1,721,223 research outputs found
RILEVARE ARCHITETTURA. Sperimentazioni metrico-percettive sulla Cattedrale di Bitonto.
No full textThe research is an experimentation about metric and perceptual interpretation of one of the most important medieval
monumental buildings: the cathedral of Bitonto.
A complete survey of the studied building has been done. Taking advantage of the potentiality of the Total Station, conceived
as an eye’s prosthesis, it is selected each notable point of the architectonic shape from the modelled material through the
topographic instrument.
While trying to make the acquisition processes coinciding with the perceptive ones, the survey strategy has been set up throught the definition (production and building) of a numeric model, which, besides being a metrically correct representation of the investigated reality, could be considered the result of a perceptive experience capable of generating new images
IL FOTOINSERIMENTO COME STRUMENTO RILEVATORE DI VALORI PAESAGGISTICI. La gravina di Palagianello
No full textThe interpretation and observation of the place has always represented the base of the survey activities aimed at understanding, in preparation for a transformation. Understand and reveal the value contained in a landscape certainly can go through its the simple observation; but understanding, reveal and enhance these values is instead the task of the Architect. The photographic elaboration is the instrument that best suits the need to “block” the ideas without depriving them of the spontaneity with which they are born. A few elements: a photograph studied, a neutral texture and a perspective grid are invariants with which to devolop a visual thought about the landascape
SVUOTARE LE IMMAGINI. Il disegno come dispositivo di rilevazione della profondità superficiale
No full textLA STRATEGIA D'AZIONE NEL RILIEVO INDIRETTO. Sperimentazioni metrico-percettive sulla Cattedrale di Bitonto.
No full textI PROPILEI DI PIAZZA DUOMO A LECCE. Visualità e teatralità dello spazio urbano
No full textThe local institutions of Salento have long been promoting the candidacy of the Barocco Salentino as world cultural heritage. This initiative can be considered as an occasion for the valorization, conservation and development of the territory through its important architecture. The subject of this study does not rest on the historical and stylistic features of the Barocco Salentino, but aims to highlight the value that some architectural features have in participating to the urban scenery of the city of Lecce. In particular, the Propylaea of Piazza Duomo are studied through a morphological analysis of this architectural “device”, unique for its geometrical-structural value and the peculiar configuration it has in the urban context into which it is included
VERSO UNA COMPLESSITÀ. Teoria e rappresentazione in Le Corbusier e Robert Venturi
No full textIn 1966 the MoMA (Museum of Modern Arts), in collaboration with the Graham
Foundation for Advanced Studies in Chicago, published for the first time the book
Complexity and Contradiction in Architecture by Robert Venturi. In the introduction,
the historian Vincent Scully resolutely defines the book as the most important work on
how to make architecture after the book Vers une Architecture by Le Corbusier in 1923.
Scully also clarifies how deeply Venturi’s training and ideas were influenced by a deep
knowledge of the literature and the architecture of the Swiss architect. Nonetheless, his
theories appear to be opposite to those of Le Corbusier. In fact, to the noble purism of
individual buildings and the city as a whole, Venturi responds instead by accepting the
contradictions and complexity of urban experience at all levels. But Vers une Architecture
and Complexity and Contradiction in Architecture are both works realised by architects
who truly learnt from the architectures of the past. This concept immediately transpires
from the pages of the two books, which, as Scully points out, are complementary to each
other and essentially very similar.
Indeed, the two architects share a comprehensive and participatory knowledge of their
own Time, as well as of the ancient world; this awareness of the Present Time and its
ongoing needs and mutations has made them capable of Translating and Transforming
experiences into architectural work.
Starting from this reflection, the presented contribution realises a double path of an
analysis of the cited texts, aiming to highlight the similarities in the process of elaboration,
and communication of architectural theory of one of each.
Ultimately, the work we propose is an attempt to reread the architectural thought of
the two authors. The research follows the traces of what in their respective books
constitutes the immaterial dialogue between images and words, even more precisely
between gesture and word, that each of them has made to organize, write and conceive
their book
FROM ORNAMENT TO THE CITY. The teaching of Eugène Grasset within the urban design of Le Corbusier. DALL'ORNAMENTO ALLA CITTà . L'insegnamento di Eugène Grasset nel disegno urbano di Le Corbusier
No full textLe Corbusier presents for the first time the Plan de la Ville de 3 millions d’habitants in 1922 at
the Salon d’Automne. At that time the Swiss architect had already completed an important part
of his artistic training. His training started at the École d’Art municipal in his native town La
Chaux–de–Fonds, and continued in his two important training trips in Northern Italy, Vienna
and Paris, between 1907–1909; and in Germany and the East between 1910–1911. The young
Jeanneret, during these four years of intense research, starts, slowly and painfully, a profound revision
of the teachings received from the master Charles L’Eplattenier on the value of ornament.
Le Corbusier becomes increasingly critical and projected towards the search for the architecture
of tomorrow, coming to repudiate decorative art in 1925 through the homonymous book in
which he explains his reasons in detail. Starting from these two elements, in this paper we aim to
understand how the lessons learned by the young Le Corbusier about ornament and geometry,
are also to be found in his later work and specifically in the conception of this urban design. The
Plan de la Ville de 3 millions d’habitants seems to be build on a warp that geometrically controls
the plot and defines the urban layout. Similarly, the exercises reported in Méthode de composition
ornementale by Eugène Grasset, a book on which Jenneret himself read extensively, reveal the
geometric–compositional method applied to obtain new decorative drawings. By decoding the
method applied by Grasset for the design of two–dimensional ornaments, we intend to reveal
the geometric matrices and the stratifications of urban patterns adopted by Le Corbusier for the
layout of the Plan de la Ville de 3 millions d’habitants
Depicting and transfiguring informal constructions in Albania
No full textThis visual research on the informal constructions built in Albania after the fall of the Socialist regime was born as a response to a landscape problem afflicting this territory. When the 1990s migratory wave found coastal towns unprepared, the growth of housing needs created a new type of land organization based on a parasitic exploitation along the coast road, where concrete frame buildings popped up. The beauty of the Albanian landscape seems to be equivocally corrupted by the rigid reinforced concrete skeletons that measure territorial distances and scatter the view, brutally framed by structures or scratched by hovering concrete landings, in fragments. There is a need to become aware of this reality that can not be demolished or ignored. Architecture needs to reflect and find out new visions to innovate their relationship withcontext/environment/landscape and ways of occupying/using/reusing and even completing the unfinished construction works
JHON HEJDUK AND THE DESIGN METHOD IN HIS WORK. FROM NINE SQUARE GRID PROBLEM TO TEXAS HOUSES
No full textFor John Hejduk, the single-family house is an area in which to develop a new representative code. In our research we want to highlight the ordering role that the scheme played in the figurative processes he used. Starting from the series of images of the Texas Houses a sequence of figurative actions has been identified that, using basic principles and elementary geometries, could reconstruct the formal genesis of the planimetric plants.
The resulting taxonomy allows the comparison of the generative processes of the figures and the identification of spatial categories
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