356 research outputs found
Cultura europea e realtà americana: Manfredo Tafuri dalla città-territorio alla megalopoli produttiva integrata (1962-1973), podcast di Marco Capponi, 2022, durata 5’. Con estratti audio da Manfredo Tafuri, corso Storia dell’ideologia antiurbana, Istituto Universitario di Architettura di Venezia (IUAV), a. a. 1972-73 (Biblioteca Università Iuav di Venezia)
No full textPodcast per la mostra IR.IDE Itinerari 2018-202
A dispute on Venetian techniques of foundation: Vincenzo Scamozzi in San Nicolò da Tolentino (1591–95)
No full textVenetian builders had learned to cohabit with lagoon grounds adopting site-specific constructive procedures, showing a practice detached from vitruvian discipline. The architect Vincenzo Scamozzi is banned from the new San Nicole da Tolentino site in 1595 after the subsidence of a backdrop rock, charged with having refused a locally traditional mortar and having accepted reduced pilings. Supported by an unpublished survey, we would now move the attention on the foundation technique with depressed arches between pillars, proposed to the client by ensuring big saving. The workforce, operating according to tradition, make changes to the early solution and progressively weaken the structure. The uncertain direction of the building works begs the question as to whether there was an actual practice of such a foundation system in the city: maybe not specifically fitted for the Venetian site, but a logical and universal solution for every kind of low-resistant ground for Scamozzi
Back to the Sources. Manfredo Tafuri’s Teorie e storia dell’architettura (1968) between Project and Work in Progress
No full textA rigorous study of Manfredo Tafuri (1935-1994) must inevita-bly find compensatory strategies to overcome the main difficulty posed by the object of study: that of the sources. A challenge, we might say, made even more difficult by the fact that Tafuri, with rare exceptions, never included bibliographies in his books.This contribution intends to present the first results of a philolog-ical analysis on one of the most important books in the historian’s œuvre and the debate of the time, Teorie e storia dell’architet-tura (1968), closely compared with its second Italian edition (1970). This first step and the significant discovery of the letters exchanged in 1967-69 between Tafuri and the publishing house let to detect the extent to which Tafuri originally modified the book’s project and intervened in its re-editions. This leads to the conclu-sion that he refashioned himself and politicised his work retroac-tively, probably to approach the new Venetian intellectual context.Moreover, the systematic filing of 1968 book’s bibliography, together with the critical bibliographies and recordings from his mid-1960s lectures, allow to give due weight to references hitherto unknown. They help us to enter into the historiographic framework in which the main problem – the relationship with history – is to be situated, and to identify a number of knots on which Tafuri will focus in the following years.The analysis situates Teorie e storia in 1960s artistic and archi-tectural discourse and brings to light, in particular, the underlying conversation with Emilio Garroni’book La crisi semantica delle arti (1964), a source that fits precisely a generational urgency, that of architecture and its meaning, to which Tafuri will constantly return.The reading is intertwined with a parallel narration through the illustrations replaced by Tafuri for the second edition of Teorie e storia
Giuseppe Capponi e Ischia. Nuovi spunti di ricerca
No full textGiuseppe Capponi and Ischia: new ideas for research
The contribution attempts to studyin a new perspective eighteen drawings of engineer and architect Giuseppe Capponi, known exponent of MIAR, preserved at the Accadernia Nazionale di San Luca, on the spontaneous architecture of Ischia. In the study will identify most of the buildings designed by Capponi in 1926-2S, mainly destroyed or altered today, and they come up with the draws can cataloging program and safeguard the engineer would have prefigured under the aegis of Associazione Artistica fra iCultori di Architettura, which in the same years engaging in a broad scientific program devoted to the analysis of so-called "minor architecture". Capponi attempts to work in Ischia also following the example of his friend, engineer and writer Edwin Cerio, who in the early twenties had promoted in Capri the first attempt at architecture and the local landscape preservation, as alleged in the proceedings of "Convegno del Paesaggio" of 1922 and reiterated in the articles published in "Architettura e Arti Decorative", magazine directed by Gustavo Giovannoni, which also publishes the Capponi ischitani drawings. It also shows how the Capponi drawings can be correlated with the corresponding rural architecture enhancement effort scarried out in the twenties and thirties by numerous Italian modernist architects and well synthetized by the exhibition conceived by Giuseppe Pagano at the VI Triennale of Milan in 1936
I volti e la bibliografia di Teorie e storia dell’architettura di Manfredo Tafuri nelle edizioni italiane
No full textPrendendo in esame un caso studio puntuale ma indicativo della vasta produzione storiografica di Manfredo Tafuri (1935-1994), l’articolo vorrebbe offrire una lettura alternativa, per quanto parziale, del contraddittorio rapporto che lo storico dell’architettura di origini romane ha avuto con l’architettura e gli architetti a lui contemporanei, spesso interpretato estremizzando elementi di continuità o di rottura, o collocando su piani equiparabili e alternativi critica dell’ideologia e filologia. Il problema verrà indagato a partire da nuove fonti attraverso la modifica del volto, cioè della copertina del libro più noto e tradotto di Tafuri, Teorie e storia dell’architettura (1968), la cui immagine iniziale, tratta da un disegno di Franco Purini e Laura Thermes e sostituita nel 1986 con un disegno di Baldassarre Peruzzi, era forse stata, stando a una recente testimonianza di Purini, il frutto di un malinteso tra l’autore e il grafico. Le indagini svolte consentono di assumere questo libro alla stregua di un ‘progetto’ al quale lo storico ha lavorato per tutta la vita. Perché dunque tenere così a lungo un’immagine ‘sbagliata’? Il contributo si conclude con un’appendice con la bibliografia della prima edizione di Teorie e storia e le modifiche apportate nelle riedizioni italiane fino al 1986, offrendosi come strumento di lavoro per ulteriori indagini. -----By examining a specific case study but indicative of the historiographic production of Manfredo Tafuri (1935-1994), the article would like to offer an alternative, albeit partial, reading of the contradictory relationship that the Roman-born historian of architecture had with contemporary architects and architecture, often interpreted by taking elements of continuity or rupture to extremes, or by placing criticism of ideology and philology on comparable and alternative levels.
The problem will be investigated with new sources through the modification of the cover image of Tafuri's best-known and most translated book, Teorie e storia dell'architettura (1968, first edition), whose initial image, taken from a drawing by Franco Purini and Laura Thermes and replaced in 1986 with a drawing by Baldassarre Peruzzi, was perhaps, according to a recent testimony by Purini, the result of a misunderstanding between the author and the graphic artist. The investigations carried out make it possible to consider this book as a 'project' on which the historian worked all his life. Why, then, keep a 'wrong' image for so long?
A final appendix containing a bibliography of the first edition of Teorie e storia and the modifications made in the Italian editions up to 1986 is offered as a working tool for further investigation
Il cimitero di San Nicolò da Tolentino a Venezia: nuove acquisizioni sullo spazio sacro teatino delle origini
No full textFin dalle origini, il progetto teatino ha avuto rilevanti implicazioni architettoniche per il diverso utilizzo dello spazio sacro. L’articolo prende in esame uno degli usi che rendono la congregazione un fecondo terreno di sperimentazione per la riforma della Chiesa e che, almeno fino ai primi decenni del Seicento, ne hanno caratterizzato le pratiche e gli insediamenti, ossia la separazione tra il luogo di culto e quello per le sepolture utilizzando un cimitero esterno per religiosi e laici. La trattazione si basa principalmente sul cronista Valerio Pagano e sulle scoperte documentali riguardanti l’insediamento a Venezia presso l’oratorio di San Nicolò da Tolentino. Le notizie in nostro possesso consentono per il momento di stabilire che già nel 1528 i Padri fondatori, con Gaetano Thiene e Gian Pietro Carafa, avessero recepito l’uso del cimitero assorbendo una pratica propria della confraternita veneziana che li avrebbe ospitati, condividendo un’area ora esattamente identificabile
«[...] quanto debolmente son andato figurando»: Alessandro Zen e il pronao di San Nicolò da Tolentino a Venezia (1706-1714)
No full textA political and religious Decision: the new Apostolic Delegate's Residence in Cairo of the architect Giuseppe Castellucci (1923-27)
No full textDoppia recensione a: Manfredo Tafuri: desde España, a cura di Victor Pérez Escolano e Carlos Plaza, 2 voll., Junta de Andalucía, Granada, 2020; Manfredo Tafuri, Dal progetto alla storia. Gli anni della critica e della nuova dimensione urbana, a cura di Luka Skansi e con un saggio di Giorgio Ciucci, Quodlibet, Macerata, 2022.
No full text«Ciò nasce dal modo del loro governo»: i disegni di architettura nel fondo archivistico dei teatini di Firenze
No full textThe lack of documentation, and even more limited graphic sources, on the building activity of the Theatines preserved in the Archivio Generalizio of Sant’Andrea della Valle in Rome has certainly represented the main obstacle to the numerous attempts to understand the choices, strategies and architectural culture of the congregation of regular clerics founded in 1524 by Gian Pietro Carafa. The recent rediscovery of a conspicuous corpus of drawings conserved within the Theatine fonds of Santi Michele e Gaetano in Florence has therefore prompted us not only to present some of the apparently most significant drawings, but above all to take stock of the issue and to solicit a different point of
view, with which to understand and bridge the gap.
The difficulty lies in the fact that Theatines arose as a simple community of clerics. They governed themselves as such at least until the 1590s, and the evidence in our possession suggests that they reserved the same collegial approach to architectural matters. In order to understand the Theatine nature, therefore, it seems necessary to set aside pre-constituted and “Roman-centric” approaches and retrace the network of relations and exchanges that existed between the cities and territories where clerics settled
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