Academic literature on the topic 'Mario Ridolfi'

In 1957 Mario Ridolfi drew up a variant to the Reconstruction Plan for Terni which involves the entire area of Corso del Popolo. From the land behind Palazzo Spada will emerge, over time, the Franconi Houses, the Pallotta Houses, the new facade of Palazzo Montani and the project for the New Municipal Offices Building. Constructions which will determine a new image of the city, composing together with it a single urban structure capable of taking on the renewed values that Terni needed.

"Hortus conclusus. The Holy Family of Loreto by Lorenzo Lotto. The contribution is an excerpt from Dalla parte di Lorenzo Lotto. Il ciclo lauretano (On the Side of Lorenzo Lotto: The Loreto Cycle), an essay to be completed soon on the pictorial cycle which Lorenzo Lotto (Venice, 1480-Loreto, 1556) ordered in 1555 in the chapter chapel of the church of Santa Maria di Loreto. This is the painter’s last work for a public destination; due to the difficulties in providing a unitary and coherent interpretation, the cycle risks being expunged from Lotto’s catalogue despite the indication made both by Giorgio Vasari in the 1568 edition of the Vite (Lives) and by Carlo Ridolfi in 1648 in Le Meraviglie dell’arte: ovvero Le vite degl’illustri pittori veneti (The Wonders of Art: The Lives of the Illustrious Venetian Painters). Of the seven works making up the cycle, the Holy Family is one of the five painted before 1550, some of which had to be adapted to harmonize their format. The painter intervened on the Holy Family in order to adapt the content of the painting, originally intended for domestic devotion, and make it suitable for the new destination. Keywords: Lorenzo Lotto, Santa Maria di Loreto, Giorgio Vasari, the Holy Family "

The author of the paper demonstrates how sixteenth- and seventeenth-century historiography applied a number of identity stereotypes which were linked to the Slavs, Dalmatians, Illyrians, Morlachs, and Croats in contemporary literature and scholarship to three well-known Schiavoni artists: Andrea Meldola (Andrija Medulić), Niccoló dell’Arca and Giulio Clovio (Julije Klović). For example, the qualifier ‘barbaric’, used to denote the work of Niccoló dell’Arca in sixteenth-century historiography from Bologna, represents one of the stereotypical characteristics about the Schiavoni which were frequent at the time.The first part of the article focuses on sixteenth-century interpretations of the Croatian and Macedonian identity (origin) of the famous painter of miniatures, Giulio Clovio (Julije Klović) in the works of his contemporaries such as Giorgio Vasari and Francisco de Holanda, followed by those in the nineteenth- and twentieth-century works of Ivan Kukuljević Sakcinski, Ivan Golub and Milan Pelc. Particular attention is given to the currently prevailing hypothesis that the Macedonian origin of Giulio Clovio (Julije Klović) might have been invented with the aim of testifying to his artistic and ancestral rootedness in the classical world.The second part of the article deals with records about Andrea Meldola and Niccoló dell’Arca in the writings of Italian historiographers Girolamo Borselli, Cherubino Cherardacci, Carlo Ridolfi and Marco Boschini, all of whom tried to interpret specific stylistic features in the works of these two artists as a consequence of what one can call their genotype and phenotype. The author of the article draws particular attention to the appearance of the ideologeme concerning the barbaric character of Niccoló dell’Arca in the records of Girolamo Borselli (late fifteenth century) and Cherubino Cherardacci (sixteenth century).

BackgroundHeart involvement is one of the leading causes of death in systemic sclerosis (SSc). Cardiac manifestations are heterogeneous. In particular, prevalence of SSc-related cardiopathy is poorly known due to a lack of consensus in its definition.ObjectivesOur objective was to investigate the prevalence and prognosis burden of the different heart diseases in a nationwide cohort of patients with SSc.MethodsWe used data from a national multicentric prospective study using the French SSc national database. We described the characteristics of 3 different types of heart involvement: SSc-related cardiopathy, pulmonary arterial hypertension and ischaemic heart disease. We analyzed overall survival and survival according to the heart disease. Focusing on SSc-related cardiopathy, we aimed to determine its incidence and risk factors.ResultsOver the 3528 patients with SSc available for baseline analyses 312 (10.9%) had SSc-related cardiopathy at baseline. They tended to have a diffuse SSc subtype more frequently, had more severe clinical features, and presented more cardiovascular risk factors. From the 1646 patients available for follow-up analysis, SSc-related cardiopathy was associated with an increased risk of death. No significant difference of overall survival was found between SSc-related cardiopathy, ischaemic heart disease or pulmonary arterial hypertension. Concerning survival analysis, 98 patients developed SSc-related cardiopathy at 5 years (5-year event-rate: 11.15% [9.01; 13.23]). Regarding reduced LVEF < 50% and left ventricular diastolic dysfunction, the 5-year event-rate were 2.49% [CI95%: 1.13; 3.83] and 5.84% [CI95%: 4.02; 7.62], respectively. The pericarditis cumulative incidence at 5 years was 3% [CI95%: 1.91; 4.08]). Diffuse SSc subtype was a risk factor of SSc-related cardiopathy and pericarditis (adjusted HR: 1.42 [CI95%: 1.02; 1.97], p = 0.04 and adjusted HR: 1.79 [CI95%: 1.06; 3.02], p = 0.03, respectively). Female sex was associated with less diastolic dysfunction incidence (adjusted HR: 0.39 [CI95%: 0.24; 0.63], p = 0.0001).ConclusionOur results further describe at a large scale the incidence and prognostic burden of SSc-related cardiopathy, with gender and diffuse SSc subtype as risk factors. Further analyses should assess the potential impact of treatment on these various cardiac outcomes.References[1]Elhai M, Meune C, Boubaya M, Avouac J, Hachulla E, Balbir-Gurman A, et al. Mapping and predicting mortality from systemic sclerosis. Ann Rheum Dis 2017;76:1897–905.https://doi.org/10.1136/annrheumdis-2017-211448.[2]Bulkley BH, Ridolfi RL, Salyer WR, Hutchins GM. Myocardial lesions of progressive systemic sclerosis. A cause of cardiac dysfunction. Circulation 1976;53:483–90.https://doi.org/10.1161/01.cir.53.3.483.[3]Hoogen F van den, Khanna D, Fransen J, Johnson SR, Baron M, Tyndall A, et al. 2013 Classification Criteria for Systemic Sclerosis: An American College of Rheumatology/European League Against Rheumatism Collaborative Initiative. Arthritis & Rheumatism 2013;65:2737–47.https://doi.org/10.1002/art.38098.Figure 1.Acknowledgements:NIL.Disclosure of InterestsAlexis F. Guedon: None declared, Fabrice Carrat: None declared, Luc Mouthon: None declared, David Launay: None declared, Benjamin Chaigne: None declared, Gregory Pugnet: None declared, Jean-Christophe Lega: None declared, Arnaud Hot: None declared, Robin Dhote: None declared, Thomas Papo: None declared, Emmanuel Chatelus: None declared, Bernard Bonnotte: None declared, Jean-Emmanuel Kahn: None declared, Elisabeth Diot Speakers bureau: ED received fees as speaker in symposium from Boehringer Ingelheim., Boris Bienvenu: None declared, Nadine Magy-Bertrand: None declared, Viviane Queyrel: None declared, Alain Le Quellec: None declared, Pierre Kieffer: None declared, Zahir Amoura: None declared, Jean-Robert Harlé: None declared, Vincent Cottin: None declared, Jean-Baptiste Gaultier: None declared, Marie-Hélène Balquet: None declared, DENIS WAHL: None declared, Olivier Lidove Grant/research support from: OL received several fees for congress travels and experts’ use from Amicus Therapeutics, Sanofi-Genzyme, and Takeda, Anne-Laure Fauchais: None declared, Yannick Allanore: None declared, Patrick Jégo: None declared, Christian Agard: None declared, olivier fain: None declared, Arsene Mekinian Grant/research support from: AM is investigator of CELGENE, ROCHE, CHUGAI founded trials with APHP and Hopital 15-20 promotion; AM received several fees for congress travels and experts’ use from LFB, SANOFI, SHIRE, and CELGENE, Eric Hachulla: None declared, Sebastien RIVIERE: None declared.

On 16th June 2022, the first case of lawful ‘medically assisted suicide’ took place on Italian soil. This event is a result of decade-long debates on informed consent and end-of-life care stimulated by medical jurisprudence. The authors first retrace the crucial moments that allowed this to happen and underline the problems still to be solved. The cases of DJ Fabo, Davide Trentin, Mario and Fabio Ridolfi are discussed, signalling how they influenced the path implemented by Italian jurisprudence.

Otto Neurath, one of the founding members of the Vienna Circle, took up a firm opposition in relation to his colleagues. Instead of searching for an ideal language, he asserted the possibility of a ‘universal empiricist slang’, including both everyday and scientific language. Particularly, Neurath conceives of a comprehensive theory of a unified science that postulates the necessity of orchestration within the discursive procedures in science, inspired by the model of encyclopedism. In the field of architecture, a similar encyclopedic endeavor was undertaken in Italy by Mario Ridolfi who, together with other leading exponents of architectural culture, conceived the Manuale dell’Architetto at the end of World War II. This construction handbook provided support to engineers during the intense period of post-war reconstruction. Unlike any previous attempt to document building culture, this collective work aspired to create a shared language able to cross the boundaries among the various fields of building science. Finally, encyclopedism is considered as a possible ‘foundation’ for building design as a shared practice, with a specific focus on Ridolfi’s late research on the relation between traditional construction methods and housing design, in the countryside around Umbria.

The sustainability of the redevelopment, recovery and conservation of the historical heritage built before 1945 is guar- anteed by voluntary certification protocols that consider the entire life cycle of the building. The analysis showed that the certification has, to date, extended to a limited number of residential buildings built before the Second World War, while those built after the war have been neglected. Therefore, the aim of this paper is to highlight the criticalities of the current certification systems, with reference to some thematic areas of the GBC Historic Building protocol, and to identify appropriate corrective measures for energy redevelopment with reference to Mario Ridolfi's “INCIS Houses”, an example of Messina modernism, that need to be preserved. The goal is to attract the interest of the scientific community, experts and public opinion to the enhancement and conscious care of the post-1945 residential heritage of the author through eco-sustainable interventions that respect cultural and architectural identity.

Il saggio partendo da una notizia contenuta nell’inventario romano inedito del 1771 della collezione dei dipinti di Maria Laura Dal Pozzo Boccapaduli, in merito ad una copia della Gioconda, ricostruisce la fortuna critica settecentesca di un importante dipinto del Cinquecento attualmente agli Uffizi (Ridolfo del Ghirlandaio (attr.), Ritratto di donna (La monaca), olio su tavola, cm. 65x48, Inv. 1890, n. 7380). L’opera, un ritratto femminile di contesa attribuzione ma ritenuto fra Sette e Ottocento un autografo di Leonardo, fu ben nota ad artisti e conoscitori nel Settecento a Firenze e risulta documentato anche dalla letteratura artistica come parte della collezione Niccolini. Per la forma austera dei suoi abiti l’effigiata fu a lungo considerata ”una Monaca”. Riflessi della sua fama raggiunsero anche Roma quando un artista toscano, Giovanni Sorbi, chiamato a stilare l’inventario dei quadri dal Pozzo Boccapaduli, identifica una copia della Gioconda della collezione (Bottega di Leonardo da Vinci, La Gioconda, olio su tavola trasportato su tela, cm.70x50,5, Roma, Gallerie Nazionali di Arte Antica, Palazzo Barberini. Inv.864) come ‘una Monaca’ di Leonardo, attribuendole un’altissima quotazione (500 scudi). La confusione fra la Monaca e la Gioconda nel documento settecentesco testimonia la poca conoscenza che fino a quella data si aveva dell’iconografia esatta della Monna Lisa, anche fra i conoscitori, tanto in Italia che a Firenze.

The reconstruction works of Mario Ridolfi and Wolfgang Frankl in historical centre of Terni, unlike their earlier practices known for neo-realism, are often marginalised from the mainstream of modernist architecture, probably because their historicist and craftsmanship approach both seemed to be outdated in postwar era and thus unlikely to provide new insights into the architects’ concept. This thesis scrutinises the scarcely discussed relationship among these works, both temporally and geometrically, seeing them, including urban planning and architecture, as parts of a longterm exploration of a consistent compositional apparatus which was able to be applied in urbanism, architecture and construction details alike, which wasn’t seen anywhere else in the architects’ oeuvre. Emphasis is placed on two areas of urban intervention, San Francesco and Piazza Spada, as well as two related sets of built works and projects. Craftsmanship might be the all-time concern when it comes to Mario Ridolfi’s work. In Terni, with no exception, the architects skilfully crafted as many details for every project as for the houses in Marmore. But the critical part still resides between each individual building and their environment, where volume, framework, and construction system was carefully organised as if form, material and technics were organised in construction details, in order to build up connections of components and integrity, or to balance between consistency and multiplicity. In the field of urbanism, craftsmanship became a spirit of systematic way of composition that didn't rely on figure or proportion, but the detailing process translating geometric motif consistently into variegated urban-architectonic forms in different scales that went beyond singular material and buildings technology. Meanwhile, holding to a certain typology of mixed structure with visible concrete framework combined with infill walls, Ridolfi’s ‘urban craftwork' extended to appropriation and reinterpretation of the construction system in accord with the position of the object in the relationscape. This thesis also discussed the origin, development, variation and culmination of this construction typology as it transformed along with the construction of urban environment. In Ridolfi’s conception of urbanism there existed an unsung theme which was scenography that functioned as visual control, since the buildings are always the backdrop of human activities on the square. Such conception witnessed the evolution of visual control from single axis in the first phase of the reconstruction plan to multiple ones that formed a panorama in the second phase of the detailed plans, and had, to some extend, pre-determined the form of geometric motif as well as the elements such as the asymmetrical backdrop, the diagonal axis and its destination, or the stage of theatre in a central plan. Although ternian works are unique because of their non-repeatable prerequisite, they were still indebted to the accumulation of the architects in their profession and private experiences. There are huge amount of drawings but very few words left as the resources of this research, since Ridolfi was apparently among those architects who always do a lot but speak little. Therefore these works are also examined in relation to the architects’ past and contemporary works and experiences. Never considered major urban designers, Ridolfi and Frankl, nonetheless, provide through their play in various scales with geometric pattern and constructional form abundant materials for a different, architectonics-oriented urban intervention in Italian postwar reconstruction.

Roman architect Mario Ridolfi (1904-1984) made a substantial contribution to the transformation of European cities and to collective housing after the Second World War. For a period of twenty years, he used the city of Terni as his experimentation field to develop a renewal of the public space and a redefinition of a domestic culture. At a time when central Italy was the core of one of the most important intellectual currents of the post-war period: Neorealism, and the urgency for new homes and a social and economic problematic was leading to a cultural and political change, Ridolfi stood for a sensitive understanding of the construction of cities in an inductive way rather than a derivative conclusion of rationalistic thinking. Through the development of an inclusive language Mario Ridolfi shifted the meanings of traditional forms, loading them with a new significance that he managed to articulate through a personal discourse with great collective resonance. His response advocated for urban complexity of spaces and an ennobled condition for the social concept of dwelling. The object of this research is to investigate the evolution of Mario Ridolfi´s urban theories and domestic ideas through the projects he developed in the city of Terni between 1944 and 1964 and highlight their mutual dependency. This investigation attempts to shed light on an inductive approach to considering the form of the city together with the dwelling typology that allowed Ridolfi to transform, in continuity to its historical and cultural value, both those spaces that defined the domestic domain and those that established the public realm and to extend the detail and materiality of built architecture to urban-planning discussions. The investigation is built on a basis of a varied number of primary and secondary sources captured from a systematic review of the exuberant bibliography on the topic. In relation to the primary sources, almost the entire archive of Mario Ridolfi is held at the Accademia di San Luca in Rome and it is accessible for researchers. However, there are still other sources of his work with documents not yet catalogued. An important set of unpublished drawings are conveniently saved at Luciano Marchetti among them, perspective views from his most celebrated works and intermediate plans and sketches of several projects. The research analyses how Mario Ridolfi developed a specific understanding of the relation between buildings and the overall urban composition and thought about ideas of ‘urbanism of 500 metres’, ‘city as a house’ and ‘city made of rooms’. The objective of the investigation is to identify those intrinsic values and characteristics of Ridolfi’s approach and to reflect the strong relation between his urbanism and the buildings he designed. Furthermore, this case study intends to contribute to the re-evaluation of a current of thought that developed an urban design that could integrate simultaneously the town-planning discussions together with a close attention towards the spaces and real materiality of the built architecture. Tthe investigations aim to contribute to the re-evaluation of the urban and architectonic narrative of the 20th Century by characterising an under represented approach in the canonical history of modern urbanism and architecture. In doing so, this investigation expands the depiction of a current of thought that considers the city form and the building design together and shares important similarities with the work in other European intermediate cities that goes from the early experiences by Andrea Palladio in Vicenza and Karl Friedrich Schinkel in Berlin to Gustav Gull in Zürich, Giovanni Muzio in Milano, Wilhem Marinus Dudok in Hilversum, K.R. Schättner in Eichstätt or, even more recently, August Perret in le Havre, Giancarlo di Carlo in Urbino or Luigi Snozzi in Monte Carasso, among others. An approach that links both the buildings and the urban composition with a strong spatial structure.
L’arquitecte romà Mario Ridolfi (1904-1984) va contribuir substancialment a la transformació de les ciutats europees i de l’habitatge col·lectiu després de la Segona Guerra Mundial. Durant un període de vint anys, va utilitzar la ciutat de Terni com a camp d'experimentació per a desenvolupar una renovació de l'espai públic i una redefinició de la seva cultura domèstica. En un moment en què la Itàlia central era el nucli d’un dels corrents intel·lectuals més importants de la postguerra: el neorealisme, i la urgència de noves cases i la problemàtica social i econòmica conduïa a un canvi cultural i polític, Ridolfi va advocar per una comprensió sensible de la construcció de les ciutats: d’una manera inductiva en lloc d’una conclusió positivista, derivada del pensament racionalista. Mitjançant el desenvolupament d’un llenguatge inclusiu, Mario Ridolfi va canviar els significats de les formes tradicionals, carregant-les de nous valors que va articular a través d’un discurs personal però amb gran ressonància col·lectiva. La seva resposta defensava la complexitat urbana dels espais i alhora una condició ennoblida per a l’habitatge social. L'objectiu d'aquesta investigació és estudiar l'evolució de les teories urbanes i idees domèstiques de Mario Ridolfi a través dels projectes que va desenvolupar a la ciutat de Terni entre 1944 i 1964 i posar de manifest la seva dependència mútua. Aquesta investigació intenta il·lustrar un enfoc inductiu per considerar la forma de la ciutat juntament amb la tipologia d’habitatge. Aquesta aproximació va permetre a Ridolfi transformar simultàniament els espais que definien l’esfera domèstica com els que establien el domini públic en continuïtat amb el seu valor històric i cultural alhora que introduint el detall i la materialitat de l’arquitectura a les discussions sobre planificació urbana. La investigació es basa en un nombre variat de fonts primàries i secundàries obtingudes a partir d’una revisió sistemàtica de l’exuberant bibliografia sobre el tema. En relació amb les fonts primàries, gairebé tot l’arxiu de Mario Ridolfi es troba a l’Accademia di San Luca de Roma i és accessible per als investigadors. Tot hi això, hi ha altres fonts del seu treball amb documents encara no catalogats als que el treball també ha tingut accés. Un important conjunt de dibuixos inèdits es guarden convenientment a l’arxiu de Luciano Marchetti. La recerca analitza com Mario Ridolfi va desenvolupar una comprensió específica de la relació entre edificis d´habitatge i la composició urbana tot elaborant els conceptes de l’”urbanisme dels 500 metres”, la “ciutat com una casa” i la “ciutat formada per estances”. L’objectiu de la investigació és identificar aquelles característiques intrínseques de l’enfoc de Ridolfi i reflectir la forta relació entre el seu urbanisme i els edificis que va dissenyar. A més, aquest estudi té la intenció de contribuir a la reavaluació d’un corrent de pensament que pugui desenvolupar un disseny urbà que integri simultàniament les discussions urbanístiques amb una atenció especial a l’habitar i a la materialitat de l’arquitectura domèstica. El treball té com a objectiu final contribuir a la reavaluació de la narrativa urbana i arquitectònica del segle XX caracteritzant un enfoc poc representat en la història canònica de l’arquitectura moderna. En fer-ho, aquesta investigació amplia la representació d’un corrent de pensament que consideren de forma conjunta la ciutat i el disseny dels edificis i comparteix similituds importants amb el treball en altres ciutats europees en què destaquen les experiències d’Andrea Palladio a Vicenza i Karl Friedrich Schinkel a Berlín a Gustav Gull a Zuric, Giovanni Muzio a Milà, Wilhem Marinus Dudok a Hilversum, KR Schättner a Eichstätt o, encara més recentment, August Perret a Le Havre, Giancarlo di Carlo a Urbino o Luigi Snozzi a Monte Carasso, entre d'altres. Un plantejament que vincula tant els edificis com la composició urbana amb una forta estructura espacial.
Projectes arquitectònics