1,721,122 research outputs found
Architettura religiosa e committenza nella Brescia post-tridentina. Il contributo di Giuseppe Dattaro tra dinamiche progettuali e intuizioni innovative
Full text linkThe current paper concerns events related to the design of the Pontevico and Verolanuova churches, which were started during the last decades of the 16th century. The fiefs, located in the area today known as Bassa Bresciana, were under the jurisdiction of the Gambara family, who were feudal lords with extensive properties in the areas between Brescia and Cremona. Recent archival research attests the contribution of architect Giuseppe Dattaro from Cremona in both church projects and confirms contacts between Giuseppe Dattaro and Nicolò Gambara. Dattaro applied innovative solutions for the religious architectural context of Brescia: in such contests, he experimented with the design of elliptical domes and developed interesting design solutions to integrate collegiate church space, especially in the Verolanuova site, also paying attention to musical and choir needs. Thanks to the Gambara family patronage, also in the architectural design of Pontevico and Verolanuova churchs, Dattaro refined his technical skills before arriving in Mantua to work for Vincenzo I Gonzaga (1590-1595). Through analysis of these two architectural examples, the paper aims to recognize the role of Brescia in the architectural context of Northern Italy during the second half of the 16th century.In chiusura del Cinquecento anche Brescia si interroga sull’urgenza di aggiornare le proprie architetture religiose. Proprio all’interno di questo quadro d’azione, si intende dar notizia di due cantieri ancora poco noti: quello della parrocchiale di Pontevico e della collegiata di Verolanuova, feudi collocati nell’area oggi nota come Bassa Bresciana, sotto la giurisdizione dei nobili Gambara.Inedite carte d’archivio consentono di attribuire al cremonese Giuseppe Dattaro sia la stesura dei grafici iniziali sia la conduzione del cantiere pontevichese (dal 1583), attestando un suo concreto apporto anche al disegno della chiesa di Verolanuova. Le fabbriche in esame divengono occasione per la messa a programma di soluzioni innovative in grado di arricchire le capacità professionali e ideative finora attribuite a Dattaro grazie alla formulazione di proposte per coperture ellittiche e riflessioni sull’integrazione tra organismo architettonico e spazi per la musica e il canto confermando, al contempo, quanto la vivacità dei territori di confine favorisca la nascita di opportunità progettuali che contribuiscono a garantire a Brescia un ruolo primario nell’ambito del rinnovamento del linguaggio architettonico e artistico del secondo Cinquecento padano. Il mecenatismo di casa Gambara, inoltre, concorre a rafforzare il legame tra il cremonese e la sfera gonzaghesca preparandolo al successivo ruolo di prefetto delle fabbriche mantovane del duca Vincenzo I (1590-1595)
Filippo Juvarra e l’architettura religiosa a Brescia nel primo Settecento. Il caso esemplare del Duomo nuovo tra architettura e tecnica
No full textIl saggio indaga le ricadute dei pareri di Filippo Juvarra (1729) sul cantiere del Duomo Nuovo di Brescia, con particolare attenzione alla realizzazione delle colonne marmoree destinate a reggere il grande nucleo cupolato. Lo studio, che riconsidera sotto nuova luce i documenti noti avvalendosi altresì dell’apporto di carte inedite e di aggiornate tecniche di rilievo con laser-scanner, evidenzia come e quanto le indicazioni juvarriane abbiano influito sulle scelte progettuali e costruttive della cattedrale bresciana anche molti anni dopo l'intervento del maestro
Experimental investigation on mechanical behaviour of natural pozzolana lime mortars step for the design of structural repair of historical buildings
No full text
Natural Pozzolanic Mortars. Ancient Indications for Modern Working Capacity
No full textThe paper deals with the mechanical behavior of lime mortar with natural pozzolana, widely used in historical masonry. The research undertaken at the University of Brescia, demonstrated how the use of pozzolana in the mortar was well known by architects and engineers since the II-I century b.C.. The first information about the use of this material can be found in Vitruvius’ De Architectura. Later, many authors referred to pozzolana in their architectural treatises as well, but they didn’t give practical and technical information on the use of this volcanic material. Only between the end of the XVIII and the first half of the XIX century, up to the Sixties, architects and engineers turned their attention to the practical uses of this volcanic material. From the mechanical point of view, the effectiveness of pozzolana, as
natural addictive for mortar, is strictly connected to its chemical and physical characteristics. The power of the pozzolanic reaction derives, as a matter of fact, from different aspects: the main features are the dimension of the pozzolana grains and the percentage of the different chemical component of the pozzolana. The first one depends on the mining method and the next grinding of the pozzolana, the second one hinges on the geological nature of the volcanic material. The study aims at investigating the large unevenness of these parameters
and tries to provide first mechanical indications needful for using pozzolanic mortars
Lime mortar with natural pozzolana: historical issues and mechanical behavior
No full textThe paper deals with the investigation of the mechanical behavior of lime mortar enriched with natural pozzolana, widely used in historical masonry. The study aims to investigate the mechanical behavior of natural pozzolana lime mortars, reproduced in laboratory by using different mix designs, as reported in historical Italian architectural treatises, and natural pozzolana coming from Viterbo (Italy). To this purpose, the works of many among the most important authors from the Ist century b.C. up to 1864 have been analyzed, in order to collect
historical mix designs of pozzolana lime mortars. A set of different mortars was prepared and tested with respect to the new European Standards (EN 459, 2002). Flexural and compression tests were performed following EN 1015-11 (2007). Mechanical tests were performed after 28 days and 60 days of curing. Penetration tests, not included in European Standards but very suitable for practical applications, was also performed
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
- …
