Hasil untuk "Architectural drawing and design"

Paolo Belardi, Massimiliano Marianelli, Giovanna Ramaccini et al.

The concept of the sacred can be perhaps broadened by comparing it with its opposite, revealing new meanings. If the term profane etymologically refers to the need to “stand outside the temple” (from the Latin pro-fanus, literally “in front of the temple”) then, on the contrary, the concept of sacred refers to the need to stay within a confined space identified precisely in the “enclosure” (the root of the Latin templum is associated with the Greek term τέμενος, meaning “sacred enclosure”). This interpretation highlights an aspect of sacredness that implicitly recalls elements of architectural composition, such as limitation, form and material, variously declined according to the specific context. That said, can contemporary didactic experience measure itself against the ability to give an aesthetic-compositional response to man’s innate need to relate to the absolute?  This is the meaning of “Polvese Chapels” initiative (inspired by the exhibition Vatican Chapels presented at the 16th International Architecture Exhibition in Venice), conceived with the aim of investigating a compositional-design theme, that of the sacred chapel, in relation to a specific naturalistic-environmental context, that of Polvese Island (now a major tourist destination) imagining its transformation into a place for introspective and silent meditation.

Maria Federica Ottone

A red thread intertwines the narration of the characters who marked the history of architecture in the last century. On the one hand this thread leads to considering the architect as the victim of a “cynical and cheating” world to which he seems inevitably subjected; on the other hand, to reconsidering the role of some important architects who gave architecture a “political” meaning, that went beyond the object of his own production. In demonstrating this thesis, the author of the book resurrects slogans such as «architecture as goods at the service of the capital» or as “supplying” architects (Benjamin) or those who «conform to habit, who wearily repeat the already known», in a sort of servile compliance with laws of capitalism and economics. The text of Biraghi thus tells the story of a discipline, namely that of architecture, through those characters who most represented a way of operating strongly inspired by ideology and criticism of the real world, to find desecrating or clearly utopian forms, despite everything, of reading phenomena and proposing alternative exits. The list of quotes and characters (known and less well known) who represented this nonconformist attitude is very long and this short text would not be enough to underline how thorough the research carried out by the author has been. Contextually the body of the bibliographic apparatus should be pointed out, which attests the importance, within the editorial panorama, of a current of thought linked to the principle of disciplinary “autonomy”, and which makes us understand how much the detachment from reality and its development dynamics has been deliberately planned and achieved. In particular, the figure of Pier Vittorio Aureli is highlighted, and rightly so, as emblematic of a provocative attitude taken to the extreme. The reading of this story is then accompanied into the background by the figure of Manfredo Tafuri, whose quotations always appear very lucid, but a lucidity that sometimes reveals a slight cynicism; as if, having understood the turn that the intellectual architect was taking, he would sit in a corner waiting to watch him die. Death which Tafuri himself clearly announces and which, unfortunately, took place: «the death of architecture as a system of practices, as a profession that traditionally holds at its core the idea of designing and organizing space». Nevertheless, it was not death, but a radical change that has yet to be completed. The awareness arises that the intellectual architect can no longer be allowed to perpetuate his function as a critical observer, without participating by right, and by virtue of his training opened to confrontation and strongly generalist (the schools of architecture have opted for a so-called “fan” training), to the dynamics of reconstruction of his own country. Of course, it is obvious to say that the figure of the architect is inextricably linked to his “political” role, but it is worth reiterating it even in the event that it is posed with a spirit of service. A quote from Giancarlo De Carlo reveals the reasons why architecture hardly interests anyone, clients and much less as “goods”: «it doesn’t interest ordinary people because it doesn’t offer anything that interests their expectations». Therefore, according to a more current orientation and corresponding to the pro-European logic, the “necessity”1 as a “political” category should be re-evaluated today: the need to build and rebuild, the need to change housing models, the need to design open spaces, the need to work socially to sharing our ideas, the need to appropriate new technologies in order to take the role that belongs to us, the need to confront ourselves with current issues: two of which, environment and health. In the final part of the book, the author begins to play in this new reality, trying to extricate himself from the “complexities and contradictions” that emerged at the beginning of the century: division of labor and specialisms, processes, technologies, loss of authorship. What emerges as an interpretation is the split between the figure of the architect-producer and the architect-supplier, the first capable of having a leading position within the design processes, the other as a mere executor of products (goods) within an economic dynamic aimed at satisfying substantially ordinary needs. After all, Cristiano Toraldo di Francia in an interview that traces the years of his militancy as an intellectual architect, disenchantedly affirms that «mass intellectual production is a real thing, in a certain sense utopia has come true»2. What is certain is that the history of architecture had been written through this double register, and looking at the producers alone, we would have missed many architectural works made by supplying architects, without giving up anything of their quality or professional ethicsas their primary objective to respond to people’s expectations, despite the market conditions to which they were subjected. We refer to figures such as Luigi Moretti, Giuseppe Vaccaro, Marcello Piacentini, Mario Fiorentino, Roberto Gabetti and Aimaro Isola, and others who have worked with awareness within a productive logic without giving up shares of quality and professional ethic. A question arises: could the excess of introspective and self-referential analysis have contributed to the loss of interest in architecture?

Paolo Di Nardo

I numerosi progetti dell'area fiorentina esplicano in maniera chiara il linguaggio architettonico e la cura nella scelta ed uso dei materiali, oltre a quella particolare attenzione del progettista alla composizione, di cui il progetto per il nuovo edificio residenziale a Novoli, a Firenze, ne è la conferma.

Hatice TOZUN, Nadide ÇINAR

Derinin kullanımı, insanoğlunun evrimiyle paralel olarak gelişmiştir. İnsanlar derinin sahip olduğu eşsiz özelliklerden yararlanmışlar ve bu hazır hammaddeyi çok çeşitli amaçlar için kullanmışlardır. Deri, hayvan postlarının dermis tabakasından elde edilen doğal ve dayanıklı bir malzemedir. Bu hayvansal ürünün tamamı protein kolajeninden oluştuğundan, gücünü onu oluşturan kolajen liflerinden almaktadır. Deri nesneler hayvanların derileri, dokuları ve iç zarları kullanılarak yapılan eserleri kapsamaktadır. Çeşitli yöntemlerle tabaklanan derilerden yapılan eserlerin yanı sıra parşömen, bağırsaklar veya ham deriden üretilen nesnelerden oluşmaktadır. Bu eserler günümüzde kültürel miras niteliğindedir. Müzelerde ve kütüphanelerde çeşitli koruma ihtiyacı olan giyimden kitap ciltlerine kadar çok sayıda tarihi deri eser bulunmaktadır. Ancak tüm organik kaynaklı ürünlerde olduğu gibi deride, doğal çürüme sürecinin bir parçasıdır ve uzun vadede stabil olarak kabul edilmemektedir. Hayvandan yüzüldüğü andan itibaren bozulma eğiliminde olan deri, aktif veya pasif konservasyon yöntemleri uygulanarak korunmaktadır. Her bir koruma tedavisi derinin özgün yapısına göre özel çözümler gerektirdiğinden, derinin tedavi seçenekleri sınırlıdır. Bu nedenle deride uygulanan her bir koruma müdahalesinin seçimi önemli bir konudur. Bu araştırmada koruma literatüründen elde edilen veriler derlenerek, aktif konservasyon uygulamaları arasında yer alan tamamlama yöntemi incelenmiştir. Tamamlamanın, deri eserlerde hangi teknikler ve malzemelerle uygulandığını belirlemek amacıyla yapılmıştır. Bu amaç doğrultusunda tamamlama yöntemi koruma kuramlarına göre değerlendirilerek Carta Del Restauro (1931), Venedik Tüzüğü (1961)’ de belirlenmiş olan ilke ve esaslara göre gruplandırılmıştır. Derinin sağlamlaştırılması ve eserde mevcut olan parça kayıplarının onarımında kullanılan malzeme ve teknikler tespit edilmiştir. Deri, tekstil, kâğıt, dolgu ve kaplama malzemeleri, doğal yapıştırıcılar veya çeşitli karışımlarla hazırlanan yapıştırıcılar kullanılmaktadır. Eserin korunmuşluk durumuna, tarihsel, teknik ve sanatsal önemine, eksik alanların boyutu ve niteliğine göre farklı teknikler uygulanmaktadır. Kısmi veya destek, biçimsel, dekoratif, mimetik tamamlama gibi tekniklerle deri eserler onarılmaktadır. Uzun yıllar geleneksel yöntemlerle yapılan deri onarımları, teknolojinin gelişmesiyle yeni teknik ve malzemelerle ekollere bağlı olarak sürdürülmektedir. Deri eserlerin korunması açısından önemli görülen çalışmanın, alana katkı sağlayacağı düşünülmektedir.

Maurizio Carta

"Want to act", as stated in the introduction of Maurizio Carta's book, represents the possible social and urbanistic reaction deriving from a series of reflections on future challenges, which can be identified through a different way of conceiving the present itself.

Rabia KÖSE DOĞAN, Mehmet NORASLI

Eğitim, gelişen toplumlar yetiştirebilmek için düşünülmesi gereken en önemli kavramlardan biridir. Bir konuda bilgi ve beceri kazandırma, yetiştirme ve geliştirme işi olan eğitimde, öğrenim kavramı önemli yer tutmaktadır. Öğrenim, belli durumlar ve sorunlar karşısında tepki ve davranış oluşturma, gerektiğinde bunları değiştirip yenilerini edinebilme yeteneğidir. Deneyimsel öğrenme ise; eğitim etkinlikleriyle, somut deneyimden yansıtıcı gözleme ve sonra soyut kavramsallaştırmadan aktif deneyime doğru bir yapılanmadır. Mekânsal algı kapsamında, aidiyetliğin oluşması, mekanı daha elverişli kullanmamızı sağlamaktadır. Tasarım eğitiminde atölyelerin kişilere aidiyetlik katması, daha nitelikli işlerin çıkmasını sağlamaktadır. Bu bağlamda, Selçuk Üniversitesi, Güzel Sanatlar Fakültesi, İç Mimarlık ve Çevre Tasarımı Bölümü, 2017-2018 Eğitim-Öğretim Bahar Dönemi, Yapı Projesi dersi kapsamında 4.sınıf öğrencileriyle birlikte, fakültede bulunan derslikler ve atölyeler, iç mimarlık eğitiminde deneyimleyerek öğrenme kapsamında tasarlanıp uygulamaya dönüştürülmüştür. Çalışma kapsamında, Z16 ve 247 numaralı iki faklı atölye, öğrenciler tarafından kullanım ihtiyaçları belirlenerek tasarlanmış, bu tasarıma uygun olarak malzeme temin süreci ve uygulaması gerçekleşmiştir. Atölyeler, geri dönüşümlü malzemelerin yeniden işlevlendirilerek, kullanıma kazandırılması esasına dayalı olarak tasarlanmıştır. Çalışmanın amacı ise, tasarım eğitiminde teorikte kalan bilgilerin, meslek pratiğine aktarılmasıdır. Sonuç olarak; lisans düzeyindeki öğrenciler, düşündükleri tasarımları uygulayarak, süreci deneyimleme imkanı bulmuşlardır. Ayrıca öğrenciler tasarım ve uygulama esnasında, ekip olarak çalışmayı öğrenerek, birlikte karar verme becerilerini ve paylaşım yeteneklerini geliştirmişlerdir. Yapılan uygulama; iç mimarlık disiplini içindeki ve dışındaki öğrencilere, öğretim elemanlarına ve ziyaretçilere örnek teşkil edecek düzeydedir.

Marinella Ferrara, Chiara Lecce

The Mediterranean scenario does not stop to attract our interest and attention. We believe it is essential today to generate a convergence of actions that promotes creativity and innovation in this region, looking at the future of youth, by breaking the barriers of differences and misunderstandings between the various national realities and making the most of the difference in understanding the other. PAD #16 issue deals with the design research and practices for the Mediterranean region, according to the vision of young creative innovators, in line with the previous #14 and #15 issues. It closes the trilogy of these last three issues to launch a new way of looking at the Mediterranean challenges. We decided to shed light on the potential of the new globalized generation who wishes to take control of their future. It is by supporting the innovation capacity of youth that we will be able to advance the actual Mediterranean reality and open new perspectives on the future...

Ana Isabel de Sá, Michele Brito, Christian Rezende Freitas et al.

<p class="Pa2">This article presents the urban research platform IndAtlas, currently in development by UFMG’s Research Group Indisciplinar. Through the association of crowdsourcing tools, a spatial database and visualizations, it is intended to create a Web platform for collecting, analyzing and depicting information about urban spaces. It is proposed that the phenomena (themes) investigated are approached mainly from four axes: 1) spatial / territorial; 2) temporal; 3) social; 4) communicational.</p><p>The article will address the development of Indisciplinar’s working method, which guided the proposal of the platform, as well as the functional and technical aspects to be observed for its implementation. Finally, the inquiries derived from the first test experiment of an IndAtlas test prototype will be presented.</p><p>DOI: <a href="https://doi.org/10.20365/disegnarecon.20.2018.2" rel="noopener" target="_blank">https://doi.org/10.20365/disegnarecon.20.2018.2</a></p>

Paola Boarin, Marta Calzolari, Pietromaria Davoli

This paper evaluates the influence of timber construction on architectural design through a critical analysis and comparison between two environmental and building contexts that are culturally and geographically different from one another:  the experience of the former British colonies, represented by New Zealand, and the Mediterranean one, described by Italy. This comparison moves through the investigation on three themes: the cultural value of the construction process; the performance realm (environmental, energy and seismic ones as firsts); the design dimension. The contribution underlines divergences and similarities of the technological culture of design in two countries that share similar requirements regarding post-earthquake reconstruction.

Noor Mens

Boekbespreking van een boek geschreven door Ivan Nio, Arnold Reijndorp, Wouter Veldhuis, Anita Blom en Hein Coumou.

Paolo Di Pietro Martinelli, Lorenzo Martelli, Manfredi Scanagatta

<p> </p><p><span> </span>Fort360 project is a cultural initiative that receives the main directives of edutainment processes, trying to provide an answer to the necessity of a capillary system of information and awareness about the dismissing cultural heritage. </p><p>The proposed study – carried out in the Fort Bravetta, Rome – presents a video where the educational aspect, related to the historical and architectural site contents, is strictly connected with the playful and emotional quality, resulted from a VR interaction with a panoramic video. </p><p>This first case study focuses on the use of low-cost digital instrumentation and tries to improve the value of culture from the bottom, proposing an alternative way of cultural heritage enjoyment, based on participation and on interdisciplinarity of the proposed contents.</p>

Romano Del Nord

University hospitals are characterized by the coexistence of care, research and training facilities and by the mission to achieve excellent results in the healthcare services provided. These activities, which are respectively subordinate to the Hospitals and University Institutions of Medicine, reach their maximum level of efficiency when programmed and managed with the principles of maximum integration and synergy in organizational, functional and, not least, physical and spatial terms. Based on this knowledge, a group of researchers from the Interuniversity Centre TESIS developed a PRIN research project – this article summarizes its contents and results – aimed at defining the design approach principles on the basis of which to work out innovative solutions to be tested in the creation of Cities of Health, IRCCSs (Scientific Institutes for Research, Hospitalization and Health Care) and Hospitals of excellence.

Stefano Bertocci, Giovanni Minutoli, Giovanni Pancani

La Pieve di San Pietro a Romena si trova nel comune<br />di Pratovecchio, nella vallata casentinese. La sua edificazione<br />risale, basandosi su quanto scolpito su di un<br />capitello, al 1152 d.C. per volere di Matilde di Canossa,<br />si tratta quindi di un edificio romanico, anche se dell’edificio<br />originario in realtà non resta molto, anche a causa<br />dei molti terremoti che hanno interessato la vallata.<br />Sulla base di quanto richiesto dal DM 01/2008 sulle costruzioni<br />l’analisi del monumento è stata fatta seguendo<br />vari step conoscitivi: una corretta analisi delle fonti storiche<br />d’archivio per condurre le prime ipotesi di sviluppo<br />dell’edificio, un rilievo laser scanner in modo da avere<br />un rilievo molto affidabile. Sulla base della nuvola di<br />punti sono state ottenute tutte le sezioni e i prospetti<br />necessari a descrivere l’edificio e a completare l’analisi<br />con gli elaborati materici, dei fotopiani, dei degradi superficiali.<br />Parallelamente si è portata avanti l’analisi stratigrafica<br />sulla pieve, utile a capire come l’edificio è stato<br />concepito e quali trasformazioni ha subito nel tempo, in<br />modo poi da impostare il progetto di restauro.

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Pietro Capone

Il tema del presente contributo si inserisce a cavallo di due filoni di studi propri del Construction Management: la Sicurezza Cantieri e la Costruibilità. Per affrontare la questione si fa riferimento ad  un approccio che riconosce un ruolo chiave all’attività progettuale in generale ed, in particolare, alla evoluzione del Progetto Esecutivo in Costruttivo. Il metodo proposto consente, intervenendo sulla rappresentazione grafica degli elaborati progettuali, da una parte la valutazione specifica e dettagliata delle condizioni di sicurezza per la realizzazione dell’elemento in oggetto, e contestualmente di verificarne le condizioni di cantierabilità, in una fase precedente il cantiere e quindi in un momento in cui è ancora possibile intervenire, se del caso, con modifiche, più o meno significative sul progetto senza che esso ne risulti snaturato nella sua primitiva impostazione.

Tiziana Ferrante, Teresa Villani

Student housing, a particular and quite significant part of social housing, and innovation in processing and production of industrial building components made of a material (wood) not adequately inquired: two fields of research that have been explored for a long time allowing here to share and compare experiences gained thus far. By a selection of samples of wooden student housing in Europe we have documented the performances of this material and we have underlined, at the same time, through what happens abroad, the need of an organic national social housing plan that can meet an unsatisfied demand and boost the construction industry during this particular stage of economic crisis.

Anna Maria Manferdini, Elena Manferdini

Traditionally materials have been associated with a series of physical properties that can be used as inputs to production and manufacturing. Recently we witnessed an interest in materials considered not only as ‘true matter’, but also as new breeds where geometry, texture, tooling and finish are able to provoke new sensations when they are applied to a substance. These artificial materials can be described as synthetic because they are the outcome of various qualities that are not necessarily true to the original matter, but they are the combination of two or more parts, whether by design or by natural processes. The aim of this paper is to investigate the potential of architectural surfaces to produce effects through the invention of new breeds of artificial matter, using micro-scale details derived from Nature as an inspiration.

Gabri van Tussenbroek

The article consists of a first survey of historical building contracts and specifications as a historical source. In the Netherlands building contracts and specifications have not been subject of systematic study at all. The development of building specifications and building contracts can be brought into relation with the transition from wage labour to tender labour. From the end of the fifteenth century the contracts were becoming more detailed and, consequently, they supply more specific information about the object to be built. On the other hand, they contained more guarantees for the building commissioner. The first contracts and specifications were drawn up for municipal and religious building projects. In the seventeenth century the amount of contracts and specifications, drawn up for civilian projects, increased rapidly. The agreements that were made evolved from letters of appointment and delivery contracts according to sometimes very detailed specifications. Agreements were divided according to guild structures, which sometimes ended in conflicts. In the middle of the seventeenth century the use of building specifications was so common, that Dutch emigrants applied them for building projects in North America.

Guido Incerti

Nell’ambito della XVI Biennale di Architettura di Santiago del Cile, tenutasi nel 2008, gli architetti Felipe Assadi e Francisca Pulido ricevettero l’incarico per il progetto di un padiglione espositivo temporaneo, che potesse ampliare l’insufficiente superficie a disposizione entro il Museo d’Arte Contemporanea della capitale cilena. Posizionato di fronte allo stesso Museo, nel Parco Forestale della città, il padiglione ha avuto la peculiarità di essere un paradigma nel «rapporto fra trasparenza e opacità, fra accessibilità e inaccessibilità, fra perscrutabilità e imperscrutabilità». Questo piccolo padiglione infatti ha portato allo scoperto le ragioni di un’architettura, quella della ricerca e delle biennali, che spesso risulta criptica ai più, si nasconde entro gli spazi, invisibili dall’esterno, dei musei e delle gallerie o meglio ancora in quelli ben isolati, di vecchie infrastrutture difficilmente raggiungibili. Forse la stessa cosa si sarebbe verificata anche per la Biennale cilena, se questa si fosse tenuta esclusivamente all’interno degli spazi del MAC. Ma la necessità dell’ampliamento delle superfici necessarie alla manifestazione, ha reso necessario il progetto.