Le illustrazioni di copertina de Le Cento Città d’Italia come iconemi del costruendo ‘Sistema Paese’

ITA - La sistematizzazione dell’apparato iconografico de Le Cento Citta d’Italia. Supplemento Illustrato del Secolo (1887-1902) ha evidenziato le relazioni tra testo, illustrazioni e didascalie a supporto della descrizione del neonato Sistema Paese. Il contributo analizza e indaga criticamente la valenza illustrativa delle Prime Pagine delle 192 dispense come iconema di un territorio da scoprire e condividere, immagini di sintesi per narrare la trasformazione a un pubblico non specializzato. | ENG - The systematization of the iconographic apparatus of Le Cento Citta d’Italia Supplemento Illustrato del Secolo (1887-1902) highlighted the relationships between text, illustration and captions, supporting the description of the newborn Country System. The paper analyzes and critically investigates the illustrative value of the First Pages of the 192 issues as the icons of a territory to be discovered and shared, synthetic images to tell to a non-specialized audience the transformation

Molteplici registri comunicativi dell’evento bellico nella narrazione de Le Cento Città d’Italia divenute Le Cento Città d’Italia Illustrate

Il contributo analizza la struttura narrativa dei luoghi teatro di guerra e di ricostruzione ne Le Cento Città Illustrate (1924-1929) evidenziando l’apporto e la declinazione delle molteplici forme di rappresentazione utilizzate nel corpus documentario. Collana di monografie illustrate nata come rinnovo delle Cento Città (1887-1901), vede una trasformazione del contenuto e del linguaggio per far conoscere agli italiani l’Italia ferita dalla Grande Guerra che entra nei testi e nelle immagini imponendo nuovi registri comunicativi | This article analyzes how the places affected by World War I have been described in Le Cento Città d’Italia Illustrate (1924-1929). We can appreciate the multiple and different representation methods used in the opera. This series of illustrated monographs renewal of Le Cento Città d’Italia (1887-1902), highlights a transformation of both language and contents allowing Italians to know war-thorn Italy with new visual and narrative ways

Disegno e Camera Lucida nel Carnet de voyage.

Da sempre il viaggiatore disegna. Annota graficamente ciò che osserva per poterlo assimilare attraverso la traduzione in segni, estrapolando quei particolari che lo portano a sintetizzare la descrizione del reale. Gli strumenti del disegnatore in viaggio sono elementi che condizionano tempi e modi di realizzazione portando i diversi autori a scegliere modalità espressive nel rispetto delle differenti finalità. Nell'ottocento, le evoluzioni della Camera Obscura (la Camera Lucida e successivamente la Fotografia), in modo diverso, hanno portato a una velocizzazione della rappresentazione del reale. Proprio nell'era della fotografia digitale, che non obbliga l'autore all'analisi, la riscoperta di questo piccolo strumento ottico impone una relazione biunivoca tra conoscenza e sintesi attraverso il disegno. L'esperienza diretta ha portato a ridefinire i tempi di esecuzione delle vedute, dilatando quelli di progettazione e riducendo quelli della realizzazione. Operare sotto la guida dello strumento permette di mantenere rapporti proporzionali e prospettici, basi certe per la successiva implementazione con la vestizione grafica. Nella dimensione del "carnet de voyage" dall'800 ad oggi, tale ridefinizione ha mostrato potenzialità che possono essere nuovi, attuali, veicoli di conoscenza.The traveler has always drawn. Graphically marking what he looks at, in order to assimilate it through a translation into signs, extrapolating those details that allow him to synthesize the description of reality. The tools of the drawer on the road affect the time and the manner of realization, driving the different authors to choose different modes of expression with respect to their different purposes.In the nineteenth century, the invention of the Camera Lucida and afterwards of the Photography (both evolutions of the Camera Obscura), in a different ways have led to a speeding up of the representationof reality. In the era of digital photography, which does not require the author to synthesize, the rediscovery of the Camera Lucida imposes a two-way relationship between knowledge and discretization, through ther process of drawing. Direct experience has led us to redefine the executiontimes of views, expanding the design part and reducing the production one. To operate under theguidance of the tool allows you to maintain proportional relationships and prospective, excellent basesfor a later improvement by a graphic dressing.In the dimension of the "carnet de voyage" from '800 to today, this redefinition has shown potentialthat may be new, current, vehicles of knowledge

La Strada Beretta: 1666-1702. Il contributo della Rappresentazione

Nell’alveo di un percorso di ricerca più che ventennale, il contributo si inserisce nel rinnovato dibattito sulla figura dell’ingegnere militare milanese Gaspare Beretta (1620-1703) e analizza un corpus di disegni conservati presso la Biblioteca Trivulziana di Milano, fondo Belgioioso, riguardanti il progetto e la realizzazione della Strada Beretta. Il progetto, redatto dallo stesso ingegnere su incarico del governatore di Milano nel 1666 in occasione del viaggio dell’infanta di Spagna alla volta della capitale del regno asburgico, fu indirizzato alla riformulazione del collegamento stradale tra la costiera ligure del Finale e lo Stato di Milano, con la sistemazione di sentieri già esistenti e la definizione di nuove porzioni di strada (come ben documentato nella relazione di progetto annessa agli elaborati grafici). Pur rappresentando lo stesso oggetto, i disegni – variamente firmati, ma comunque attribuibili all’enturage di Beretta – riportano informazioni puntuali eterogenee sul percorso della strada e ne formalizzano su carta una porzione compresa tra le odierne città di Finale Ligure e Acqui Terme, ovvero tra la stessa Finale Ligure e Alessandria. Le metodologie privilegiate sono quelle specialistiche dell’area della Rappresentazione volte a saldare saperi e prassi tradizionali con quelli più innovativi e aggiornati. In questa direzione, il confronto tra i disegni conferma molti spunti di riflessione, in primo luogo sulla tipologia di rappresentazione utilizzata e sulle convenzioni grafiche sviluppate dagli autori, oltre a un inquadramento territoriale comprensivo di mappature, periodizzazioni, tematismi, sistematicamente correlati e integrati. Sempre lo studio delle rappresentazioni citate conferma matrici culturali e pratiche (riconoscibili o ipotizzabili) sia nell’operato di Beretta, che in quello dei suoi collaboratori. Si evidenzia, per esempio, la compresenza di diversi codici visivi con tipologie di segni simbolici e iconografici, solo in parte analitico-descrittivi, a supporto delle finalità critiche delle rappresentazioni. Malgrado l’assenza di conferme autografe su grafici o documentazioni annesse, i disegni comprovano come la strada Beretta si inserisse nel sistema di collegamenti tra i territori dello Stato di Milano e dei regni confinanti e mettendo in evidenza la rete di fortezze principali e sussidiarie poste a difesa del confine con il Piemonte Sabaudo

Paper models of architectural surfaces: images for implicit and explicit geometries

This contribution focuses on paper models of architectural surfaces, in particular on some roofing systems describable by developable ones. Drawing on an interdisciplinary approach, between Architecture and Mathematics, potentialities and criticalities of these models in explicitly conveying Geometry are investigated, in relation to educational and communicative tasks, both when they are used in a direct, tangible way, and when the use is mediated by images generated by them (thus indirect); we discuss on the possibility for models and images to communicate their explicit and implicit Geometries. The main issue discussed is that a material or analytical description unequivocally allows to grasp all the peculiarities of geometrical shapes, while other representations are subject to critical selection of data and are therefore affected by subjective interpretations; similarly, the translation of the physical model into images is the result of choices which emphasize certain object peculiarities over others and is thus less objective. Hence the importance of the physical model (as well as its digital counterparts) which, even if not used directly, can be complementary to a content that, alone, would be partial and/or misleading

Analyzing today geometry on architectural heritage between mathematics and representation to define architect's background

We present and analyze an example of activity aiming at introducing graphical language and standards to students of the first year bachelor's in architecture. Our example concerns the 2D representation of an architectural object, an essential competency in the architect's profession, and specifically deals with roofing systems made up of vaults generated by cylinders and their intersections. It is a first attempt to create activities that involve all students regardless of their different levels of geometric understanding and of familiarity with graphic language; in particular, this example exploits the introduction of physical or virtual models to support the mathematical thinking of students in completing the task and takes place during regular lesson times, without modifying or adding mathematical subject contents. Research literature on mathematical modeling, in particular on the so-called prescriptive one, provides us tools to frame and implement our study case; it also allows presenting mathematical modeling as a goal in an extra-mathematical educational context

Architectural Heritage between Mathematics and Representation: studying the geometry of a barrel vault with lunettes at a first year Bachelor’s in Architecture

We present an interdisciplinary activity, directed to students of the first years in Architecture, about the visualization of mathematical objects through physical and digital models, with specific regard to surfaces generated by intersections of cylinders. We focus on the geometrical structure of barrel vaults with lunettes and propose the use of various kind of models to improve the accessibility of interdisciplinary elements and to translate specialistic knowledge, building a common language for students with different backgrounds. The work is a result of a broader research project, dedicated to enhancing the relationship between Mathematics and Architecture through Geometry and Representation

Intersecting Architectural Surfaces Between Graphic and Analytic Representations

Since 2014, we have been dealing with Geometry as a common and shared language between Architecture and Mathematics. In this contribution we focus, from that point of view, on the relationship between the architectural object and its theoretical model by mean of analyzing its Geometry, also bearing in mind the context of first year Bachelor’s in Architecture, with the wider goal of improving spatial thinking and visualization abilities. In fact, in architects’ training when it comes to analyzing built shapes, there occurs the need to abstract their geometric essences from the real world. It is then important to provide students with instruments to derivate the theoretical object from its built counterpart. We have been focusing on particular architectural/geometric realities such as compound vaults generated by intersecting surfaces and on the analysis of a variety of approaches for representing them: from the analytical one, which allows rigorous and unambiguous outcomes, to graphical ones, which are consequences of choices (of tools and constructive sequences) leading to only partially rigorous results. To analyze a groin vault with our students, we consider graphical representations of portions of intersecting cones, as outcome of a critical process of data discretization. We compare graphic solutions (obtained via descriptive geometry by CAAD-AutoCAD) and their different levels of approximation with a mathematical formalization (obtained via analytical geometry) and the use of a DGS (GeoGebra), reasoning about subjectivity and objectivity of the respective representations. We chose to use these tools because our students are at their very first year of academic studies, thus they are not comfortable with highly specialized software, with which they will be trained in more advanced courses. There are possible learning difficulties of epistemological nature related to the recognition of geometric objects in space, which involve understanding of concepts, symbols, procedures and different types of representations; even only from a mathematical point of view, indeed, a geometric object can be described by Cartesian equations, or by parametric equations, or even considering it as a set of points that verify the same property; then, students need adequate flexibility to switch from one register to another (in the sense of Duval). Thus we need them to experiment with simple tasks, avoiding possible issues with difficulties in spatial prefiguration capabilities they have might not already developed during their high schools studies. Students are provided with some testing and verification tool: on one side a DGS makes Mathematics accessible to experimentation; on the other side Monge himself, in his 1798 treatise Géométrie descriptive, suggested that one of the purposes of this science is to allow a graphic verification of objects’ geometric properties and to suggest new previously unknown features. This remark reveals an aspect of Representation as an experimental science, where reasoning proceeds by adding other entities to the figure or by imagining operations that also have a physical model, such as plane sections. We propose analytical tools to critically verify students’ geometric intuitions about built architecture, with the further possibility to highlight relationships between graphic representation sought and analytical properties of surfaces and resulting vaults. Such activities, in the spirit of visual thinking, allow them to visualize relations between surfaces in a more dynamic, manageable and intuitive way and to compare results obtained with a variety of architectural and mathematical tools, by means of implementing the use of the same theoretical concepts using the interdisciplinary language of Geometry

Chapter Disegno: letture integrate per l’interpretazione di conoscenze e competenze pre ingresso al PoliTO

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

Systemisation of knowledge for the conservation and cultural development uf piedmont's mosaic heritage

Mosaics, in all their possible variants of form, material and location, can and must be recognised within the definition of Architectural Heritage. A further examination also reveals that mosaics are fully included within the definition of Cultural Heritage and, so, constitute part of the CH of a territorial area. In the absence of specific regulations, studies have been carried out in relation to source data and scheduling instruments at national and regional level with a view to devising a schedule model specifically for the mosaic, so that it is no longer regarded as an archaeological finding in its own right, but as a systematic element. These have been compared with other local situations, in Italy and abroad, which need unambiguous parameters for standardisation. These operations pass unavoidably through the identification of parameters, metadata, final users and methods through which the project could be developed in the future. Of no small importance is the diversified input of specific and inter-disciplinary skills, which are necessary for a correct cataloguing of resources; that means determining the obligatory fields and structuring the various headings, devising also appropriate key words. The cataloguing procedure is fundamental in the process for an effective cultural development of Piedmont's mosaic heritage. More precisely, it becomes an element in a structure for multi-level querying of the Territorial Information System, devised in particular for visualising data relating to files on interactive support, but also for a web-GIS configuration