523 research outputs found

    L’Archivio delle Identificazioni delle Specie Legnose dei Beni Storico-Artistici : per una migliore comprensione della vocazione formale del legno di statue, intagli, tarsie

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    Il saggio illustra i principi e le caratteristiche della banca dati ArISStArt (Archivio delle Identificazioni delle Specie Legnose dei Beni Storico-Artistici), ideata da G.B. Fidanza e N. Macchioni, attraverso la quale è possibile mettere in relazione dati utili alla legittimazione formale delle specie legnose utilizzate nella statuaria e alla descrizione delle altre componenti materiali di una scultura lignea, come ad esempio lo stucco frapposto tra superficie legnosa e policromia

    Self-aggregation of amino-acidate half-sandwich ruthenium(II) complexes in solution: From monomers to nanoaggregates

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    The aggregation tendency of [RuCl(AA)(Arene)] complexes (1, AA = amino acidate = Gly, Arene = p-cymene; 2, AA = Ala, Arene = p-cymene; 3, AA = N,N'-dimethyl-Gly, Arene = benzene; 3b, AA = N,N'-dimethyl-Gly, Arene = p-cymene; 3c, AA = N,N'-dimethyl-Gly, Arene = hexamethylbenzene; 4a, AA = t-Leu, Arene = benzene; 4b, AA = t-Leu, Arene = p-cymene; 4c, AA = t-Leu, Arene = hexamethylbenzene; 5, AA = alpha,alpha'-Me(2)-Gly, Arene = p-cymene; 6, AA = alpha,alpha'-Ph(2)-Gly, Arene = p-cymene; 7, AA = Pro, Arene = p-cymene) as a function of the concentration and solvent (CDCl(3), CD(2)Cl(2), acetone-d(6), and 2-propanol-d(8)) was investigated through diffusion NMR measurements. The equilibrium constant (K) and the standard variation of the free energy (Delta G degrees) for the aggregation process were determined by applying the Equal K self-aggregation model. The highest level of aggregation was observed for complexes 1, 2, and 4, bearing the NH(2) moiety, which was involved in intermolecular H-bonding. Complex 2 formed aggregates with a hydrodynamic radius (r(H)) equal to 20.8 A in CDCl(3) (Delta G degrees(296K) = -7.1 +/- 0.7 kcal mol(-1)) at a concentration of 124.9 mM, corresponding to an aggregation number (N) of 133. On the other hand, complex 3c did not show any tendency to aggregate (N = 1.1, 0.5 mM in CDCl(3)). The aggregation tendency decreased as the steric hindrance of arene (4a > 4b > 4c) and AA (1 approximate to 2 > 5 approximate to 4b > 6) and the polarity and proticity of the solvent increased. For complex 2, -Delta G degrees(kcal/mol) was 7.1 in CDCl(3) (epsilon(r) = 4.81) > 5.6 in CD(2)Cl(2) (epsilon(r) = 8.93) > 3.9 in acetone-d(6) (epsilon(r) = 20.56) > 3.0 in 2-propanol-d(8) (epsilon(r) = 19.92). While the two diastereoisomers of complexes 2 and 4b showed substantially the same tendency to self-aggregate, diastereoisomer (R(Ru), S(N), S(C))-7 showed a remarkably higher aggregation tendency than the other one [(S(Ru), S(N), S(C))-7] throughout the entire concentration range (1.4-178.0 mM) in CDCl(3), indicating that a diastereoselective recognition process is occurring in solution [parallel to Delta(Delta G degrees(296K))parallel to = 1.8 +/- 0.5 kcal mol(-1)]

    Cinema theaters in Emilia Romagna. Strategies for the knowledge of a large-scale neglected heritage

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    At this time, there are over three hundred cinema theaters on the territory of Emilia Romagna. Most of them date from the second half of the 20th century. For some decades after World War 2, cinema interprets and materializes multiple needs from the civil society and political and economic powers (from Italy and abroad). In most cases the life cycle of these buildings turned out to be extremely short, being related to a particular way of enjoying the movies. This paper explores the large-scale heritage composed by cinema theaters in the Emilia Romagna region, merging information from direct surveys with data available from diverse inventories, bibliographical and archival research, studying the phenomenon from the point of view of architectural conservation. Two theoretical areas regarding cinema theaters are explored. On one hand the physical components, meaning the analysis of the urban location, spatial configuration and reasons guiding the design. On the other hand, the movie-going as a social phenomenon. Cinema is not only a dark room where the light operates, but a place embodying several factors at the economic, technological, social, and symbolic level. The reflection on the intangible components allows to consider the significance of some architectures beyond their possible standardization or constructive poverty. Questioning the future of cinema theaters on a large scale entails the creation of a link between different approaches to memory: the preservation of signs in the architectural materials, the transmission of intangible components and finally the responsibility to meet the needs of contemporaneity
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