1,721,079 research outputs found
Topografie del Sacro. Rovigo, tra ortodossia ed eterodossia
No full textPublished in 1704, the suggestive view by Pierre Mortier of the small city of Rovigo on the border between the Papal States and the Republic of Venice shows the ordinary appearance of a centuries old rural-urban plain in the Po Basin as a crystallised forma urbis inside the circle of its own of city walls. In spite of its very small size, Rovigo expresses an extraordinary socio-cultural vitality characterised by the tensions, turmoil, and contradictions that disturbed the coexistence of the social groups from the second half of the sixteenth century to the late seventeenth century. There was a powerful monastery, a lively Jewish community, numerous associations of heretics living in close contact with each other, interweaving a multitude of relationships in the evolving Italian and continental panoramas. Sharing roots and loyal to the past government of the House of Este based in Ferrara, physical proximity to the restless Paduan milieu: this was the ground on which a particular urban synthesis developed, where religious mixing and coexistence were experienced as much by the noble and aristocratic cultural élites as by the city's embryonic business classes as well as its middle class involved in trades and crafts. This is the public-private context in which in addition to the power of the medieval pietas, brotherhoods of worship arose discussing Neoplatonism, cabala, and theology; and new centres of social and religious control also arose in opposition to the palaces of the private theatres and academies. A complex city – emerging from a great many alienated cries against the dominant Venetian culture – that inspired the anonymous quadruplet: “Between the Adige and the Po/a lying sad rogue/Rovigo, city of Jews/hated by Christ”.Nella suggestiva veduta incisa da Joan Blaeu (1596-1673), edita da Pierre Mortier nel 1704, la piccola città di Rovigo, posta alla frontiera tra la Serenissima e lo Stato della Chiesa, restituisce l’ordinario assetto d’una città-rurale padana nella forma urbis cristallizzata, per secoli, entro la propria cinta muraria.
Malgrado le dimensioni minuscole, Rovigo esprime una vitalità socio-culturale straordinaria, percorsa da tutti i fermenti, tensioni e contraddizioni che, dalla seconda metà del secolo XVI sino al tardo Seicento, turberanno la convivenza dei gruppi sociali: qui un potente monastero, una vivace comunità ebraica e nutriti sodalizi ereticali vivono a stretto contatto, intessendo una moltitudine di rapporti nel mutevole panorama peninsulare e continentale. Comuni radici, fedeltà al trascorso governo estense e prossimità fisica all’inquieto milieu patavino costituiscono l’humus in cui si sviluppa una singolare sintesi urbana di convivenza e commistione religiosa, vissuta nel profondo tanto dalle élites culturali notarili e aristocratiche, quanto dalla minuta borghesia commerciale e artigiana. In tale contesto privato-pubblico sorgono, accanto ai lacerti della pietas medievale, confraternite di culto e nuovi centri di controllo sociale e religioso, contrapposti ai palazzi, alle accademie e ai teatri privati, ove si discute di neoplatonismo, cabala e teologia. Una città complessa – per molti versi aliena alla cultura veneta dominante – che ispirerà l’anonima quartina: “Fra l’Adige e il Po/giace, ribaldo e tristo/Rovigo, città d’Ebrei/in odio a Cristo”
Agostino Magnaghi architetto. Cinque progetti scelti e cinquant'anni di architettura / Five selected projects and fity years of architecture
No full textAgostino Magnaghi (Livorno, 1937), architetto ligure-piemontese, testimonia una declinazione inattesa e del tutto autonoma, nel panorama, talora umbratile, della raffinata Scuola Torinese. L’opera di progettista e docente universitario, perdurata
oltre cinquant’anni, conferma il profilo di studioso dei fenomeni urbani impegnato nelle principali trasformazioni che, dal secondo Dopoguerra, hanno interessato la città di Torino. Sia nei progetti di carattere innovativo, sia nel recupero, Magnaghi dimostra «[...] una coerenza non ostentata, ma duttile e sommessa» e con essa «la capacità di recepire le circostanze e le occasioni per farne materia poetica e messaggio». Questa monografia, oltre a costituire un’indagine approfondita delle sue opere, è anche pretesto per una riflessione sull’architettura italiana dalla fine
degli anni Sessanta del secolo XX ad oggi: la narrazione, attraverso opere, progetti e scritti, d’un percorso inquieto che approda, nella sua fase più matura, all’accettazione del principio de l’Art autre, la «casualità geniale», nella misura d’una rasserenata, panteistica, visione del mondo.Agostino Magnaghi (Livorno, 1937) Ligurian-Piedmontese architect, has carvedhis own unexpected and entirely autonomous path through the sometimes shady panorama of the sophisticated Turin school. His work as an architect and university teacher, which has lasted over fifty years, confirms his profile of studier of urban phenomena involved in the main transformations that the city of Turin has undergone since the second world war. Both in the innovative character of his designs and in his restoration activity, Magnaghi shows «a
coherence that, far from being ostentatious, is malleable and subtle» and with it «the capacity to absorb circumstances and situations to
make of them poetic material and message». This monograph, besides describing his works in depth, also presents the pretext
for reflection on Italian architecture from the end of the nineteen sixties to the present day: the narrative is told by means of his works, projects and writing, in a changeable journey that achieves, in its mature phase, the acceptance of the principle of art autre and «brilliant randomness», seen through a
cheerful, pantheistic vision of the world
Between experimentation and validation: the Bavarian experience of eco-districts and urban regeneration policies
No full textThe identification of methodologies, devices and procedures for energyfunctional recovery of social housing of Italian and European peripheries can be of peculiar value in a context of poor financial resources. The study – with a “minimalistic” approach – focuses on all phases of a building’s life cycle so to improve energy-functional parameters of social housing buildings. The types of micro- interventions analyzed have been implemented at contained costs and with innovative contents. Experiences made in the sector of German Social Housing can be useful to assess ex-post the effect brought about by the combination of diverse improvement interventions within the context of residential building recovery. The original concept resides in the identification of affordable-price building and housing models, which are sustainable and sensitive to socioeconomic changes in the specific territory and surrounding metropolitan areas.
Keywords: social housing, urban regeneration, metropolitan area, peripheral
districts, sustainability, housing models
Auditoria and Public Halls. The preserved Architectonic Heritage, in the Perspective of Sustainability
Full text linkAbstractTheatres and auditoria have only rarely been “virtuous” examples for energy use both for their peculiar space requirements and for the discontinuity of their use; such statement is even more true when such spaces are located and hosted within monumental buildings such as former churches or industrial areas; that is a quite frequent case in the Italian urban contest. To re-think critically the entire process - from political-planning decision-making to the managing phase – does represent a key step to prevent the decay and abandonment of works of great value and great architectonic and cultural significance. To that aim, three cases of architectonic and historic quality, located in Torino (Italy), are reviewed
L'infra-luogo torinese /// Turin's infra-place
No full textQuesto volume ricostruisce la genesi di un processo di “restituzione urbana” da sette decadi atteso e sollecitato dalla Città di Torino: una tormentata vicenda – storica, culturale, tipologica – che accompagna la costruzione della nuova Aula Magna dell’Università degli Studi di Torino, nel cuore della Zona di Comando. L’opera si colloca a pieno titolo nella solida tradizione italiana del recupero e del restauro architettonico del patrimonio, secondo una prospettiva secondo una prospettiva innovativa, che vede l’istituzione accademica capofila di una coraggiosa e incisiva azione di rigenerazione urbana a forte valenza socialeThis volume retraces the genesis of a process of ‘urban restitution’ undertaken at the urging of the City of Turin but unfulfilled for seven decades: a tormented tale – historical, cultural and typological – of the construction of the new auditorium of the University of Turin, in the heart of the city’s Command Area.The work that resulted places itself fully within the solid Italian tradition of architectural renovation and restoration of heritage, according to an innovative perspective that sees the academic institution as the leader of a brave and incisive urban regeneration action with a strong social value
Disused production areas. Regeneration Proposals in the Veneto and Emilia Regions, Italy.
No full textThis paper discusses the theme of the urban regeneration of historic Italian centers using the university teaching experience at the Faculties of Engineering of Padua and Bologna Universities as a starting point. The methodology compares small to medium sized urban environments in the Po Basin, the most dynamic area of Italy socially and economically speaking. The case studies concern three walled medieval cities: Cento in the Region of Emilia-Romagna, and Portobuffolè and Soave in the Region of the Veneto. They are all urban areas conditioned by a complex landscape which testifies to an uninterrupted building and civil tradition, rich in cultural, community, and economic relationships. The towns are analyzed in the light of post-industrial expansion and the effects produced by the 2012 earthquake. The practical methodological planning references are founded on urban and construction morpho-typological studies and the principles of urban composition. The project guidelines are based on the constant verification of the methodological and logical planning instruments of the process (“problem solving”) with an operational attitude paying close attention to the quality of the space. Results expected: the investigation constitutes the starting point for the formulation of innovative formal proposals that involve the theme of "forma urbis” according to methods respecting the consolidated urban “fabric”. The project aims to research the “civil splendor” that incorporates tension, beauty, and functionality into a strong collective identity
Textures e cromie: riflessioni per la costruzione di uno spazio aulico.
No full textLa costruzione di uno "spazio aulico" nasce da un'intuizione poetica e insieme dalla profonda conoscenza delle cromie originali dell'architettura sabauda. Nella volontà del progetto, che si rafforza nella consapevolo conoscenza degli "strati" del "palinsesto" architettonico emerge una scelta primaria: mantenere in secondo piano l'edificio antico, che recita un ruolo sommetto e pregnante. Per contro, si evince la volontà di aggiungere alle sedimentazioni della storia il gesto chiaro, assertivo della contemporaneità. Non è solo la forma a reclamare un proprio promato spaziale, ma un concerto intessuto di intense emozioni sensoriali, uditive,tattili, immaginate come Gesamtkunstwerk.The construction of the noble space stems from a poetic intuition and a deep knowledge of the original colour shades of the Savoy architecture. The primary choice of the project, reinforced by a conscious knowledge of the layers of the architectural palimpsest, was to keep the ancient edifice in the background, with its unpretentious and weighty role. In contrast, the determination to add an assertive and clear gesture of contemporaneity to the sedimentations of history is inferred. Not only does the form claim its spatial record: it is also a concert, interwoven with intense sensorial emotions – auditory, tactile – imagined as a Gesamtkunstwerk. First, after having crossed the archway, there is the reception space of the 19th-century triangle, which allows the anomalous axiality of the old riding school to deviate, in order to burst into the alienating space of the shipyard. The walls are painted with Pompeian red, in contrast to the dark grey shades of the windows and doors and the light ones of the flooring. In fact, this is a symphony of greys that rolls along the fluid old wall ribbon; these are shades variously modulated and designed to vibrate with natural light and the imperfections and speckling of the ancient walls. It is a non-colour that comes alive with environmental glares when it is swiped by the sabre cuts of spotlights. Tenuously dove-coloured pearl greys change into buttery white lead shades as they open into the large, arch-vaulted hall. On the other hand, they take on exasperated greenish glares in the earthly shades of the toilets, gates and doors that occlude the entrances to the old stables and square windows. The evocation of the original use of the edifice acts as a counterpoint to the stunning vermeil inside the hall. The wall surface is an unexpected prize, almost a royal stage that enhances the vitality of the institution’s body. One’s thought runs to the primal force of the heraldic symbols, which represent the reality of the students, a young, active, controversial, creative audience...The flow that runs through the cavea and shines in the foyer ignites the austere military spatiality and again counterposes itself to academic firmitas: the elegant sequence of seats reserved for lecturers is lead grey. The atavistic symbol of the construction, the warm and natural glare of the wooden shell, the slats that simulate the hull’s planking and the blond shininess of the oak floors stand between these extremes of austere military formality and firmitas. These are elements that give serenity and ease in a continuous search for balance and rationality. The black and white colours are either the absolute limits that hide functional elements, secret doors and structural curbing corners, or which reveal and enhance spaces, accesses and services for the audience. Similarly, categories of perception -smooth vs rough, opaque as opposed to shiny- allow us to recognize and walk through, in a similarly tactile way, a cognitive iter inside the Hall. Surfaces, metaphorically speaking, reclaim and take on the complexity of our age, made of textures and human colours. A few steps away from the Teatro Regio designed by Mollino are the poetic licences taken by Agostino Magnaghi, a pupil of that peculiar master, and which he narrates through a child’s eyes, with astonishment and exuberance, play, velocity and derringdo. Youth, a season of life that eternally succeeds to itself and renovates
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
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