Between memory and Mediterranean paradigms: drawing and graphical analysis of eighteenth-century villas in the territory of Bagheria (Palermo) (original) (raw)
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ATINER'S Conference Paper Series, No: ARC2013-0867, 2013
Throughout a journey in Spain during 1930, Le Corbusier was impressed by the local spontaneous architecture, whose volumetric and geometrical lines merged later in his design production. Since that time, the rural architecture has been object of several studies to inquire the inseparable relationship that links it to the landscape. Within the Parthenopean framework, particular importance has the knowledge and preservation of spontaneous architecture within an environment of great landscaping value as the Sorrento-Amalfi coast, which is also characterized by a rich heritage of rural buildings that retain recurring forms. The local type of construction, forged by centuries of experience in the manufacture of local materials, the geographical location and the climatic conditions have led to a progressive definition of recurring planimetric distributions and spaces linked to the relationship of form and function. Since 1936, during the Sixth Triennale of Milano a section was dedicated to the Italian rural architecture minded by Giuseppe Pagano. Roberto Pane -inspirer of the Venice Charter of Restoration of 1964 -presented a photographic exhibition on rural architecture in Campania. Subsequently, in the essay Sorrento and the coast (1955), he highlighted the issues involved in the conservation and protection of anthropical environment of Sorrento's peninsula, where architectural peculiarity characterize the Mediterranean environment merging with it. The paper intends to focalize the importance of knowledge of this popular heritage to recognize the principal peculiarity, the constructive technics and materials and the recurring problems in order to identify the best techniques for their transmission to the future.
Considered some of the most fascinating examples of Mannerist gardens in Italy, Villa Lante at Bagnaia and Villa Orsini at Bomarzo, were conceived in the late 16th century as a kind of landscape and architectural expressions of the Man's quest for the Lost Paradise. Although they were designed roughly in the same period of time, they differ completely in almost every sence, but, in the same time, they complete each other in many ways. The following paper aims to compare the architectural layouts, planting designs and allegorical programmes of both gardens as to emphasize the way Paradise was seen in the late 16th century in Western Europe and to show two different landscape design mechanisms that try to mimic the quest for the (re)descovery of Eden.
The exhibition Ville del Rinascimento Padano: I Bastioni, Il Portico e la Fattoria, curated by Alberto Faliva, presents eight little known 16 th century villas located in the valley of the Po River in Italy. Influenced by the layouts of villas found in unpublished architectural treatises and drawings, the designs are unusual in presenting what Faliva describes as "eccentric architectural works." 1 Situated in open countryside and commanding views of the surrounding landscape, the villas have a number of common, or similar, features such as surrounding moats and a central block or enclosure with corner towers or habitable avant-corps. These features are characteristic, as Faliva has noted, of such layouts as the quincunx designs developed in the 15 th century by Leonardo da Vinci, Francesco di Giorgio and others, all of whom were noted for their interest in fortifications. 2
The architectural perspectives in the villa of Oplontis, a space over the real
Essential element of architectural design in the villa of Oplontis, the wall decoration is characterized by the research of daring perspectives tending to dilate the surfaces of the interior environments: these are paintings in II and III style that depict architectural perspectives according to a marked taste for the theatrical stage design applied to painted decoration; it’s aimed to determine the illusion of environments that you happen endlessly in a game of feints architectures, often processed with extreme wisdom. The working method is related to the establishing the relationship between the container and the space created by the perspective illusion and has its starting point in rigorous photogrammetric survey technique and rendering; then it move on to examine the specialties of roman painting, analyzing both the general characteristics and specific aspects. This study also uses of a philological analysis with reference to vitruvian rules and to greek-romans typologies in order to reconstruct the painted space; finally the painted space, in 3d model, is recomposed with real space, thin to land to representations more effective than they allow to gather better still the experience of a quite new space, in a reconstruction of the architecture integrated by the illusion, as if it were real In this simulation of virtual spaces, the digital graphics helps to lead the experimentation that is developing, as part of the PRIN 2010-2011 research (Architectural Perspective: digital preservation, content access and analytics, scientific coordinator Riccardo Migliari), by the Salerno Unit, with the annexed unities (University of Naples ‘Federico II’, Second University of Naples, University of Basilicata). Of this research, which puts particular attention to the architectural, archaeological and iconographical heritage in Campania, are presented here only part of the achieved outcomes.
U+D N.21, 2024
The territorial palimpsest is a dynamic system of relationships evolving over time that has seen natural elements interact with those built by man. If, on the one hand, it is therefore possible to read the territory as an architectural construction, on the other hand, we have those economic, natural, and social forces that have influenced the events that transformed the palimpsest. The method of archaeological analysis of the territory proposed by Ignasi de Solà-Morales helps to understand how both collective processes and the radical formative actions exercised by power have contributed to modifying a place throughout its history. The case of the area of the Sanctuary of Hercules Victor and Villa d’Este in Tivoli is exemplary in illustrating how a territory highly characterized from a geomorphological point of view has influenced the urban transformations that have taken place since ancient times, maintaining traits of continuity with the previous stratigraphies. In this sense, the archaeological level has played a fundamental role in establishing the genealogical link between the territory and the transformations that have overlapped subsequently. In particular, Villa d’Este is both an example of architectural creativity and an exercise of power that is grafted onto the territory in continuity with settlement practices despite its high-sounding transforming force. The study proposed here intends to rework both the invariants and the modifications of the morphological structure of the study area by associating them with the type of force that generated them. The aim is to highlight the relationship between architecture, heritage and local resources with the possibility of making hypothesis for future processes of territorial transformation in continuity with the ways in which the previous ones has already have already taken place over time.
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