaro, Aldo di Chio, Vincenzo Corvino
Giving students’ certificates / Workshop en
La materioteca fisica e virtuale per l'Architettura e per il Design_MAED. Presupposti metodologici, criteri di classificazione e struttura delle relazioni
No full textThe primary purpose of MAED project is the creation of an interactive virtual database which can be consulted, and the staging of a correlated physical museum of materials. This museum is mainly focused on the architecture and the design that have the main purpose of creating a permanent and continuously in progress university structure for research and teaching.
The research originates from the understanding of the fundamental role of materials in planning, executive and recovery processes of architecture and design. It studies the connections existing between the multiple features and spheres of interest of materials, in order to optimise their knowledge, which is at the same time particular and global. This knowledge will be transmitted through the explorative devices of MAED project. The research results are in particular directed to researchers and students, and they are addressed to an integrated approach towards materials, specifically to the interest towards the complementarity between the physical and perceptual dimensions of architectural products and design objects.
The research final choice has been to operate a first classification of the exploratory action, starting from the materials according to UNI norms. It is not possible to refer to a classification that allows to simply and exhaustively indicate all kinds of existing materials. So, we have referred to the most used classification, which proposes to subdivide the materials that have a technological interest, on the base of the characteristic chemical bond, in three main classes: metal, ceramic and polymeric materials. Another class has been added to these three classes: the class of composite materials, which are made through the combination of two or more materials belonging to the three main classes. The material summary table refers to the periodic table of the elements, also from the iconographic point of view.
The need of univocally defining the structure of the relationships between the main components of MAED computer database and physical museum, has worked on some key entries/words/links which are dynamically and physically interrelated through specific connections. These connections represent the basic concept of the whole research project.
Considering technological criteria and manufacturing and production processes, we have identified the main voices that have to be correlated to the materials inserted in the MAED logical-conceptual structure (manufacturing processes and impacts during the production phase, characterizing requirements and processes concerning spin-off, environmental evaluations, etc... ).
The definition of a base criterion that could inspire MAED conceptual philosophy on a single material, was able to improve some starting schematic distinctions, deducing precise entries for the database mock-up. Moreover, it was able to change other distinctions, like the question of composite materials, which was dealt since the preliminary phases of the taxonomic investigation. At the same time, some questions have lost their relevance. One of these, is the very debated question about starting from the glass or one of its elements, the sand, starting from the brick or the clay; at last, it was declared the shared belief of choosing the prime reference key: the base material.
Browsing the computer database, starting from material or going back to it, we will be able to consult a dedicated file, named base material, which illustrates its mechanical and physical chemical properties, manufacturing processes, field of application in architecture and design.
Gaining knowledge through the outcomes of the various phases of experimentation and conception, we have constituted and defined a database ‘architecture’, which was also transferred in the organisation of MAED Physical Museum. This architecture, starting from the base material entries and, as an option from these, the composite materials entries, has linked them to the entries concerning: technical elements, technological units, architectural organisms and architectural units. Symmetrically, starting from the common root of the technical elements and the technological units, we have interrelated the following entries: design components, design categories and design units.
The possibilities of interrogation and subsequent surfing start from an initial common level which individuates three different explorative accesses: materials, architecture, design, which are qualified through their differentiation in relation to the modalities of the interrogative path along two directions. One of these directions, accessing from the material key, requires and finds the sequence of the basic and technical manufacturing which, together with the environmental evaluations, lead to the technical elements. Later, this direction identifies the technological manufacturing which is connected to the technological units and, from here, to the architectural organisms, concretely exemplified by the architectural units. Therefore, we can imagine a first vertical path from the bottom to the top; the extremities of this path are materials and architectural units. Similarly, concerning to design, starting from technological units we have the options relative to design components, design categories and design units.
The other possibility which is shared by the access keys architecture and design, has a double analogy: it establishes a similar level of interrogation, which differentiates itself through the choice of the key word, instituting a descending path. In this case, we can say that the interrogation follows an opposite direction, from the top to the bottom, that is from architectural units, or design units, through the steps reread in the opposite direction, until it arrives, or returns, to the materials. So, the extremities of the explorative path prove to be inverted in their proceeding from the materialized exemplification, architectural units or design units, through the progressive discretization of the components, until the identification of the constituent base materials.
The primary purpose of MAED project is the creation of an interactive virtual database which can be consulted, and the staging of a correlated physical museum of materials. This museum is mainly focused on the architecture and the design that have the main purpose of creating a permanent and continuously in progress university structure for research and teaching.
The research originates from the understanding of the fundamental role of materials in planning, executive and recovery processes of architecture and design. It studies the connections existing between the multiple features and spheres of interest of materials, in order to optimise their knowledge, which is at the same time particular and global. This knowledge will be transmitted through the explorative devices of MAED project. The research results are in particular directed to researchers and students, and they are addressed to an integrated approach towards materials, specifically to the interest towards the complementarity between the physical and perceptual dimensions of architectural products and design objects.
The research final choice has been to operate a first classification of the exploratory action, starting from the materials according to UNI norms. It is not possible to refer to a classification that allows to simply and exhaustively indicate all kinds of existing materials. So, we have referred to the most used classification, which proposes to subdivide the materials that have a technological interest, on the base of the characteristic chemical bond, in three main classes: metal, ceramic and polymeric materials. Another class has been added to these three classes: the class of composite materials, which are made through the combination of two or more materials belonging to the three main classes. The material summary table refers to the periodic table of the elements, also from the iconographic point of view.
The need of univocally defining the structure of the relationships between the main components of MAED computer database and physical museum, has worked on some key entries/words/links which are dynamically and physically interrelated through specific connections. These connections represent the basic concept of the whole research project.
Considering technological criteria and manufacturing and production processes, we have identified the main voices that have to be correlated to the materials inserted in the MAED logical-conceptual structure (manufacturing processes and impacts during the production phase, characterizing requirements and processes concerning spin-off, environmental evaluations, etc... ).
The definition of a base criterion that could inspire MAED conceptual philosophy on a single material, was able to improve some starting schematic distinctions, deducing precise entries for the database mock-up. Moreover, it was able to change other distinctions, like the question of composite materials, which was dealt since the preliminary phases of the taxonomic investigation. At the same time, some questions have lost their relevance. One of these, is the very debated question about starting from the glass or one of its elements, the sand, starting from the brick or the clay; at last, it was declared the shared belief of choosing the prime reference key: the base material.
Browsing the computer database, starting from material or going back to it, we will be able to consult a dedicated file, named base material, which illustrates its mechanical and physical chemical properties, manufacturing processes, field of application in architecture and design.
Gaining knowledge through the outcomes of the various phases of experimentation and conception, we have constituted and defined a database ‘architecture’, which was also transferred in the organisation of MAED Physical Museum. This architecture, starting from the base material entries and, as an option from these, the composite materials entries, has linked them to the entries concerning: technical elements, technological units, architectural organisms and architectural units. Symmetrically, starting from the common root of the technical elements and the technological units, we have interrelated the following entries: design components, design categories and design units.
The possibilities of interrogation and subsequent surfing start from an initial common level which individuates three different explorative accesses: materials, architecture, design, which are qualified through their differentiation in relation to the modalities of the interrogative path along two directions. One of these directions, accessing from the material key, requires and finds the sequence of the basic and technical manufacturing which, together with the environmental evaluations, lead to the technical elements. Later, this direction identifies the technological manufacturing which is connected to the technological units and, from here, to the architectural organisms, concretely exemplified by the architectural units. Therefore, we can imagine a first vertical path from the bottom to the top; the extremities of this path are materials and architectural units. Similarly, concerning to design, starting from technological units we have the options relative to design components, design categories and design units.
The other possibility which is shared by the access keys architecture and design, has a double analogy: it establishes a similar level of interrogation, which differentiates itself through the choice of the key word, instituting a descending path. In this case, we can say that the interrogation follows an opposite direction, from the top to the bottom, that is from architectural units, or design units, through the steps reread in the opposite direction, until it arrives, or returns, to the materials. So, the extremities of the explorative path prove to be inverted in their proceeding from the materialized exemplification, architectural units or design units, through the progressive discretization of the components, until the identification of the constituent base materials
Il ruolo del disegno nei processi di progetto per la rigenerazione della città storicaLa fascia costiera a Napoli: dal porto monumentale al ponte della Maddalena
No full text“The great cities keep in themselves the secrets that we barely know; or, when we gradually know them, they even more cover themselves with that secret that, being a secret, cannot be revealed” (A. Rossi 1988). And moreover, as a direct reference to the city of Napoli, Aldo Rossi affirms: “The image of Napoli is, maybe from always, the image of the sea; of an harbour which is both docking and boarding. This ancient, classical and pagan image of gentleness of waters and places is dominated by the unusual but universally familiar Vesuvio’s profile. All the coast, from Baia to Amalfi, including the islands, takes part in this image. It is a fixed image that we received since the nineteenth century, despite ugly things and demolitions [...]. Other cities on the sea, Trieste, Odessa, Ancona, have a built front which identifies itself with the harbour; and they have another history and another beauty. The image of Napoli from the sea, or in the sea, belongs to this more complex drawing of places, works and conditions” (A. Rossi 1987).
Aldo Rossi’s statements are referable and referred to the city of Napoli; they suddenly and magisterially reveals its real essence. The city’s urban iconography seems to be indissolubly connected to the relation with the line of water which has drawn the coast in the course of time; this relation has produced not only an urban vocation, but also a vocation of continuous landscape interference, together with the particular environmental condition.
The particular orographic condition of the site, the lack of spaces in a densely built urban structure, the chaotic proliferating of buildings beyond the walls, the impossibility of the eastern expansion beyond the Aragonese walls in a zone which was flat but insalubrious, have always pushed the city towards the sea and its beaches, contributing to nourish the large literature about the beauty of Napoli’s strolls: “The Gulf, Pompei, the Vesuvio, Sorrento, Baia, Capri, ecc. ... Everything is and will always be an enchantment; it will always attract onlookers of the two worlds [...]” (Giulio Dary – J. De Laforest 1887).
But reviewing the rich iconography of Napoli, it inevitably emerges how its relation with the sea, even if Napoli is a city that was bred by the sea and that was and is subjected to the «tropism of the sea», has gradually become flat until it has become a mere landscape episode; and its architectural signs, except those of the great castles, are lacking in their original role. Napoli was once an attraction, just thanks to the strength of the image that was perceived by the people who arrived from the sea, and thanks to the richness of its border. It is an extraordinary and problematic image which continuously confronts itself with the uniqueness of the natural conditions; it is an invisible barrier where the manifold components of an urban multitude, which is perpetually in contrast, thicken and manifest themselves.
All the city’s history is conditioned by this relation, by the possibility of the dialogue that can be established between its hills and the gulf, that are the borders inside which the soul of this elusive reality throbs.
Until the relationship between the city and its barycentre, that is the centre of the gulf and the sky of Capri, was lively, the city lived in a magic dimension; this dimension dissolved as soon as this contact was lost.
Concerning the imago urbis of this city on the sea, the ‘border’ has a particular meaning: as a vocation, it is a belt where we have to intervene in order to eliminate the barriers and relaunch all the potentialities which are made available by the presence of the water element.
It is just the recourse to the gnoseological and epistemological operation of Drawing, survey and representation that can guarantee a proper action of explorative research and rendering of the features that shape the quality of these spaces.
According to this ample acceptation of control and management of the knowledge, architectural drawing becomes an irreplaceable proto-design moment; we would have to constantly refer to this moment during the elaboration of every correct program that is aimed at regenerating the city, and in particular the historical city where, more than in every other city, we will measure the value of the capacity of its projection towards the future
El dibujo y el levantamiento arquitectónico del patrimonio cultural. Procedimientos de levantamiento y representación integrada del pasado convento de Donnaròmita, Nápoles
No full textLa compleja temática que se oculta
en las operaciones de dibujo y de
representación arquitectónica y urbana
tiene una especial importancia en la
actualidad, en particular, en virtud de su
acción requerida de construir modelos
de referencia que asuman el objetivo de
analizar sus raíces profundas y explicar
sus componentes característicos con
el fi n de hacer posible las operaciones
posteriores de análisis, conocimiento y
evaluación. A partir de estas premisas
de refl exión, tanto en las operaciones
de trabajos de campo como en las
fases de síntesis de interpretación o de
representación de datos adquiridos, el
presente estudio se centra en el vínculo
tejido por los tipos de arquitecturas que
se transforman en ciudades. Para ello
se ha tomado un camino de exploración
de los tipos de arquitecturas que en
muchos casos ha establecido un modelo
en aumento de las características de
confi guración examinadas (FLORIO R.,
2006), activando procesos analíticocognitivos
con el objeto de examinar
las condiciones en el “estado”, de las
capacidades y potencialidades de
los tipos de arquitecturas que, leídas
tanto en su emergencia paradigmática
como en el valor de su papel en la
complejidad del complejo, encarnan el
código de pertenencia a la estructura
urbana (KERSTEN T.P., 2010). Las
acciones interrelacionadas de lectura y
recuperación de datos han recurrido, en
algunos casos a un análisis profundo de
técnicas avanzadas de levantamiento que han permitido adquirir datos
morfométricos y colorimétricos de los
artefactos, restituyendo así, a través de un
procesamiento de alta calidad y control
detallado de datos recolectados, su
confi guración espacial leída en la trama
de la disposición compositiva
Letture pertinenti per la città storica/Relevant readings for the historic city
No full textThe current demand of retraining of the historical town, and especially of that town part consolidated in the process of his time stratifications, pays the attention on the renewal potentialities implied in the town, on his interconnection structures, in his capacity of interaction not only at architectural and urban level, but also at social and economic level.
The retraining operation, in the ampleness of the effects derivable from it, can certainly guide the town transformation, if a scientific ground of reference is supposed, which could define the program of the activities to be made
l’Architettura delle idee. La Stazione Zoologica Anton Dohrn di Napoli
No full textLa scelta di dedicare un volume alla vicenda architettonica della Stazione Zoologica di Napoli e di intitolare questo libro L’Architettura delle Idee scaturisce da un duplice motivo: l’aver profondamente apprezzato lo spirito innovativo che ha animato il suo fondatore Anton Dohrn e l’interesse per le particolari circostanze che ne hanno contrassegnato il carattere architettonico e il suo farsi costruzione.
Architettura da intendere nel significato di organizzazione dello spazio per l’azione dell’uomo, ma anche Fabbrica nella doppia accezione di corpo di fabbrica e di struttura composita, di organismo architettonico che vedrà il suo fabbricarsi svilupparsi per ampliamenti successivi nell’arco di circa novanta anni e, ancora, di Fabrĭca quale luogo di produzione delle idee, azione perpetua che ancora oggi viene quotidianamente confermata a partire dal momento del concepimento della sua costituzione e che, come tale, incarna e rappresenta l’officina nella quale si esplica un lavoro che non ammette confini e perimetri, un lavoro che dura all’infinito.
Ho avviato questo studio con una azione esplorativa progressiva e continua che dapprima si è espressa nelle operazioni di rilievo e di rappresentazione dell’edificio nello stato in cui è oggi, e successivamente ha preso piede nella esigenza di ritrovare le tracce del suo divenire attraverso la lettura critica delle componenti architettoniche e lo studio degli apparati documentali.
I documenti sono stati consultati presso: l’Archivio Storico della Stazione Zoologica di Napoli, l’Archivio Storico Municipale di Napoli, l’Archivio di Stato di Napoli, l’Archivio Servizio Edilizia Privata Comune di Napoli, l’Archivio della SBAPSAE per Napoli e provincia, la Biblioteca Nazionale di Napoli, la Società Napoletana di Storia Patria, l’Architekturmuseum der Technischen Universität München, la Bayerische Staatsbibliothek München, e presso alcuni archivi privati.
Il lavoro raccolto nel presente volume ha voluto ricostruire il percorso ideativo e progettuale che ha animato, dal 1872 al 1959, le diverse fasi di costruzione dei quattro corpi che oggi costituiscono quello che appare come un unico edificio, sede della Stazione Zoologica. L’indagine ha attinto ad uno straordinario corpus grafico e descrittivo che ha consentito di esaminare, con l’apporto di frequenti ipotesi interpretative, i materiali ascrivibili in primo luogo ad Anton Dohrn, autentico, e talvolta sottaciuto, autore e ideatore propulsivo della genesi dei primi tre edifici, e poi, qui citati solo secondo una sequenza temporale, i progetti e gli scritti di Oscarre Capocci, di Adolf Hildebrand, di Hans von Marées, di Giacomo Profumo, di Comingio Merculiano, di Max Arlt, di Carl Sattler, di Frediano Frediani
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