1,721,049 research outputs found
The Castle of Pafos, Cyprus - Fronts Photogrammetry, By Giorgio Verdiani and Alexia Charalambous
No full textThe Castle of Pafos, Cyprus - Fronts Photogrammetry, By Giorgio Verdiani and Alexia CharalambousShots Taken with a One+ 8Pro Mobile PhoneFull resolution (PSB) - Full resolution single layer (TIFF) - Small size (JPG)Dipartimento di Architettura - University of FlorenceFor Fortmed 2024, Tirana</p
Modelli digitali per lo studio del Patrimonio Intangibile: il caso di Carloforte
No full textNel più ampio contesto del bacino del Mediterraneo, mosaico di storie, luoghi, arte ed insediamenti urbani, la vicenda della “nazione tabarkina” diventa un simbolo tangibile di diffusione di una cultura “minoritaria” mediante l’esportazione dei suoi caratteri peculiari e dei suoi modelli architettonici. Dietro ai complessi avvenimenti che hanno indotto parte della popolazione di Pegli (Genova) a migrare sull’isola tunisina di Tabarka e da lì verso le isole di S. Pietro e S. Antioco in Sardegna e l’Isla Plana di fronte ad Alicante è possibile leggere l’evoluzione e la trasformazione dei tratti distintivi dell’insediamento urbano originario riproposti e reinterpretati nelle successive colonie mediterranee.
Se da un punto di vista sociale e storico gli studi delle vicende tabarkine hanno permesso una completa comprensione delle dinamiche e delle modalità secondo le quali ha avuto luogo il progressivo trasferimento di uomini, conoscenza e cultura, la mancanza di un adeguato approfondimento in campo architettonico ed urbano ha reso fino ad oggi parziali i risultati di questa ricerca multidisciplinare.
L’indagine svolta dall’unità di ricerca del Dipartimento di Architettura di Firenze in collaborazione con quella dell’Escuela Técnica Superior de Arquitectura de Valencia sugli insediamenti di Tabarka (Tunisia), Carloforte (isola di S. Pietro), Calasetta (isola di S. Antioco) e Nueva Tabarca (Isla Plana) mediante l’impiego degli strumenti del disegno e del rilievo ha consentito di evidenziare le principali costanti e variabili di tale processo, inequivocabilmente impresse nella conformazione del tessuto urbano e nella tipologia edilizia ripetuta nei differenti centri urbani
Pandemics and Urban Form
No full textSelected papers from the First International blended ONLINE conference, on Pandemics and Urban Form, PUF2022, April 28th-30th 2022, Istanbul, TurkeyPandemics and the changing built environment Learning from history, planning our future Organised by: INTBAU, Nanjing University, University of Trento, Özyein University, University of Idaho, Kuwait University
Landscape transformation between Port and City, an integrated design approach
No full textFor centuries, the coastal cities evolved with their port weaving expansions and transformations of urban space with those of the productive space and producing identity and recognisability. Since the mid-twentieth century, however, the evolution of international maritime trade led to a jump of spatial and functional scale of the ports that altered the balance and the relationship between urban and port landscape. Today more than ever the implementation of the commercial and cruise ports of historic port cities, especially in highly stratified urban areas such as the Mediterranean, must be able to harmonize the functional needs of the contemporary port systems with those of active protection of the landscape heritage without contradictions and erasures.
“Acknowledging that the landscape is an important part of the quality of life for people everywhere: in urban areas and in the countryside, in degraded areas as well as in areas of high quality, in areas recognised as being of outstanding beauty as well as everyday areas” [1]. To this revolution, the ELC adds a second one, giving the landscape an economic value. Therefore, the Port becomes “Landscape” to all effects and, from the moment it is a quality bearer, it assumes an economic value equal to its productive one. This does not limit transformations, but provides an opportunity to retrain and enhance territories with large ports. Today many ports, especially in Europe, pay attention to the issue of integration with the consolidated city. Starting from the combination of a quantitative and a qualitative approach to the theme of sustainable integration between Port and City, this short essay aims to provide operational tools to create a common language and establish design criteria to enhance landscape quality
Tracing a History of Etruscan Art Exhibitions
Full text linkThis research aims to identify and retrace the main stages of the dissemination of Etruscan civilization in the
museographical field, from the formation of the first collections in archaeological museums, focusing on the considerable
organization of temporary exhibitions in Italy and Europe.
The knowledge of the Etruscan civilization and its myth develops from the second half of the Twentieth century, following
a clear museological and museographical project that determined a conspicuous part of its flowering.
This essay focuses in particular on temporary exhibitions that developed the diffusion of the main features of this ancient
civilization since the end of the Second World War. Etruscan art appears in collective exhibitions related only to specific themes until the Thirties, while from the Fifties it acquires its own autonomy and complexity in the wide exhibition field
Renzo Piano and his Project for the Vedova Foundation in Venice
No full textThroughout this research, we would like to focus on the Emilio and Annabianca Vedova Foundation in Venice. The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is situated in the suggestive headquarters of the Salt Warehouses, one of which was saved from destruction and used as a studio by Vedova in the last part of his career. The restoration of this medieval space and its new destination as a museum was entrusted by the painter himself to his long-year friend architect Renzo Piano. They knew each other from 1983 when they cooperated to realize the scenography for Luigi Nono's opera Prometeo. The Genoese had already a vast experience of creator and builder of monographic museums at the time of Vedova's commission. He then began to realize an atypical project, where the protagonist is a mechanical device with the task of extracting from a cage-deposit the painter's works and bring them to the visitor's attention along the gallery of the former warehouse.
After a short introduction to Emilio Vedova's art, it will be important to discuss his friendship with the architect. This is extremely useful to understand the relationship that Piano had with the artist's legacy and how he transferred his interpretation to the building. Subsequently, I will focus on the device itself, which is not unique in the architect's career. Furtherly, it is possible to find in the project another important characteristic that is common to other Piano's museums: the Treasure House. In conclusion, I will try to find analogies and differences between the Vedova Foundation and the previous monographic museums, trying to outline, if possible, a common approach used by the RPBW to the critical problem of designing a building devoted to a single artistic legacy
K/Na-silicate, ethyl-silicate and silane nano-molecular treatments in the restoration of high porous limestone
Full text linkCarbonate sedimentary rocks (i.e., limestones) have been frequently used in historical times due to easy availability and workability. These latter depend primarily by petrophysical characteristics (porosity, bulk density) that influence the mechanical strength. However, the limestones with high porosity (>30%) and a poorly cemented carbonate-matrix show chemical alteration (i.e., dissolution) and physical decay (e.g., decohesion).
In this work it was taken as case study a biomicritic limestone belonging to the carbonatic miocenic series (lower Tortonian) of Cagliari (southern-Sardinia, Italy). This limestone has a low-medium cementing matrix containing hygroscopic clay and sea-salt phases, which make the rock degradable. To limit the decay it can intervene with consolidating products (K-Na-silicate, ethyl-silicate) and protective-chemicals (silane nano-molecular gel-coat) to reduce the porosity and permeability to the liquid aqueous phase. Results highlight an increase of strength after consolidation and a decrease of gas-permeability after protection-treatment, maintaining in both cases a good permeability to the vapor-phase
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
- …
