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  Subjects -> ARCHITECTURE (Total: 219 journals)
Showing 201 - 264 of 264 Journals sorted alphabetically
tecYt     Open Access  
Terrain.org : A Journal of the Built & Natural Environments     Free   (Followers: 3)
The Journal of Architecture     Hybrid Journal   (Followers: 15)
The Journal of Integrated Security and Safety Science (JISSS)     Open Access   (Followers: 14)
Thresholds     Hybrid Journal  
Town and Regional Planning     Open Access   (Followers: 10)
Undagi : Jurnal Ilmiah Arsitektur     Open Access  
UOU Scientific Journal     Open Access   (Followers: 7)
URBAN DESIGN International     Hybrid Journal   (Followers: 12)
Urban Research & Practice     Hybrid Journal   (Followers: 20)
Vernacular Architecture     Hybrid Journal   (Followers: 8)
Vitruvian     Open Access  
VITRUVIO : International Journal of Architectural Technology and Sustainability     Open Access  
Vivienda y Ciudad     Open Access  
VLC arquitectura. Research Journal     Open Access  
Winterthur Portfolio     Full-text available via subscription   (Followers: 5)
ZARCH : Journal of Interdisciplinary Studies in Architecture and Urbanism     Open Access  

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Opus Incertum
Number of Followers: 0  

  This is an Open Access Journal Open Access journal
ISSN (Print) 2239-5660 - ISSN (Online) 2035-9217
Published by Firenze University Press Homepage  [36 journals]
  • Dante e l’architettura: una premessa

    • Authors: Alessandro Brodini
      Pages: 8 - 15
      Abstract: The celebration for the seventh centennial of Dante’s death has given rise to various initiatives that have analysed the figure of the poet from different perspectives. The aim of this issue of Opus Incertum is to explore the complex relationship that exists between Dante and architecture from two different points of view. The first concerns the importance of architecture in Dante’s work, in particular the Divine Comedy; the second involves the reception of Dante in architectural circles and examines what resonances the poem has had in architects’ thought and projects. An aspect of such a reception relates to the history of the city, both Florence, which presents a ‘Dantesque topography’, shaped as a result of interventions undertaken as part of the various celebrations from the 19th century onwards, and Ravenna, which is where Dante’s tomb is located.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13245
      Issue No: Vol. 7 (2021)
       
  • Architetture dell’aldilà: Dante, gli artisti, gli architetti

    • Authors: Lucia Battaglia Ricci
      Pages: 16 - 31
      Abstract: The essay traces in greatly summarised form the history of the reception of Dante in the visual arts, focusing on the various ways in which painters, sculptors and architects have, through the ages, given visual substance to the peculiar physical and structural reality of Alighieri’s afterlife. The article offers a minimal survey of this production, identifying two historical periods in which the structure of the poem and the worlds invented by Alighieri are privileged with respect to the story of the pilgrim’s journey. The first phase, which went from the middle of the 15th century to the late 16th century, and involved scientists, intellectuals, painters, sculptors and architects, is already widely known. The essay summarises the essential data, opening up to almost forgotten drawings produced by anonymous artists at the beginning of the 16th century. The second phase has just begun and is still to be written. The essay considers a number of works produced by contemporary artists to illuminate how they look again at the structures created by Dante and use them as graphic supports of great symbolic value which are capable of representing and judging the present.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13246
      Issue No: Vol. 7 (2021)
       
  • Dante e la figura dell’architetto

    • Authors: Carlo Tosco
      Pages: 32 - 37
      Abstract: The essay explores the relationship between Dante and the professional figure of the architect. In his works, both in Latin and in vernacular, the poet rarely deals with architecture and never describes prominent personalities of architects, either from the ancient world or the Middle Ages. Using philological tools, the essay investigates an interesting passage from De monarchia, where Dante affirms the superiority of the architect over all other categories of artists. The research shows how Dante’s opinion was shared by contemporary scholars, while the literary image of the architect was widespread in the scholastic culture of 13th century.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13247
      Issue No: Vol. 7 (2021)
       
  • L’architettura fiorentina ‘visibile’ a Dante (1265-1301) fra
           conservazione e progresso

    • Authors: Marco Frati
      Pages: 38 - 47
      Abstract: The dialectic between tradition and innovation is undoubtedly a powerful engine of the creative process, which makes every discourse on Dante and his time always current. In the period between 1265 and 1301 the process for defining the identity of the city and the renewal of culture was underway in Florence. In those same years Dante and Arnolfo di Cambio were facing problems of language, just as the urban landscape was being subjected to a partial replacement and an apparently limitless progressive accumulation. The new public spaces favoured a reflection on the view of the buildings, which are imposing not only in terms of size or height, but also as a result of their measured and meditated relationship with the void that surrounds them. Most of the monumental buildings were conceived and built during the last years of the century, at the height of the Popolo regime. The focus is on the isolation and unity of public (palaces, prison) and religious (convents) complexes with the involvement of masters equipped with new instruments (drawing, tools) useful for design and executive control. The new conception of space and the relationship between public and private produces unprecedented solutions: straight and ‘perspective’ streets, entrance halls to palaces, vast unitary basilicas. The construction and renewal of small private buildings brought about the replacement of the stony and wooden image of the city with one softened by plaster, brick and greenery.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13248
      Issue No: Vol. 7 (2021)
       
  • “L’ardüa sua opra” (Par., XXXI, 34): Architectural Aspects of
           Dante’s Rome

    • Authors: Theodore J. Cachey, Chiara Sbordoni
      Pages: 48 - 61
      Abstract: The aim of this article is to examine the specifically architectural and structural aspects of Dante’s Rome in the Commedia which have not received particular attention in the critical literature. Focusing on the Eternal City’s monumental and urban features and their placement in the order of the poem at pivotal junctures in each of the three canticles, reveals how the city was for Dante, paradoxically, both central and liminal. While Rome is central to Dante’s political ideology, like the poem itself, the city is situated at the threshold between this world and the next. A key meta-architectural literary theme, Rome can serve as a point of departure for investigating the structure and status of the poem itself taken as an artifact fashioned in imitation of the divine architect: “Colui che volse il sesto a lo stremo del mondo, e dentro ad esso distinse tanto occulto e manifesto” (Par., XIX, 40-42).
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13249
      Issue No: Vol. 7 (2021)
       
  • Leggere Dante “con le sexte, et con il regolo”

    • Authors: Filippo Camerota
      Pages: 62 - 75
      Abstract: The astronomical metaphors with which Dante in the Divine Comedy periodically provides the coordinates of his journey into the afterlife, suggest that the poet has materially drawn the cosmographic model of the afterworld by measuring the path taken on it, as pilots did during navigation. Renaissance commentators were certainly convinced of this, starting with Antonio di Tuccio Manetti, who around 1460 initiated a period of cosmographic studies on Dante’s hell that continued throughout the 16th century. The Florentine mathematician believed that to fully understand the architecture conceived by Dante in the womb of the Earth, it was necessary to have solid knowledge of geometry, arithmetic, cosmography and drawing. The globe, the nautical chart, the ruler and the compass were, therefore, the tools considered essential in order to give shape, size and location to the immense amphitheater of eternal damnation.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13250
      Issue No: Vol. 7 (2021)
       
  • Terragni e il progetto del Danteum, fra ‘primordialismo’, astrazione
           geometrica e sperimentalismo tecnologico

    • Authors: Emanuela Ferretti, Attilio Terragni
      Pages: 76 - 91
      Abstract: Giuseppe Terragni and Pietro Lingeri’s Danteum project has been the subject of numerous studies and investigations. Moreover, in recent years, digital reconstructions of the building have been made which significantly contributed to the understanding of the project and to the knowledge of the design process, as well as to Pietro Lingeri’s role in it. This essay consists of two parts: the first, by Emanuela Ferretti, investigates the context in which the project took shape, with particular regard to the Italian scenario of 1938-1939; the second, by Attilio Terragni, highlights – with the sensibility of the architect-designer – some of the characteristics of the Danteum project and is accompanied by reconstructive drawings of the building, made by the same author on the basis of original drawings by Giuseppe Terragni, preserved in the Terragni Archive in Como.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13251
      Issue No: Vol. 7 (2021)
       
  • Dalle pietre agli alberi: celebrare Dante a Firenze fra il 1865 e il 2021

    • Authors: Federica Rossi
      Pages: 92 - 103
      Abstract: For centuries, the urban fabric of Florence has been, and continues to be, shaped by a Dantean topography that includes monuments as seen by Dante, but also by works created ex novo or built according to the principles of sytlistic restoration. The article uses this framework to reflect on new and restored works that pay homage to Dante by focusing on the long-term architectural and urban-landscape transformations favoured by Dante commemorations, from the first, Risorgimento-era centennial in 1865, to that of 2021. The emblematic cases addressed regard urban decoration (Enrico Pazzi’s statue in Piazza Santa Croce), new constructions (National Central Library of Florence), and Dantean topography (Dante’s House and Dante’s Star). In every era between 1865 and 2021 works honouring Dante have served to raise awareness of topical issues. On the other hand, as Pierre Nora wrote, “Toute commémoration est une transformation de l’événement passé au service des besoins du présent”.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13252
      Issue No: Vol. 7 (2021)
       
  • La via per l’Inferno. Una possibile genealogia figurativa per un
           film italiano del 1911

    • Authors: Francesco Galluzzi
      Pages: 104 - 115
      Abstract: The 1911 Italian film Inferno (directed by Francesco Bertolini, Giuseppe De Liguoro and Adolfo Padovan) lies at the intersection between the new art of cinema, cultural memories and the horrific and marvellous elements of the 18th century tradition of the Sublime, between high and low cultural references. This text attempts to retrace the course of the artistic events that allowed this crossing to be possible.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13253
      Issue No: Vol. 7 (2021)
       
  • “Fecerat egregia constructum ex arte sepulcrum”: il monumento dantesco
           di Pietro Lombardo a Ravenna

    • Authors: Matteo Ceriana
      Pages: 116 - 129
      Abstract: The main purpose of the paper is to focus on the structure, the materials and the history of Dante’s memorial at San Francesco in Ravenna (1483). The marble and stone structure was produced by Pietro Lombardo and his workshop under commission from Bernardo Bembo, the Venetian politician and humanist who was podestà of Ravenna between 1482 and 1483. The memorial was probably dismantled in the 18th century when it was replaced in the new chapel designed by Camillo Morigia, yet it was rebuilt exactly as it was before, as we can conclude from the original project drawings (Paris, Bibliothéque Nationale) and from etchings of various later (18th century) reproductions. The Dante memorial focuses of course on the memory of the poet, but it is also part of a more extensive programme for the restoration of other monuments in Ravenna produced by Lombardo’s bottega, as well as of urban spaces that visually affirm the Venetian domination of the city at the time and under the Patrician government.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13254
      Issue No: Vol. 7 (2021)
       
  • Ravenne de la Zona dantesca à la Zona del silenzio

    • Authors: Thomas Renard
      Pages: 130 - 141
      Abstract: Based on archival material and the available bibliography, this article traces the complex history of the area surrounding the tomb of Dante Alighieri and the Basilica of San Francesco in Ravenna. It focuses on the period running from the commemorations of the sixth centenary of Dante’s birth in 1865 to the inauguration of the Zona del silenzio in 1936. The end of the 19th century was marked by the failure of important monumental projects. The sixth centenary of Dante’s death in 1921 was the first important phase of transformation, seeking to recreate the appearance of a medieval past. Subsequently, during the Fascist period, several projects, notably those by Giulio Ulisse Arata and Gustavo Giovannoni, attempted to extend the intervention to the urban scale, which, through aborted projects and partial realisations, led to the creation of the Zona del Silenzio. Through the interplay of local and national actors and the key role of Corrado Ricci, the article analyses the difficulties of developing an area that symbolically embodies Italy’s tribute to the national poet.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13255
      Issue No: Vol. 7 (2021)
       
  • Tra culto e fascinazione. Il progetto di Roberto Papini per la Tomba di
           Dante a Ravenna

    • Authors: Lorenzo Mingardi
      Pages: 142 - 151
      Abstract: Roberto Papini (1883-1957) was one of the most influential figures within the Italian architectural debate between the two world wars. Professor of History of Architecture in Florence, he was one of the most up-to-date figures concerning the programmatic and linguistic innovations of foreign architecture, which he spread through his numerous collaborations with large circulation newspapers and magazines. He also held numerous prestigious public positions at the Ministry of Education and Fine Arts and at important cultural institutions. Papini was not a Dante Alighieri scholar, a literary expert or a linguist. Despite this, for over thirty years he sought to modify the urban and architectural conformation of the place where the poet is buried, a theme on which he worked incessantly from 1927, when he formulated the proposal for the area, the only occasion on which he attempted to design architecture from scratch, to 1957. Through the study of unpublished documents kept in his archives in Florence, the contribution will highlight the reasons behind Papini’s obsession and elucidate the way in which he attempted as an intellectual, with his articles and actions, to get his project approved by the local administrations.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13256
      Issue No: Vol. 7 (2021)
       
  • La scala concavo-convessa nel Cortile del Belvedere: un
           ‘Danteum’ bramantesco'

    • Authors: Alessandro Rinaldi
      Pages: 152 - 159
      Abstract: The concave-convex staircase located in the exedra at the end of the Belvedere Court has not had the critical fortune that such an original – and problematic – invention would have deserved. On a formal level, the two flights can be schematically associated to a portion of a valley and a hilly formation made of steps. The stair would, therefore, symbolically indicate the shape of the terrain on which the Belvedere is located: the hill with the villa of Pope Innocent VIII on the one side and a “small valley in the middle” (according to Vasari) on the other. The stair could also contain another level of meaning connected to Bramante’s interest in Dante and to his competence as a cosmographer (Sabba Castiglione). The concave flight can be compared to the reconstruction of Dante’s Inferno, represented as an amphitheatre in Antonio Manetti’s version; while the convex section shows a strong similarity with the mountain of Purgatorio. On a planimetric view, the recomposed figure appears as a set of eight concentric circles that correspond to the eight circles of the Paradiso. The staircase would thus embody the specific features of the place where the Belvedere stands, while also creating a connection with Dante’s map of the otherworld.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13257
      Issue No: Vol. 7 (2021)
       
  • “Venimmo al piè d’un nobile castello”. Un disegno di Bruno Bossi
           per il secentenario dantesco del 1921

    • Authors: Orietta Lanzarini
      Pages: 160 - 163
      Abstract: The six-hundredth anniversary of Dante Alighieri’s death was commemorated in 1921 with a rich programme of events. Three of these had as backdrops cities deeply connected to the life of the poet: Florence, Rome and Ravenna. In the latter city, one of the key figures involved in the Dante celebrations was Ambrogio Annoni, an architect and professor at the Regio Politecnico of Milan. It was Annoni, probably, who accompanied a group of student-architects to visit the monuments of Ravenna associated with the life of Dante. Bruno Bossi, a native of Canton Ticino and at the time enrolled in the first year at the Politecnico, would have been among them. The visit to Ravenna, and the celebrations of 1921 in general, could be correlated with an unpublished drawing – an “estempore” to be created in an hour – made by Bossi in May 1921. It is the graphic transposition of a passage from Canto IV of the Inferno, transcribed in the margin of the sheet, in which a large castle is described, surrounded by seven walls, overlooking a narrow river. Bossi translates the architectural image evoked by Dante’s words into a monumental and scenographic building, from which futurist and cinematic echoes emerge. In this way, the future architect paid tribute to the valuable fortified architecture of Canton Ticino, in particular to the castles of Bellinzona, and at the same time demonstrated his early interest in the arts, cinema and theatre, which would accompany him throughout his professional career.
      PubDate: 2021-12-11
      DOI: 10.13128/opus-13258
      Issue No: Vol. 7 (2021)
       
 
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