Labyrinth as passive defense system. An analysis of Renaissance treatise of Francesco di Giorgio Martini

The labyrinth enriching Francesco De Marchi's treatise on fortification, which could be interpreted as just a generic and decorative symbol of protection useful to illustrate the contents and aims of the treatise, in reality also refers to a widespread design tradition in the construction of fortresses. This figure embodies an architectural device of opacity and deceiving that can be found in the design of the meandering doors, in the arrangement of the rooms and doors of ravelins and case mates and even in the more general conception of a fortress. Its use as a passive defense system is testified both by buildings in Syria and Spain, and by 15th-century treatises, such as Francesco di Giorgio Martini's, whose capannato in particular is here analyzed and redrawn to evaluate the role of labyrinth in the general concept

La rivoluzione del rilevamento architettonico. Santa Prassede, un rilievo (in corso) per la conoscenza

Il rilievo architettonico è materia viva. Parlare del rilievo di un dato monumento significa quindi “sempre” descrivere un lavoro in essere. Il rilievo è l’operazione critica attraverso la quale si indaga una data struttura architettonica, la si misura, e la si rappresenta. Per Santa Prassede, al momento, ci sono quindi 35 scansioni che ricoprono gran parte dell’interno della chiesa. Mancano le altre cappelle laterali, la cripta e il campanile, che verranno rilevate quest’anno. Si provvederà anche a rilevamento cromatico delle zone interne coperte a mosaico. Per realizzare le riprese si utilizzerà una fotocamera digitale ad alta risoluzione ed un’illuminazione omogenea in maniera da eliminare alterazioni della luce nelle variazioni chiaroscurali e nelle zone d’ombra. L’elaborazione successiva prevede la realizzazione del modello geometrico (o modello solido). Una volta ottenuto questo si passa all’analisi grafica, ossia la scomposizione della struttura architettonica in elementi coerenti, tutto operato attraverso la rappresentazione. Una sorta di reverse engineering architettonico, che, partendo dall’oggetto così come lo si vede, ne ricostruisce gli elementi componenti, selezionandoli in base alla datazione, al materiale, alla funzione. Questo al fine di poter strutturare (ma non solo) ipotesi ricostruttive della consistenza del monumento nel corso del tempo.The architectural survey is a living matter. The survey of a monument always entails the description of a work in progress. The survey is a critical operation whereby you can study, measure, and represent an architectural structure. In the case of Santa Prassede, there are at the moment 35 scans that cover most of the interior of the church. The other lateral chapels, the crypt, and the bell tower, which will be studied this year, are currently missing. The colour of the areas covered with mosaics will be also analysed. A high-resolution digital camera and homogeneous illumination will be used to avoid light variations in the chiaroscuro effects and in the shadows. Subsequent processing involves the elaboration of a geometric model (or solid model). Once this model is built, the next step is the graphical analysis, that is, the decomposition of the architectural structure in coherent elements. It’s a sort of architectural reverse engineering, which, starting from the object as we see it, reconstructs the component elements, selecting them based on dating, material, and functionality. This is done in order to develop (but not only) a reconstructive hypothesis of the consistency of the monument over time

A new protocol for texture mapping process and 2d representation of rupestrian architecture

The development of the survey techniques for architecture and archaeology requires a general review in the methods used for the representation of numerical data. The possibilities offered by data processing allow to find new paths for studying issues connected to the drawing discipline. The research project aimed at experimenting different approaches for the representation of the rupestrian architecture and the texture mapping process. The nature of the rupestrian architecture does not allow a traditional representation of sections and projections of edges and outlines. The paper presents a method, the Equidistant Multiple Sections (EMS), inspired by cartography and based on the use of isohipses generated from different geometric plane. A specific paragraph is dedicated to the texture mapping process for unstructured surface models. One of the main difficulty in the image projection consists in the recognition of homologous points between image and point cloud, above all in the areas with most deformations. With the aid of the “virtual scan” tool a different procedure was developed for improving the correspondences of the image. The result show a sensible improvement of the entire process above all for the architectural vaults. A detailed study concerned the unfolding of the straight line surfaces; the barrel vault of the analyzed chapel has been unfolded for observing the paintings in the real shapes out of the morphological context

La rivoluzione del rilevamento architettonico: santa prassede, un rilievo (in corso) per la conoscenza

Il rilievo architettonico è materia viva. Parlare del rilievo di un dato monumento significa quindi “sempre” descrivere un lavoro in essere. Il rilievo è l’operazione critica attraverso la quale si indaga una data struttura architettonica, la si misura, e la si rappresenta. Per Santa Prassede, al momento, ci sono quindi 35 scansioni che ricoprono gran parte dell’interno della chiesa. Mancano le altre cappelle laterali, la cripta e il campanile, che verranno rilevate quest’anno. Si provvederà anche a rilevamento cromatico delle zone interne coperte a mosaico. Per realizzare le riprese si utilizzerà una fotocamera digitale ad alta risoluzione ed un’illuminazione omogenea in maniera da eliminare alterazioni della luce nelle variazioni chiaroscurali e nelle zone d’ombra. L’elaborazione successiva prevede la realizzazione del modello geometrico (o modello solido). Una volta ottenuto questo si passa all’analisi grafica, ossia la scomposizione della struttura architettonica in elementi coerenti, tutto operato attraverso la rappresentazione. Una sorta di reverse engineering architettonico, che, partendo dall’oggetto così come lo si vede, ne ricostruisce gli elementi componenti, selezionandoli in base alla datazione, al materiale, alla funzione. Questo al fine di poter strutturare (ma non solo) ipotesi ricostruttive della consistenza del monumento nel corso del tempo.The architectural survey is a living matter. The survey of a monument always entails the description of a work in progress. The survey is a critical operation whereby you can study, measure, and represent an architectural structure. In the case of Santa Prassede, there are at the moment 35 scans that cover most of the interior of the church. The other lateral chapels, the crypt, and the bell tower, which will be studied this year, are currently missing. The colour of the areas covered with mosaics will be also analysed. A high-resolution digital camera and homogeneous illumination will be used to avoid light variations in the chiaroscuro effects and in the shadows. Subsequent processing involves the elaboration of a geometric model (or solid model). Once this model is built, the next step is the graphical analysis, that is, the decomposition of the architectural structure in coherent elements. It’s a sort of architectural reverse engineering, which, starting from the object as we see it, reconstructs the component elements, selecting them based on dating, material, and functionality. This is done in order to develop (but not only) a reconstructive hypothesis of the consistency of the monument over time.Il rilievo architettonico è materia viva. Parlare del rilievo di un dato monumento signi ca quindi “sempre” descrivere un lavoro in essere. Il rilievo è l’operazione critica attraverso la quale si indaga una data struttura architettonica, la si misura, e la si rappresenta. Per Santa Prassede, al momento, ci sono quindi 35 scansioni che ricoprono gran parte dell’interno della chiesa. Mancano le altre cappelle laterali, la cripta e il campanile, che verranno rilevate quest’anno. Si provvederà anche a rilevamento cromatico delle zone interne coperte a mosaico. Per realizzare le riprese si utilizzerà una fotocamera digitale ad alta risoluzione ed un’illuminazione omogenea in maniera da eliminare alterazioni della luce nelle variazioni chiaroscurali e nelle zone d’ombra. L’elaborazione successiva prevede la realizzazione del modello geometrico (o modello solido). Una volta ottenuto questo si passa all’analisi gra ca, ossia la scomposizione della struttura architettonica in elementi coerenti, tutto operato attraverso la rappresentazione. Una sorta di reverse engineering architettonico, che, partendo dall’oggetto così come lo si vede, ne ricostruisce gli elementi componenti, selezionandoli in base alla datazione, al materiale, alla funzione. Questo al ne di poter strutturare (ma non solo) ipotesi ricostruttive della consistenza del monumento nel corso del tempo

Borromini, the Casa dei Filippini and the Two-Way Relationship between Representation and Architectural Form

The stratified relationship and mutual influence between the representation of the project and the form of built architecture manifest above all in the facade design by virtue of its natural rhetorical vocation. This is the case of the Casa dei Filippini, designed by Francesco Borromini in the second quarter of the 17th century in Rome. The perspective niche in its fa & ccedil;ade appears to be a literal three-dimensional transcription of a graphic convention adopted in the presentation drawings. To understand the context and the reasons for this "translation", this article historically frames the theme of the facade intended as a mask and its implicit representational qualities, which can configure it as an autonomous work from the building itself; it frames the interferences between architecture and its image in the era of the advent of pseudo-projective representation and the resistance it finds; it focuses on the facade of the Casa dei Filippini and its perspective niche, here surveyed and photo-modeled to determine the size and relationship between the actual and the perceived shape. Through these methodological and operational premises, the article reconstructs the original center of the fa & ccedil;ade deformation and analyzes the fictitious value of the facade, as testified by Borromini's attempt to orient its perception through the drawings of his Opus Architectonicum and those derived from them, eventually confirming the two-way relationship between form and representation

Chapter Leonardo da Vinci e il padiglione d’acqua nel labirinto

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

Mediated representations after laser scanning. The Monastery of Aynalı and the architectural role of red pictograms

The decorations in the church and the main rooms follow the red monochrome type, quite common in this area. This monochrome pictograms show a predominant geometric character and are generally used to describe and highlight the rock-cut surfaces according to those elements which play the figurative role of “architectural constituents" such as columns, pilasters, capitals, architraves and cornices. This kind of depicted decorations have been connected to some sort of apotropaic process of sanctification which was imposed by the need of using those spaces as soon as possible, delaying later the moment of the realisation of the final decoration

BETWEEN LANDSCAPE AND ARCHITECTURE: ENVISIONING CAPPADOCIAN RUPESTRIAN MONASTERY THROUGH COLORFUL CONTOUR LINES

[EN] Architectural heritage preservation bases on a deep, layered and interdisciplinary knowledge of the sites, especiallywhen they are on the edge between natural and artificial, like rupestrian architecture often is. Survey and representation of rock-cut architecture are between the most problematic issues for a number of problems concerning the geometrical complexity of the interior and exterior enveloping surfaces. Laser-scanner is an appropriate tool concerning the registration of geometric and spatial properties of those artificial caves in continuity with the external topography, but automatic representations are often unable to convey their hidden geometric and spatial relationships. In the context of a work methodology customized on the rupestrian habitat of Cappadocia, the authors developed an original envisioning model in which an associate use of contour lines and chromatic codes transforms traditional orthogonal projections after the numeric model into drawings able to offer a synthesis and transmit the complex forms and relationships of rupestrian settlements.Colonnese, F.; Carpiceci, M.; Inglese, C. (2016). BETWEEN LANDSCAPE AND ARCHITECTURE: ENVISIONING CAPPADOCIAN RUPESTRIAN MONASTERY THROUGH COLORFUL CONTOUR LINES. En 8th International congress on archaeology, computer graphics, cultural heritage and innovation. Editorial Universitat Politècnica de València. 254-256. https://doi.org/10.4995/arqueologica8.2015.2906OCS25425

Da Vacuna a Michele. La Grotta di San Michele sul Monte Tancia

Grotta di San Michele sul Monte Tancia La storia Lo spazio celebrativo Il palinsesto L’attività di rilevamento Bibliografi

Leonardo’s Walls. Surveys in 1502

[EN] In the summer of 1502, Cesare Borgia appointed Leonardo da Vinci for his engineering expertise. His assignment was specific and concerning with military architecture: he was expected to “see, measure and do good estimation”. The Codex L, a small notebook conserved in the Library of the Institute of France, show the results of the survey of the city walls of Cesena and Urbino. The technique Leonardo adopted consists in traversing rectilinear stretches, measuring their length by means of an instrument able to count his steps and establishing their orientation by means of a compass. At the end of the path, the data relative to the sides of a closed polygon are obtained, resulting the geometric plan of the walls. This practice is testified by some residual eidotypes provided with quotas and orientations. In some cases, only the lists of distances in numbers are present, but the analysis of the figures makes it possible to reconstruct the surveyed plans, as Nando De Toni pioneered many years ago. This study focuses on the tools and the urban survey technique used by Leonardo. The analysis of some sheets from the Codex L, contextualized with respect to the actual topography of the sites, allows to understand the correct sequence of the operations carried out first in the site and then at the drawing board. By means of specific digital reconstructions, it is therefore possible to study the instrumental and operational limits of this practice and, by comparing it with the current state, to reconstruct the entire defensive structure.Carpiceci, M.; Colonnese, F. (2020). Le mura di Leonardo. I rilievi del 1502. Editorial Universitat Politècnica de València. 793-800. https://doi.org/10.4995/FORTMED2020.2020.11363OCS79380