Architecture, colour and images. Ideas and designs by Friedensreich Hundertwasser

Colour, imagination, inspiration, amazement. These four words very fittingly describe the work of the Viennese artist/architect Friedrich Stowasser, better known as Hundertwasser (meaning hundred water), a master of organic thinking who between 1928 and 2000 worked and lived in Vienna, Venice and New Zealand. He uses eye-catching images to convey his ideas, forcefully expressive chromatic forms and patterns that betray a strong link with a re-interpreted geometric structure. This contribution, inspired by Hundertwasser’s works, intends to study the unique relationship between creativity, imagination and architecture based on sociological, cultural and psychological principles

Rome and its domes. Drawing, art and architecture

Any analysis performed to gather data about architectural and urban heritage always begins with the observation of reality and the involvement established between the observer and the space around them. A spectator inevitably interprets what they see in a personal manner so as to give objects a speci c meaning. The ability to understand the data and the relationship between the parts and then assign it a value varies from person to person. That the mind can mediate the mental processes of perception-action- thought means that any direct analysis to understand a cultural asset is scienti cally extremely important. The critical process sparked by an on-site study exploits the concise graphic transcription of what is visible, including the graphics tool used to achieve that representation. This contribution will present a study performed by the author to gather data using the drawings of several domes in the historical centre of the city of Rome

The presence of the past. Analysis and representation of the Strada Novissima

This article aims to take an in-depth look at the first Venice Architecture Biennale of 1980, entitled “The Presence of the Past”, from a contemporary perspective. That means from two points of view: one is broad and testifies to the moment of conflict between an exhausted modern movement and new – and varied – positions that attempt to explore several disciplinary arguments, of which the exhibition is at least a partial reflection; the other is intrinsic to the exhibition and has the Strada Novissima installation as its most faithful interpreter. Along its twenty façades, the ideas of those architects who, according to the curators, are the most representative of this particular moment in time are expressed in projects – or representation of projects – that walk the line between architecture, sculpture, scenography, and painting

In praise of colour in the representation of the four Imperial Cities of Morocco

[EN] This contribution illustrates how drawing can be used to become familiar with the cultural heritage of the four Imperial Cities of Morocco. Accompanied by maestro Pedro Cano, a group of Italian and Spanish artists, painters and architects went on a sort of Grand Tour to study the cities of Marrakech, Essaouira, Fès and Meknès 1. The study critically reviewed the material and immaterial aspects of the cities in order to interpret their social, architectural and urban identity and create a travel journal using illustrations and drawings. The group concentrated on the innovative perception of space, the urges of the soul, and the complex link between our physical body and architecture. In fact, the creation of emotional images allows us to not only reflect more deeply on the complexity of our architectural and urban heritage, but also think more clearly about its protection and enhancement.[ES] Se presenta una experiencia que se realizó mediante el dibujo, dirigida al conocimiento del patrimonio cultural de las cuatro ciudades imperiales de Marruecos. Una especie de Grand Tour de estudio que tuvo lugar entre Marrakech, Essaouira, Fès y Meknès en el que participaron artistas, pintores y arquitectos italianos y españoles acompañados por el maestro Pedro Cano 1. La investigación, orientada a la lectura crítica de los aspectos materiales y inmateriales de los sitios visitados, ha llevado a la interpretación de la identidad social, arquitectónica y urbana de los diferentes lugares, creando un diario de viajes a través de ilustraciones y dibujos. El tema se centró en la percepción inédita del espacio, las necesidades del alma y el complejo entramado entre arquitectura y cuerpo. La construcción de imágenes emocionales de hecho permite reflexionar mejor sobre la complexidad del patrimonio arquitectónico y urbano y pensar de forma más lúcida en su protección y mejora.Chiavoni, E. (2019). Elogio al color en la representación de las cuatro ciudades imperiales de Marruecos. EGA. Revista de Expresión Gráfica Arquitectónica. 24(35):66-81. https://doi.org/10.4995/ega.2019.9287SWORD66812435Accademia delle Arti del Disegno (2006) L'obiettivo dell'architetto: Carlo Cresti, Francesco Gurrieri, Roberto Maestro, David Palterer, Gianni Pettena, Domenico Viggiano, Luigi Zangheri. Firenze: Edizioni Polistampa. 35.Accademia delle Arti del Disegno (2008) Disegni di "classe": Carlo Cresti, Francesco Gurrieri, Roberto Maestro. Firenze: Edizioni Polistampa. 37.Accademia delle Arti del Disegno (2010) Drawing Architecture: il disegno fra intuizione e realizzazione dell'opera. Firenze: Edizioni Polistampa. 52.Arnheim R. (1974) Il pensiero visivo. Torino: Einaudi Editore.Balzani M., Maietti F. (a cura di) (2010) Colore e materia. Rimini: Maggioli Editore.Bruno G. (2006) Atlante delle emozioni. In viaggio tra arte, architettura e cinema. Milano: Bruno Mondadori.Ching F. K. http://www.frankching.com/wordpress/Clammer P. (a cura di) (1999) Il libro d'oro del Marocco. Firenze: Bonechi Editore.Cozolino L. (2008) Il cervello sociale. Neuroscienze delle relazioni umane. Milano: Raffaello Cortina Editore.Crary J. (1990) Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge: The MIT Press.Eco U. (2013) Storia delle terre e dei luoghi leggendari. Milano: Bompiani.Grau.2 (a cura di) (2017) All'ombra del disegno. Roma: Roberto Mariotti.Kandel E. R., Schwartz J. H., Jessell T. M. (2003) Principi di neuroscienze. 3° edizione. Milano: Casa Editrice Ambrosiana.Kandel E. R. (2016) L'età dell'inconscio. Arte, mente e cervello dalla grande Vienna ai nostri giorni. Milano: Raffaello Cortina Editore.Il Post (3 settembre 2012). Il disegno architettonico è morto? Se lo chiede un famoso architetto in un articolo sul New York Times, e indovinate chi è l'assassino? Disponibile da http://www.ilpost.it/2012/09/03/il-disegno-architettonico-e-morto/Itten J. (2010) Arte del colore. Edizione ridotta. Milano: Il Saggiatore.Milner M. (1969) Le mani del Dio vivente. Roma: Armando Editore.Molinari L. (2012) Il disegno è morto. Viva il disegno. Domus, 956.Morlacchi M. (2008) Il libro del disegno: nozioni di base per rappresentare l'architettura con la matita, con la penna, con il colore, con il computer. Roma: Gangemi Editore.Morlacchi M. (2015) Il colore della città: il rilievo cromatico per la tutela della bellezza urbana. Roma: Gangemi Editore.Munari B. (1977) Fantasia. Bari: Laterza.Pelosi A. (a cura di) (2016) Roberto Maestro: Osservare, Disegnare, Progettare. Mantova: Universitas Studiorum.Petrangeli M. (a cura di) (2005) Architettura come paesaggio. Gabetti e Isola. Torino: Umberto Allemandi & C.Sánchez M. G. (2009) El pintor Pedro Cano. Murcia (Spagna): Ediciones de la Universidad de Murcia (Editum).Salgado S. (2014) Dalla mia Terra alla Terra. Roma: Contrasto.Steiner R. (2009) L'essenza dei colori. Milano: Editrice Antroposofica.Sudjic D. (2017) Il respiro del colore. Domus, 1016.Zennaro P. (a cura di) (2010) Colour and light in architecture. Atti della Conferenza Internazionale Colore e luce in Architettura, Venezia, 11-12 novembre 2010, Venezia: IUAV

Dialogo con la città attraverso il disegno. Lettura dell’architettura moderna e contemporanea a Roma

The paper is part of a broader study entitled: "An analysis through drawing of the most significant modern and contemporary architecture in Rome. Understanding, documenting and communicating tangible and intangible values through integrated traditional and digital graphic systems.“ The drawings represent a number of the works built in Rome from 1900 to the present day, selected on the basis of type and their different designers

UAVs and GIS models for landscape representation

The research aims to explore the representation of the landscape through methodologies and experiments that involve information systems aimed at reading and representing the landscape. The general objective of this project is to define a methodology that integrates data acquisition with the use of unmanned aerial vehicles (UAVs), point cloud management in GIS (Geographic Information System), and the cataloguing of information and the representation of landscape components through representational maps and 3D models in GIS. This workflow is aimed at promoting and improving the documentation, management, and enhancement processes of territorial heritage. The research thinks about the possibilities of information systems to transfer and assign an added value in the process of knowledge of the landscape, and to be exhaustive in the aspects of Representation, through maps and three-dimensional models. The case study is a part of the Caffarella Valley in Rome, near the Vaccareccia farmhouse, inside the Appia Antica Archaeological Park. The first phase concerns the aerial photogrammetric acquisition with a drone. The second phase involved the recognition of plant types through direct observation, collection of botanical samples, data cataloging and consultation with a botanist. Processing in the GIS environment involved: importing the point cloud; its classification; the processing of DEM, TIN and isoipse; the construction of the three-dimensional model of the buildings of the farmhouse; the representation of vegetation systems and the assignment of information attributes; the representation of the arboreal essences with the informative attributes concerning the vegetative, botanical and metric-dimensional state

Chapter Rappresentazioni dell’architettura e dell’ambiente urbano. L’influenza italiana in Argentina

The 43rd UID conference, held in Genova, takes up the theme of ‘Dialogues’ as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with ‘others’, which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, “dialogue” as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title ‘translated’ into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences

La rappresentazione notturna della città

The objective of the study is to investigate and experiment with the possibilities for the representation of cities during the night hours. The city and its cultural heritage are perceived both by citizens and tourists throughout the day and, above all, their appearance varies when they are invested by artificial light and not by natural light. In fact, light is always the main factor that determines the color changes. The places, the streets, the squares, the gardens, the buildings assume a different chromatic connotation and refer different spatial emotions to the observer, suggesting proposals for their valorization.L’obiettivo dello studio è stato quello di indagare e sperimentare le diverse possibilità di rappresentazione grafica della città durante le ore notturne. La città e il suo patrimonio culturale vengono percepiti sia dai cittadini che dai turisti durante l’arco della giornata in modo diverso perché il loro aspetto varia se sono investiti da luce artificiale oppure da luce naturale. È la luce, infatti, sempre, il fattore principale che determina i cambiamenti cromatici dei luoghi facendone mutare ombreggiature e riflessi e non è mai facile riuscire ad interpretare correttamente queste variazioni e fornire una documentarzione esaustiva.Facultad de Arquitectura y Urbanism

Rappresentazioni dell’architettura e dell’ambiente urbano. L’influenza italiana in Argentina

Fino ad oggi pochi sono gli studi che si sono occupati della produzione grafica architettonica italiana del XX secolo basata sul rapporto tra architettura e contesto urbano [1]. Alla prima metà del XX secolo è inevitabilmente legata la figura di Gustavo Giovannoni per il con- solidamento del campo teorico della conservazione e del restauro delle opere di Architettura intese come parte di una scena urbana più ampia. I suoi primi disegni infatti sono da considerarsi una “di- chiarazione di principi” riguardo alla considerazione dell’ambiente urbano. Da quel momento in poi, la cultura architettonica italiana non smetterà di approfondire l’analisi finalizzata all’inserimento di nuovi manufatti in contesti costruiti nel corso della storia. Il progetto si propone di raccogliere e analizzare questo prezioso patrimonio grafico documentario al fine di verificarne ruolo e significato in relazione alle pratiche progettuali volte ad articolare l’archi- tettura con la città, il presente con il passato. In questo senso, vista l’influenza che - in tempi diversi - questo corpus grafico teorico ha esercitato sul resto del mondo e in particolare in Argentina, la documentazione grafica selezionata sarà analizzata facendo riferimento a progetti e opere investite dall’ impronta teorica e dall’estetica della produzione italiana