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Journal articles on the topic 'Architecture – Italy'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Joost-Gaugier, Christiane L., Ludwig H. Heydenreich, Paul Davies, and Wolfgang Lotz. "Architecture in Italy, 1400-1500." Sixteenth Century Journal 27, no. 3 (1996): 963. http://dx.doi.org/10.2307/2544126.

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2

Godfrey, Aaron W. "Book Review: Architecture of Italy." Forum Italicum: A Journal of Italian Studies 42, no. 2 (September 2008): 427–28. http://dx.doi.org/10.1177/001458580804200217.

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3

Lepine, Ayla. "Building Ruskin's Italy: Watching Architecture." Journal of Architecture 19, no. 6 (November 2, 2014): 998–1003. http://dx.doi.org/10.1080/13602365.2014.988918.

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4

Jones, Kay Bea. "The Architecture of Modern Italy." Journal of Architectural Education 59, no. 3 (February 2006): 94–95. http://dx.doi.org/10.1111/j.1531-314x.2006.00043.x.

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5

Bonfanti, Angelo, Enrico Battisti, and Luca Pasqualino. "Social entrepreneurship and corporate architecture: evidence from Italy." Management Decision 54, no. 2 (March 21, 2016): 390–417. http://dx.doi.org/10.1108/md-08-2014-0532.

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Purpose – The purpose of this paper is to examine the contribution of corporate architecture to social value creation. It especially analyses the social effects of investments in experiential corporate architecture that have been carried out by Italian industrial companies. Design/methodology/approach – This study follows a qualitative approach. It is based on a survey and semi-structured in-depth interviews undertaken with six Italian industrial companies. The dimensions of the social-entrepreneurship model (innovativeness, proactiveness, risk management) proposed by Weerawardena and Sullivan Mort were chosen as a framework to investigate the social effects of investments in corporate architecture. Findings – The social effects of the innovativeness dimension are the integration of the company with the territory and development of sustainability. Proactiveness is related to improving the employees’ wellbeing in the workplace and the community’s quality of life. Risk management ensures the development of the local economic-social fabric. Research limitations/implications – This study combines social entrepreneurship and corporate architecture by highlighting the social effects of corporate architecture. Further, it proposes the structural embeddedness of the company in the territory of reference, a sense for beauty, and a sense of gift giving as further entrepreneurial traits that are generally not proposed in the social entrepreneurship literature. Practical/implications – The results of this study suggest that top management should consider: that investments in corporate architecture are a deliberate strategy of the company; that profits are not a purpose in and of themselves, but rather a means to achieve the social mission’s objectives; and the relationship with architects in terms of mutual involvement in order to understand corporate and local needs and effectively transform them into appropriate architectural solutions. Social/implications – Corporate architecture can help to solve a number of social problems, such as improving the community’s quality of life, providing employments opportunities, allowing the community to benefit from places of socialisation and aggregation, and offering facilities and services that support culture and encourage cultural exchange. Given that the social benefits are reciprocal, all stakeholders should financially support companies that invest in corporate architecture. Originality/value – To the knowledge, this is the first study to connect social entrepreneurship and corporate architecture. This research brings to light some Italian industrial companies that are investing in corporate architecture to create social value in the twenty-first century, after the pioneering investments of the Olivetti company.

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6

Rodeš, Sanja. "Italy/Australia: Postmodern Architecture in Translation." Fabrications 30, no. 2 (May 3, 2020): 284–86. http://dx.doi.org/10.1080/10331867.2020.1769605.

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7

Ben-Ghiat, Ruth. "Architecture and Urbanism in Fascist Italy." Journal of Urban History 20, no. 1 (November 1993): 123–32. http://dx.doi.org/10.1177/009614429302000107.

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8

Ghirardo, Diane. "Architecture and Culture in Fascist Italy." Journal of Architectural Education 45, no. 2 (February 1992): 66. http://dx.doi.org/10.1080/10464883.1992.10734491.

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9

Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 170–95. http://dx.doi.org/10.2307/991483.

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This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored, along with the implications of this eclecticism for the history of southern Italy. Utilizing the rich array of surviving medieval documents for the region, including episcopal charters, royal decrees, and medical treatises, the study then reconstructs the economic, social, and scientific significance of the baths within medieval Amalfi. As monuments outside the traditional contexts of art production in southern Italy, the baths challenge long-standing characterizations of southern Italy's art and architecture, and point to the existence of a Mediterranean-wide balneal culture in which Byzantine, Islamic, and southern Italian communities participated.

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10

Ben-Ghiat, Ruth, and Dennis P. Doordan. "Building Modern Italy: Italian Architecture, 1914-36." Journal of Architectural Education (1984-) 43, no. 4 (1990): 43. http://dx.doi.org/10.2307/1425049.

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11

Ben-Ghiat, Ruth. "Building Modern Italy: Italian Architecture, 1914-36." Journal of Architectural Education 43, no. 4 (July 1990): 43–44. http://dx.doi.org/10.1080/10464883.1990.10758587.

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12

Frassoldati, Francesca, Alessandro Armando, Cassandra Cozza, and Caterina Padoa Schioppa. "Laboratori, sconfinamenti e specialismi." Ardeth, no. 10 (2022): 316–35. http://dx.doi.org/10.17454/ardeth10-11.17.

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Discussing competence in architectural education is the opportunity for Giovanni Durbiano, Nino Saggio, and Ilaria Valente to reflect on the foundations of architectural education in Italy and the Schools where they have been teaching for a few decades, in Torino, Rome, and Milan, respectively. Since their inception, Architectural Schools in Italy have been characterized by the presence of “masters” who mediated via their authorship the effects of design on places, their history, and contexts. Beyond education, this became the Italian way of approaching architecture. The three scholars agree, in different ways, on the value that a similar approach may retain. At the same time, more instances emerge and innovation seems to expand indefinitely the fields in which competencies matter.

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13

Mogetta, Marcello. "A New Date for Concrete in Rome." Journal of Roman Studies 105 (April 24, 2015): 1–40. http://dx.doi.org/10.1017/s007543581500043x.

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AbstractConcrete is regarded as a quintessentially Roman achievement. The spread of the technology is usually dated to the fourth or third centuriesb.c., and interpreted as a symptom of Rome's early expansion in Italy. In this paper I offer a reappraisal of the available evidence for early concrete construction in Rome. On the basis of stratigraphic evidence, I conclude that a later date should be assigned to most of the remains. I situate the origins of the technological innovation within the radical change in architectural styles that unfolded in the middle of the second centuryb.c., affecting both domestic architecture and public building. The new chronology has an impact on current models of cultural diffusion in Roman Italy, linking the development of Late Republican architecture with the broader debate on the cultural implications of the Roman conquest.

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14

Longo, Olivia. "L’influenza della Guerra fredda sull’architettura italiana. Due Maestri a confronto: Giancarlo De Carlo e Vittoriano Viganò." Restauro Archeologico 30, no. 1 (July 24, 2022): 90–113. http://dx.doi.org/10.36253/rar-12137.

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In 2019, during the centenary of De Carlo’s birth, Massimo Cacciari spoke about immaterial architecture as a possible new frontier of architectural research of our time. During the Cold War, new networks were created in Italy, beyond national borders, based on international dialogues and artistic collaborations. After the analysis of some phenomena that characterized the Cold War and the creative processes of architectural production in the twentieth century, this research describes some projects and writings of Giancarlo De Carlo and Vittoriano Viganò. The contribution outlines the influence of Cold War policies on the works of these Masters under the banner of two slogans: “Anarchist Architecture” and “Interrupted Sign”. According to these aspects, it is possible to emphasize the presence of a root of architectural design that tends to the formal disintegration of architecture.

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15

Clarke, Georgia. "Architecture, Languages and Style in Fifteenth-Century Italy." Journal of the Warburg and Courtauld Institutes 71, no. 1 (January 1, 2008): 169–89. http://dx.doi.org/10.1086/jwci20462781.

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16

Doordan, Dennis P. "Changing Agendas: Architecture and Politics in Contemporary Italy." Assemblage, no. 8 (February 1989): 60. http://dx.doi.org/10.2307/3171014.

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17

Corrado, V. "Passive solar buildings and bioclimatic architecture in Italy." International Journal of Ambient Energy 11, no. 1 (January 1990): 31–38. http://dx.doi.org/10.1080/01430750.1990.9675152.

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18

Radice, Flavia. "Architecture of the university chapels." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 166–73. http://dx.doi.org/10.17979/aarc.2013.3.0.5099.

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University chapels are evangelization outposts offering the possibility to give evidence on the presence of the Church in places otherwise not reached from the ordinary pastoral action. In most Italian campuses there is no place for worship. Indeed, Italy presents a variegated phenomenology of university buildings and related chapels, understandable looking at their history. The liturgical problem arises noting that university chapels are places of particular relationship with the sacraments, great invitation to meditation and occasions of architectural experimentation. Helped by some international examples, this search means to enrich the historiographical and critical outline of the architecture-liturgy connection.

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19

Concas, Daniela. "Liturgical renovation of modern churches in Rome (Italy)." Resourceedings 2, no. 3 (November 12, 2019): 39. http://dx.doi.org/10.21625/resourceedings.v2i3.623.

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At the beginning of the first half of the twentieth century the bond between ars-venustas and cultus-pietas has produced many churches of Roman Catholic cult.It’s between the 20s and 60s of the twentieth century that the experiments of the Liturgical Movement in Germany lead to the evolution of the liturgical space, which, even today, we see engraving in modern churches in Rome (Italy).The Council of Trent (1545-1563) constitutes the precedent historical moment, in which the Church recognised the need for major liturgical renovation of its churches. In comparison with this, the Second Vatican Council (1959-65) introduced some radical changes within the church architectural spaces.The observations come from the direct reading of the present architectural space and the interventions already realised in modern churches in Rome. The most significant churches from an historical-artistic point of view were selected (1924-1965). Significantly, although every single architecture is unique for dimensions, architectural language and used materials, a comparison, in order to gather the discovered characteristics and to compare the restrictions regarding the different operations, would extremely effective, as demonstrated below.Since the matter is considerably vast, in this work, only some brief notes regarding the liturgical renovation of the Presbytery area will be outlined.

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20

Rescic, Silvia, Fabio Fratini, Oana Adriana Cuzman, and Barbara Sacchi. "Historical Use of Travertine in the Tuscan Architecture (Italy)." Heritage 7, no. 1 (January 12, 2024): 338–65. http://dx.doi.org/10.3390/heritage7010017.

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The landscape of an area is not only made up of natural elements but also of man-made elements represented by civil and agricultural artefacts and much more. These elements used to blend aesthetically and harmoniously with the landscape itself thanks to the use of local building materials. Particularly, this contribution examines the use of the travertine in the architecture of the Tuscany region from the Etruscan time to the contemporary age. In Tuscany, travertine is a remarkable example of an identity stone of the territory, so rich in thermal springs that favoured the formation of large deposits of this stone widely used in public and private buildings both in interior design and urban furnishing. The work was carried out through a survey in the Tuscan territory and collection of bibliographic information on the architectural web sites. The survey made it possible to collect a photographic documentation and to assess the state of conservation through the empirical observation of the morphologies of decay when present. Indeed, this stone material in the Mediterranean climate, which characterises Tuscany, shows a good durability against atmospheric agents but may be affected by a chromatic alteration that tends to give the surfaces a greyish appearance. This aesthetic issue is more evident in the Tuscan travertine due to is classic whitish colour.

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21

Ilvitskaya, S. V., and I. V. Mykhaylova. "SUSTAINABLE ARCHITECTURE IN PRESCHOOL EDUCATIONAL ESTABLISHMENTS." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 22, no. 6 (December 29, 2020): 61–69. http://dx.doi.org/10.31675/1607-1859-2020-22-6-61-69.

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The role of sustainable architecture with the introduction of innovative technologies become more and more important. Today, the search for new architectural solutions is closely connected with the information age, structural processes in culture, nature and climatic conditions. This reduces to studying the current problems of design engineering of preschool educational establishments. The purpose of this paper is to identify the current trends in sustainable architecture of preschool educational establishments abroad. The paper discusses the implemented projects of preschool educational establishments in Colombia, Italy, Germany, Norway, Vietnam, China, South Korea, Japan. The analysis of the data obtained shows three main principles of sustainable architecture, namely eco-sustainability, integrity and adaptability. The paper proposes new approaches to design engineering of modern preschool educational establishments, which can become the basis for the construction development in Russia and the qualitative approach to the future project implementation of preschool educational establishments.

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22

Madrigal, José. "Social impact of community projects in Mediterranean schools of architecture." Facta universitatis - series: Architecture and Civil Engineering 14, no. 1 (2016): 21–46. http://dx.doi.org/10.2298/fuace1601021m.

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Star system architect concept was promoted by the media and the society during the last decades. Image culture helped to it, where the most ?iconic? works and designs were continuously published. So many Universities saw how the number of students of Architecture was growing up and new Schools of Architecture arose. Recent economic crises in Europe and other countries helped to go back to an important question: what is the role of the architect within the society? It was an excellent opportunity to understand the Architectural education as the reflection of the society from a territorial and urban point of view. Community projects developed within the Architecture curricula helped to get a comprehensive high education levels, especially in the final years of the program. Transformative pedagogies applied to urban planning and architectural design courses bring up the social role of the architect to the students. Practical exercises are proposed, where the final result is even positive for an eventual social extrapolation. The paper presents us the community projects experiences related to urban design in two different Mediterranean schools of Architecture, one of them in Italy and the last two ones in Lebanon. In the first case the students were invited to reflect on improving the quality of life of the citizenship and the tourists visiting Liguria region in Italy. Proposals for joining efforts among the several municipalities and developing new territorial models are done. The second case study shows us two initiatives for the students, developing proposals for UNHABITAT program and municipalities in southern Lebanon and a proposal for regenerating river lines in Byblos, within the 100 resilient cities program powered by Rockefeller Foundation. Finally, the paper presents the new project is being developed currently by American University of Cyprus, about Arabahmet and Karamanzade sectors in Nicosia.

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23

Kallis, Aristotle. "Futures Made Present: Architecture, Monument, and the Battle for the ‘Third Way’ in Fascist Italy." Fascism 7, no. 1 (May 5, 2018): 45–79. http://dx.doi.org/10.1163/22116257-00701004.

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During the late 1920s and 1930s, a group of Italian modernist architects, known as ‘rationalists’, launched an ambitious bid for convincing Mussolini that their brand of architectural modernism was best suited to become the official art of the Fascist state (arte di stato). They produced buildings of exceptional quality and now iconic status in the annals of international architecture, as well as an even more impressive register of ideas, designs, plans, and proposals that have been recognized as visionary works. Yet, by the end of the 1930s, it was the official monumental stile littorio – classical and monumental yet abstracted and stripped-down, infused with modern and traditional ideas, pluralist and ‘willing to seek a third way between opposite sides in disputes’, the style curated so masterfully by Marcello Piacentini – that set the tone of the Fascist state’s official architectural representation. These two contrasted architectural programmes, however, shared much more than what was claimed at the time and has been assumed since. They represented programmatically, ideologically, and aesthetically different expressions of the same profound desire to materialize in space and eternity the Fascist ‘Third Way’ future avant la lettre. In both cases, architecture (and urban planning as the scalable articulation of architecture on an urban, regional, and national territorial level) became the ‘total’ media used to signify and not just express, to shape and not just reproduce or simulate, to actively give before passively receiving meaning. Still, it was the more all-encompassing and legible coordinates of space and time in the ‘rooted’ modernism of the stile littorio that captured and expressed a third-way mediation between universality and singularity and between futural modernity and tradition better than the trenchant, inflexible anti-monumentalism of the rationalists.

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24

Morganti, R., A. Tosone, D. Di Donato, and M. Abita. "HBIM AND THE 20TH CENTURY STEEL BUILDING HERITAGE – A PROCEDURE SUITABLE FOR THE CONSTRUCTION HISTORY IN ITALY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 515–22. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-515-2019.

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<p><strong>Abstract.</strong> The use of steel technologies in Italian architecture still represents an unexplored field of research, characterised by limited and fragmented episodes that reveal important design experimentations and relevant architectural results of the 20th century. For this reason, the aim of the research consists of defining a HBIM methodological approach addressed to the study of modern steel architectures, considering their specific features and their hybrid constructive nature. Indeed these buildings are often characterized by a high level of industrial production of building components merged with the recovery of a craftsmanship tradition, particularly appearing at the scale of structure and envelope details. The balance between standardization and traditional techniques in production processes, leads to the definition of a HBIM method composed of three steps: an operational tools for existing buildings of 20th century made of steel that could support the construction of building digital archives, the organisation of maintenance programs and possible transformative actions, avoiding the loss of this heritage sometimes caused by bad interventions that deeply change original and valuable features of these architectures.</p>

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25

Geroldi, Chiara. "Landscapes and architecture of thermoelectric power stations in Italy." TERRITORIO, no. 86 (February 2019): 92–100. http://dx.doi.org/10.3280/tr2018-086013.

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26

Folli, Luisa, and Roberto Bugini. "Masonries and stone materials of Romanesque architecture (Northern Italy)." International Journal of Masonry Research and Innovation 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijmri.2020.10029902.

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27

Bugini, Roberto, and Luisa Folli. "Masonries and stone materials of Romanesque architecture (Northern Italy)." International Journal of Masonry Research and Innovation 6, no. 1 (2021): 45. http://dx.doi.org/10.1504/ijmri.2021.112068.

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28

Ghia, Maria Clara. "A lightning bolt. The activity of Bruno Zevi in post-war Italy." ZARCH, no. 10 (July 20, 2018): 166–77. http://dx.doi.org/10.26754/ojs_zarch/zarch.2018102939.

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This essay focuses on Bruno Zevi’s working period immediately after Second World War, coming back to Italy after his stay in London and in the USA. He starts right away his impressive attempt of popularizing contemporary architecture through “Metron”, the first magazine to be printed in Italy after the war, from 1945 to 1954. In this crucial phase he founded the APAO (Association for Organic Architecture), he contributed to the editing of the Manuale dell'Architetto (an handbook with all the new construction and ready-assembly techniques), he published Verso un'architettura organica (1945), Saper vedere l'architettura (1948) and Storia dell'architettura moderna (1950), he curated the first Frank Lloyd Wright exhibit in Italy and he greatly contributed to the spreading of modern architecture and urbanism all around the country. Zevi also paying special attention to social issues, raised the question of inner spaces where man lives and where the collective theme is expressed, and stressed the need of shaping the building in the name of human use and enjoyment.

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29

Mancuso, Angela, Andrea Pasquali, and Giorgio Verdiani. "The Mausoleum of Giuseppe Tonietti on the Elba Island. From a masterpiece of Adolofo Coppedè to a compromising state of decay." Studies in Digital Heritage 1, no. 2 (December 14, 2017): 719–34. http://dx.doi.org/10.14434/sdh.v1i2.23247.

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The study shows the results of the digital and photographic surveys operated on an architectural work of great importance: it is the Mausoleum for Tonietti family, by Adolfo Coppedè, built on the Elba Island in Tuscany-Italy at the beginning of the 20th century. The current alarming conditions of the building invite to make some reflections on the unpleasant but common fate of many architectures of the Liberty and Eclectic period in Italy. With the evolution of rationalism of the architectural form and thus the gradual purifying of decorative plastic organisms from architectural objects, architectural research, and with it the observation and conservation of cultural heritage, has increasingly focused on new rational style, omitting many examples in floral style equally deserving of attention. The alarming state of preservation of Tonietti Mausoleum, combined with the total absence of 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 creates. The processing of the surveys and the gathering of documentation wants to create the basis for the comparison of work conditions in its original state and the current form, fixing the actual conditions of decay. There is the hope that this work can create a conservative practical input that restores the integrity of the cultural property designed by the youngest of Coppedè brothers, giving to it a proper and necessary value in the study of the history of architecture and the development of the evolutionary dialogue necessarily connected to the same historical evolution.

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30

Burlakova, I. I. "Dostoevsky’s Italy." Язык и текст 6, no. 2 (2019): 10–16. http://dx.doi.org/10.17759/langt.2019060202.

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The theme “Dostoevsky and Italy” is extensive and diverse due to the fact that a number of researchers constantly turn to it, opening new pages in the life of the great writer. It includes the following areas of research: Dostoevsky's journey through Italy, the images of Italy in the pages of Dostoevsky's works, the reception of the writer's creativity in journalism, cinema and art, the problems of translating Dostoevsky's works into Italian. A special appeal to this topic shows that these four areas of research are connected in the works of Dostoevsky with such Italian cities as Rome, Florence and Naples. This determines the problematic of this article. The author assumes that there is a special integrity in all the disparate impressions and plots of Dostoevsky connected with Rome, Naples, and Florence. Dostoevsky's great novels are born in Rome against the backdrop of the great creations of Italian architecture. Naples is a city of dreams, a city where “noise, thunder, life” is intertwined with Dostoevsky’s fatal love, with truly Italian passions that defined the love story of the writer and Apollinaria Suslova. Florence is a city of quiet family happiness and comfort, which the writer needed so much during his creative dawn.

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31

Badaloni, Federico. "Design Notes: On the Information Architecture of Music." Journal of Information Architecture 6, no. 1 (April 1, 2021): 41–57. http://dx.doi.org/10.55135/1015060901/211.009/3.038.

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The article frames music through the lens of information architecture in order to infer a few considerations on information architecture through the lens of music, and is a thoroughly revised and expanded version of the author’s opening keynote at World Information Architecture Day in Verona, Italy, February 18 2017

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32

Monica, Luca, and Luca Bergamaschi. "From the Thirties to post-war reconstruction. The Land Reclamation Consortia and rural architecture in Italy." SHS Web of Conferences 63 (2019): 03001. http://dx.doi.org/10.1051/shsconf/20196303001.

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This investigation highlights a new conception of design space in architecture, in the relationship between settlement and land, rooted in architectural historical studies and research on rural and agrarian economy and unlocks a potential regeneration and restoration of the rural villages of Italy’s cultural heritage. In Italy, the theme of rural architecture has gained momentum ever since the spread of the Modern Movement, reviving settlement and spatial principles as a moral lesson for the general development of new aesthetics and a new society. Innovative concepts inspired by Arrigo Serpieri such as “Integral Land Reclamation”, and long-standing institutions such as the Land Reclamation Consortia, became official law in 1933, and played a crucialrole in this process, particularly in consolidating new architectural thinking that was to endure up to post-war reconstruction and beyond, until our own times. Paradoxically, ideologically opposing phenomena, settlements related to the extensive land reclamation of the Fascist period and the rural redevelopment of the Fifties, were somehow based on comparable theoretical and operational aspects. We can recognize these ideas by looking at the most interesting experiments developed in these two periods: the city of Sabaudia designed by Piccinato, and the village of La Martella at Matera designed by Quaroni (and sponsored by Adriano Olivetti). The quest for a new “moral aesthetic” of architecture undertaken by leading representatives of Italian Rationalism was to re-emerge in the neorealism of post-war reconstruction.

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33

Mukhin, A. S. "Transformation of Renaissance world view on dome architecture of Italy in 15–16st centuries." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 30–37. http://dx.doi.org/10.30725/2619-0303-2017-2-30-37.

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Monuments of the Italian Renaissance are considered as the symbols of cosmological ideas. The space of the temple is likened the universe in categories developed by the intellectuals of the Renaissance, given the astronomical model of AristotlePtolemy. Discoveries in science, the struggle of ideas and worldviews reflected in the church architecture and construction of country houses. The article was proven that the crisis of anthropocentrism caused by the consequences derived from the theory of Copernicus, reflected in the architectural practice of the 16st century.

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Babicheva, Mariia. "Vinicio Paladini and the First Studies of the Soviet Avant-Garde Architecture in the Early 20th Century in Italy." Arts 12, no. 2 (April 18, 2023): 83. http://dx.doi.org/10.3390/arts12020083.

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The architecture of the Soviet Avant-garde represents an important part in the history of the world’s architecture. It has become and continues to be a subject of interest for numerous researchers all over the world since the second half of the 20th century. However, was it well-known before, and who was the first to spread that knowledge? This article aims to study the critical legacy of Italian artist and architect Vinicio Paladini and his role as the first disseminator of the ideas of Soviet Avant-garde architecture in Italy in the 1920s with his article “Lo spirito moderno e la nuova architettura nell’U.R.S.S.” This article provides an in-depth analysis of chosen projects and architects as well as attribution of illustrative material alongside the archival research. It establishes the origins of Paladini’s interest in the art and architecture of the USSR, surfaces his perception of the characteristics of Soviet architecture, and highlights the importance of his role in promoting Russian modernism in Italy.

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35

Povian, Cristina Maria. "Alternative educational methods for teaching traditional art and architecture to Romanian children raised abroad." SHS Web of Conferences 66 (2019): 01023. http://dx.doi.org/10.1051/shsconf/20196601023.

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This paper presents alternative methods used for helping Romanian children who live abroad to discover and to keep their interest in their original country culture. The aim of this article is to analyze the existing situation of this category of children in Europe and in Italy and the existing programs which are already implemented and the outcomes in 2018. This article focuses on presenting also an architectural workshop as an alternative method of teaching and learning, realized in April 2018, in Padova, Italy with Romanian children who were born or are living in Veneto region since they were very small. The analysis of the experiment reveals that alternative methods of teaching Romanian culture, art and architecture makes the process of learning interesting and easy to be approached by children of any age and they feel more attracted to participate in this kind of activities.

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Goryunov, Vasiliy, Svetlana Goryunova, Vera Murgul, and Nikolai Vatin. "The Liberty Style-Italian Art Nouveau Architecture." Advanced Materials Research 1065-1069 (December 2014): 2681–85. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2681.

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This article refers the architecture of Italy of the end of the 19-the beginning of the 20th centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time.

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Malcovati, Silvia. "The utopia of reality: Realisms in architecture between ideology and phenomenology." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 146–65. http://dx.doi.org/10.5937/saj1402146m.

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Proposed on the occasion of the First Congress of the Soviet writers in Moscow in 1934, the notion of realism coming about in the theoretical debate on architecture in the early thirties of the twentieth century appears to be an ambiguous notion, straddling between idealism and ideology, innovative research and historicist formalism. The failure of socialist realism and the crisis of its emphatic and monumentalist architectural imagery, clearly shows the utopian character of the realist "dream," but also, in some ways, its imaginative power of striving to build a better world. After the Second World War the question of realism comes into discussion again. Especially in Italy realism turn into an alternative to the modern paradigm, no less utopian, but open for the emerging postmodern American ideas as well as for the architecture of the "Tendenza." The paper proposes a survey on the twentieth century realisms as an instrument of reflecting the current state of architecture: after the excesses of the postmodern populism, the disillusionment of the "Architettura Razionale" and the dialectics of reconstruction-deconstruction, a new spectre of "Realism" as a way to react to the current architectural and urban condition seems to emerge in architecture again.

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Pregill, P. "Cities, Architecture and Society: 10th International Architecture Exhibition Venice, Italy September 10-November 19, 2006." Landscape Journal 27, no. 1 (January 1, 2008): 167–68. http://dx.doi.org/10.3368/lj.27.1.167.

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Вяземцева, А. Г. "SOVIET ARCHITECTURE IN ITALY AND ITALIAN ARCHITECTURE IN USSR IN 1920-1930S: EXHIBITIONS, PUBLICATIONS, PROJECTS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 248–60. http://dx.doi.org/10.25995/niitiag.2019.12.1.012.

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Несмотря на то что искусство и архитектура 1920-1930-х гг., а в особенности «тоталитарное искусство» давно изучаются и как особое социально-культурное явление, и как собственно эстетический феномен, вопрос о контактах между двумя странами остается все еще малоизученным и часто сводится к выявлению схожих черт и тенденций в искусстве различных «режимов», сформировавшихся в странах Европы после Первой мировой войны. Задачами исследования являются выявление роли архитектуры в истории становления и сближения двух самых молодых европейских тоталитарных систем ХХ в. - фашизма и большевизма, демонстрация наличия контактов, их обстоятельств и специфики, проанализировать восприятие архитектуры СССР в Италии и взаимное влияние их архитектуры и архитектурной полемики, а также обозначить масштаб взаимодействия программно противоположных и идеологически «враждующих» политических систем. Материалом исследования послужили итальянские и советские архитектурные журналы и газеты 1920-1940-х гг., каталоги выставок тех лет, мемуары путешественников, а также документы из российских и итальянских архивов. Even though the art and architecture between two wars, and in particular, those, developed under dictatorship, have been studied for a long time as a social, cultural and esthetic phenomenon, the question of the direct collaboration between Italian and Russian and Soviet art and architecture is still not sufficiently explored. In fact, the researches dedicated to the “totalitarian art” are mostly focused on the similarity of ideological targets, artistic languages and administration strategies. This article has the task to bring the light to the role of architecture in the process of rapprochement of two youngest totalitarian systems in Europe - fascist in Italy and Bolshevik in Russia-USSR, showing the interactions, peculiarities, through the analysis of the perception of the Soviet architecture in Italy and vice versa. It shows that this underexplored period was in fact a period of vivid mutual interest of two cultures that was a fruit of sincere curiosity of architects and professionals from both sides. Moreover, it investigates the importance of mutual influence of two culture, divided by political controversies. The present research is based on the documents from Italian and Russian archives, Soviet and Italian magazines, newspapers of the 1920-1930s, exhibition catalogues and travelers’ memories.

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Casolari, Federico. "Italy’s Contribution to a More Robust International Architecture for the cbrn Legal Landscape." Italian Review of International and Comparative Law 2, no. 1 (September 30, 2022): 68–92. http://dx.doi.org/10.1163/27725650-02010004.

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Abstract During the last decades, the landscape of Chemical, Biological, Radiological and Nuclear (“cbrn”) threats has significantly evolved. In the light of this, it does not come as a surprise that several initiatives have recently been put in place both at universal and regional level to deal with such threats, trying to introduce a more robust legal framework for cbrn events. The present article provides a global assessment on the role played by Italy in identifying and/or strengthening international obligations related to cbrn events. In the light of the piecemeal cbrn legal landscape, the article will not discuss each and every initiative put in place by Italy; rather, the analysis will be focused on the contribution given by Italy to multilateral initiatives which are likely to produce cross-cutting or horizontal impacts on the discipline.

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Iuliano, Giuseppina, Yorgos Spanodimitriou, Giovanni Ciampi, Michelangelo Scorpio, and Sergio Sibilio. "Architectural Valorization: Lighting Design Solution for the Bell Tower of “San Pasquale a Chiaia” Church." IOP Conference Series: Materials Science and Engineering 1203, no. 2 (November 1, 2021): 022082. http://dx.doi.org/10.1088/1757-899x/1203/2/022082.

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Abstract Christian churches and their bell towers represent a big part of the historical architectural heritage in Italy, and they had a major role in the development of the urban and social fabric of the Italian cities. This study is focused on the design of a lighting renovation for the bell tower of “San Pasquale a Chiaia” (Napoli, south of Italy). The lighting refurbishment is designed with the aim of: (i) emphasizing the architecture of the bell tower façades and (ii) providing a figurative and emotional role to the whole building. Several lighting scenarios have been implemented in order to compare the different luminaire types and arrangements on the basis of the effectiveness in valorizing the architectural characteristics of the bell tower, as well as the energy performances of the different design solutions. Finally, the best case has been further implemented in order to take into account the different needs of the historical building as well as the enhancement of the surrounding urban spaces.

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Dechert, Michael S. A. "The Military Architecture of Francesco di Giorgio in Southern Italy." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 161–80. http://dx.doi.org/10.2307/990475.

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The role of Francesco di Giorgio (1439-1501) in developing the forms of artillery fortification marking the transition from late medieval defenses to the mature bastioned forts of the 16th century is becoming clearer as additional research has enhanced our knowledge of the chronology of his interventions, the maturation of design elements, and the interlocking personal, institutional, and political factors in his work for the Aragonese Kingdom of Naples. These efforts by Francesco di Giorgio and his associates focused on Naples, Otranto, Gallipoli, Taranto, Manfredonia, Monte Sant'Angelo, Reggio Calabria, Ortona, Matera, and Brindisi. Archival sources, investigation of the sites, and surviving graphic materials contribute substantially to identifying this "school" of military architects and the evolution of design brought about by the technological challenge of gunpowder, firearms, and siege artillery.

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Ulanskii, Aleksandr Aleksandrovich. "ARCHITECTURE OF ITALY IN PROPAGANDA POLICY OF THE FASCIST STATE." Manuscript, no. 1 (January 2019): 162–65. http://dx.doi.org/10.30853/manuscript.2019.1.34.

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Fratini, F., and S. Rescic. "The stone materials of the historical architecture of Tuscany, Italy." Geological Society, London, Special Publications 391, no. 1 (October 14, 2013): 71–92. http://dx.doi.org/10.1144/sp391.5.

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Rugg, Julie. "Architecture, death and nationhood: monumental cemeteries of nineteenth-century Italy." Mortality 24, no. 4 (February 4, 2019): 489–90. http://dx.doi.org/10.1080/13576275.2019.1572086.

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Malone, Hannah. "Legacies of Fascism: architecture, heritage and memory in contemporary Italy." Modern Italy 22, no. 4 (September 18, 2017): 445–70. http://dx.doi.org/10.1017/mit.2017.51.

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This article examines how Italy has dealt with the physical remains of the Fascist regime, as a window onto Italian attitudes to the past. Theventennioleft indelible marks on Italy’s cities in the form of urban projects, individual buildings, monuments, plaques and street names. In effect, the survival of physical traces contrasts with the hazy memories of Fascism that exist within the Italian collective consciousness. Conspicuous, yet mostly ignored, Italy’s Fascist heritage is hidden in plain sight. However, from the 1990s, buildings associated with the regime have sparked a number of debates regarding the public memory of Fascism. Although these debates present an opportunity to re-examine history, they may also be symptomatic of a crisis in the Italian polity and of attempts to rehabilitate Fascism through historical revisionism.

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Dameron, George W. (George Williamson). "The Bishop's Palace: Architecture and Authority in Medieval Italy (review)." Catholic Historical Review 87, no. 3 (2001): 484–86. http://dx.doi.org/10.1353/cat.2001.0093.

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Casali, Valeria. "The Modern Movement in Italy: Architecture and Design, 1953-1958." TERRITORIO, no. 100 (November 2022): 142–51. http://dx.doi.org/10.3280/tr2022-100017.

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L'articolo propone una lettura della mostra di architettura ‘The Modern Movement in Italy: Architecture and Design' come catalizzatore di una molteplicità di interessi nel quadro dei processi dello scambio transatlantico culturale e disciplinare tra Italia e Stati Uniti della seconda metà del Novecento. Il testo ricostruisce i contenuti, l'ideazione, e la fortuna critica dell'evento, un'esposizione itinerante curata nel 1953 da Ada Louise Huxtable per l'International Program del Museum of Modern Art di New York in seguito a un soggiorno in Italia in qualità di borsista Fulbright. L'esposizione è interpretata come paradigma per guardare alla complessità e alla stratificazione multidirezionale che caratterizza la ricezione delle culture del progetto italiano nell'America dei primi anni '50.

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Del Cid Mendoza, Ana. "DAVID ESCUDERO - Neorealist Architecture: Aesthetics of Dwelling in Postwar Italy." ZARCH, no. 20 (June 23, 2023): 230. http://dx.doi.org/10.26754/ojs_zarch/zarch.2023208874.

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Leslie, Stuart W. ""Modernism with a Soul": Designing and Building Communities for Corporate and Civic Life." Technology and Culture 65, no. 1 (January 2024): 343–57. http://dx.doi.org/10.1353/tech.2024.a920528.

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abstract: This essay explores how film, feature and documentary, can offer a new perspective on modernist architecture, industrial design, and urban planning. Through the lens of two young directors, Kogonada and Davide Maffei, it traces the histories of two twentieth-century company towns: Ivrea, Italy, headquarters of Italian business machine giant Olivetti, and Columbus, Indiana, U.S.A., home to Cummins Inc., a global leader in diesel engine design and manufacturing. Adriano Olivetti and J. Irwin Miller shared the conviction that modernist architecture and design had a decisive role to play not just in the economic health of their respective firms but in the civic health of their surrounding communities. These companies have long abandoned the corporate idealism of their founding patrons. In film, Ivrea and Columbus have become architectural time capsules that raise important questions about the transformative power of architecture and design in the face of an increasingly competitive global economy.

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