196,387 research outputs found
Architettura e Geometria nel Colosseo di Roma
No full textObiettivo prioritario del rilevamentodel Colosseo è quello di fornire un supporto sicuro e flessibile alle esigenze dello studio del monumento e del suo restauro. In quanto base del progetto di restauro, il rilievo architettonico diviene supporto delle altre attività di studio connesse al restauro, dalle simulazioni dei comportamenti statici, dinamici e fisico - chimici, fino alla Banca dei Dati. Altro obiettivo del rilievo è quello di rispettare la successione dell'intero processo di studio e di restauro fornendo non un prodotto chiuso e finito, bensÌ un contributo aperto tanto alle esigenze del cantiere, quanto alle nuove conoscenze che si avranno durante l'intervento di restauro, fino alle consultazioni interdisciplinari. A questo riguardo è bene chiarire che uno degli effetti secondari del rilievo, consiste nell'offrire un affidabile quadro d'unione di tutta la topografia e l'iconografia esistente.The primary objective of rilevamentodel Coliseum is to provide a secure and flexible to the needs of the study of the monument and its restoration. As the basis of the restoration project, the architectural significance becomes support of the other study activities related to restoration, from the simulations of the behavior static, dynamic and physical - chemical, up to the Bank of Data Another objective of the survey is to respect the succession the entire process of study and restoration by providing a product not closed and finite, but an open contribution to both the requirements of the yard, as the new knowledge that you will have during the restoration, to the interdisciplinary consultations. In this regard, it should be clear that one of the side effects of the relief is to provide a reliable framework for the union of all the existing topography and iconography
Les apports de la photogrammetrie analytique a l'etude des coupoles autoporteuses de la renaissance
No full textSelon les études les plus récentes sur l'œuvre de F. Brunelleschi, c'est bien au grand architecte florentin que l'on doit 1’introduction du système de construction dit «a spinapesce» (c'est à dire «en arête de poisson»), grâce auquel des coupoles ont pu être réalisées - alors meme qu elles étaient de très vastes dimensions - sans avoir recours aux cintres en bois. Cette "spinapesce" (arête de poisson), introduite par Brunelleschi, consiste à insérer, à intervalles réguliers, une brique mise sur la tranche («a coltello») dans la rangée de briques à plat qui servent à monter la coupole. La brique posée sue la tranche, qui est bloquée par les autres et qui dépasse du mur, sert d'appui et empêchera la rangée suivante de glisser vers l'intérieur de la coupole, lorsqu'on la posera. Ce procédé est répété pour chaque rangée et la brique «a coltello» est toujours placée à coté de celle de la rangée inférieure, de sorte que le décalage est décalée de l'épaisseur de la brique elle-même. Ce a comme résultat que les briques «a coltello» forment une nervure qui s'enroule en spirale sur la surface de la coupole; ces spirales, qui naissent à la base à intervalles régulier, composent un dessin d'une grande puissance expressive qui met en évidence les énergies prises dans la maçonnerie et, en même temps, rappelle des symétries et des formes naturelles. Ces sont les deux Sangallo qui firent connaître ce nouveau système architectural dans différentes régions d'Italie, recueillant ainsi l 'héritage de Brunelleschi. On trouve à Rome, dans la Basilique Saint Pierre, des coupoles en «arète de poisson» réalisées par A. de Sangallo le Jeune: elles couvrent les octogones sur les côtés de la coupole centrale. Nous relèverons, en particulier, celle de l'Octogone de Simon Mago (son nom lui vient de la salle octogonale qu'elle recouvre) qui est particulièrement intéressent à cause de sa double nervure en spirales tressées, et aussi parce que sa maçonnerie étant à nu, on peut l'étudier sans difficultés.According to the most recent studies on the work of F. Brunelleschi, it is the great Florentine architect that must 1'introduction building system called "a spinapesce" (ie "fishbone"), through which domes have been achieved - even then that they were very large dimensions - without resorting to wooden hangers. This "" spinapesce "" (fishbone), introduced by Brunelleschi, is to insert, at regular intervals, a brick placed on the wafer ("coltello a") in the row of flat bricks serving to mount the dome. The question sue slice brick, which is blocked by others and which protrudes from the wall, serves to support and prevent the next row from sliding inside the dome when the arise. This process is repeated for each row and the brick "has coltello" is always located to one side of the lower row, so that the offset is shifted by the thickness of the brick itself. This has the result that the bricks "has coltello" form a rib spirals on the surface of the dome, these spirals, born at the base at regular intervals, make up a drawing of a great expressive power that puts identify energy taken in the masonry and at the same time, said symmetries and natural forms. These are the two who made Sangallo about this new architectural system in different regions of Italy, and collecting the legacy of Brunelleschi. Is located in Rome, in St. Peter's Basilica, the domes "Fishbone" performed by A. Sangallo the Younger: they cover the octagons on the sides of the central dome. We will address, in particular, that of the Octagon Simon Mago (its name comes from the octagonal room it covers), which is of particular interest because of its double braided spiral rib, and also because its masonry being naked, we can study without difficulty
Stereoscopia e anaglifi
No full textUno studio sulla stereoscopia e sulla costruzione di immagini stereoscopiche, da osservare con lenti colorate di colori complementari (anaglifi).A study on stereoscopy and the construction of stereoscopic images, to look for complementary colors with colored lenses (anaglyph)
Towards a new Descriptive Geometry
No full textAlthough Descriptive Geometry owes its name to Gaspard Monge (1794), it is a very ancient science that has given scientific support to engineers and artists of every time. It allows, in fact, the control of the three-dimensional shapes within a virtual space, both if merely graphical, as it happened in the past, as well as if digital, as it happens nowadays. Descriptive geometry exercises this control in two phases, which are not subsequent but interactive: the project of geometric operations; the representation of such operations. The construction of a ruled surface, for instance, happens first as construction of the straight lines that lay on three oblique directrices, then as representation of the construction operations that bring to the representation of the same surface. Once represented the surface, it is possible to model it, for instance extending it or sectioning it, and the cycle restarts. This process is typical of the project, both for the architecture, as well as for the design, and it can in fact be considered an abstract exercise of these arts. Descriptive geometry possesses, so, a heuristic potential that unfolds not only in the project but also in the research. Gino Loria (1935) counts among the Mathematical Methods "La costruzione come metodo di dimostrazione esistenziale" (Construction as existential demonstration method). And. likewise, René Thom acknowledges in the model an essential tool of the human mind even in the most abstract research.
This stated, it is necessary also to observe how during the last years this science, once alive and vital, has suffered a serious crisis, induced by the advent of the computer-aided drawing and modelling applications. These applications allow, in fact, the automatic realization of two classes of operations: the construction of simple and derived figures (as surfaces and their intersections) and the dynamic visualization of the same and, as it can be observed, these are the same performances of the ancient science of the representation. We could therefore conclude, but only at a first superficial examination, that descriptive geometry has de facto converted itself into the CAD.
We believe, instead, that it is not so. We think that the CAD is a tool, new and powerful, which is added to the traditional tools (rule, compasses and other devices of the technical drawing). But the CAD doesn't replace, because it doesn't include, that large group of theoretical principles and consequent procedures that allow the control and the modelling of the shapes of the space.
Nevertheless, being a powerful tool, much more powerful than those traditional, the CAD can provide to descriptive geometry the means to carry out procedures always more simple and general, and the means to face those problems that, before, were ignored because of their complexity. For instance: the solution of the Apollonian problem in the space finds in the accuracy of the digital representation a solution absolutely general that was impracticable with rule and compasses. The digital representation could therefore be, for descriptive geometry, what the telescope was for the astronomy in Galileo’s times and lead to an analogous process of renewal.
In conclusion, the crisis of descriptive geometry is not due to obsolescence, but rather to the lack of a strong connection or better of integration with the digital technologies, software and hardware. This integration process has already begun in the applications of descriptive geometry, even though it is far from being completed; as far as the basis research is concerned it is still in the years to come.
This book presents some first results of a research project that was carried out at Italian universities during the period 2010 - 2012 and that aims to make a contribution towards the above said integration and development process, in order to reach a renewal of the studies of the scientific representation for the architectural project and the design. The spin-offs of the results are various and include the development of new and more efficient solutions to the classic problems of descriptive geometry, the definition of standards for the interfaces of the computer-aided modelling systems and also the realization of innovative applications
Monge and the three point space resection problem: an application to the reconstruction of heights and volumes from a photograph of 1892
No full textThe purpose of photogrammetric restitution is the reconstruction of the volumes, now lost, located along the road that crosses the village, on the left side of the photo. The reconstruction of points in space from twodimensional images is possible if these photos are projective figure and we have at least two projective oriented stars. The first image is a vintage photograph, the second is a figure reconstructed from an aerial photo of AM in 1938 and from the survey of the masonry still present at the site. For the survey, one of the two projective stars is assimilated to a class of vertical straight lines. With regard to photography, the problem is decomposed into two typical phases of photogrammetric processes: the internal orientation and the absolute orientation. For the absolute orientation we used the method of the pyramid vertex which, in use since the Eighteenth Century, consists in determining the projection center from three given points of which are known the positions in space
Methods and Applications
No full textAfter all, descriptive geometry has a historically consolidated relationship with the art and the construction in general, and it could therefore not fail to be affected by the technological evolution we mentioned earlier. The classical corpus of texts on the discipline, based first of all on the representation methods, understood as the theories of the construction of the encoded image, appeared to be completely inadequate compared with the contemporary project procedure and, what is worse, it seemed unrelated to the new representation techniques of the space, while these last, at the same time, did not seem to have a basis theory of general character, but only the algorithms that permit to solve this or that particular problem.
In the academic circles, the architects who, due to changing historical events, today are the repository of the discipline of descriptive geometry, have finally seized the wish for renewal that came above all from the youth, faced, on the one hand, with a theory that does not seem to have any more applications and, on the other, with a technique that is incomprehensible, precisely because it is lacking the general concepts of a theory; now, finally, is ongoing a process of revision and renewal of the classic descriptive geometry, which is based on new definitions of the fundamentals and fulfilled through integrations and transformations of the corpus of texts on the discipline.
As we will see in a while, the integrations concern, essentially, the representation methods, while the transformations involve above all the construction procedures of the geometric shapes.
The representation methods, in general, are distinguishable for two essential reasons: the first, and the most important, is that each of the methods is able to record the characteristics of the shape and the dimension of an object in the space and, at the same time, it is able to transfer the object back into the space once it has been represented. A method, to be considered as such, must be able to perform this path, in both directions, autonomously, that is, without turning to other methods. The second reason that permits to distinguish the methods, the one from the other, concerns the use of each of them within the planning activity: the metric control, as in the case of the representation in plan and elevation, or the formal and perceptual control, as in the case of the perspective.
The information systems make use, basically, of two digital representation methods that have been called: mathematical representation and numerical or polygonal representation
Photogrammetrie et théorie de la representation en architecture
No full textLa codification des méthodes de la Géométrie Descriptive, réalisée au XIX siècle, a permis de définir de façon univoque les procédés de passage d'un objet tridimensionnel à sa représentation en plan et vice versa. Comme nous le savons tous, les méthodes de la Géométrie Descriptive permettent la représentation graphique de n'importe quel type d'objet. Cependant, dans la pratique, le projeteur se trouve dans certains cas devant des difficultés, lorsque l'idée contient des formes libres non réductibles à des éléments mathématiques (points, réseaux, plans) ou à des surfaces mathématiques (cônes, cylindres, surfaces de rotation, etc.). A ce moment là, le projeteur, même s'il n'en est pas conscient, finit par élaborer une idée nouvelle de façon à ne pas retomber dans ces difficultés et à pouvoir la représenter à son aise.
Mais il convient alors de se poser une question: la représentation d'un objet et celle d'un relevé photogrammétrique ou direct posent-elles les même problèmes? La réponse, négative, à cette demande pourrait découler d'une simple observation: le projet est la représentation d'un "objet mental", alors que le relevé est celle d'un "objet physique".Coding methods Descriptive Geometry, made in the nineteenth century, helped define unambiguously the methods of passing a three-dimensional object to its plan representation and vice versa. As we all know, the methods of Descriptive Geometry allow graphical representation of any object type. However, in practice, the designer is in some cases to difficulties, when the idea contains nonreducible free forms of mathematical elements (points, networks, shots) or mathematical surfaces (cones, cylinders, surfaces rotation, etc..). At this point, the designer, even if it is not conscious, eventually developing a new idea of how to avoid falling into these difficulties and to be able to represent at ease. But then arises a question: the representation of an object and that of a photogrammetric or direct reading they pose the same problems? The answer, no, this request could result from a simple observation: the project is the representation of a "" mental object "," while the statement is that of a "" physical object ".
Metodi e tecniche della rappresentazione digitale
No full textTeoria, è una parola che non si usa più da molti anni. Eppure la teoria è una forma di conoscenza assai utile, perché permette di imparare rapidamente e padroneggiare la applicazioni che ne derivano. Chi conosce una teoria, apprende le tecniche che ne discendono con facilità, perché sperimenta, nella pratica, concetti e idee del tutto generali che gli sono già noti e, trovandone conferma, li rafforza.
Negli anni passati, la teoria che sosteneva la rappresentazione del progetto era la geometria descrittiva, l’unica scienza che sia oggi patrimonio esclusivo degli architetti . Poi, sul finire degli anni ottanta, sono arrivate le prime applicazioni informatiche capaci di rappresentare le forme a tre dimensioni e l’interesse per queste ultime ha offuscato l’antica scienza, che è apparsa sempre più obsoleta. Ma le applicazioni informatiche della geometria descrittiva sono state divulgate in una forma esclusivamente applicativa, affatto prive di una teoria della rappresentazione.Theory, it is a word that is no longer used for many years. Yet the theory is a form of knowledge very useful, because it allows you to quickly learn and master the applications that come with it. Who knows a theory, learned the techniques that follow with ease, because experiences in practice concepts and ideas of all general that are already known and, finding confirms them rafforza.Negli past years, the theory that the representation of the project was descriptive geometry, the only science that is now the exclusive property of architects. Then, at the end of the eighties, came the first computer applications capable of representing shapes in three dimensions and interest in the latter has clouded the ancient science, who has appeared increasingly obsolete. But the applications of descriptive geometry have been provided in an application form only, not devoid of a theory of representation
La geometria descrittiva nell'era informatica
No full textThe possibility to draw in a three-dimensional space, given by the digital modelling software, offers to descriptive geometry some new developments, both theoretical and application-oriented, after a long period of evolutionary stagnation, like that of the second half of the twentieth-century. From this point of view the computer has, for the descriptive geometry, a potential similar to the one that the tools of the modern technology have for any science. To demonstrate these premises, we will discuss the Problem of Apollonius, in the plane and in the space, showing how the quality of the logical and operational representation tools has conditioned the solutions given during the course of History and how, instead, this same problem is, today, susceptible to a solution quick and powerful because of its generality. We will also show how the heuristic potential of descriptive geometry, emphasized by Monge as one of the highest merits of this science, is exalted by the use of the new techniques: “in that sense, descriptive geometry is a means in the search for scientific truth and it offers perpetual examples of the passing from what is known to what is unknown...
Nuovi contributi del rilevamento assistito dal computer per la conoscenza delle tecniche costruttive - Dialogo sotto una cupola
No full textIntervento al Convegno 'La trasmissione delle idee dell'Architettura', tenuto a presso l'Università degli Studi di Udine nel 1988. Si descrive il rilevamento dell'apparato murario della cupola che copre l'Ottagono di Simon Mago, nella Basilica di San Pietro a Roma.Speech at the conference 'The transmission of ideas Architecture', held at the University of Udine in 1988. It describes the detection apparatus walls of the dome that covers the Octagon of Simon Magus, in St. Peter's Basilica in Rome
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