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Journal articles on the topic 'Piazza'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Garau, Pietro. "Measuring the Magic of Public Space. Le Piazze di Roma." Journal of Public Space 1, no. 1 (October 18, 2016): 17. http://dx.doi.org/10.5204/jps.v1i1.6.

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<p>The concept of public space, and particularly of civic public space, is certainly a constitutive element of Italy’s urban culture. The design and spatial configuration of public spaces have always been a synthesis between deeply rooted models and political functions (the <em>piazza, </em>the <em>palazzo, </em>the church, the civic buildings), and of local circumstances and design inspiration. Hence the fascination of the <em>piazza: </em>while all <em>piazze </em>perform similar functions, they take very different spatial and architectural characteristics, thus adding to the variety and the “magic”, as it were, of public space experience.<br />The main purpose of this article is to celebrate the piazza as the core symbol of public space magic. In doing so, I set a modest linguistic goal: to discourage non-Italian speaking piazza fans from using the plural “piazzas” and to impose the Italian “piazze”. As to the success of this endeavour, only future will tell.</p>

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2

Kopiec, Jan. "Korespondencja prywatna nuncjusza Juliusza Piazzy z biskupem Agostino Steffani z lat 1706-1708." Nasza Przeszłość 138 (December 31, 2022): 59–79. http://dx.doi.org/10.52204/np.2022.138.59-79.

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Artykuł przedstawia treść prywatnych listów nuncjusza dla Polski G. Piazzy, rezydującego w Troppau, do wikariusza apostolskiego na północy (dla obszaru północnych Niemiec), biskupa A. Steffaniego, w latach 1706-1708. Listy pokazują trudne okoliczności, w jakich Piazza musiał wypełniać swoje obowiązki nuncjusza po abdykacji króla Augusta II. Zgodnie z punktem widzenia papieskiej dyplomacji, opowiedział się za prawem Augusta - jako legalnego władcy - do polskiego tronu. Te prywatne listy dodają wiele szczegółów do informacji zawartych w oficjalnych raportach Piazzy dla Sekretariatu Stanu.

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3

Oesterlé, Raphaël. "Palombella Piazza." Décadrages, no. 13 (October 10, 2008): 95. http://dx.doi.org/10.4000/decadrages.523.

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4

Crane, Rufus S., and Renato Olivieri. "Piazza pulita." World Literature Today 66, no. 4 (1992): 703. http://dx.doi.org/10.2307/40148666.

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5

Zimmermann, Nina von, and Jens Christian Grøndahl. "Piazza Bucarest." World Literature Today 80, no. 3 (2006): 65. http://dx.doi.org/10.2307/40159097.

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6

Oenang, Arnold Christianto, and Sutarki Sutisna. "KOMUNITAS LA PIAZZA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 1 (June 16, 2020): 117. http://dx.doi.org/10.24912/stupa.v2i1.6711.

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Humans are social creatures who need the presence of others to complete their lives and have a place to do these activities. These needs are then the background for the formation of public space. With the changing times and technology, the need for a public space to do more and more activities. The space is referred to as the Third place by sociologist Ray Oldenburg. La Piazza is one place that can be called a Third place, but the place was closed because it was not going well. The purpose of this design is to reactivate the function of La Piazza as a Third place in Kelapa Gading. La Piazza Third place has a new design that emphasizes the concept of open architecture and architecture for the Third place as well as the concept of forests. so the design of the new building in addition to having spaces that are open to the public and community space, also gives the impression of being open and inviting as well as cool and calm. In this project, some existing structures in the old building were reused, such as basements, connectors to the parking building, connectors to the ivory coconut mall, and structures from the existing northern La Piazza building. There are 3 forest elements applied to buildings, namely water, greenery and sunlight. These 3 things can relax people with a lot of thoughts and stress about work, especially those who work in offices, according to Regent's University London research. Abstrak Manusia adalah makhluk sosial yang membutuhkan kehadiran orang lain untuk melengkapi hidupnya dan memiliki tempat untuk melakukan aktifitas tersebut. Kebutuhan inilah yang kemudian yang menjadi latar belakang terbentuknya ruang publik. Dengan adanya perkembangan jaman dan teknologi, kebutuhan akan sebuah ruang publik untuk melakukan aktivitas semakin banyak. Ruang tersebut disebut sebagai tempat ketiga oleh sosiologis Ray Oldenburg. La Piazza merupakan salah satu tempat yang dapat disebut sebagai tempat ketiga, namun tempat tersebut ditutup karena kurang berjalan dengan baik. Tujuan desain ini untuk mengaktifkan kembali fungsi La Piazza sebagai tempat ketiga di Kelapa Gading. La Piazza Third place memiliki desain yang baru mengutamakan konsep open architecture dan architecture for the Third place juga konsep hutan. sehingga desain pada bangunan baru selain memiliki ruang - ruang yang terbuka untuk umum dan ruang komunitas, juga memberikan kesan terbuka dan mengundang serta sejuk dan tenang. Dalam proyek ini beberapa struktur eksisting pada bangunan lama digunakan kembali, seperti basement, konektor menuju gedung parkir, konektor menuju mall kelapa gading, dan struktur dari eksisting gedung La Piazza bagian utara. Terdapat 3 elemen hutan yang diterapkan pada bangunan, yaitu air, tanaman hijau dan cahaya matahari. 3 hal tersebut dapat merelaksasi orang yang sedang banyak pikiran dan stress akan pekerjaan khususnya orang - orang yang bekerja di kantoran, menurut penelitian regent's university london.

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7

Leroux, Jean-Baptiste. "tenere la piazza." Vacarme 26, no. 1 (2004): 40. http://dx.doi.org/10.3917/vaca.026.0040.

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8

Bernard, Jean-François, Martine Dewailly, Edwige Lovergne, Carla Caldarini, Patrice Méniel, and Jacopo Russo. "Piazza Navone, 62." Mélanges de l’École française de Rome. Antiquité 121, no. 1 (2009): 297–314. http://dx.doi.org/10.3406/mefr.2009.10539.

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9

Gruber, Klemens. "Piazza und Massenmedien." Maske und Kothurn 33, no. 1-2 (June 1987): 51–60. http://dx.doi.org/10.7767/muk.1987.33.12.51.

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10

Erkelens, Casper J. "Perspective on Canaletto’s Paintings of Piazza San Marco in Venice." Art and Perception 8, no. 1 (March 4, 2020): 49–67. http://dx.doi.org/10.1163/22134913-20191131.

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Perspective plays an important role in the creation and appreciation of depth on paper and canvas. Paintings of extant scenes are interesting objects for studying perspective, because such paintings provide insight into how painters apply different aspects of perspective in creating highly admired paintings. In this regard the paintings of the Piazza San Marco in Venice by Canaletto in the eighteenth century are of particular interest because of the Piazza’s extraordinary geometry, and the fact that Canaletto produced a number of paintings from similar but not identical viewing positions throughout his career. Canaletto is generally regarded as a great master of linear perspective. Analysis of nine paintings shows that Canaletto almost perfectly constructed perspective lines and vanishing points in his paintings. Accurate reconstruction is virtually impossible from observation alone because of the irregular quadrilateral shape of the Piazza. Use of constructive tools is discussed. The geometry of Piazza San Marco is misjudged in three paintings, questioning their authenticity. Sizes of buildings and human figures deviate from the rules of linear perspective in many of the analysed paintings. Shadows are stereotypical in all and even impossible in two of the analysed paintings. The precise perspective lines and vanishing points in combination with the variety of sizes for buildings and human figures may provide insight in the employed production method and the perceptual experience of a given scene.

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11

Castellozzi, Massimo. "Giuseppe Piazza e La nostra Terra Promessa." Cuadernos de Filología Italiana 28 (July 15, 2021): 267–89. http://dx.doi.org/10.5209/cfit.68282.

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La nostra terra promessa è il titolo del reportage pubblicato presso l’editore monarchico Lux dal giornalista messinese Giuseppe Piazza nel 1911 ed è il frutto delle corrispondenze inviate dalla Libia al quotidiano La Tribuna nella primavera dello stesso anno. Nel 1912 Piazza pubblicava inoltre Come conquistammo Tripoli (Lux, 1912), ove raccoglieva le nuove corrispondenze al giornale inviate dal fronte di guerra. La nostra terra promessa costituisce una descrizione chimerica e magniloquente della Libia e volta a presentarne la conquista come un obiettivo irrinunciabile in termini di prestigio ed economici. In quelle pagine, inoltre, Piazza sviluppa chiaramente il concetto della guerra coloniale come un potente mezzo di unificazione popolare e di riscatto politico e sociale delle masse italiane. Contro la voce di Piazza, così come di Giuseppe Bevione o di Enrico Corradini che pure avevano tratto dalle loro corrispondenze giornalistiche alcuni fortunati instant books, si schierarono i democratici, tra cui Gaetano Salvemini e il repubblicano Napoleone Colajanni. Scopo del presente intervento è quello di porre al centro di un’analisi retorica e filologica i reportage di Piazza, inserendoli all’interno del loro contesto storico e giornalistico

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12

Gruosso, Stefania. "Re-Start Italy: (post-)Covid19 Lessons for Full Scope Renovation of the Italian Public Space." Strategic Design Research Journal 14, no. 1 (April 9, 2021): 361–71. http://dx.doi.org/10.4013/sdrj.2021.141.30.

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The Covid-19 pandemic has suddenly upset the way we used to live. When eventually lockdown ended, the desire to return to open spaces while respecting social distancing have challenged the role of public space as a space for interaction. In Italy, one of the most affected countries, the piazza as public space par excellence has not remained immune to the issue. This contribution addresses four Italian design experiences that have tried to give an immediate answer to the needs of these precise historical circumstances. The Covid-19 emergency can become an opportunity for innovation in the project and in the way the piazza can be perceived and experienced. New approaches and processes of regeneration of the piazza lead to reconsider the role of the project and that of the architect. An updated idea of public space as a problem-solver space follows suit, turning the piazza into a space that does not need to project itself into the future, but aims to answer to current needs embracing new core features: temporariness, flexibility, functionality, repeatability and the community’s contribution. The idea of the piazza as a permanent public space is replaced by that of an adaptive public space. Such an open phenomenology is starting to think of the piazza as a space for experiences - a space that, while respecting the Covid-19 logistical constraints, allows people to return, in new ways, to social interactions.

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13

Drijvers, Jan Willem, and Stephan Mols. "Van Obelisk naar Mausoleum." Lampas 52, no. 3 (September 1, 2019): 377–86. http://dx.doi.org/10.5117/lam2019.3.011.mols.

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Summary This article describes a tour along noteworthy Augustean sites and monuments on the campus Martius in Rome. It starts at Piazza Monte Citorio where now the obelisk stands which was once part of Augustus’ Horologium. From there the walk goes 200 meters northwards to the original site of the obelisk/Horologium which is marked by an inscription, and then onward to the original site of the Ara Pacis. From there the tour continues to the Piazza Augusto Imperatore with Augustus’ Mausoleum and the museum of the Ara Pacis housing the restored altar. The piazza as it appears nowadays was designed and constructed under Mussolini as part of the fascist ideology of Romanità as well as Mussolini’s association with the successful regime of Augustus. The contemporary architecture with its reliefs and inscriptions encircling the piazza express this fascist ideology in straightforward manner.

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14

Melucci (book author), Donatella, Elissa Tognozzi (book author), and Veronica Vegna (review author). "Piazza: luogo di incontri." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 281–84. http://dx.doi.org/10.33137/q.i..v36i1.26301.

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15

Bruscaglioni, Massimo. "La piazza centrale dell'azienda." FOR Rivista per la formazione, no. 98 (May 2015): 7–8. http://dx.doi.org/10.3280/for2014-098002.

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16

Ross, Rolande. "Sur la Piazza Farnese..." Urgences, no. 14 (1986): 45. http://dx.doi.org/10.7202/025263ar.

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17

Silvestrini, Elisabetta. "Il romanzo della piazza." La Ricerca Folklorica, no. 51 (April 1, 2005): 149. http://dx.doi.org/10.2307/30033281.

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18

Morgantini, Filippo. "Torino, piazza dello statuto." STORIA URBANA, no. 132 (February 2012): 203–26. http://dx.doi.org/10.3280/su2011-132007.

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Nota soprattutto per gli aspetti politici, economici e urbanistici, la Piazza Statuto a Torino propone ancora molti quesiti irrisolti circa i riferimenti culturali adottati ed i protagonisti coinvolti nella raffinata configurazione architettonica dell'uniforme complesso di edifici che la caratterizzano. Il nuovo studio evidenzia come, nella piazza edificata fra il 1864 e il 1868 per celebrare lo Statuto Albertino (la costituzione concessa dal re Carlo Alberto), alcune ingegnose proposte indirizzate a definire uno stile architettonico nazionale (Italiano), furono messe in ombra da un piů spettacolare e meglio conosciuto classicismo internazionale. Dalle complesse vicende costruttive emergono, inaspettatamente, figure di tecnici solidi e affidabili ma dalle non troppo spiccate capacitŕ creative, i cui riferimenti, nonostante la diretta partecipazione inglese, portano quasi sempre verso Parigi, sia per continuitŕ con i modelli neoclassici d'inizio secolo, sia per la forte influenza della cultura francese in tutta Europa. Con il trasferimento della capitale, ancor prima del completamento degli edifici, la piazza diviene uno dei luoghi-simbolo della nuova vocazione borghese e industriale della cittŕ, sottolineata dall'erezione del monumento agli uomini che scavarono il tunnel del Frejus; le testimonianze letterarie, pur in modo parziale e soggettivo, testimoniano, tuttavia, la difficoltŕ di assegnare funzioni simboliche a quegli spazi.

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19

Bernard, Jean-François, and Martine Dewailly. "Rome : Piazza Navona, 62." Mélanges de l’École française de Rome. Antiquité 118, no. 1 (2006): 320–23. http://dx.doi.org/10.3406/mefr.2006.10989.

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20

Bernard, Jean-François, Evelyne Bukowiecki, and Martine Dewailly. "Rome : Piazza Navona 62." Mélanges de l’École française de Rome. Antiquité 119, no. 1 (2007): 259–70. http://dx.doi.org/10.3406/mefr.2007.10341.

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21

Pavese, Cesare, and Scott Davison. "Passerò per Piazza di Spagna / I Will Pass through Piazza di Spagna." Chicago Review 38, no. 3 (1992): 74. http://dx.doi.org/10.2307/25305624.

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22

Ahmed, Hassan. "RECLAIMING OF HISTORICAL PIAZZA IN ISLAMIC CAIRO AL-HUSSEIN PIAZZA CASE STUDY." Journal of Islamic Architecture 5, no. 4 (December 21, 2019): 189–97. http://dx.doi.org/10.18860/jia.v5i4.6326.

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Urban public space and social interaction play an important role in the urban environment and can be a refuge from the hustle and bustle of city life. Public space refers to non-domestic physical sites that are distinguished by their relative accessibility such as parks, restaurants, cafes, the street. Al Hussein piazza is one of the oldest and largest areas in Fatimid Cairo. Many of the activities organized throughout the year periodically. In recent years, some infringements occurred formal or informal. It led to poor urban value. This study aims to evaluate the current situation of Al- Hussein piazza and redesign it from an integrated sustainable vision to reclaim it again for visitors. The methodology that was used in this study is a field survey of the piazza and do some interviews. The research shows that multiplicity causes deterioration in the region, which can be classified as physical degradation, environmental degradation, and social deterioration.

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23

Gibson, Edward, Julian Jara-Ettinger, Roger Levy, and Steven Piantadosi. "The Use of a Computer Display Exaggerates the Connection Between Education and Approximate Number Ability in Remote Populations." Open Mind 2, no. 1 (December 2017): 37–46. http://dx.doi.org/10.1162/opmi_a_00016.

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Piazza et al. reported a strong correlation between education and approximate number sense (ANS) acuity in a remote Amazonian population, suggesting that symbolic and nonsymbolic numerical thinking mutually enhance one another over in mathematics instruction. But Piazza et al. ran their task using a computer display, which may have exaggerated the connection between the two tasks, because participants with greater education (and hence better exact numerical abilities) may have been more comfortable with the task. To explore this possibility, we ran an ANS task in a remote population using two presentation methods: (a) a computer interface and (b) physical cards, within participants. If we only analyze the effect of education on ANS as measured by the computer version of the task, we replicate Piazza et al.’s finding. But importantly, the effect of education on the card version of the task is not significant, suggesting that the use of a computer display exaggerates effects. These results highlight the importance of task considerations when working with nonindustrialized cultures, especially those with low education. Furthermore, these results raise doubts about the proposal advanced by Piazza et al. that education enhances the acuity of the approximate number sense.

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24

Ruol, Piero, Chiara Favaretto, Matteo Volpato, and Luca Martinelli. "Flooding of Piazza San Marco (Venice): Physical Model Tests to Evaluate the Overtopping Discharge." Water 12, no. 2 (February 5, 2020): 427. http://dx.doi.org/10.3390/w12020427.

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This paper aims at evaluating the wave overtopping discharge over the pavement of “Piazza S. Marco” (Venice) in order to select the best option to mitigate the risk of flooding of the Piazza and to protect the monuments and historic buildings, e.g., the “Basilica S. Marco”. In fact, the MO.S.E. (MOdulo Sperimentale Elettromeccanico) system is designed to keep the water level below a certain value, for the safety of the lagoon, but it does not guarantee the defence of the Piazza, where flooding is still possible, being its pavement locally much lower than the maximum expected water level. To completely defend the Piazza, specific additional works are planned to prevent the back-flow through the natural drainage system (now the primary pathway) or by filtration or by overtopping. This paper investigates on the overtopping mechanism, under conditions compatible with a fully operational MO.S.E. system, through 2-D experiments. The pavement of the Piazza is gently sloping towards the masonry quay which, in some parts is formed by 5 descending steps, and in some other parts, is just a vertical wall. Close to the “Marciana” Library, a critical part is present, with a slightly lower crest freeboard. In total, three cross-sections were examined in the 36 m long wave flume of the Padova University. The test programme includes 10 irregular wave attacks and three different water levels. The test results differ considerably from the results of the available formulas, since the investigated cross-sections by far exceed their range of applicability. The presence of the steps affects only the reflection coefficient rather than the overtopping discharges. In general, if the waves incident to the Piazza are higher than 40 cm, which is a possible scenario, some other adaptation works must be considered, such as the pavement rise, temporary barriers or the reduction of the waves impacting the quay through, for instance, floating breakwaters.

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25

PIAZZA, LISA A., JOHN C. MARKOWITZ, JAMES H. KOCSIS, ANDREW C. LEON, LAURA PORTERA, and NINA L. MILLER. "Dr. Piazza and Colleagues Reply." American Journal of Psychiatry 156, no. 5 (May 1, 1999): 808. http://dx.doi.org/10.1176/ajp.156.5.808.

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26

Ventrone, Angelo. "LA STRAGE DI PIAZZA FONTANA." Il Politico 251, no. 2 (March 3, 2020): 105–20. http://dx.doi.org/10.4081/ilpolitico.2019.238.

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Qual è il significato della strage di Piazza Fontana nella recente storia italiana? Innanzitutto, un insieme di cesure che segnano profondamente il rapporto tra i cittadini e lo Stato. In particolare, l'emergere di una violenza politica radicale, insieme al coinvolgimento degli apparati statali nella sua attuazione, e la diffusione di un forte sentimento di sfiducia nei confronti della classe politica dominante (sempre più implicata nella cosiddetta trame nere) e delle istituzioni. In quel momento inizia un processo di delegittimazione, che ha colpito in primo luogo la classe politica dominante, ma che nella seconda metà degli anni Settanta si ripercuoterà sempre più anche sui partiti dell'opposizione, considerati ugualmente incapaci di fermare il degrado del Paese. Una parte significativa dell'opinione pubblica comincerà allora a guardare ai settori più attivi e anticonformisti della magistratura nella speranza di far luce su ciò che è oscuro sullo sfondo della Repubblica. Un auspicio che rappresenta un'esplicita richiesta alla magistratura di svolgere un ruolo di sostituzione e di controllo su un mondo politico ormai considerato chiuso in sé, non di rado corrotto e privilegiato, e comunque lontano dal "Paese reale".

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27

Fehrenbach, Frank. "Impossibile: Bernini in Piazza Navona." Res: Anthropology and aesthetics 63-64 (March 2013): 229–37. http://dx.doi.org/10.1086/690989.

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28

Klingenberg, Christian Peter. "Evo-devo on the piazza." Trends in Ecology & Evolution 25, no. 2 (February 2010): 67. http://dx.doi.org/10.1016/j.tree.2009.09.001.

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29

Nicosia, Manuela, and Valentina Pappalardo. "Lo spazio urbano come oggetto di osservazione: valenze simboliche e aspetti funzionali." SOCIOLOGIA URBANA E RURALE, no. 97 (May 2012): 100–114. http://dx.doi.org/10.3280/sur2012-097008.

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Il lavoro č il risultato di un'esperienza osservativa che ha preso le mosse dall'ipotesi iniziale di Piazza della Loggia a Brescia come luogo turistico. L'osservazione del contesto fisico-sociale ha permesso di individuarne due funzioni sociali, una fruitiva (connessa ai diversi soggetti: turisti, abitanti e immigrati) ed una simbolica legata alla celebrazione della memoria collettiva, e allo stesso tempo una debole valenza di "piazza", intesa come spazio di socializzazione.

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30

Trachtenberg, Marvin. "What Brunelleschi Saw: Monument and Site at the Palazzo Vecchio in Florence." Journal of the Society of Architectural Historians 47, no. 1 (March 1, 1988): 14–44. http://dx.doi.org/10.2307/990254.

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Urbanistic practice in trecento Florence, although it spawned no codified theory, was more conceptually developed than we usually imagine. Buildings were forcefully presented and tautly interwoven with their sites by means of inventive, empirical procedures. Intricate webs of geometry structured architectural scenes of Giottesque three-dimensionality. Order and meaning were bestowed on urbanistic scenes that might well have become disordered and unfocused through the slow evolution and redesign of architectural projects. A pre-eminent case in point was the Piazza della Signoria. Documentary, archaeological, and historical evidence suggests that as the Palazzo Vecchio rose in 1299-1315, it underwent fundamental design changes largely inspired by the growing piazza around it and that the piazza itself, as it grew to its final form through the trecento, was guided with surprising precision by the visual demands of the palace, the medieval obsession with geometric structure, and the urbanistic patterns of the city.

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31

Agger, Gunhild. "Fra Piazza del Popolo og fortællingen som genre." K&K - Kultur og Klasse 21, no. 76 (February 8, 1994): 111–36. http://dx.doi.org/10.7146/kok.v21i76.22137.

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32

Guerrero-Romero, Fernando, Moises Mercado, Martha Rodríguez-Morán, Claudia Ramírez-Renteria, Gerardo Martínez-Aguilar, Daniel Marrero-Rodríguez, Aldo Ferreira-Hermosillo, et al. "Reply to Scarpati, G.; Piazza, O. Comment on “Guerrero-Romero et al. Magnesium-to-Calcium Ratio and Mortality from COVID-19. Nutrients 2022, 14, 1686”." Nutrients 14, no. 16 (August 22, 2022): 3443. http://dx.doi.org/10.3390/nu14163443.

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33

Fusch, Richard. "The Piazza in Italian Urban Morphology." Geographical Review 84, no. 4 (October 1994): 424. http://dx.doi.org/10.2307/215757.

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34

Halevy, A. Y., Z. G. Ives, J. Madhavan, P. Mork, D. Suciu, and I. Tatarinov. "The Piazza Peer Data Management System." IEEE Transactions on Knowledge and Data Engineering 16, no. 07 (July 2004): 787–98. http://dx.doi.org/10.1109/tkde.2004.1318562.

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35

Tatarinov, Igor, Zachary Ives, Jayant Madhavan, Alon Halevy, Dan Suciu, Nilesh Dalvi, Xin (Luna) Dong, Yana Kadiyska, Gerome Miklau, and Peter Mork. "The Piazza peer data management project." ACM SIGMOD Record 32, no. 3 (September 2003): 47–52. http://dx.doi.org/10.1145/945721.945732.

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36

Lakhous, Amara. "Piazza Vittorio: A Cure for Homesickness." Review: Literature and Arts of the Americas 42, no. 1 (May 2009): 134–37. http://dx.doi.org/10.1080/08905760902816154.

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37

Alessandro Carrera. "Porca Italia in Piazza della Scala." Sirena: poesia, arte y critica 2008, no. 2 (2008): 59–62. http://dx.doi.org/10.1353/sir.0.0028.

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Alessandro Carrera, D. F. Brown, and Peter Carravetta. "Damn Italy in Piazza della Scala." Sirena: poesia, arte y critica 2008, no. 2 (2008): 61–64. http://dx.doi.org/10.1353/sir.0.0041.

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39

Moroni, Marilena, Piergiorgio Rossetti, Stefano Naitza, Lorenzo Magnani, Giovanni Ruggieri, Andrea Aquino, Paola Tartarotti, et al. "Factors Controlling Hydrothermal Nickel and Cobalt Mineralization—Some Suggestions from Historical Ore Deposits in Italy." Minerals 9, no. 7 (July 12, 2019): 429. http://dx.doi.org/10.3390/min9070429.

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We compare three poorly known, historical Ni–Co-bearing hydrothermal deposits in different geological settings in Italy: The Ni–Co–As–Sb–Au-bearing Arburese vein system (SW Sardinia), the Co–Ni–As-rich Usseglio vein system (Piedmont), and the small Cu–Ag–Co–Ni–Pb–Te–Se stockwork at Piazza (Liguria). These deposits share various (mineralogical, chemical, thermal, and stable isotopic) similarities to the Five Element Vein-type ores but only the first two were economic for Co–Ni. The Sardinian Ni-rich veins occur in Paleozoic basement near two Variscan plutons. Like the Co-rich Usseglio vein system, the uneconomic Piazza deposit is hosted in an ophiolite setting anomalous for Co. The Sardinian and Usseglio deposits share a polyphasic assemblage with Ni–Co–As–Sb–Bi followed by Ag-base metal sulfides, in siderite-rich gangue, whereas Piazza shows As-free, Ag–Pb–Te–Se-bearing Co–Ni–Cu sulfides, in prehnite–chlorite gangue. Fluid inclusions indicated Co–Ni arsenide precipitation at ≈170 °C for Usseglio, whereas for the Sardinian system late sulfide deposition occurred within the 52–126 °C range. Ore fluids in both systems are NaCl-CaCl2-bearing basinal brines. The chlorite geothermometer at Piazza provides the range of 200–280 °C for ore deposition from CO2-poor fluids. Enrichments in Se and negative δ13C in carbonates suggest interaction with carbonaceous shales. These deposits involve issues about source rocks, controls on Co/Ni and possible role of arsenic and carbonate components towards economic mineralization.

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Goja, Bojan. "Novi podaci o zlataru Stefanu Piazzi." Ars Adriatica, no. 1 (January 1, 2011): 149. http://dx.doi.org/10.15291/ars.434.

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The article presents new information about the life and work of goldsmith Stefano Piazza in Zadar, based on the archival investigation. In 1691 he was commissioned by the fraternity of the Blessed Virgin of the Snow, to make a silver cover for the painting of the Virgin displayed on the marble altar, which the Venetian altar makers Girolamo and Francesco Garzotti made for the fraternity in the church of St Donatus around 1675. The cover was made of silver plate procured in Venice, which Piazza polished and decorated. Neither the painting nor the silver cover have been preserved, and we do not know what they looked like but it is likely that the cover was made in a similar way as other silver painting covers - covering a large part of the painting and with openings for the faces and hands of the figures. Apart from the already known piece of information about the 1691 silver andlestick, it has been established that during 1692 and 1693, Piazza made a series of other metalwork objects, mostly liturgical, for the fraternity of Croatian and Albanian soldiers in the service of the Venetian Republic, dedicated to St Jerome, which gathered in the church of St Simeon for which they had a marble altar made. These objects included a silver figure of Christ, the covers for the parish register, chalice and paten of gilt silver, a silver aspergillus, four silver candlesticks and a pax. Stefano Piazza was a member of the fraternity of St Sylvester (also known as della Pietà e della Misericordia) which had its seat in the Zadar church dedicated to the same saint, and for which the fraternity steward made a list of reliquaries and other silver objects in 1690. He died in Venice on 28 September 1703. His son Francesco (Zadar, 21 December 1684 - 17 September 1721) is also mentioned in the sources as a goldsmith. Stefano Piazza (? - Venice, 7 September 1703) was probably the son of a north Italian goldsmith Francesco of Stefano, who is mentioned as being in Zadar between 1652 and 1668. Given that according to the available information not a single work of Stefano Piazza has been preserved, nothing can be said about his skills as a craftsman or artistic achievements, but it can be assumed that he was a respectable goldsmith who was frequently contacted by local commissioners because of his skill in making a variety of objects. Other archival data about his life and work are also published here, as well as information about other goldsmiths who worked in Zadar in the late sixteenth and during the seventeenth century.

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Martinelli, Luca, Chiara Favaretto, Matteo Volpato, and Piero Ruol. "ADAPTATION WORKS TO AVOID THE FLOODING OF PIAZZA SAN MARCO (VENICE): PHYSICAL MODEL TESTS TO EVALUATE OVERTOPPING DISCHARGE." Coastal Engineering Proceedings, no. 36v (December 31, 2020): 32. http://dx.doi.org/10.9753/icce.v36v.papers.32.

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According to the management of the Mo.S.E. system, the water level in the Venetian lagoon is maintained below a certain threshold, that however does not guarantee the complete defense of the main Piazza. Flooding of the Piazza is presently tolerated, although limitedly to a minor extent, and can/will be avoided only thanks to additional adaptation works. One of the possible flooding mechanisms is the wave overtopping, and this note investigates the efficiency, as possible mitigation option, of a small temporary barrier placed along the S. Marco quay.Recorded Presentation from the vICCE (YouTube Link): https://youtu.be/wiSF2B81wIM

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Pertot, Gianfranco. "Milano e le difese militari da Napoleone al 1900: dismissioni, distruzioni, restauri." STORIA URBANA, no. 136 (March 2013): 29–67. http://dx.doi.org/10.3280/su2012-136002.

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L'occupazione napoleonica di Milano portň con sé la demolizione dei baluardi del castello, una nuova piazza d'armi, un piano rivoluzionario quanto idealistico (quello dell'Antolini). Con la nuova concezione di guerra, di difesa e di offesa le mura persero la loro principale funzione e rimasero in auge come confine tributario, le porte divennero nuovi capisaldi monumentali o scomodo intralcio alla circolazione, le truppe trovarono spazi e ospitalitŕ in un gran numero di conventi del centro espropriati al tempo della dominazione austriaca. Questo stato di cose perdurň per buona parte dell'Ottocento, fino a quando le mutate condizioni politiche e socio-economiche, unitamente ad una rapida crescita demografica, videro la cittŕ scavalcare le sue mura, e porre il problema della regolazione della crescita attraverso nuovi strumenti urbanistici, mentre una spregiudicata imprenditoria del denaro avviava enormi speculazioni immobiliari sulle aree del demanio militare, in particolare sulla piazza d'armi napoleonica. S'innescarono a catena questioni paradigmatiche: la costruzione del nuovo Quartiere delle Milizie, lo spostamento reiterato della nuova piazza d'armi, la stipula di convenzioni fra Comune e demanio per la permuta di aree e caserme, la demolizione di Porte, Pusterle e delle mura spagnole. Un processo che ha generato contraddizioni che si consegnano ancora irrisolte alla Milano del Piano di Governo del Territorio (PGT).

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Macchi, Monica. "L'Egitto tra gli Schermi e la Piazza." HISTORIA MAGISTRA, no. 14 (July 2014): 65–75. http://dx.doi.org/10.3280/hm2014-014008.

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Hattenhauer, Darryl. "Space and Place in Melville's "The Piazza"." American Studies in Scandinavia 20, no. 2 (September 1, 1988): 69–81. http://dx.doi.org/10.22439/asca.v20i2.1177.

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Mapelli, Barbara, and Silvia Ricci Lempen. "Marina Piazza : La vita lunga delle donne." Nouvelles Questions Féministes Vol. 41, no. 1 (June 30, 2022): 166–71. http://dx.doi.org/10.3917/nqf.411.0166.

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46

Osuna Lucena, María Isabel. "Emigdio Mariani Piazza: trayectoria personal y artística." Laboratorio de Arte 8, no. 8 (1995): 293–319. http://dx.doi.org/10.12795/la.1995.i08.16.

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47

Beckmann. "Stigmata and the Cupids of Piazza Armerina." American Journal of Archaeology 125, no. 3 (2021): 461. http://dx.doi.org/10.3764/aja.125.3.0461.

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48

Coats, Karen. "Midnight in the Piazza by Tiffany Parks." Bulletin of the Center for Children's Books 71, no. 7 (2018): 302. http://dx.doi.org/10.1353/bcc.2018.0203.

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Severance, Charles. "Pooja Sankar: Building the Piazza Collaboration System." Computer 46, no. 3 (March 2013): 6–7. http://dx.doi.org/10.1109/mc.2013.110.

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Julião, J. F. "Reply to comment by piazza et al." Electrochimica Acta 37, no. 6 (May 1992): 1107. http://dx.doi.org/10.1016/0013-4686(92)85230-i.

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