Aldo Rossi

Η παρούσα μελέτη επιχειρεί να αναδείξει την αρχιτεκτονική πορεία του Δημήτρη Πικιώνη, ενός από τους σημαντικότερους Έλληνες αρχιτέκτονες του 20ού αιώνα, και τον τρόπο με τον οποίο συνδύασε τη μοντέρνα αρχιτεκτονική με την ελληνική παράδοση. Μέσα από την ανάλυση των έργων του, η μελέτη φωτίζει τη σχέση του ανθρώπου με τον χώρο, το τοπίο και την ιστορία, προσφέροντας μια ολοκληρωμένη εικόνα της ελληνικής αρχιτεκτονικής που είναι ταυτόχρονα λειτουργική, αισθητικά ισορροπημένη και πνευματικά ουσιαστική.

Indice dei nomi L'editore si dichiara disponibile ad adempiere ai propri doveri nei confronti degli aventi diritto con cui, nonostante le ricerche eseguite, non è stato possibile mettersi in contatto 229 NOTA BIBLIOGRAFICA di Aurora Maria Riviezzo 1. l'invenzione delle tradizioni, 1954-1955 Sul convegno internazionale Architettura moderna e tradizioni nazionali del 1954, organizzato dall'Unione Internazionale Studenti vedi: International Conference of Architectural Students, Proceeding, specials supplement of «Architectural student», pubblicato a Praga dall'International Union of Students, mentre per un commento cfr. G. Scarpini, La conferenza internazionale degli studenti d'architettura a Roma, «Casabella-Continuità» n. 201, maggio-giugno 1954. Sull'indagine del rapporto degli studenti di architettura anche con le strutture politiche esistenti, e in particolare con il Partito comunista degli anni cinquanta cfr. N. Shapira, Per una distensione nell'architettura, in «Casabella-Continuità», n. 206, 1955; A. Scarzella, Ancora sulla chiarificazione, in «Casabella-Continuità», n. 207, 1955; L. Semerani, Discussione tra studenti, in «Casabella-Continuità», n. 208, 1955, con le rispettive repliche di Rogers pubblicate negli stessi numeri; Lo studio dell'architettura. Idee e proposte degli studenti di Roma, in «Casabella-Continuità», n. 209, 1956. Sul concetto di «tradizione nazionale», da cui muove il convegno e il dibattito politico nel PCI, cfr. i Quaderni dal carcere di A. Gramsci, oggi pubblicati da Einaudi in quattro volumi a cura di V.

This chapter examines how artificial intelligence (AI) reshapes the morphology of the city and the conduct of urban design. It frames contemporary machine learning as a dynamic design ecology that responds to real-time signals while mining historical iterations, linking Renaissance ideal cities and modernist planning to today’s data-driven workflows. The text distinguishes AI’s main capacities—prediction, optimization, and generative exploration—and shows how they expand the design space beyond linear procedures. It argues for integrating humanities perspectives to keep cultural narrative, social meaning, and lived experience central to decision-making. Case discussions highlight the risks of data scarcity and overfitting, the politics of labeling and machinic legibility, and the tension between computational precision and human creativity. Ethical commitments—fairness, privacy, equity, and environmental responsibility—are treated as design parameters rather than afterthoughts. The chapter concludes by positioning the architect/planner as “in-the-loop” mediator who curates data, steers models, and interprets outputs, aligning AI-enabled urban proposals with public values and tectonic rigor.

Lorenzo Ciccarelli delivered a brilliant comprehensive study of the work of the ltalian architect-intellectual Vittorio Gregotti who was particularly active as a professional architect and as a critical intellectual between the middle of the last century and the early years of this present century".

Modern zamanlarda, ‘yaz ayları’ dediğimiz ve hemen karşısına ‘tatil’ kelimesini iliştirdiğimiz vakit, sona erdi. Eylül, başladı. Okul çağlarında Eylül, okulların açılacağı ayı işaret ederdi ki, sırf bu yüzden bile ‘özgürlükleri kısıtlayıcı’ hatta yer yer bunaltıcı, sıkıcı, varoluşsal problemlere gebe (depresyon çağırıcı!) bir ay olarak hatırlanırdı. Şimdilerde de, öyledir herhalde. Yayınevleri, kitapçılar ve dergiler içinse Eylül, bir ‘geri dönüş’ başlangıcı. Okurla kitabın, derginin ve diğer metinlerin arasındaki anlaşmanın yeniden imzalandığı bir mevsim. Eylül geldiği için değil belki ama, Eylül ayının çağrıştırdığı bir dolu meseleden ötürü, hazırlık yapmanın önemi ortada.

Ayraç olarak yaz aylarında birçok yeni insanla tanıştık. Eski tanışıklıkları pekiştirdik. Bazı planlar, projeler ürettik. Bunlardan birini anlatarak, Eylül’de bizi nelerin beklediğini az çok haber verelim. Bu yazıyı okuduğunuz sayfanın hemen solunda bir ‘künye’ var. Danışma kurulu, genel yayın yönetmeni ve editörler sıralanıyor alt alta. Bazen okurlarımız merak edip soruyor bu ekibin birbiriyle ilişkisini. Evvela, derginin mutfağı dediğimiz kısım, genel yayın yönetmeni ve editörlerden oluşuyor. Ayraç’a gönderdiğiniz yazılar, eleştiriler, tavsiyeler orada değerlendiriliyor. Danışma kurulu, zaman zaman yapacağımız dosyalar ve derginin genel gidişatı hakkında görüş alışverişinde bulunduğumuz ‘âkil adamlar’ kabinesi gibi bir makam.

Eylül planlarımız arasında, işte bu yapıyı biraz daha genişletmek, demokratikleştirmek var. Ayraç’ta bugüne kadar çok sayıda farklı görüşten yazar, çok sayıda farklı düşüncede yazılar yayınladık, röportajlar yaptık. Geçen ayki fihristi görenler, bunu daha iyi anlayacaklardır. Zamanla dergilerin yönetim kadroları, polit-büro halini alabiliyor. Bu, tarihsel bir süreç. Ayraç’ta işler böyle yürümesin, kadrolar zamanla kendini yenileyebilsin diye biraz da, alt-editör kadrosu oluşturmaya karar verdik. Böylece, Ayraç ailesine katılan ve derginin herhangi bir aşamasında görev almak isteyen bazı okurlarımız, dergicilik mesleğini burada ifa edebilecekler. Hem de Ayraç’ta çok farklı disiplinlerde ve alanlarda dosyalar görebileceğiz.

Eylül, bizim için biraz da bu değişikliklerin telaşı olacak...
Bir sonraki sayımızda görüşmek dileklerimizle,
İyi okumalar dileriz…

The castle at the top of the fortress, few houses and some bell towers kept together by the main ring-shaped street enclosing the cliff. That's how it can be summarised the shape of Savoca. Like hundreds of small urban settlements Savoca is a Sicilian village built stone by stone over time. For these reasons Savoca can be taken as a model. Savoca is born with the construction of the castle on the summit plateau of the Mount Pentefur. Those who had determined the definitive configuration of the fortress have been the Norman. The settlement arises in a natural and almost uninhabitable environment, between deep valleys and steep slopes. This was the perfect place for those who were seeking an easy defendable site. Since here nature limits the constructive strategies, inhabitants are forced to build in a similar way. That's the reason why Savoca, and all the village like it, appears as a uniform construction, as a monolith. Nowadays the castle dominates the urban settlement although there is no connection between them. The subject of the study is making accessible the plateau of the Mount Pentefeur to everyday life. This aim has been carried on following the same constructive principle that has built the urban space, along the time: digging and modelling the cliff with stairs and terraces. This strategy has determined both the connection between isolated areas and the emphasis of the irregular natural lines due to the precision of human construction.

PRESENTACIÓN INTRODUCCIÓN 1. LA CRISIS DEL RACIONALISMO 1.1. Crisis del historicismo 1.2. Crisis del ideal social 1.3. Crisis del ideal urbano 2. EL CONTEXTO ARQUITECTÓNICO ITALIANO 2.1. Rogers. Actitud ante la historia, continuidad o crisis 2.2. Argan. Autonomía arquitectónica e ideal social 2.3. Samonà. La Ciudad como estructura 2.4. Quaroni. La Ciudad como objeto y proyecto 2.5

In 1993 De Carlo received the Royal Gold Medal from the Royal Institute of British Architects (RIBA) in recognition of his lifetime achievement as an architectural theorist and practitioner. This was particularly fitting, and I think gratifying for him, as he had always felt a strong affinity with strands of Anglo-Saxon thought, an interest which was reflected in his earliest writings (on William Morris and Frank Lloyd Wright), his friendship with the Smithsons, Ralph Erskine and others in Team 10 as well as his periods of teaching and extensive travel in the United States. 'Nemo Propheta in Patria', the name given by Alvar Aalto to his sailing boat, reflected the great Finnish architect's sense of estrangement from, and lack of recognition in, his homeland. In a similar way, perhaps, De Carlo was never part of the mainstream architectural establishment in Italy and used this detachment very effectively to sustain an unflagging critique of Italian 'rationalism' and 'historicism' which could not have endeared him to his peers. The lucidity of his arguments and the clarity of his language, from his first writings in the 1940s through to the many articles, books and interviews that followed, contrasted for me very strongly, when I first came across them as an architecture student in the 1980s, with the impenetrable, often opaque and labyrinthine, arguments typically found in the editorials of architectural magazines like 'Casabella' or the books of architectural historians like Manfredo Tafuri. Rather than clarify the design process, these seemed to me to mystify it. By contrast, De Carlo's language, both written and spoken, whilst always beautifully calibrated and expressive, was never rhetorical and selfconsciously erudite. He possessed what I think of as an Anglo-Saxon quality of 'plain-speaking', always intent on making complex arguments as accessible as possible, especially for nonarchitects. Yet, at the same time, what made him so appealing to a non-Italian was, of course, that he was so profoundly shaped by Italy and so passionate in his defence of those qualities of place that make Italy unique.

Urban Artifacts, as defined by Aldo Rossi, are important markers of a city's history and impart a collective identity of the city to its inhabitants. As physical manifestations of the collective experiences shared by the city's inhabitants, they contribute richly to the urban commons (Rossi, 1982). But we often prioritize the morphological dimension of such spaces over their perceptual dimension (Carmona, 2021) when determining their importance as urban commons, thus predominantly focusing on monumental buildings or large structures due to their morphological prominence. While these structures do fulfil the definition of an urban artifact, the process excludes other urban spaces of a public nature that often have significantly higher value as urban commons, as places of collective identity derived from shared experiences. A suitable set of tools to help identify these spaces is offered by the Situationist theory of Unitary Urbanism. It allows for a deeper analysis of urban commons through the concepts of Situations, Derives, Detournement, and Psychogeography, which emphasise on the individual relationships formed by citizens with their cities, and the collective experiences that these create among the citizens (Debord, 1995). This paper uses a comparative approach to create a theoretical framework that helps broaden the understanding of urban artifacts, from static edifices to ephemeral activities, in the cities of the global south. This framework helps identify the dynamic informal economies of Street Vending as important forms of the urban commons that are not only ubiquitous in these cities but also shape some of the most identifiable places and memorable experiences of these cities.
Keywords: Urban Artifacts, Psychogeography, Informal Economies, Street Vending, Collective Identities.

This issue presents the papers elaborated after the "Design Driven Research Seminar" held by Alessandro Rocca in 2024. The authors are Candidates for the Ph.D. Program of "Architectural Urban Interior Design" at the Department of Architecture and Urban Studies, Politecnico di Milano. "Syllabus" is a Pedagogical Issue of "Fuoco Amico" Architectural Review, presenting academic seminars and workshop results. The goal is to offer these documents, provisional and incomplete as they can be, to the scientific community, enhancing dialogues and exchanges.

Giorgio Grassi e l'antico. Osservazioni sul teatro di Sagunto e altri temi.
Progettare Archeologia | Collana di studi e progetti di Architettura, Museografia e Allestimento per l’Archeologia.
Direttore e curatore della collana Pier Federico Mauro Caliari
Co-curatore Carola Gentilini
Curatori sesto volume Ivan Brambilla e Valerio Tolve
Progetto grafico, impaginazione ed editing a cura di Ivan Brambilla
Opera in edizione digitale, Febbraio 2025

The point of departure for this chapter is to explore a series of questions related to the endeavours to challenge the methods of writing architectural and urban history today. The core issues that are analysed in this chapter are the following: the task of challenging the distinction of Western/non-Western or Eurocentric/non-Eurocentric in architectural historiographies, the unique character of autobiography as narration for architects, taking as a case study the work of Aldo Rossi, and the role of digital curation in enhancing diversity in architectural historiographies. This chapter explains how Rossi identifies the self’s history with the city’s history. This chapter’s core idea is that Europe as a concept is related to the project of thinking and accomplishing universality. In this sense, Eurocentrism is specifiable only within the context of modernity and is crucial for thinking about modernity. This chapter also emphasises Reinhart Koselleck’s theory of modernity and the implications of Immanuel Wallerstein’s critique of Eurocentrism for architectural historiography. It explores how Koselleck’s historiography could enrich architectural history methods. Koselleck’s multiple temporalities and “layers of time” help better understand the relationship between modernity and time and between modernity and space. At the heart of this chapter is the hypothesis that Koselleck’s theory of multiple times would help understand the epistemological shifts in architecture.

Opened in September 1973 as part of the exhibitions organized for the 15th Milan Triennale, the section Architettura-città was curated by Aldo Rossi, Franco Raggi, Massimo Scolari, Rosaldo Bonicalzi, Gianni Braghieri, and Daniele Vitale. The accompanying photo album presents a selection of thirty photographs taken in 1973 by Valerio Castelli during the exhibition’s preparation, a true shipyard portrait capable of restoring in the strong contrast of black and white both the “decidedly cold and rigorous” set-up and the passionate unfolding of daily work, in which Aldo Rossi, Gianni Braghieri, Franco Raggi, Massimo Scolari, Agenore Fabbri, Fabio Reinhart, and Arduino Cantafora, among others, appear.

Thinking about sustainability, architecture and landscape is like thinking about the language you speak, be it any of the countless languages spoken on the planet.
Thought is constructed in people's minds with words from their language that form ideas whose subsequent expression is expressed verbally, written or graphically.
This implies that before speaking, writing or drawing, we think about what we are going to “say.” And I am not referring to the analysis or reflection about what is said, written or drawn; but strictly to the mental construction that inevitably occurs in our brain prior to speaking, writing or drawing.
That concretion and mental construction that we call thought is possible thanks to language.
Because we speak a language and know its syntax: the coherent order of words to produce concepts, we can “build” a speech in our brain that later, when expressed through the means of communication that we have chosen or that corresponds to the circumstance, will be legible for ourselves and for others.
I must clarify here that I understand that thought not only occurs in words, it also occurs, simultaneously, in shapes, figures, colors, sensations, emotions and perceptions that the brain configures as something extremely complex that sometimes words or graphics cannot. they manage to express in their entirety.
In any case, referring to Deleuze, I assume that we are creative living matter producing thought, at the same time as consciousness and the experience of the creative act. Complex process that in turn incites the creative state of matter itself by which we become thinking beings.
However, let us stay for the moment at the stage of the words that resonate in our brain when we think in silence, without speaking. Creating concepts there in our minds, giving body to our ideas, desires, aspirations and projects or scrutinizing all kinds of emotions and feelings. Thinking about the English language.
I think this “image” is ideal to illustrate that there is a language called landscape architecture. Language that also constitutes a “language” whose “words” resonate in our brain when we have learned to think and “speak” with them.
I clarify that the previous paragraph requires quotation marks since I am referring elements of spoken language to the plastic language of architecture and this reference, for reasons that I briefly explain below, can only be metaphorical since, although it is possible and common to speak of the language of architecture as something usual, in reality we are relating here two different manifestations that, as Alan Colquhoun (1978) says, are acquired and exercised differently:
Spoken language is acquired naturally, is commonly used and does not require a metalanguage like literature to explain it.
While plastic language is acquired by will, with an intention and requires a metalanguage, like landscape architecture in this case, to understand and explain it. 
So, having made the previous clarification, I will allow myself to say that with landscape architecture, as a tool for sustainable planning on the use of territory, we “speak” in

Bologna Centro Storico. Dalla politica del 'buongoverno' alla costruzione di un immaginario urbano Ilaria Cattabriga Un'architettura autre: l'allestimento per la mostra Moda Stile Costume a Italia '61 Leone Carlo Ghoddousi SEZIONE II. Allestimento come spazio sperimentale Spectators of the future: the domestic space as a theatrical stage in exhibitions and popular fairs (1955-1970) Carmen Rodríguez Pedret "Tutte le arti in una sola manifestazione". Il Festival de l'Art d'Avant-Garde a Marsiglia Stefano Setti The Jovem Arte Contemporânea: on becoming an experimental and collaborative laboratory Lia Carreira Aldo Rossi per Pitti Uomo. Il viaggio della Cabina dell'Elba da suggestione sentimentale a elemento dello spazio scenico Lorenzo Mingardi Dino, Mirko, Afro Basaldella a Udine. Storia di una mostra tra museo e spazio urbano William Cortes Casarrubios

Giuseppe Samonà was one of the most influential figures in 20th century Italian architecture and urban culture. In 1967, Samonà and his team submitted a competition proposal for the extension of the Camera dei deputati in Rome, considered by many to be one of the most significant and conceptually mature projects of his career. By examining the design and the report appended to the competition submittal the author explores the concept of the void that is the backbone of the project and finds that it has a twofold interpretation. Apart from the obvious physical manifestation of emptying, the void is also a meditative device, an incorporeal entity that relies on the body of the new insert to show the complexity of the history of the Roman site. It is in this inversion of the usual interpretation of the concept of void as being independent nothingness that allure of the project itself lies. By presenting the archival material and contemporary research, the author brings into focus a part of Samonà's extraordinary contribution to the architecture and urban culture of the 20th century that surprisingly remains unrevealed to non-Italian audiences.

Mark Lee’s Five Footnotes Towards an Architecture provides a nuanced critique of architectural practice, emphasizing its interdependence with historical, cultural, and societal contexts. Through thematic explorations of History, Cadence, Autonomy, America, and Points, Lee challenges traditional paradigms, advocating for a more reflective, collaborative, and context-sensitive approach to design. He reimagines history as an active dialogue between past and present, critiques the pressures of expediency in modern architecture by emphasizing deliberate design rhythms, and examines the balance between creative autonomy and external constraints. His discourse extends to American architecture, urging sensitivity to cultural diversity and regional identity while addressing broader inequities and environmental challenges. Finally, Lee’s metaphor of "footnotes" underscores architecture’s role in broader cultural narratives, emphasizing connections and contextual depth. This critique builds on Lee’s ideas by proposing further engagement with global perspectives, systemic inequities, and the navigation of conflicting narratives. By linking theoretical insights to practical examples from Johnston Marklee’s work, such as the Menil Drawing Institute and Hill House, this essay underscores the relevance of Lee’s vision for a thoughtful and enduring architectural practice.

This chapter explores the transformative impact of Artificial Intelligence (AI)
on urban design, transcending traditional paradigms and ushering in a new era
of data‑driven, generative approaches. Departing from linear processes, the text
embraces a comprehensive perspective, acknowledging the multidimensional factors shaping urban landscapes. The integration of AI in urban design takes cues
from how neural networks operate, dynamically responding to real‑time data
inputs and historical iterations. Historical reference points, from Renaissance
ideal cities to Modernism, serve as repositories guiding the interrogation of urban morphology.

The reasoning behind the text navigates the complexities of urban planning,
emphasizing the role of humanities in crafting inclusive, meaningful designs. The
interrogation delves into the historical intricacies, from Alberti’s Ideal City to
Simmel’s analysis of metropolitan existence, while scrutinizing modernist movements like Dada, cubism, and futurism and contrasting them with antiurban
ideologies in the works of Howard, Taut, and Wright.

This chapter then transitions to the contemporary landscape, portraying AI’s
disruptive moment in art and design. Drawing parallels with the modernist explosion, it discusses the dichotomy between organic, hands‑on creation and
AI‑driven, data‑informed methodologies. The tension between technological
precision and human creativity is explored, cautioning against the risk of detach
ing art from visceral experiences.

The integration of AI in urban design is examined, emphasizing its potential
in prediction, optimization, and generative design. AI’s capacity to process vast
amounts of data is highlighted, offering evidence‑based insights and breaking
free from traditional design molds. This chapter concludes by underscoring the
ethical considerations of AI in urban design, emphasizing the need for human intuition to complement computational insights and safeguard principles of equity
and social justice.

Simuler, l'architecture n'a-t-elle jamais fait que cela et depuis toujours ? En fait, nous le montrerons, elle a plutôt consacré son énergie à dissimuler qu'à simuler. Aussi, quand advient l'ère de la computation et des simulations numériques toujours plus proches du réel, la discipline architecturale se trouve ébranlée sur ses bases mêmes. Dans les sciences et l'épistémologie contemporaines, pendant ce temps, nous l'évoquerons aussi, l'avènement de la simulation numérique ne laisse pas le terrain inchangé. Mais puisque d'une manière ou d'une autre l'architecture et les sciences, à leurs façons respectives, reviennent si souvent puiser selon une sorte de ligne de moindre pente dans un corpus philosophique, la discussion s'ouvrira sur un texte d'une singulière actualité. Au terme de son Foucault, il y a trente ans déjà, Gilles Deleuze prévenait :

This article discusses various aspects of the term ‘nostalgia.’ Rather than an individual plight, it will be considered here as a symptom of contemporary society, which does not stand in contrast to modernity but is derived from it.
Nostalgia characterizes humans’ connections to the past, to their sense of self, home and community. I reflect on how this effects our longing for home, how we envision our collective home, and how we place ourselves in the world. I distinguish three types of nostalgia: Restorative, longing for the restoration of a lost home; Utopian, transforming our longing into a utopian ideal; and Reflective, which differs by shifting the focus from recovering what is perceived as a loss of absolute truth to pondering questions of history and the passing of time.
The article focuses on nostalgia’s bearing on architecture, as demonstrated in the work of Architect Aldo Rossi. His oeuvre, in which the contemplation of time and memory are inherent, reveals all three forms of nostalgia, highlighting and questioning their centrality to architectural thought and practice.

La Mostra Critica delle Opere Michelangiolesche, a cura di Federico Zevi, Paolo Portoghesi e Corrado Maltese, inaugurata il 18 febbraio 1964 al Palazzo delle Esposizioni a Roma, costituisce l’iniziativa più importante fra quelle realizzate in Italia per il IV Centenario della morte del Buonarroti. Se, oggi, la mostra di Zevi può essere definita ‘transmediale’, per l’ampio e sperimentale utilizzo dei media allora disponibili, accanto ad essa altre forme di comunicazione e disseminazione dell’opera michelangiolesca vennero attivate in modalità transmediale, dalla produzione filatelica a quella cinematografica. Partendo dalla mostra del ’64 e focalizzandoci sul contributo che, oggi, la tecnologia può apportare nell’ambito della ri-mediazione e trans-mediazione tipica della Digital Art History, la mostra Michelangelo antifascista a Bari (1964-1965) nella Biblioteca di Storia dell’Arte del Dipartimento di Ricerca e Innovazione Umanistica (DIRIUM) dell’Università di Bari si sviluppa secondo un approccio ‘ecosistemico’, in modo dinamico dal generale al particolare, dall’approccio scientifico a quello divulgativo, dall’analogico al multimediale, dal medium cartaceo a quello transmediale, virtuale e immersivo, passando per un universo narrativo che, attraverso processi co-creativi, partecipativi e di democratizzazione dei linguaggi, ha messo in atto compiutamente una delle maggiori espressioni della transmedialità, la partecipazione. La mostra, infatti, si estende e si dipana attraverso tre audioguide multimediali, realizzate sulla piattaforma izi.TRAVEL, fruibili da piattaforma web e in modalità mobile attraverso l’apposita applicazione, una mostra virtuale creata sulla piattaforma ArtSteps e una Appendice documentale e iconografica anche interattiva.

Long abstract of PhD Thesis "THE CHARACTERS OF ADAPTIVE RESILIENT ARCHITECTURE. Compositional invariants of the project: 1990-2020", developed at University of Palermo, Department of Architecture DARCH
Supervisors: Prof. Z.Tesoriere, Prof. E.Palazzotto

Cette recherche sur le bricolage propose un état de l'art du terme à partir de son étymologie, sa géohistoire et ses lectures philosophiques, anthropologiques et sociologiques. La définition du bricoleur telle que développée par Claude Lévi-Strauss dans La Pensée sauvage (1962) engage à l'étude de la dissémination de cette figure, devenue conceptuelle ou métaphorique dans de multiples disciplines, plus précisément dans les champs de la conception en architecture, urbanisme et design. La formulation d'une conception par bricolage se précise lors d'une lecture historique qui met en résonance une série d'expérimentations menées dans deux époques de crise : les années 1960-1970 et 2000-2010. Trois modalités de rencontres entre concepteurs autonomes et hétéronomes sont identifiées : la recherche des enseignements du bricolage menée par des professionnels, des pratiques de conceptions collaboratives entre experts et non experts et la reprise du terme « bricolage » par des concepteurs hétéronomes argumentant en faveur de son entrée en architecture et urbanisme. La mise en place d'un corpus de situations bricoleuses-représenté sous la forme d'une base de données collectivement extensibleouvre à l'interprétation des puissances de la conception par bricolage vue comme un art de la situation. Une série d'habiletés et de qualités explore les composantes opératoires de cette branche de la conception informelle, proposant son intégration en architecture, urbanisme et design, en vue de légitimer ses manifestations.

El Banco Hipotecario Nacional (1923-1927) se caracteriza por la tipología de “Esquina”, conforme con los cánones académicos, presenta la clásica división tripartita de basamento, desarrollo y coronamiento. Constructivamente, se trata de una de las primeras obras en la ciudad de La Plata en contar con una estructura de perfiles de acero. La Arquitectura Moderna estuvo ligada en todo el país a un relativo rechazo de los valores simbólicos y funcionales de la arquitectura fundacional y post-fundacional. A partir de los años ’80 fueron cifrándose como patrimoniales. Algunos de los materiales usados en su construcción, por su calidad y nobleza, fueron traídos del exterior ya que en esa época no se elaboraban en el país. Pasando de Banco a sucursal de la DGI para finalmente ser revendido al Estado bonaerense para alojar el Anexo del Senado de la Prov. de Bs. As., el edificio sufrió varias reformas. Tuvo una desacertada intervención entre los años 1996 y 2002, evidenciándose las malas técn...

Estetik kavramını bağımsız bir disiplin olarak kuran filozof A.G.Baumgarten, estetik bilimini felsefeye kazandırmış, estetiği de” güzel üzerine düşünme” olarak tanımlamıştı. Baumgarten'dan önce, estetiği duyusal bilginin yetkinliği olarak tanımlayarak estetiğin kendine özgü sınırlarını çizen Immanuel Kant, estetik değer taşıyan müzik parçalarından resim ve süslemeye, portreler ve manzaralardan farlı yapılara ve parklara kadar birçok öğenin estetiğin alanına girebileceğini belirtmişti. Heidegger hakikat-estetik algısını şöyle dile getirmişti: “Hakikat, eser içine girdiğinde görünür olur. Görünüş -hakikatin eser içindeki ve eser halindeki varlığı olarak- güzelliktir”.

The research examines the considerable possibilities of Metaverse as a social media platform for architecture. In the study using qualitative analysis method, projects designed for the metaverse universe are evaluated within the scope of social media opportunities. Within this framework, evaluations are made under the criteria of transferring the architectural memory to the Future, the experience and interaction of physical space, brand image and portfolio creation, professional development, and education. In the light of these evaluations, questions were prepared and indepth interviews were conducted with 10 architectural professionals who have experience in the metaverse. Architectural interactions in the Metaverse allow professionals to visualize and share their projects. In particular, 3D designs produced in the Metaverse help architects collaborate more effectively on virtual projects. In addition, virtual architectural exhibitions and events held within this environment create significant opportunities within the industry by reaching a broad audience. While architects interactively explore the buildings they design in the Metaverse, they also have the opportunity to interact with clients and receive feedback. Metaverse encourages architects to be innovative and creative and guides them to work on projects that push the boundaries. As a result, the new digital age offered by the Metaverse is leading architecture to evolve towards a more open, interactive, and global architecture by combining architecture with social media and virtual reality.

In Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.

At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.

Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage.

Előszó (S. Varga Pál) - 9 ; 1. A magyar emlékezethelyek kutatásának elméleti alapjai - 23 ; 1.1. Vita - 25 ; Gyáni Gábor: A magyar „emlékezet helyei” és a traumatikus múlt - 27 ; Fata Márta: A magyar emlékezethelyek specifikumai (Hozzászólás Gyáni Gábor vitaindítójához) - 36 ; Takáts József: A klasszikus és az új nacionalizmus (Hozzászólás Gyáni Gábor vitaindítójához) - 39 ; 1.2. Történelem és emlékezet - 43 ; Balogh László Levente: A Trianon-emlékművek és az áldozatdiskurzus - 45 ; Erős Vilmos: A történetírás-történet mint emlékezethely - 58 ; Gerő András: A nemzeti emlékezethelytől a nemzeti emlékhelyig - 69 ; 1.3. Emlékezethely és medialitás - 79 ; Kerékgyártó Béla: Építészet, identitás és emlékezet (Aldo Rossi elmélete ; és a lakótelepek példája) - 81 ; Bujdosó Ágnes: A televízió mint az emlékezés médiuma (Medialitás és emlékezés sajátos összefüggései a Delta magazin főcímének kapcsán) - 96 ; Dunai Tamás: A Kádár-kori képregény mint emlékezethely - 106 ; Puskás István: „A Marada...

In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architecture staged a two-day conference on the state of architectural practice. Held in UVA’s Rotunda, the closed-door conference included twenty-four invited architects. The group, although ideologically diverse, was notably entirely male and overwhelmingly Euro-American.
Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project
which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recurring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than
critics, historians, or journalists in establishing the discourse of contemporary practice.

È vietata la riproduzione, anche parziale, effettuata con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico. Per la legge italiana la fotocopia è lecita solo per uso personale purché non danneggi l'autore. Quindi ogni fotocopia che eviti l'acquisto di un libro è illecita e minaccia la sopravvivenza di un modo di trasmettere la conoscenza. Chi fotocopia un libro, chi mette a disposizione i mezzi per fotocopiare, chi comunque favorisce questa pratica commette un

In spatially structured environments, such as urban or peri-urban areas, coexistence is decisive in beginning a global synthesis of the constituent elements. Urban space is determined by the interrelations of all its structural elements (built and natural environments, infrastructures, historical stratifications, etc.) and contextual (multiple functions, socio-cultural and political factors, collective memories, images, and meanings, etc.). Therefore, the design methodology and the expectations for urban redevelopment and renewal require an in-depth analysis of coexistential relationality. A possible theoretical analysis of architecture and urban design utilizing coexistence can be conducted from the point of view of the “trialectics” of spatiality-historicity-sociality. This multifaceted methodological approach allows us to perceive the complexity of the interrelational synthesis within the architectural/infrastructural environment. A robust relational cohesion of all urban entities suggests a perception of the urban field not only as a given reality but as a spatiality generated by numerous connections, dynamics, and meanings. Regarding the field of sociality, it refers again to interconnectivity and reciprocity. The system of social relations has an important impact on space because the forms of relation generate a spatial dimension with specific morphology, temporality, and development potential.

"It is a great pleasure to see you, Ken. What Daniel and I want to do today is to renew our conversation with you, one that has endured over many years. That is: to pick up certain threads of our ongoing exchange, by asking you, viva voce, the questions that we sent in advance. Kenneth Frampton (KF): A rather protracted kind of conversation! Onagain, off-again. YS: Yes, we have always had a conversation, but every time it is different, though in a certain sense, it is a continuous dialogue, and hence the same conversation. KF: Yes, why not? YS: And now, this conversation is marked by your imminent departure for London. As you may recall, our conversation started with my arrival in New York over two decades ago at the threshold of your office. But now this period is coming to an end, as you are not only retiring from Columbia, but also taking your leave of New York altogether. So, that is an even bigger chapter, we could say. YS: Shall we start? Daniel Sherer (DS): Yes. Let us do that. In the introduction to your book, The Other Modern Movement: Architecture, 1920-1970 (2021), you trace a genealogy of the idea of an "other" modern architecture. This is a family tree that diverges from traditional accounts of the modern in significant ways. You trace this idea back to the Darmstadt colloquium of 1951, Mensch und Raum, where, among others, Hans Scharoun outlined what you call a "maximalist functionalism," a more humane and expressive functionalism that you oppose to the more doctrinaire functionalism of the interwar period. You also refer to Martin Steinmann's and Claude

A perfectly constructed form is a delimited, not closed form; it does not pretend to be able to imagine the Absolute (closed form) but intend to unveil the plurality of thinkable and constructable orders, by virtue of which the continue is imaginable. Just as any element whatsoever can never be given exhaustively, never is conceivable within a closed horizon, once for ever, likewise any order whatsoever will always 'emerge', intrinsically, out of its own structure, it always will project itself, on the horizon of the possible orders." Massimo Cacciari, Icone della Legge Ever since Kant defined the form as "that which allows the manifold of appearance to be ordered in certain relations," 1 form has always been, in one sense or another, associated with ordering of appearance. However, whether this ordering should rely on a perception of the appearance of form or on a conceptual bringing to appear remains problematic. 2 Raising this question, necessarily implies facing the indecidable fluctuation of its order between the representation of its appearance and the presentation of its appearing. Yet the problem of the representation of form, is all the more present when physically embodied within architectural form. This is clearly illustrated by Peter Eisenman's doctoral research on the formal basis of modern architecture. Conceived as a theory of architectural form, Eisenman's investigation not only concerns the form of or in architecture, but above all the form of its language, or that which makes its formal language singular in relation to other languages. In an attempt to radicalize the Modern Projectand thereby confront the representational problem of its projection -Eisenman's formal language pushes the question of form beyond its traditional association with ordering and representation towards a questioning of its transformative and distorting capacity, and in a sense, rediscovers the manifold denotation of form in its original sense of figure. 3 Rather than an extensive analysis, this introduction is meant to be a retracing of some of Eisenman's multiple tracks in his quest for the interiority of form in architecture and its necessary and problematic exteriorization through the distorting language of its formal layers. How to read and how to write architecture, or better, how to see architecture, are questions which are constantly returning and returned in Eisenman's theoretical discourse on architectural form. 14 Many of Britain's theoretical writings in the late fifties-f. i. James Stirling's Regionalism and Modern Architecture (1957), Peter and Alison Smithson's The New Brutalism (1957) or Alan Colquhoun's The Modern Movement in Architecture (1961)-are further developed from this renewed interest for Le Corbusier. Other critical notes emanate from Team X members (Aldo Van Eyck, Peter and Alison Smithson a. o.) or, to a lesser extend, from Reyner Banham's Theory and Design in the First Machine Age (1961). Jane Jacobs' The Life of American Cities (1961), a virulent social critique of the CIAM's functional urbanism, will, in the United States, overshadow Lewis Mumford contemporary The City of in History, an apology of the Garden Cities. At the same time in Italy, Ernesto Nathan Rogers' involvement as editor of the renewed Casabella-Continuità (1958), will give editorial space to the ideological critical writings of the members of La Tendenza, from which will later emerge the leading figure of Aldo Rossi.

A perfectly constructed form is a delimited, not closed form; it does not pretend to be able to imagine the Absolute (closed form) but intend to unveil the plurality of thinkable and constructable orders, by virtue of which the continue is imaginable. Just as any element whatsoever can never be given exhaustively, never is conceivable within a closed horizon, once for ever, likewise any order whatsoever will always 'emerge', intrinsically, out of its own structure, it always will project itself, on the horizon of the possible orders." Massimo Cacciari, Icone della Legge Ever since Kant defined the form as "that which allows the manifold of appearance to be ordered in certain relations," 1 form has always been, in one sense or another, associated with ordering of appearance. However, whether this ordering should rely on a perception of the appearance of form or on a conceptual bringing to appear remains problematic. 2 Raising this question, necessarily implies facing the indecidable fluctuation of its order between the representation of its appearance and the presentation of its appearing. Yet the problem of the representation of form, is all the more present when physically embodied within architectural form. This is clearly illustrated by Peter Eisenman's doctoral research on the formal basis of modern architecture. Conceived as a theory of architectural form, Eisenman's investigation not only concerns the form of or in architecture, but above all the form of its language, or that which makes its formal language singular in relation to other languages. In an attempt to radicalize the Modern Projectand thereby confront the representational problem of its projection -Eisenman's formal language pushes the question of form beyond its traditional association with ordering and representation towards a questioning of its transformative and distorting capacity, and in a sense, rediscovers the manifold denotation of form in its original sense of figure. 3 Rather than an extensive analysis, this introduction is meant to be a retracing of some of Eisenman's multiple tracks in his quest for the interiority of form in architecture and its necessary and problematic exteriorization through the distorting language of its formal layers. How to read and how to write architecture, or better, how to see architecture, are questions which are constantly returning and returned in Eisenman's theoretical discourse on architectural form. 14 Many of Britain's theoretical writings in the late fifties-f. i. James Stirling's Regionalism and Modern Architecture (1957), Peter and Alison Smithson's The New Brutalism (1957) or Alan Colquhoun's The Modern Movement in Architecture (1961)-are further developed from this renewed interest for Le Corbusier. Other critical notes emanate from Team X members (Aldo Van Eyck, Peter and Alison Smithson a. o.) or, to a lesser extend, from Reyner Banham's Theory and Design in the First Machine Age (1961). Jane Jacobs' The Life of American Cities (1961), a virulent social critique of the CIAM's functional urbanism, will, in the United States, overshadow Lewis Mumford contemporary The City of in History, an apology of the Garden Cities. At the same time in Italy, Ernesto Nathan Rogers' involvement as editor of the renewed Casabella-Continuità (1958), will give editorial space to the ideological critical writings of the members of La Tendenza, from which will later emerge the leading figure of Aldo Rossi.

Η μνήμη ως γεωγραφία του νου βρίσκεται στον πυρήνα της κατοίκισης της φαντασίας, σε ένα συμβολικό περιβάλλον που εκτείνεται πέρα από τους χώρο-χρονικούς περιορισμούς της ατομικής ύπαρξης. Η ανάπτυξη της μνήμης, ίσως δεν είναι μόνο ένα εσωτερικό ψυχικό γεγονός. Η εργασία αυτή επιχειρεί μέσα από τα βιβλία “«L’architettura della città» του Aldo Rossi((1931-1997), «Genius Loci» του Christian Norberg Schulz (1926-2000) και «Il territorio dell’ architettura» του Vittorio Gregotti (1927-2020)  να επεξεργαστεί την πόλη ως locus της μνήμης, όχι όμως της ατομικής, αλλά της συλλογικής. Πώς συνθέτεται η μνήμη και πώς σχετίζεται με την πόλη ως ανθρωπογενή τόπο, σύμφωνα με τα τρία θεωρητικά έργα; Ποιος είναι ο ρόλος της ιστορίας στην αρχιτεκτονική της πόλης; Γιατί η πόλη συνιστά το locus της συλλογικής μνήμης;

A comezos dos anos setenta, a situación da arquitectura galega habería mudar: créanse o Colexio Oficial de Arquitectos de Galicia e mais a Escola Técnica Superior de Arquitectura da Coruña, ao tempo que se van incorporando unhas renovadoras xeracións de arquitectos formadas á calor dos devezos de liberdade da España tardofranquista. Neste proceso serán fundamentais as ligazóns que estabelecerán os arquitectos galegos —fundamentalmente aqueles que estudaran en Barcelona— coas experiencias catalá e italiana. Figuras como Salvador Tarragó, Carlos Martí ou Aldo Rossi serán fundamentais na renovación profesional e disciplinar da arquitectura galega xa nos anos setenta a través de exposicións, seminarios ou congresos que fortalecerán estes vínculos ao longo das seguintes décadas. Experiencias como o Seminario Internacional de Arquitectura de Compostela (1976) veñen sendo sinaladas, ademais, como fitos fundacionais da conxuntura arquitectónica galega recente e acumulan un amplo ronsel de sorte historiográfica e crítica ao se analizar este período. Estas conexións darán lugar, por unha banda, á recepción de todo un corpus teórico sobre arquitectura, urbanismo e territorio, chave na posta en dúbida da arquitectura moderna, e, por outra banda, porán moitos arquitectos galegos nunha posición privilexiada na crítica estatal e internacional. Esta pegada italo-catalá abranguerá, así mesmo, a propia obra construída ou proxectada, podendo rastrexarmos algúns exemplos.

A global movement, architectural postmodernism cannot be reduced simply to the cultural logic of late capitalism, nor should its analysis be restricted, as in recent revisionist histories, to the geographical confines of the Eastern Bloc. By revealing that the ideas, design strategies and images that make up postmodern architecture did not belong squarely to either side of the Cold War geopolitical divide, this paper argues that a full understanding of the movement requires an inquiry going beyond the scope of a single ideological context. The emergence of architectural postmodernism is to be located in the interstitial space between the 'capitalist West' and the 'socialist East'. Yet familiar narratives of knowledge transfer from the former to the latter are reductive and fail to capture historical reality in all its complexity and ambiguity. For instance, Aldo Rossi's work was known and may have been consciously replicated by Soviet architects. Less acknowledged is the fact that, in the Italian context, the rise of architectural postmodernism went hand in hand with the consolidation of a 'tradition of study of Soviet architecture'. Rossi was just one among many Italian architects-such as Paolo Portoghesi, Carlo Aymonino or Vittorio Gregotti-who, undertaking a critique of modernism, drew crucial inspiration from Soviet architecture, particularly Socialist Realist theory and practice.

L’architettura di Étienne-Louis Boullée  è la testimonianza di  un viaggio  grandioso e visionario in quei territori del Sublime ove l’uomo ordinario raramente si avventura.  Troppo grande è il rischio di smarrirsi in un mondo dove regnano forze  incontrollabili. Il sublime conduce all’estasi, all’essere fuori di Sé, all’apice dell’emozione umana. L’estrema possibilità di uscire dalla propria condizione esistenziale. Étienne-Louis Boullée si prefisse di percorrere tale via d’uscita attraverso la codifica e la riproposizione del grandioso linguaggio della natura. La sua architettura colossale e terrificante come la discesa nel Maelström di Edgar Allan Poe volle squarciare la tenace barriera che separa l’uomo dal mondo. Questo è il compito dell’architettura, che Boullée intese come arte prima ancora che come tecnica del costruire. I suoi strumenti furono la luce e le tenebre, capaci di stabilire un legame profondo tra il sacro e la conoscenza, tra la scienza e la religione. Boullée ci insegna a non distogliere lo sguardo, quasi sussurrandoci che solo attraverso lo sguardo attento e “risvegliato” possiamo riscoprire quell'unità smarrita che, in fondo, fu il fine implicito dell'illuminismo e che ancora oggi resta il fine ultimo dell’avventura umana.

Under the headers of ‘advocacy planning’, ‘collaboration’, ‘participatory design’, ‘co-production’, ‘commoning’ and ‘negotiated planning’, participation is, nowadays, at the centre of the debate on urban design. Architects and urban designers are developing new concepts, tools and roles to comply with these new participatory modii operandi. The participatory concern in the urban design process has not only a long history in practice but also in urban design education. Various experimental initiatives with participation emerged in the domain of architectural pedagogy in the late sixties, often starting from student initiatives. Representative cases are The Architects’ Resistance (TAR) – a group formed in 1968 by architecture students from Columbia GSAPP, MIT Department of Architecture, and Yale School of Architecture, – the National Organization of Minority Architecture Students (NOMAS), the Black Workshop, the City Planning Forum, and Associazione Studenti e Architetti (ASEA). Many of these groups emerged within the context of the struggles for civil rights and thus made a plea to have non-hegemonic or ‘other’ voices heard in the urban design process. These initiatives explored how new concepts, roles and tools for participation could become part of the education of the architect and urban designer. The paper investigates an ensemble of counter-events, counter- publications in the US and Italy during the sixties, shedding light on their impact on the institutional status of academia and on how activism can reinvent the relationship between architecture and democracy. Its objective is to reveal the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies, on the one hand, and to reflect upon the necessity to reshape the urban planning models in order to respond to the call for a more democratic society, on the other.

The notion of building type defines the rational basis of any process of western civilization. As such it is a project, whose collective intentionality is integrally political, social, economical and cultural. 2. The building type is a set of rules which establishes power relations and a corresponding system of obligations. Therefore, the definition of the type as an unconscious act is a contradiction in re ipsa. 3. To fully develop its potential, the building type needs to come into existence. Building practice is instrumental to this purpose. To obtain it, the building activity needs to share conventional values. An architectural language is therefore required. 4. If the building type remains implicit, or not performed by the architectural language, it cannot effectively contribute to the process of civilization. It remains as a simple image, or eidos, of its possibility. 5. There is a clear connection between the crisis of the typological discourse and the crisis of Institutions. The crisis occurs whenever there is not anymore consensus upon the building type and its implicit project. 6. During the type vacancy, the architectural struggle increases in order to reestablish a new order. The vacancy duration is unpredictable and it is instrumental to the achievement of a new stable configuration. 7. Within the western process of civilization, the stability of the type configuration is conventional and depends upon the dynamics internal to society. The typological change can occur within an existing configuration, by critically undermining its set of rules, or drastically proposing its integral substitution. The former approach is that of tradition, while the latter claims for radicalism. 8. Sometimes it occurs that, in order to hide power vacancy, the practice of the architectural language aims at artificially prolonging a Foretold Death. In addition, a minority practice can coexist within an highly shared one. Outside the practice, no other typological counteraction is possible. 9. Individual practice, eventually encouraging emulation, can perform as an architectural language premise, aspiring to contribute to the civilization process. This implies that the construction of the social reality does not necessarily correspond to a top down relation, but also a bottom up one is possible. In this case it is acceptable to say that the type concept arose from an unconscious process of trials and errors. 10. If typology is the discourse on the building type, developed through space and time, this is a first attempt to define the philosophy upon which typology is grounded. A new discipline is required. We call it Type Ontology. These propositions are regarded as opposable and defendable, and have been approved as such by the Supervisor: Prof. ir. S.U. Barbieri I'm sincerely grateful to Professor Umberto Barbieri. He offered me the chance, I still considers unique at the age of 40, when you are commonly expected to be already an intellectually mature individual, to completely challenge my mindset through a systematic research activity. Being he fully aware of my personal fascinations, and acting according to maieutics, he discreetly guided me into fascinating discussions on related subject matters, combining real life, he shared together with the protagonists of a glorious season, with his broad spectrum knowledge on the city and its architecture. I will never forget it. I'm also in debt to my family. Elena supported my throughout exhausting discussions on reflection principles and categories. She shared the drama of my rationality self-undermining and continuous upside-down. When I was about to get lost, she was always there to rescue me. My Mather, with her strong presence and positive attitude, gave me the strength to resist a tiring "nomadism" between Italy and The Netherlans, transmitting to me that kind of willpower which is the secret key of any successful undertaking. My Father, unfortunately, will not attend my PhD defence. He deserves some special words. A mio Padre La tua voce, che è tutte le voci, mi ha condotto qui. Hai visto prima, un giorno, la tua destinazione, Oriente. Non ti ho potuto dare, un giorno, ciò che ti consegno oggi, un dono.

Chapter 2, examines the historical and theoretical underpinnings of data usage in architecture through the practices of Leon Battista Alberti and Jean Nicolas Louis Durand. It explores how Alberti's methods of translating physical observations into data laid foundational concepts for architectural representation, while Durand's analytical approach represented a systematic utilisation of data to inform architectural design and composition. This analysis reveals distinct philosophies toward the role of data in architecture, shaping its development and application in the field.