Chapter Digi Skills Bsc – Revising Graphic Literacy in Bsc Architectural Design Education through a Software-Based Pedagogic Approach. A Shared Pilot Experience at the Politecnico di Milano

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

ZAHA HADID. PAINTING IN AN EXPANDED FIELD. Sul processo creativo e sulla rappresentazione nell'opera di Zaha Hadid.

La tesi di dottorato intende indagare le intime ragioni che risiedono nella rappresentazione sviluppata da Zaha Hadid. Ripercorrendo gli anni degli studi universitari, i movimenti dell’avanguardia artistica di inizio secolo, le metodologie rappresentative occidentali e orientali, la ricerca affronta nuove questioni critiche circa i disegni redatti dall’architetto, veri e propri manifesti del suo pensiero teorico. Attraverso un’analisi teorico-grafica, il lavoro propone un nuovo approccio per comprendere le metodologie rappresentative adottate Zaha Hadid. Ne emerge un linguaggio frammentato e complesso, che si esplicita nei primi lavori che hanno segnato la sua carriera: il progetto concorsuale The Peak Leisure Club (Hong Kong 1982), e il primo edificio costruito, The Vitra Fire Station (Weil am Rhein 1983).The Ph.D. thesis aims to investigate the deep reasons that characterize Zaha Hadid representation. Tracing the years of her university studies, the artistic avant-garde movement at the beginning of the century, Western and Eastern representational methodologies, the research addresses new critical questions about the drawings drafted by the architect, manifestos of her thought. Through a theoretical-graphic analysis, this work proposes a new approach to understand the representational methodologies adopted by Zaha Hadid. What emerges is a fragmented and complex language, clearly visible in the early works that marked her career: the competition project The Peak Leisure Club (Hong Kong 1982), and the first building constructed, The Vitra Fire Station (Weil am Rhein 1983)

Formal Experimentation in Zaha Hadid's Pictorial Work

This research concerns the development of a method for achieving a digital model of the Zaha Hadid project, known as The Peak Leisure Club. Starting from her drawings, the method attempted to translate her abstract language formed by signs, layers, and projective processes in Nurbs surfaces

Desert Projects (Himmelstreppe, Goldene Spirale, Stadt des Orion) di Hannsjörg Voth = Desert Projects (Stairway to Heaven, Golden Spiral, City of Orion) by Hannsjörg Voth

La mostra si colloca nel quadro delle iniziative organizzate in occasione dei 400 anni dalla pubblicazione dell’opera più emblematica di Galileo Galilei, Il Saggiatore, il manifesto di una nuova filosofia della Natura, espressione di un nuovo metodo investigativo dei fenomeni fisici fondato sul rigore matematico e sulla concretezza empirica. L’opera nasce da una disputa iniziata quattro anni prima con il gesuita Orazio Grassi sulla natura delle comete e sui sistemi del mondo. La disputa sulle comete, “splendori celesti”, nella definizione degli accademici lincei, era solo il pretesto per dedicarsi al più ambizioso progetto di promuovere un nuovo metodo scientifico da contrapporre a quello tradizionale, un approccio più rigoroso allo studio del grande ‘libro della natura’ con cui Galileo inaugura la nuova via della scienza moderna. Il catalogo, in edizione bilingue, ripercorre i passi più significativi de Il Saggiatore commentati da illustri studiosi e affiancati dall’illustrazione di nuove sperimentazioni condotte con la stessa genuina curiosità e lo stesso rigoroso metodo di indagine della realtà che proprio Galileo ci ha insegnato

Dall\u2019universit\ue0 d\u2019\ue9lite all\u2019universit\ue0 di massa. L\u2019Ateneo di Padova dal secondo dopoguerra alla contestazione sessantottesca

Il volume collettaneo analizza la sotria dell'Ateneo di Padova sotto il profilo delle istituzioni (Senato accademico, Facolt\ue0), della storia dei docenti e degli studenti dal secondo dopoguerra alla contestazione del Sessantotto

The Suzhou handscroll: oblique images of a Far East city between remembrance and future

The essay offers a glimpse of the work developed by Imago Rerum team, concerned to University of IUAV/dCP in Venice, about the critical interpretation and digital reconstruction of the renowned handscroll “Prosperous Suzhou (姑蘇繁華圖)”, a Chinese work of art of the XVIII sec, depicting the Chinese city of Suzhou and its surroundings. The aforementioned team of experts carried out a complex research project which involved both the projection and reproduction of axonometric shapes and of orography and topography to the totality of the architectural elements illustrated. The original scroll is 12,41 mt long and 36,5 cm high and it is currently housed in Liaoning Provincial Museum, Shenyang, China. The author was Xu Yang, a court painter of the Qing Dynasty who spent 24 years working on the scroll. Only one section of the long handscroll is presented here, yet, the analysis of the chosen area allowed for the reveal of unprecedented details characterizing this work. One remark evaluates how the urban and topographical sequence follows the topological route instead of the actual landscape. The digital analysis and reconstruction of Suzhou 3D model, also allowed to rebuild lost sections of the prime urban reconfiguration and, in the near future, it will display in an interactive way a comparison between the painted historical city and the current one. Moreover, this work is noted for a combined use of oblique parallel projection, the Sino-Japanese classical art, and linear conic perspective. The latter was imported into China due the Jesuit missions: a semantic integration that conveys to the scroll an even more suggestive power of the relations between East and West at the doorstep of modernity.DOI: https://doi.org/10.20365/disegnarecon.21.2018.1</p

The Suzhou handscroll: oblique images of a Far East city between remembrance and future

The essay offers a glimpse of the work developed by the Imago Rerum team, concerned to University of IUAV/dcP in Venice, about the critical interpretation and digital reconstruction of the renowned handscroll \u201cProsperous Suzhou (\u59d1\u8607\u7e41\u83ef\u5716)\u201d, a Chinese work of art of the XVIII century. The aforementioned team of experts carried out a complex research project, which involved both the projection and reproduction of axonometric shapes and of orography and topography to the totality of the architectural elements illustrated. Moreover, this work is noted for the combined use of oblique parallel projection, a Sino-Japanese form of representation, and linear conic perspective: a semantic integration that conveys to the scroll painting an even more suggestive and evocative power of the relations between East and West at the doorstep of modernity. Il saggio offre uno scorcio degli studi sviluppati dal team Imago rerum, afferente all\u2019Universit\ue0 Iuav di Venezia/dCP, sull\u2019interpretazione critica e la ricostruzione digitale del celebre rotolo L\u2019et\ue0 d\u2019oro di Suzhou (\u59d1\u8607\u7e41\u83ef\u5716), capolavoro dell\u2019arte cinese del XVIII secolo. Si tratta di un complesso lavoro di ricerca, che ha impegnato il gruppo di studiosi sia nella restituzione 'assonometrica' dell'orografia e della topografia dipinte, che della totalit\ue0 degli elementi architettonici raffigurati. Inoltre, l\u2019opera si segnala per un uso combinato della proiezione parallela obliqua, tipica dell\u2019arte sino-nipponica classica, e della prospettiva lineare conica: un\u2019integrazione semantica che rende il rotolo ancora pi\uf9 suggestivo e allusivo dei delicati rapporti tra Oriente e Occidente alle soglie della Modernit\ue0