Integrazione di nuove tecnologie di rilevamento e modellazione per l’analisi dei sistemi voltati a fascioni | Integration of New Survey and Modeling Technologies Aimed at the Analysis of Banded Vaulted Systems

This paper describes the methodological framework developed for the realization of an international research project aimed at the analysis and preservation of Architectural Heritage. This project has brought together Italian and Spanish scholars in the analysis, interpretation and representation of banded vaulted systems in Baroque Turin. Important masters, such as Guarini and Juvarra, but also lesser-known figures, between 17th and 18th centuries made use of such systems to cover medium and large rooms. In particular, in Turin historic center, eleven atria of buildings, covered by banded vaults, have been recognized. These atria were the subject of survey, laser scanner acquisition, two-dimensional graphic representations, and interpretative hypotheses of the design’s geometries, also referring to coeval architectural literature, through three-dimensional modelling. Nel presente lavoro viene descritto il framework metodologico messo a punto per la realizzazione di un progetto internazionale di ricerca finalizzato all’analisi e salvaguardia del patrimonio architettonico. Tale progetto ha unito studiosi italiani e spagnoli nell’analisi, interpretazione e rappresentazione dei sistemi voltati a fascioni nel barocco torinese. Importanti maestri, come Guarini e Juvarra, ma anche figure meno note, fra Sei e Settecento hanno fatto uso di tali sistemi per coprire ambienti di media e grande dimensione. In particolare, nel centro storico di Torino sono stati riconosciuti tredici atri di palazzi, voltati a fascioni. Questi sono stati oggetto di rilievo, di acquisizioni metriche mediante laser scanner, di restituzioni grafiche bidimensionali e di ipotesi interpretative delle geometrie di progetto, facendo anche riferimento alla letteratura architettonica coeva, attraverso modellazione tridimensionale. L’integrazione fra la tecnica di rilevamento metrico e le modalità di modellazione bi e tri-dimensionale ha comportato la definizione di nuovi flussi di lavoro, finalizzati all’ottimizzazione dell’utilizzo dei dati. Da tali procedure scaturiscono nuove opportunità per la ricerca, come il confronto (metrico, ma ancora più interessante, geometrico) mediante la sovrapposizione dei modelli ideali di progetto e delle nuvole di punti. L’analisi e la comparazione dei sistemi voltati studiati consentiranno, infine, di evidenziare modelli formali e variazioni sul tema. The integration between metric survey technique and two and three-dimensional modelling methods led to the definition of new workflows, aimed at optimizing the use of data. From these procedures, new opportunities for research arise, such as the comparison (metric, but even more interesting, geometric) through the superimposition of design ideal models and point clouds. Finally, the analysis and compariso

Representation Challenges

Augmented Reality (AR) and Artificial Intelligence (AI) are technological domains that closely interact with space at architectural and urban scale in the broader ambits of cultural heritage and innovative design. The growing interest is perceivable in many fields of knowledge, supported by the rapid development and advancement of theory and application, software and devices, fueling a pervasive phenomenon within our daily lives. These technologies demonstrate to be best exploited when their application and other information and communication technology (ICT) advancements achieve a continuum. In particular, AR defines an alternative path to observe, analyze and communicate space and artifacts. Besides, AI opens future scenarios in data processing, redefining the relationship between man and computer. In the last few years, the AR/AI expansion and relationship have raised deep transdisciplinary speculation. The research experiences have shown many cross-relations in Architecture and Design domains. Representation studies could arise an international debate as a convergence place of multidisciplinary theoretical and applicative contributions related to architecture, city, environment, tangible and intangible Cultural Heritage. This book collects 66 papers and identify eight lines of research that may guide future developments

Interattività e interoperabilità nel disegno a mano libera: alcuni approcci digitali a supporto della didattica | Interactivity and Interoperability in the Freehand Drawing: Digital Approaches Supporting Education

Nell’ambito della rivoluzione digitale il concetto di connessione assume una valenza cruciale, abilitando una visione trasversale di saperi, tecniche e strumenti. L’interscambio di dati i n ambienti informatici è regolato dalla capacità di interagire e funzionare, misurata nel grado di interoperabilità, che mira a garantire la migliore cooperazione tra sistemi o prodotti. L’articolo si propone di indagare l a relazione tra i l disegno analogico e la sua riformulazione digitale - assistita, ridefinita, ristrutturata, conformata, parametrizzata, perfino virtualizzata - vagliando nuove possibilità di concepire e costruire l a rappresentazione, sia come schematizzazione grafica di un pensiero, in forma artistica o i n forma tecnica, sia come strumento per comprendere o prefigurare. Specifici supporti hardware e software mirano a instaurare un continuum tra il tratto condotto a mano libera e l a sua formulazione analitica all’interno della gestione informatica. In questo senso, si introducono provocatoriamente termini come interattività e interoperabilità, non immediatamente associabili al disegno condotto a mano l ibera: la didattica del disegno si confronta su questi approcci con sempre maggiori aspettative, valutando l e opportunità e le modalità di inserimento di mirate esperienze formative, traguardando già nei primi anni accademici metodi e tecniche di rappresentazione utili per un arricchimento del profilo del futuro architetto o ingegnere. In the context of the digital revolution, the concept of ‘connection’ takes on a crucial value, enabling a transversal vision of knowledge, techniques and tools. The exchange of data in it environments is regulated by the ability to interact and function, measured by the degree of interoperability, which aims to ensure the best cooperation between systems or products. The article aims to investigate the relationship between analogue design and its digital reformulation - assisted, redefined, restructured, conformed, parameterized, even virtualized - exploring new possibilities of conceiving and constructing representation, either as a graphic schematization of a thought, in artistic or technical form, or as a tool to understand or prefigure. Specific hardware and software tools aim to establish a continuum between the freehand stroke and its analytical formulation within computer management. In this sense, terms such as interactivity and interoperability are provocatively introduced, which are not immediately associated with freehand drawing. Teaching is facing these approaches with ever-increasing expectations, evaluating the opportunities and methods for the inclusion of targeted training experiences. In this way, methods and techniques of representation useful for an enrichment of the outline of the future architect or engineer can be achieved already in the early academic years

Mars, invisible vision and the virtual landscape: immersive encounters with contemporary rover images

How do contemporary imaging devices and the forms in which images are displayed affect our perception of Mars? How are scientists and engineers visually exploring, experiencing and navigating this uninhabitable terrain? Can we better understand this virtual landscape through immersive imaging techniques, or are these simply illusions? At what point does the glitch invade these immersive spaces, throwing us back into the realm of the image? And finally, can the glitch be seen as a method towards another kind of visibility, enabling us to ‘see’ and encounter Mars in productive ways? Through the analysis of contemporary representations of the Martian terrain, Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images offers a new contribution to studies of the digital and virtual image. Specifically addressing immersive image forms used in Mars exploration the research is structured around four main case studies: life-size illusions such as panoramas; 3D imaging; false colour imaging; and the concept of a ‘Mars Yard’. The thesis offers a new understanding of human interaction with a landscape only visible through a screen, and how contemporary scientific imaging devices aim to collapse the frame and increase a sense of immersion in the image. Arguing that these representations produce inherently virtual experiences, their transportive power is questioned, highlighting the image as reconstructed – through the presence of a glitch, illusion is broken, revealing the image-as-image. This thesis takes an interdisciplinary approach in which scientific images are analysed through the prism of photography’s relationship to reality, theories of vision and perception, representations of landscape, and digital and virtual image theory. At the heart of this thesis is the act of looking; critical and speculative writing is used to convey immersive encounters with images at NASA and the Jet Propulsion Laboratory (USA); University College London’s Regional Planetary Imaging Facility; Airbus Defence and Space (UK); the photographic archive at the V&A; and the Panorama Mesdag (Netherlands). The research re-examines scientific forms of images against examples from the history of visual culture (be it art or popular culture) to draw parallels between different ways of seeing, representing and discovering the unknown. The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break. Mars, Invisible Vision and the Virtual Landscape offers a two-way impact, constituting a new approach to the relationship between real and imagined images in order to demonstrate that the real Mars, however it is represented and perceived, remains distant and detached

Screen Genealogies

Against the grain of the growing literature on screens, *Screen Genealogies* argues that the present excess of screens cannot be understood as an expansion and multiplication of the movie screen nor of the video display. Rather, screens continually exceed the optical histories in which they are most commonly inscribed. As contemporary screens become increasingly decomposed into a distributed field of technologically interconnected surfaces and interfaces, we more readily recognize the deeper spatial and environmental interventions that have long been a property of screens. For most of its history, a screen was a filter, a divide, a shelter, or a camouflage. A genealogy stressing transformation and descent rather than origins and roots emphasizes a deeper set of intersecting and competing definitions of the screen, enabling new thinking about what the screen might yet become

De-Sign Environment Landscape City Atti

La VI Conferenza Internazionale sul Disegno, De_Sign Environment Landscape City_Genova 2020 tratta di: Rilievo e Rappresentazione dell’Architettura e dell’Ambiente; Il Disegno per il paesaggio; Disegni per il Progetto: tracce - visioni e pre-visioni; I margini i segni della memoria e la città in progress; Cultura visiva e comunicazione dall’idea al progetto; Le emergenze architettoniche; Il colore e l’ambiente; Percezione e identità territoriale; Patrimonio iconografico culturale paesaggistico: arte, letteratura e ricadute progettuali; Segni e Disegni per il Design e Rappresentazione avanzata. Federico Babina, architetto e graphic designer presenta ARCHIVISION, e Eduardo Carazo Lefort, Docente dell’Università di Valladolid e Targa d’Oro dell’Unione Italiana Disegno la Lectio Magistralis. The VI International Conference on Drawing, De_Sign Environment Landscape City_Genoa 2020, deals with: Survey and Representation of Architecture and the Environment; Drawing for the landscape; De-signs for the Project: traces-visions and previews; Margins, signs of memory and the city in progress; Visual culture and communication from idea to project; Architectural emergencies; The color and the environment; Perception and territorial identity; Landscape cultural iconographic heritage: art, literature and design implications; Signs and Drawings for Design and Advanced Representation. Federico Babina, architect and graphic designer presents ARCHIVISION, and Professor Eduardo Carazo Lefort-University of Valladolid and Gold Plate of the Italian Design Union presents his Lectio Magistralis

On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff

This dissertation is the first critical analysis of the parallel, seven-decade-spanning urban landscape oeuvres of British painters Frank Auerbach (b. 1931) and Leon Kossoff (b. 1926). Since the post-World War II era of widespread political, geographical, and psychological displacement, when the practice of observation-based landscape painting had all but disappeared from international advanced art, Auerbach, who came to England in 1939 as a German-Jewish child refugee from the Nazis, and Kossoff, a first-generation Londoner of Ukrainian-Jewish heritage, have obstinately pursued an art of place. As art students in London, the two simultaneously developed laborious painterly processes of accumulation and scraping based in on-site drawings of the motif in order to convey their sensory experiences of the ever-changing city: from the massive upheaval of the Reconstruction-era building sites both represented in the 1950s to the animations of the everyday streets, parks, and railway stations they depict in their subsequent, separate, locally-rooted practices. The resulting images, which hover between illusionistic form and abstract brushwork, expand the visual languages of representation and complicate the established discourses of international postwar painting by refusing any notion of a binary between abstraction and figuration. My dissertation argues that together, Auerbach and Kossoff have not only produced an unprecedented visual portrait of postwar and contemporary London, but also that these two urban, Jewish artists of non-British background have each revitalized the deeply “British” legacy of landscape depiction by expanding the genre’s range of subject matters, modes of representation, and the processes by which landscape paintings are made and viewed. Building on the phenomenological approach to the artists’ works established by David Sylvester, my chapters merge close visual analysis with social and cultural history to offer original interpretations of Auerbach’s and Kossoff’s images and sequences. My project proposes that the artists’ dual body of London landscapes challenges the naturalist and nationalist assumptions of the landscape tradition, evinces the unique and understudied contributions of postwar British painting, and reveals the ongoing significance of place as a subject of artistic attention in the rapidly shifting modern and contemporary world