1,724,656 research outputs found
An Archeology of Global Images’ Languages: The Picturesque Case/ Per una archeologia dei linguaggi figurativi globali: il caso del Pittoresco
No full textThe book by Timothy Brook, Vermeer’s Hat, The Seventeenth Century and the Dawn of the Global World (2009) shows how in that age, a lot of handcrafts – such as hats and porcelain – entered Europe through the massive trading activities of Dutch East India Company. To illustrate this, he conducts an in-depth analysis of Vermeer’s canvases. Brook’s inquiry therefore shifts the dawn of the globalized world – a marker of our contemporary age – to a time when some countries brought to life a world where a network of connections and exchange was arising in a way never seen before.
The Age of Discovery was over, and the Age of Imperialism was still to come. Meanwhile, when trading and cultural exchange began, the “translation” of languages from one world to another was required for understanding and eventually integration. First the Dutch and then the English adopted an image language capable of describing both new worlds and home environments in the same way, thus making new situations and different landscapes easy to access and understand for people viewing them in the homeland. There was therefore a sort of “transmigration”, an attempt to adapt visual codes the Picturesque to overseas environments and landscapes. In other words, well-established pictorial codes were employed as a “lens” to look at a unique, faraway place. For a long time, up to the invention of photography, the Picturesque was the global language used to make even very faraway, exotic places familiar, and in doing so, re-inventing overseas landscapes through the European cultural matrix.
This paper uses several iconographic cases to illustrate how the Picturesque became a global code, a kind of “common language” representing different, faraway cultures through a Western pictorial language
Drawings, maps and maquettes. Plan-relief landscape depiction
Get PDFOver the XVIII Century, different representation techniques combined on a map, i.e at the same time orthogonal projections and perspective view, try to simulate a tridimensional image definitely useful for better understanding and recognizing a place. These representation techniques, even when employed in that time to make war or to state nation boundaries, depict landscape exploiting visual parameters, fixing on maps and drawings very bright colors, shades and tones of objects, coupled with their exact position on the land.
Within this framework, the Plan-Relief, which literally means “Relief Map”, is a physical model of a place and can be considered as a case for a very detailed description of landscape and territory in order to get the utmost clarity.
Taking in consideration the background, the paper aims mostly to show and illustrate the techniques of landscape drawing and survey, how they had been applied in the several steps required for the design and realization of Plans-Reliefs, particularly focusing on the procedures for providing maps and elevation needed for building the physical model.
The analysis about techniques of representation employed in realizing Plans-Reliefs can further allow a comparison with landscape representation nowadays: in fact, after a long time it has been mostly grounded in metrical and geometrical parameters, landscape representation seems to turn again to a perceptual and pictorial criterion
IMAGIN(G) HERITAGE
No full textThe fourth biennial meeting of the conferences organized by IMG-Network was held at the University of L’Aquila, on July 6th and 7th, 2023, under the direction of Stefano Brusaporci. The theme chosen for this edition of the International and Interdisciplinary Conference on Image and Imagination was dedicated to IMAGIN(G) HERITAGE, a context that combines two very broad fields of research –those of Heritage and Images related to it– in the plurality of variations that this relationship can encompass
Gli spazi e le immagini: tra materiale e immateriale
Get PDFThis contribution aims to discuss the changes in the idea of space today, starting by observing what is occurring in the urban space. This one is more and more shifting to a kind of “mediated” space, able to connect the real experience of a place to a simultaneous potential to receive digital texts and images even if we pass through that place only.
So, space seems today able to permit at the same time a local experience and, by digital devices, get in touch to a global dimension.
So, this contribution faces such considerations and seeks to open a discussion about digital technologies for creating images, not from the application point of view, rather than considering the epistemic changes introduced in the contemporary spatiality by technologies themselves.
If the built space, in fact, seems to be more and more a “hybrid space”, we are likely to face a new kind of heterotopy, where tangible aspects of buildings and intangible networks appear deeply intertwined. In other words, the physical space till now described by geometrical and measurable structures shifts to the digital one, in which the subjective perception turns out “augmented” by images’ flow.
The images are actually able, based on their feature, to generate interpretative processes, to create collective imaginaries
La valorizzazione dei paesaggi culturali attraverso il digitale | Enhancing cultural landscapes by digital resources
No full textEnhancing Not-outstanding Cultural Landscapes in a European Perspective: a Challenge for Digitization
No full textItaly, like Europe, is marked by the presence of areas, placed in different geographical
zones, but with similar characteristics in abandonment or trends in the housing surplus,
and in a state of incipient decay. These areas are often characterized by a rich history of
anthropic elements of widespread cultural heritage, although intangible, which developed
the many local identities.
In order to regenerate such areas, the paper asks which possibility is now providing
digitization, considering not only translating analog information into digital copies
(texts, images, drawings, maps, data sets, funds audio/video, etc.) but above all looking
carefully at manifold solutions able to cope a growing demand for social inclusion
expressed through cultural heritage
Re-imagining Spaces and Places. Spatial Imaginary Methods: The Creative Process and Iconographic Circulation
No full textIn the field of architecture training, studies on the perception of shape and spatial conception play a key role, especially for the education aspects focused on acquiring awareness of the qualitative and quantitative dimensions of spaces, as well as on their transformation governed by design creativity.
This educational process is extensively based on the use of images, following a dual path of figural elaboration and reception; at the same time, the intensive use of icons acts as an interface in the creation of a spatial imaginary that goes beyond technical-specialist training and reaches the cultural and creative sphere, specific to an era.
Therefore, spatial imaginary is rooted in a solid instrumental and geometric-configurational foundation, which shapes buildings and spaces, also resorting to the figurative world and to the creative and cultural sensitivity that the subject draws from society.
However, the spatial imaginary of an architecture does not concern solely the construction of the work, since in turn it generates new images and feeds different and transdisciplinary imaginaries.
Cultural and physical contexts, such as cities, places or buildings, can be evoked, interpreted or represented in artistic or literary works, thus triggering the possibility of re-imagining space.
The article attempts to explore the different levels of spatial imaginary, referencing a case study, and to identify the innovative elements introduced into the iconic-spatial process by recent digital technologies for processing images and their circulation on the web
Representing Identity and Contradictions of Contemporary Landscape
No full textAs Robert Venturi wrote, the main job for an architect consists in organizing conventional parts as a unitary system by skillfully introducing new elements where the old ones prove to be unsuitable (Complexity and Contradiction in Architecture, ed. it.,). In the light of the foregoing, the concept of Venturi is effective both in analysis and in design project and can be applied to contemporary landscape where it is considered for its complexity: in other words both when we look at landscape as an identity place and as a result of manifold and sometimes contradictory changes. So, if the European Convention of Landscape [5] calls on people living a territory to take care of their own landscape, preserving the identity, it’s also possible to look at landscape as a complex problem, as layering of various historical traces, in other words, as a palimpsest. In order to decode the parts characterizing such system, distinguishing or proposing new elements regard the old and unsuitable ones, employing methods, tools and technologies of landscape representation is crucial, both to reveal the identity and to clarify the contradictions; especially Virtual Reality and Augmented Reality allow today to effectively visualize past changes and anticipate forthcoming projects
- …
