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Gianluca Marziani a cura di , P. Gianluca Marziani testo di , 20 Princeps Principium. Gianluca Marziani a cura di , Regionevolmente. Abruzzo , catalogo della mostra Centro Fieristico, Viterbo , ed. GraficArt, Roma, pp.

Intùiti: Le carte che aiutano a pensare meglio di un 28enne

Mario Quesada testo di , Alberto Di Fabio. Diciotto tempere su carta , Andrea Franchi, Roma. Luigi Giovinazzo testo di , Alberto di Fabio. OkPrint, Roma, ill. LCL, Avezzano, pp. Leo Strozzieri, Artisti italiani del Saggi critici e testimonianze , Artechiara, Pescara, p. Gianluca Marziani, Melting Pop. Gianluca Marziani a cura di , In che senso Italiano? Plinio De Martiis, 5 personali. Lino Fioriti. Tipografia Bertelli, Firenze, pp. Giorgio Di Genova Ibla mediterraneo. Premio internazionale di pittura e grafica IV edizione , catalogo della mostra, Palazzo dei Mercedari, Modica , s.

XLII, n. XXXVI, n. XLI, n. Milano, maggio , pp. XL, n. Luciano Marcucci, Alberto Di Fabio. XXXIV, n. XXXIX, n. XLVI, n. Ponza, Napoli e le Eolie. Licia Spegnesi, Alberto Di Fabio. IV, n. VII, n. VI, , pp. III, n. Gianluca Marziani, Un sodalizio vincente. Alessandra Alliata, Paesaggi della mente.

Alberto Mugnanini, Alberto Di Fabio. XXX , n. Mara De Falco, Lo volevo fare io. Guadagno, Alberto Di Fabio. Gianluca Marziani, Speciale Roma. Angelo Capasso, Nuovo spazio a Perugia. Lorena Grieco, Alberto Di Fabio. Alessandro Trabucco, Alberto Di Fabio. XXII, n. Antonio Farchione, Alberto Di Fabio.

Lucia Spadano, From Italy. Francesca Pietracci, Alberto Di Fabio. XXX, n. Umberto Sala, Lucia Spadano, Attualissimi. XXVII, n. Redazione, Generazioni a confronto per Contemporanea Mattia Andres Lombardo, Trame di un secolo appena passato. Mattia Andres Lombardo, Cosmo e alchimia. Angela Maselli, Aura. Giovanna Procaccini , Microcosmi e macrocosmi. Redazione, Project wall extra Alberto Di Fabio. Roberta Morgante, Sentimento del tempo. Gianni Piacentini, La mostra che non ho visto Mario Francesco Simeone, Quando la pittura studia la materia.

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Massimo Mattioli, Galassie sul Castello. Helga Marsala , Da padre in figlio. Alessandra Angelucci, Fino al Diana Gianquitto, Rispondere alla vita. Alessandro Buganza, Le interviste di Buganza. Alessandra Troncone , Alberto Di Fabio. Michele di Stefano, Alberto Di Fabio. Leonardo Iuffrida, Antroposfera. Eliza Williams, Alberto Di Fabio. Stefano Castelli, Alberto Di Fabio. Alberto Mugnaini, Alberto Di Fabio. Gareth Harris, Alberto Di Fabio. Anna Rescina, Alberto Di Fabio. Alessandra Troncone, Alberto Di Fabio. Ginevra Bria, Alberto Di Fabio. Mariagrazia Muscatello, Alberto di Fabio.

ArtsLife — Alberto di Fabio. Landscape of Immanence. By Nicoletta Daldanise. By Laura Cherubini. PPP at a turning point. By Pier Paolo Pancotto. Nobile Mino, Skies are blue, in Over the rainbow, cat. Vortices, cat. Rolando Anselmi Gallery, Berlin, 8 giugno — 8 luglio. Download Biography. Scarica Biografia. Download Exhibitions. Scarica Lista mostre. Une installation , Mairie du 4 arrondissement, Paris, 22 marzo — 15 giugno. Over the rainbow , Galleria Pack, Milano, 5 maggio — 11 settembre. Cosmospolitan , Almada con la collaborazione di Gagosian Gallery , London, 13 ottobre.

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Insomnia , Galleria Pack, Milano, 25 settembre — 17 novembre. Microcosmo , Galerie Steinle, Munich, 23 marzo — 20 maggio. Tarotorino , Studio nmb, Torino, inaugurazione 3 giugno. Tirana Open1 Palazzo dei Congressi, Tirana, maggio. Collezione 2. Route 66, Luca Tommasi, Monza, 15 dicembre — 31 gennaio Dublin Contemporary , National Gallery, Dublin, 6 settembre — 21 ottobre. Italian calling, Bonelli Lab.

Last but not least the topic of the communication, which in our time is something totally linked to the digital media. In June a group of scholars from 8 different countries met in Florence to discuss about the relationship between Architecture, Archaeology and contemporary City Planning. More Info: Available also in printed version on www. Publisher: lulu. Giorgio Verdiani - 12 cose imparate in 12 anni di insegnamento more. La modellazione per i Beni Culturali pone spesso problemi di non semplice soluzione, gestire le informazioni da dati massivi come quelli provenienti dal rilievo digitale richiede approcci specifici ed efficaci.

In questo volume, redatto Giorgio Verdiani - Tesi di Dottorato - Il Battistero di Pisa, rilievo e rappresentazione digitale tra ricerca e innovazione more. The morphosis of the Albanian socialist cityscape. A reaction to buildings with high-energy consumption more. For more than 45 years, Albania went through the toughest experience of communism among the Eastern Bloc countries. Ideology strongly influenced the urban character of cities, which underwent an intensive development during this period Ideology strongly influenced the urban character of cities, which underwent an intensive development during this period.

Although the city had to represent the power of the system, architecture, considering the poor economy, offered merely the basics. In the housing sector, industrialization and standardization resulted in the production of modest shelters with very low or no concerns about building quality, energy consumption and comfort. After the fall of the regime, the buildings and the city failed to meet the increasing demand for energy, comfort and better life standards.

Under these circumstances, people took control of architecture and started to adapt their buildings by leaving remarkable traces that definitely altered the Albanian socialist cityscape. The article discusses the options for regaining the image of the city while pointing out the need for resilient and efficient models in architectural design and city planning. A special poetic of iron and stone: reflections about the design of the Montemartini Museum in Rome more. Architects are used to being in relationships with museums and are accustomed to planning them and learning how to organise their specific structures.

Inspiration can be found in museums, and sometimes the ideas of other architects can be Inspiration can be found in museums, and sometimes the ideas of other architects can be emulated. The rules and solutions usually adopted for museums are based on well-established procedures, with the design contribution guiding and organising the theoretical, pedagogical and scenographic aspects of the space.

An architecture is created which is specific and pervasive, and ideas should be balanced between the meaning of this architecture and the valourisation of what we want to bring onto the scene. In this paper, the resonance and vision of the Montemartini Museum in Rome will be analysed as a reference to interpret how the special poetry of this building is generated and how certain parallels can be both a choice and an opportunity in terms of the design of future museums. Doi: View on books. In these decades the seismic vulnerability of buildings has been widely investigated, and many different approaches have been developed for their preservation.

Museums' collections, instead, achieved interest from research communities Museums' collections, instead, achieved interest from research communities only in the very last years. Artifacts are usually vulnerable to seismic excitations, since they can present irregular shape-not easy to be numerically represented-and fragile material. The need to check the seismic vulnerability of artifacts has induced the developments of new techniques aimed at representing their shape and mass distribution through not-invasive approaches, and at simulating their seismic response by means of numerical analyses.

This work is aimed at developing a multidisciplinary analysis of an art good, where visual and computer technologies are adopted for the evaluation of its seismic safety. The selected case-study is the "Fontana di Sala Grande" by Bartolomeo Ammannati, currently located under the vaults of the National Museum of Bargello court, in Florence. The sculptures constituting the Fountain have been described through a laser scanner analysis, which has provided a three dimensional digital model.

The set of data produced can be visualized in interactive modes, creating a sort of "new reality" showing the possible events according to earthquake phenomena, a kind of reality no one want to see getting real, but at the time useful to know for taking countermeasures. In this work, the 3D model has been adopted to perform a structural analysis aimed at checking the seismic response of the sculpture complex. The digital representation of the sculpture, indeed, has been the starting point to set the structural model to perform the seismic analysis.

The seismic input assumed in the analysis has been found by implementing the seismic hazard of the area, according to the current Code classification, through a proper soil modeling, defined after the amplification factor distribution. The research has achieved a reliable evaluation of the seismic safety of the case-study; moreover, it has provided new digital materials, representing a valuable and important art good, which improve the current knowledge level, leading further studies and research to the cultural and scientific community.

The will to experiment architectural design processes on a virtual space is the main feature of this project; in this case the typology of museums has been adopted to investigate the potential of virtual reality on architectural The will to experiment architectural design processes on a virtual space is the main feature of this project; in this case the typology of museums has been adopted to investigate the potential of virtual reality on architectural visualization.

Its particle structure allows to host a multitude of different collections 3D digital arts, 3D model reconstructions… and each one of them can be modified or increased during time thank to the flexibility and dynamic state of the museum. It could be seen as a "never-ending" project, or a continuously growing museum. In this contribution it will be presented the first collection prototype, created from the tridimensional reconstruction of some of, as they're called, visionary architectures: it's a selection of works, from 19th century to today, born "on paper" and never built. The aim of the first collection project is to experiment a different kind of approach in the field of historical "paper architectures", trying to increase their value and their suggestive nature and sharing it through the museum structure.

Basically the project gives this works the third dimension and through augmented reality allows them to be explored as a building inside a virtual world in which they don't have to deal with technical issues, and in which creativity can take place as in their authors' mind. The Halicarnassus Mausoleum, a Digital Rereading. Step 1: The Statues at the British Museum more. Well known as one of the Seven Ancient World's Wonders, the Mausoleum built by Mausolus in Halicarnassus is one of the many lost masterpieces from the past.

Its architectural and artistic high quality just left a large bounce of fragments Its architectural and artistic high quality just left a large bounce of fragments and ruins, leaving to all the scholars a rich subject for studies and to imagine possible reconstructions. In this ongoing research, a try of collecting the single parts and make some matching with other possible references is done starting from 3D digital modeling.

Photogrammetry was used on a set of statues from the British Museum, for creating accurate 3D models, with a great attention in finding correspondences with other sculptures and features faces, dresses, details from other artworks from the same area. Such an operation, starting from the statues trays to bring on some reflections about proportions, stiles and relationship with architecture to better understand and verify possible new reconstruction choices about this long lost architectural wonder.

Seminario internazionale: lettura e progetto del castello di kyrenia International workshop: reading and designing the kyrenia castle more. The workshop took place between the 6th and the 13th of May , at Girne American University, Cyprus. H-BIM models are becoming an effective support for the protection and conservation of historical heritage artefacts. The application of these new digital tools arisen several issues regarding the semantic parsing method, often due the The application of these new digital tools arisen several issues regarding the semantic parsing method, often due the topologic relation that exist between architectural and structural elements.

Moreover, the growing adoption of survey systems, often based on the achievement of a point clouds, arisen problems of converting this data into simplified BIM model version. The object of this essay is to show preliminary result of a methodology that, starting from consideration that derives from structural analysis, will allow to define the architectural element for the HBIM model.

Livorno, in Tuscany represent the main harbor in this part of the Mediterranean coast. With the establishment of the Free Port, in , the arrival of merchants was favored and the demand for warehouses, capable of accumulating goods in With the establishment of the Free Port, in , the arrival of merchants was favored and the demand for warehouses, capable of accumulating goods in the port of transit, increased considerably.

For this reason, the system of fortifications was strengthened towards the sea and modernized by Cosimo III. The complex could control both the interior of the port and the open sea. The main function assigned by the authorities to this fortress was to bomb ships that intended to violate the neutrality declared in , becoming, in fact, a peaceful observatory that, even in moments of tension, did not fire a shot to attack. Thus, it was equipped with an extended system of tunnels to allow the safe movement of people, ammunitions and cannons in case of a battle.

This war machine is now in a quite complex state of abandon with a serious loss of architectural identity, mined by fragmented architectures growth all around the fortifications and with the galleries filled with the ruins remained around after the World War II bombings. In for the first time after 70 years, the Port Authority of Livorno, operated the full removal of the ruins fitted in the galleries, allowing a complete digital survey of an architecture finally brought back to have a chance or revitalization. In this paper it will be presented the products of this research, showing the accurate and unedited representation of this long-lost fortress.

Mappatura digitale, tecniche costruttive e caratterizzazione petrografica delle pietre della fortificazione di Punta Rossa Caprera more. The Opera Punta Rossa fortification was built at the end of XIX century on the South of Caprera island North Sardinia , when returned to thinking of La Maddalena archipelago as a strategic military centre, no longer determining in The Opera Punta Rossa fortification was built at the end of XIX century on the South of Caprera island North Sardinia , when returned to thinking of La Maddalena archipelago as a strategic military centre, no longer determining in relation to the only French border, but to the much larger chessboard of the Western Mediterranean.

It is of singular interest not only for the functional parameters but, above all, for its imposing appearance with wide dimensions, and other many interesting technical-architectural aspects: laying modes of wall structural elements i. The geomaterials used are local rocks outcropping in the area of Opera Punta Rossa, belonging to the Paleozoic granitic pluton of Gallura and to the associated filonean bodies Upper Permian - Carboniferous, between about and million years ago.

In the fortification have been mainly used the "granite" rocks substantially biotitic granites and granodiorites and subordinately also the filonean rocks especially for irregular ashlars with variable colours and dacitic-rhyodacitic composition. Generally, the cornices and the openings were made with the lighter greyish granite facies. Conglomerates and cement-based concretes were used for throwing pitches in even thicker castings. In some subsequent renovations, bricks were also used. The photographic and digital relief was carried out using laser scanner methodologies, which has allowed to define the conservation status of the Opera Punta Rossa complex, producing a 3D model of the current state of building.

Earthquakes represent huge risks for cultural heritage. Although there is a large literature about prevention on historical buildings, the seismic assessment on collections and exhibition designs is usually underestimated. The museographical and historical researches have been combined with the seismic performance of the reconstructed Fountain. In this paper the first results provided by the seismic analysis of this artifact are shown. A 3D structural model has been set, based on the three dimensional digital model provided by an detailed laser scanner survey. An elastic dynamic analysis has been performed, by representing the seismic input through an ensemble of seven ground motions expressing the seismic hazard of the area.

The analysis has provided the seismic response of the sculptures, evidencing its sensitivity to the dynamic properties of the considered ground motions. Museography and Seismic analysis and design. The Tabarkinian Towns in the Mediterranean Area more. In the Mediterranean area the relationships between people, architecture, art and urban settlements is an intricate mosaic. In the first half of the 16th Century the Spanish Crown began a military campaign in this area to hold back the Muslims.

Tabarka, location considered of value for its richness in coral, became the "center" of the Christian-Muslim rivalry. Here Spain wanted to establish a strategic "border". In the first contract is signed between the Spanish monarch and Genoese families of Lomellini and Grimaldi. The agreement signed in allowed them to settle in the island for fishing and for coral trade.

Ponti, Marco 1967-

During the 17th Century, following an economic operation of the Lomellini Family, a large part of the people living in Pegli, near Genoa, migrated to the Tabarka Island on the Tunisian coast. They were sent there to work as coral fishers and they colonized that small island. In the following Century Tabarka became overpopulated while the coral reefs decreased.

Moreover, the population began to have trouble with the pirate incursions and with the local Governor. In the middle of the 18th Century, King Carlo Emanuele III decided to offer them the opportunity to migrate to the southern part of Sardinia, to continue their work on a completely uninhabited island, called San Pietro.

But after a pirate attack a complex history of kidnapping and slavery followed, a large part of the population from Carloforte and Tabarka was kidnapped and enslaved by pirates to be sold on the Tunisian market. The town of Tabarka was destroyed. Part of the kidnapped people were set free by the efforts of various European countries, and between the end of the 18th Century and the beginning of the 19th Century, they came back from their slavery.

A confrontation about the house typologies and the urban pattern is the way to face this investigation. To put in evidence which are the constants and the variables in these settlements and what makes these places what they are, trying to identify the way these settlements started, what kind of buildings were the core of the colonization. This research operates starting from a detailed survey and documentation campaign of the actual towns.

The contemporary technologies based on laser scanner and digital imaging have been used to develop a rich archive of information and to start the analysis about these Mediterranean settlements, trying to read them according to the common ground of the people from Tabarka. Modelli digitali per lo studio del Patrimonio Intangibile: il caso di Carloforte, Sardegna more. Page Numbers: Publication Date: Publication Name: Il modello in architettura: cultura scientifica e rappresentazione. The archaeological patrimony in the Mediterranean area is one of the most intense manifestation of the will of the many societies populating this area since ancient times.

It is a complex and articulated Cultural Heritage presenting It is a complex and articulated Cultural Heritage presenting difficult puzzles and impressive possibilities. This creates the need of an accurate comprehension of the subject of the reconstruction, of its connection and its context.

Basing its considerations on twelve years of digital surveys and various tentative of digital reconstruction, this contribution will propose a discussion and to define a path for this kind of specific architectural procedures in the digital age. Issue: 19 Volume: 10 Page Numbers: 4. Fortifications and documentation: the case of Fortezza Vecchia in Livorno. State of the digital survey more. The survey work has been planned using two 3D laser scanners with the implementation of topographical survey, terrestrial and areal IUAV photogrammetry.

The paper proposed here will present the state of development of the data treatment and the specific methodology used to document such an important and large fortress. The current alarming conditions of the building invite us to reflect on the unpleasant but common fate of many buildings of the Liberty and Eclectic periods in Italy. With the evolution of rationalism of the architectural form and thus the gradual elimination of decorative elements from architectural objects, architectural research, and with it the observation and conservation of cultural heritage, has increasingly focused on the new rational style, omitting many examples of floral style equally deserving of attention.

The alarming state of preservation of the Tonietti Mausoleum, combined with the total absence of conservation projects by local authorities, set the conditions for the dissolution of the work and the consequent loss of the cultural and territorial connotation that it created. Processing of the survey data and the collection of documentation are intended to create the basis for the comparison of the work's original state and its current form, determining the current conditions of decay. Destroyed Places and Ancient Wars. Digital Tools for the Montecastrese Fortress more.

In the XXth century, a series of archaeological excavations brought to light the settlement named " Montecastrese, " a system of Medieval fortifications located on the top of a hill near the town of Camaiore, on the Tyrrhenian coast of In the XXth century, a series of archaeological excavations brought to light the settlement named " Montecastrese, " a system of Medieval fortifications located on the top of a hill near the town of Camaiore, on the Tyrrhenian coast of Italy.

The site had been abandoned for centuries before the archaeologists brought to light traces of the fortress and of the village, exploring the monumental ruins of the northern tower, still in place but consisting of ruins in two main areas. In the first half of the XIIIth century, the castle of Montecastrese was conquered and destroyed by the army of Lucca.

At the time of its major development, the small fortress was organized around two main towers, with walls and houses. A quite extensive village was located on the southern side of the hill. In , the municipality of Camaiore commissioned the Dipartimento di Architettura in Florence to make a complete digital survey of the area. The general survey plan was made using an aerial photogrammetric survey, a 3D laser scanner survey and terrestrial photogrammetry.

The 3D modeling of all the lost parts, from the houses, to the defense walls, to the system of towers, was one of the focal points in this work, which used the modeling process from the survey and supported the reconstruction hypothesis with previous archaeological data. At the same time we matched the missing parts with similar architecture and took into account the defensive and offensive features of the medieval fortress. For the northern tower, a specific operation based on the use of 3D printed models was employed in order to settle the debate about the sequence of the tower's collapse.

This was quite important to the digital reconstruction of the building, and the direct manipulation of a scaled model turned out to be a fundamental step for the completion of this part of the research. Digital tools for documentation and interpretation of the fortification system of Elba: the Giove Fort as a connection point between ancient routes and visual targets - Giorgio Verdiani, Mirco Pucci, Giulia Baldi, more.

Elba territory presents a dense network of forts and outposts created by the various dynasties and conquerors that ruled the Island through the centuries. This defensive apparatus was connected by ancient paths, routes and visual systems, This defensive apparatus was connected by ancient paths, routes and visual systems, as it is possible to notice from the landscape, showing the various watch towers located on hills. The visibility among these archaeological evidences can still be observed as no changes has been made to their context. Giovanni Tower, which are located on strategic areas to control the whole perimeter of the Island and of the Mediterranean Sea.

They represent a potential visual line on heights, which all coastal fortification systems referred to. The use of digital tools, 3d laser scanner technologies and photogrammetric survey, make possible to understand the evolution of this military apparatus and the communication method between the Giove Fort and the other main outposts. The acquired data aim to a better knowledge of the Giove Fort and the role it played in the past. The final documentation can provide an improvement of the bibliography, promoting a kind of virtual tourism.

By the use of multimedia applications and web sites, visitors can interact with digital and physical 3D-models of the archaeological complex, avoiding accessibility obstacles. The paper proposed here will show the description and the analysis of this documentation and dissemination project. Andrea Pasquali, Angela Mancuso, more. The topic presented in this paper is part of a wider research network about the Elban fortification system that last year has produced two works discussed during the Italian edition of the FortMED The research proposed this year has The research proposed this year has the will to give the actual state of remains of the Fortress of Giove near Rio nell'Elba Livorno, Italy.

The fortress was built in from the Appiani family, at that time authority of the Elba Island. The fortress was destroyed first by the Ottoman pirate Dragut in and decisively from the Spanish governor of Porto Azzurro, Mouroy de Pinel. The aim of the digital survey, operated with a 3D Laser Scanner and a professional photographic equipment, is to have a complete coverage of the entire structure, without forgiving the masonry texture, useful to bring hypothesis about its original shape and eventual architectural changes. Also this study will contributed to complete the panoramic view of the Elban fortifications started in for initiative of the Architecture Department of the Florence University.

The system of the Cryptoporticus as a specific infrastructure between architecture and the ancient Roman road network. Il sistema dei Criptoportici di Villa Adriana come specifica infrastruttura tra l'architettura e l'antica rete Il sistema dei Criptoportici di Villa Adriana come specifica infrastruttura tra l'architettura e l'antica rete stradale romana. View on fupress. The basilica of St. Silvestro was erected in on the foundations of two ancient rooms surrounded by several mausolea, its excavation took place from to The presence of some venerated burials led to the realization of a The presence of some venerated burials led to the realization of a second building thought to be an indoor cemetery.

Today the burials and the fragments of sarcophagi have been moved in the museum. Among the choices of project an integrated digital survey both 3D laser scanner that photogrammetry have been used. The survey had to deal with the complex characteristics of the pieces of sculptures and the difficulties linked to the light subsurface dispersion of the marble. To give a better access to monument, an architectural project and the digital technology tried to enhance the real with a digital layer.

Guglielmo Marconi brought on his experiments obtaining the first radio transmissions in Coltano, near Pisa, in a radio station opened in Nowadays in that place it is possible to see only some ruins and the traces of various large Nowadays in that place it is possible to see only some ruins and the traces of various large antennas. After a first digital survey of the area, this research started to develop reconstructed 3D digital models, giving large importance to an augmented reality experience, capable to bring back in place the colossal antennas and guiding the visitors to the value of this place.

Ricostruire nel virtuale e nel reale, esperienze tra musei e divulgazione more. In our time museums have seen a great evolution in terms of content and in the way they are managed. To a large growth in the variety and richness of the museums, the digital revolution added a lot more, mainly thanks to the diffusion of To a large growth in the variety and richness of the museums, the digital revolution added a lot more, mainly thanks to the diffusion of personal devices and possibility to get connected to the global data network from anywhere. This rapid evolution has in fact led to a complex revision of the way of thinking about the museum and the exhibition.

This brings to significant effects regardless of the size and articulation of the exhibition space, the materials, the issue. The transition from static forms, requiring only observation to interactive forms is always present. The scope of contents for presenting has expanded enormously. The museum becomes an exhibition vehicle for learning activities, dealing the most significant transformation since the birth of its concept.

Sometimes this brings to the creation of a digital double of the museum, with online access when possible, directly available on any computer device. The works, the masterpieces, the elements of attraction, are obviously still the central aspect, but the quality of communication tools and the articulation of the informative contents have become more important than ever. The ability to show to the visitor the intrinsic characteristics of a work has led to the development of specific communication solutions, highlighting the importance of the representation as a fundamental form to transmit the concept associated with the reality of the place visited or to the observed item.

The representation, conducted through existing digital media, becomes an important communication tool: it allows the vision of what is not present, it allows to represent never materialized works and never realized or lost architectures in their entirety. At the same time this kind of choice in the setup of a museum poses large risks of rapid obsolescence and requires a solid understanding of the relationship between potential and results. Some examples will be listed in the following pages, without claim to completeness, but as a partial list of possible applications in which the graphical representation is ever present in the definition of the results.

The making of the " Golden Rathaus " Story and methods of a very specific 3D printed model more. The twentieth edition of a conference happens only every twenty years, so, for this event, a group of habitual participants to the activities of the " Cultural Heritage and New Technologies " conference, decided to organize a special It has been a nice experience, both because of the various troubleshooting needed to pass from an existing model to a 3D print and because the not easy golden material effect.

So the situations were so articulated and various that we decided to write down a paper about all the realization phases, to enrich and to transmit the final result and complete this particular occasion with a full description about the " making of " of the " Golden Rathaus ". The study area has all the features of rupestrian Mediterranean culture, encompassing a heritage developed over time with environmental, architectural and artistic elements.

It tells a special story about ancient life, completing and widening our comprehension of the past. There are buildings of great architectural and pictorial qualities, such as the Tokali Kilise, Saint Eustachius and Saint Daniel, where it is still possible to read the old defensive system and the local way of life. Yet these cave settlements are at risk from deterioration. The research is centred on survey, especially on a digital survey carried out using 3D laser scanners for the architecture as well as of the natural stone structure of the settlement. In this way the first complete and detailed documentation of this area has been created, allowing the first studies on the urban character of this archaeological site.

The research presented here will show a fully digital approach using 3D digital models aimed to investigate, read, preserve the information and disseminate the artistic and cultural values otherwise not easily accessible and continuously at risk of loss because of decay processes. View on lacproceedings. Il Battistero di Biella Forma archittetonica e modelli di riferimento more. Il Battistero di Biella costituisce un esempio in Italia di battistero quadriconco. Il suo assetto architettonico e la sua scala lo rendono un elemento di forte suggestione.

The Baptistery of Biella is an example in Italy of a quadriconco baptistery. It has been built from the IX century, on a late-Roman burial ground. In this baptistery it is possible to identify some typical elements of the Romanesque Architecture. The quadrangular plant has got four lateral semi-circular rooms, divided by angle pillars aimed at supporting the lantern. With its architectural structure and its scale it is an element of strong suggestion.

For this, the survey and the documentation of the baptistery - made by speed technologies like digital photogrammetry aimed to the production of high quality 3D models - let us to create digital study models comparable with other architectural witnesses. The St. Donato Cathedral in Arezzo. Digital reconstruction of a completely lost architecture more.

Abstract: 3D modelling tools allow to reconstruct what is not clear to the eyes. This simple and short phrase is quite obvious, but when it meets lost architectures it becomes the key vault of a complex puzzle made of evidences, This simple and short phrase is quite obvious, but when it meets lost architectures it becomes the key vault of a complex puzzle made of evidences, knowledge, reading strategies and later communication strategies.

In the research presented here, the case study of the St. Donato Cathedral in Arezzo, becomes the occasion for analysing a full digital reconstruction process, its adaptation to virtual interactive usage and how this process can bring back useful information on the ruins that today are the last traces of its existence. Only few remains of the citadel plot are now visible in place. Significant traces of these cathedral walls were never be found during the archaeological investigations, but a various set of representations documents its main aspects.

These representations go from very detailed and pictorial images to schematic sculpted items, to plan drawing. Using an accurate and articulated digital reconstruction project a complete 3D digital model is produced out of all the possible traces. The process will be described in all its key passages, from the digital survey of the area, to the definition of architectural elements.

An interactive model of the cathedral will be presented in first release. Beyond the common features for this kind of models it will have two specific peculiarities: the indication of the level of liability of each part and the system of references used to guide the process. Architecture , 3D printing , 3d Modeling , Vienna , 3d Modelling , and 3 more Architettura , Rathaus , and stampa 3d Architettura , Rathaus , and stampa 3d. Abstract: A lost architecture asks to the digital reconstructor to understand all the elements and to make logic and cultured matching with existing building and drawings, putting together all the possible, convenient and comparable Abstract: A lost architecture asks to the digital reconstructor to understand all the elements and to make logic and cultured matching with existing building and drawings, putting together all the possible, convenient and comparable samples.

Any 3D modelling tools allow to reconstruct and to give strength to ideas and hypothesis, but they must be clearly aimed to a sort of reverse design process, a workflow oriented to find back the choices of ancient architects and constructors. Practical and technical choices were at the basis of the building development while consolidated procedures were adopted to solve construction situations. The knowledge of the ancient courtyard and the design logic in its contest become an important contribution in planning a digital reconstruction.

The use of the measurement units of the time can be a first useful step in defining and reading the architectonic apparatus, while the construction of correct layout grid can give a better reading of the existing and can be extended to define a structure for the missing parts. Maria and St. Stefano church and the St.

Donato cathedral in Arezzo, now simply poor remains of walls. For each sample the scheme of the workflows and the structure of the developing process will be described together with the most important references used for the digital reconstruction. The will to recreate a graphic reconstruction of a lost architecture as well as a transformed, or damaged, or never built one asks to make logic investigations, putt ing together all the possible evidences.

This process needs an This process needs an accurate work of reading the project: the intents of the original designer. The actual digital 3D modelling tools allow to reconstruct and give communicative strength to just formulated hypothesis, but they must be clearly aimed to verify and test these ideas, in a sort of reverse design process, oriented to find back the choices of past architects and constructors. Donato cathedral in Arezzo, Italy more. For the archaeological area of the "Pionta" in Arezzo, Italy, the interpolation between archaeological and architecture can find a great occasion of collaboration.

The ancient citadel, once on this small hillock is now disappeared, The ancient citadel, once on this small hillock is now disappeared, leaving only poor traces. The lost St. Donato Cathedral becomes the occasion to create a complete 3D digital model was produced out of all the available traces, and later brought to virtual interactive usage through the use of Oculus Rift and Google Cardboard to offer information and knowledge about this place using a VR environment. In the following paper the process will be described in all its key passages, from the digital survey of the area, to the definition of architectural elements, to the making of the interactive model of this lost cathedral.

View on inka. We continually hear about the virtues of the use of drones, but not about the real possibilities of the existing ones in the market applied to the work of architectural survey; and neither about the advantages and problems it solves in We continually hear about the virtues of the use of drones, but not about the real possibilities of the existing ones in the market applied to the work of architectural survey; and neither about the advantages and problems it solves in the incorporation of aerial photographs in the photogrammetric survey, covering topics such as the necessary software, turnaround times, the accuracies achieved or costs Additionally, there is a legislative part which is necessary to highlight, so below we have also summarized the legal and facultative needs to perform these work as established by AESA Spanish Aviation Safety and Security Agency.

Arezzo is placed in the middle of Italy, a town in Tuscany with a rich and intense story. Even if such a thing is true for a lot of old town in Italy and abroad, in the story of Arezzo there is an ancient and complex event which has Even if such a thing is true for a lot of old town in Italy and abroad, in the story of Arezzo there is an ancient and complex event which has cancelled a piece of the timeline in the history of this town.

This small enclave in the Tuscany territory ended being tolerated in the XVI century. Even if the presence of this area remained at a latent state in the memory of the population, the buildings on the hill were demolished and probably their materials reused somewhere else, while only minor parts of the previous churches and chapels were reused and adapted in combination with new constructions.

The study and analysis of the architectural traces and indications is allowing the gradual interpretation of the original design of large part of the buildings. All the digital tools have been used focusing on the will to understand and discover traces of the original asset of this place, trying to bring back in the memory of the people the presence of their past.

The research presented here will bring the status of its advances about the survey data, virtual reconstruction, methods and techniques used to enhance the knowledge about a lost architecture and urban settlement. Un micro e un macro cosmo di frammenti e polveri: breve riflessione sulle archeologie industriali more. Our time had been quickly populated with industrial residuals: the migration of production processes, their variation, switching to new procedures and the rapid industrial renewal in favour of changing requirements and new requirements to restore healthier environments, led to the creation, within about a century, a substantial change in the landscape.