Architectural survey

The main purpose of this paper, which belongs to a research project started in 2018 [1], is that of investigating the geometry and stability of the dome of the Diana’s temple, which survived with its half part along many centuries. Opus caementicium in fact allowed the Romans to build domes and vaults of great amplitude, thanks to an expert use of rubble, mortar, laying techniques and, above all, geometrical parameters, especially as regards to the appropriate outline of the profile and the choice of span and thickness to ensure stability. In this respect De Angelis d’Ossat [2] affirms: “We do not know if the dome’s profile – graphically never detected – corresponds to either one or more curves (catenary, parabola, circle’s arcs), nevertheless the typical curve trend by us defined as ovoid, can be usually observed in the vaults of all the ancient Orient, by starting from the rare significant Egyptian examples of barrel vaults”. After in time, Rakob [3] tried to solve the debated que...

The paper presents the partial results of a research conducted in 2020 and 2021 during the 1st and 2nd ISAR- Özyeğin University summer school programme in Castelvecchio Calvisio (AQ). We present here five experimental projects for the transformation of medieval houses in Castelvecchio Calvisio, a hilltop town in Abruzzo. The design proposals are the consequence of a thorough typo-morphological analysis outlining the typological process of the houses and of a LIDAR and photogrammetric campaign conducted by a team from University of Florence (Verdiani, Giraudeau and Leonardi, 2021). After recognising the typo-morphological characters of the urban organism at different scales, it was possible to define different design strategies to be applied to different parts of the walled urban core. For the inner urban tissue, the oldest one, we decided to proceed with a substantial restoration, according to Cesare Brandi’s Restoration Principles, in order to maintain the identity of the urban tissue, but applied a radical typological update to the different units, following the identified typological process, in order to improve the housing units according to contemporary needs. For the outer circle, we selected an image reintegration strategy, in order to fill the missing parts of the urban tissue with new buildings, conceived within the continuation of the identified typological process, adopting local materials but introducing some innovative technologies and contemporary characters following the principle of recognisability. Post-seismic design of historical urban tissues damaged by earthquakes should as much as possible respect the local characters, without ever assuming a mimetic intention

The settlement of Chiuro, one of the most relevant in Valtellina,
guards a historical and cultural heritage so rich and
stratified that it requires a multi-year and multidisciplinary
research activity in order to be surveyed, represented and understood.
The studies undertaken are laying the foundations
for the protection and enhancement of the historical building
composed not only of the apical monuments but also of the so
called “minor architecture” that is part of an organic system,
of a true cultural landscape. Awareness-raising for the protection
of such a precious and relevant area begins with the
analysis of the material consistency of the historic built heritage
in its organic whole and in its articulated stratifications.
How can this corpus be enhanced and put to good use? The
first thought goes to town planning tools that precisely in areas
of ancient formation should integrate and/or go beyond
the canonical types of interventions identified in the plans
of rules, introducing new criteria that are more in keeping
with the growing sensitivities marking the present historical
period.

Il disegno, inteso come linguaggio, è costitutivamente ambiguo: ogni segno può essere frainteso, reinterpretato o manipolato. Partendo dalla riflessione di Paul Ricoeur sul legame tra interpretazione e possibilità di fraintendimento, il saggio indaga il disegno d’architettura come dispositivo non neutrale, condizionato da convenzioni culturali, pregiudizi e contesti sociali. Attraverso l’analisi di esempi storici – dalle accuse di spionaggio contro Aleksandr Alekhine, sorte dall’incomprensione di formulari scacchistici, alla controversa ricezione del progetto Masieri Memorial di Frank Lloyd Wright – si evidenzia come il disegno possa divenire strumento di fraintendimento ideologico. Una lettura ravvicinata delle tavole di Jean-Jacques Lequeu mostra inoltre come errori geometrici solo apparenti rivelino un’intenzione retorica e simbolica più complessa. Il contributo propone una classificazione delle ambiguità in quattro categorie: tecnica, epistemica, retorica e percettiva. Quest’ultima è illustrata attraverso il fenomeno delle immagini multistabili (“Kippbilder”), che evidenziano l’instabilità interpretativa propria della percezione umana. In conclusione, si sostiene che l’ambiguità del disegno, lungi dall’essere una semplice fonte d’errore, costituisca un elemento vitale del suo potenziale creativo ed ermeneutico, invitando a una più consapevole lettura critica della rappresentazione architettonica.

A preliminary survey campaign is essential in projects of restoration, urban renewal, rebuilding or promotion of architectural heritage. Today several survey techniques allow full 3D object restitution and modelling that provides a richer description than simple 2D representations. However, the amount of data to collect increases dramatically and a trade-off between efficiency and productivity from one side and assuring accuracy and completeness of the results on the other must be found. Depending on the extent and the complexity of the task, a single technique or a combination of several ones might be employed. Especially when documentation at different scales and with different levels of detail are foreseen, the latter will likely be necessary. The paper describes two architectural surveys in Italy: the old village of Navelli (AQ), affected by the earthquake in 2009, and the two most relevant remains in Codiponte (MS), damaged by the earthquake in 2013, both in the context of a project of restoration and conservation. In both sites, a 3D survey was necessary to represent effectively the objects. An integrated survey campaign was performed in both cases, which consists of a GPS network as support for georeferencing, an aerial survey and a field survey made by laser scanner and close range photogrammetry. The two case studies, thanks to their peculiarities, can be taken as exemplar to wonder if the integration of different surveying techniques is today still mandatory or, considering the technical advances of each technology, it is in fact just optional.

Sant Quirze de Pedret is a Romanesque church located in Cercs (Catalonia, Spain) at the foothills of the Pyrenees. Its walls harbored one of the most important examples of mural paintings in Catalan Romanesque Art. However, in two different campaigns (in 1921 and 1937) the paintings were removed using the strappo technique and transferred to museums for safekeeping. This detachment protected the paintings from being sold in the art market, but at the price of breaking the integrity of the monument. Nowadays, the paintings are exhibited in the Museu Nacional d'Art de Catalunya-MNAC (Barcelona, Catalonia) and the Museu Diocesà i Comarcal de Solsona-MDCS (Solsona, Catalonia). Some fragments of the paintings are still on the walls of the church. In this work, we present the methodology to digitally reconstruct the church building at its different phases and group the dispersed paintings in a single virtual church, commissioned by the MDCS. We have combined 3D reconstruction (LIDAR and photogrammetric using portable artificial illumination) and modeling techniques (including texture transfer between different shapes) to recover the integrity of the monument in a single 3D virtual model. Furthermore, we have reconstructed the church building at different significant historical moments and placed actual paintings on its virtual walls, based on archaeological knowledge. This set of 3D models allows experts and visitors to better understand the monument as a whole, the relations between the different paintings, and its evolution over time. CCS Concepts • Applied computing → Fine arts; Architecture (buildings); • Computing methodologies → Computer graphics;

The 2009 L'Aquila earthquake caused a temporary, but still partially ongoing, emptying of the historic center. The transformations due to the earthquake led to a temporary non-usability and non-recognizability of the spaces which led to a loss of meaning and identity of the places of the city. The perception of the city continues to oscillate between the memory of it before the earthquake and what it will be at the end of the works. Numerous pages and groups, on various social networks, publish and create interaction by publishing photographs, images and past memories, of places in the city and scenes from everyday life. The research has been conducted by analysing the images posted on social media, geolocating and correlating them through an online map, according to a Digital Humanities approach applied to images of the urban landscape. The map offers itself as a useful tool for the collection of visual documentation, for the analysis of ongoing phenomena, for developing heritage education activities.

The HBIM procedure is different from the traditional BIM one, because the HBIM moves from an historical-critical knowledge process, on which then the project dedicated to architectural heritage roots. Consequently, the H-model is characterized by objects with different LoDs. A useful reference is the one offered by LoINs-Level of Information Need-that introduce the idea that LoDs can be critically defined. The paper highlights the differences between BIM and HBIM and consequently it proposes the definition of a new Level of Developmet, called LoH "Level of History". In particular, the representation of the architectural heritage requires the management of information that are not considered in the well-established BIM procedures for new buildings. LoH is made by historical information not computable and related to those aspects that have contributed to the formation of current configuration of the building. Since this historical information can be more or less exhaustive, three levels of LoH can be assumed: high, medium and low. In order to enter this additional information within the HBIM environment, the HBIM database has been expanded using Visual Programming Language.

The paper analyzes geometric progression and bijective projection in denotational semantics vis-à-vis the instruments of the carpentry practice, exploring their underlying logic. The essay first considers the codified construction drawings of regional carpenters as rule-based maps and then examines their one-to-one relation between the semantic domain of the notational language and the syntactic domain of the tectonic wood structural frame.

This work is the result of the collaboration between DART (Laboratory of Documentation, Analysis, Survey of Architecture and Territory) and LARM (Laboratory of Robotics and Mechatronics) which, despite their apparent differences in terms of fields of research, for years have found time and motivations for opinion exchanges and cultural contacts, as well as research topics on which to begin genuine and fertile collaborations ) (Cigola, et al., 2005.

The introduction of digital technologies has transformed architectural history research, integrating technical skills for architectural analysis. Tools like 3D laser scanning and modelling – accelerated by the pandemic – have enabled
new approaches to reconstructing and enhancing historical buildings. Digital humanities has fostered a dialogue between the humanities and technology, improving the preservation and analysis of the built environment. The rise
of artificial intelligence also plays a pivotal role, offering new ways to process and interpret complex architectural data. Researchers are tasked with reconciling traditional knowledge with digital innovation, facing the challenges of the digital era and reflecting on the future of historical research.

Studies for the Historical-Critical Analysis of a Historical Center. The Case Study of Castel CamponeschiAim of the paper is the historical-critical study of Castel Camponeschi (aka Castello di Prata), a village at about 25 km from L’Aquila city (Italy), with peculiar urban characteristics –a herringbone pattern– probably founded in the thirteenth century and characterized by important phenomena of modification and stratification. The study roots on the direct analysis of the built heritage through the architectural surveying, realized at multiple scales from the urban settlement to the masonry structures. According to the morphology of the historic center, it could be traced to the process of new settlement foundation that characterized the territory –the border between the Papal State and the Frederic’s Empire first, and then the Angevin kingdom–. The analysis of the village requires both a correlation with the natural and anthropic historical context in which it is inserted and, ...

According to potentialities given by BIM (Building Information Modeling) procedures, in the last 10 years many experimentations have been conducted on BIM application to Architectural Heritage (AHBIM). BIM software are tools for information computing and management of buildings in the three-dimensional space. Aim of the paper is to study how BIM models can favor architectural stratigraphic analysis. A workflow for 3D modeling of Stratigraphic Units of the Masonry is proposed; this three-dimensional representation can aid the documentation and the analysis of the construction phases. The case study is the church of St. Vittorino near L’Aquila (4th-12th-18th centuries), characterized by important modification and stratification processes. The church has been surveyed by laser-scanning and digital photogrammetry, consequently a dedicated BIM model has been realized for Stratigraphic Units study.

Parrocchie, enti privati, sedi statali già negli anni di guerra costituiscono dei comitati organizzativi per erigere monumenti o lapidi in ricordo dei soldati e civili morti. Padova subisce numerosi bombardamenti aerei, alcuni dei quali lasciano un ingente numero di vittime civili oltre a divellere interi quartieri. Nel 1916 una bomba colpisce il rifugio costituitosi all"interno del bastione rinascimentale della Rotonda segnando profondamente la città: i civili colpiti sono per lo più bambini e ragazzi. La notizia viene riportata anche dalla stampa estera 23 . Pochi anni dopo questo stesso bastione verrà trasformato in sacello commemorativo delle vittime civili di Padova. Tralasciando le parrocchie, una lunga serie di istituzioni realizza lapidi e monumenti. Le società dei tramvieri, dei ferrovieri, dei pompieri, le guardie del re, il gabinetto di lettura, l"università, i licei e gli istituti di formazione superiore, la camera di commercio, le poste, i barbieri, i circoli tennistici e di nuoto. Vengono edificati templi e sacelli e quando il regime fascista impone di realizzare opere con una funzione utilitaristica 24 in nome dei nostri caduti sorgono asili e vengono ampliate le sedi ospedaliere e militari patavine. Anche la toponomastica, così com"era accaduto dopo il Risorgimento, subisce un sensibile aumento di dedicazioni di strade agli eroi di guerra e, nei nuovi quartieri periferici, molte vie portano il nome di luoghi o battaglie significative. Due luoghi di spicco della vita sportiva locale, il velodromo e lo stadio comunale vengono dedicati rispettivamente a due soldati caduti: Giovanni Monti e Silvio Appiani, mentre l"aeroporto cittadino è dedicato alla memoria di un grande aviatore, Girolamo (Gino) Allegri. Un edificio che non è monumento ai caduti, ma che va considerato in funzione dell"importante ruolo svolto dall"associazione che ne ha promosso la costruzione è la Casa del Mutilato. Se tanto onore è stato tributato a coloro che hanno perso la propria vita in battaglia, altrettanto onore e ricordo è doveroso per i patrioti che hanno combattuto riportando ferite e mutilazioni gravemente invalidanti tanto nel fisico quanto nello spirito. Si parla sempre del numero di morti che la guerra a mietuto, ma si trascura spesso il dato impressionante di oltre un milione di feriti e di mezzo milione di mutilati e invalidi 25 .

Monumenti di marmo e bronzo occhieggiano tra i meandri della città: sono monumenti a regnanti, eroi del Risorgimento, glorie locali. Inavvertiti in quanto consueti, divenuti silenziosi col passare del tempo e per lo sbiadirsi della memoria, possono tuttavia tornare a parlare attraverso le carte che si conservano negli archivi. In esse infatti risuonano, come in un’eco lontana, le voci di chi ha ispirato l’erezione di quei monumenti e di chi li ha invece contrastati. Di chi con lo scalpello li ha impressi nel crisma della storia. Di chi, infine, molto tempo dopo, ha deliberato lo spostamento, se non anche l’abbattimento, di ciò che aspirava a diventare eterno. Riprendono così forma i profili di committenti e artisti; gli aneliti e le idiosincrasie sottesi alla dedica, all’ostracismo, alla trasformazione, traslazione o distruzione di ogni monumento; le reazioni ora ardenti, ora inerti, ora ostili della comunità civica. Nei monumenti si riflette, insomma, la storia della città: una storia di cultura e arte e politica e società, una storia delle idee e delle ideologie che nei monumenti hanno preso “corpo” (o che con essi si è rischiato di obliare, o tentato di cancellare), e che proprio attraverso quei monumenti si possono oggi tornare a raccontare.

Nowadays, one of the most used methods for the architectural survey is photogrammetry. The combination of terrestrial and aerial photogrammetry of low altitude is the ideal method for obtaining global geometric documentation of any building, as it collects information about concealed or inaccessible points. The UAV or drone is the device currently most used to capture aerial photographs. We used the example of the Church of San Miguel in Agreda to establish a methodology for data collection and the process for obtaining a textured three-dimensional model.

The geometric description of surfaces in the digital environment is frequently conducted using reality-based models, which, among many other aspects, may constitute one of the new ways of representing and disseminating heritage. However, the choice of the most suitable survey instrument is still a debated issue, partly due to the absence of a commonly accepted approach to assess its accuracy. Accordingly, it is agreed that the fulfilment of the specific requirements of the application to be conducted depends on the careful assessment of the accuracy of the measurement instruments. The subject becomes more complex as it should consider both geometric and colorimetric factors. By restricting itself to geometry alone, this study presents a comparison for evaluating the quality of digital models obtained from two different approaches: close-range photogrammetry and structured light handheld scanning. The achieved accuracy is derived from a comparison with a third homologous model. The primary objective is to provide a strategy for the mindful managing of survey data for a multidisciplinary approach to the survey and representation of heritage objects.

Gli articoli pubblicati sono sottoposti a procedura di doppia revisione anonima (double blind peer review) che prevede la selezione da parte di almeno due esperti internazionali negli specifici argomenti. Per il numero 1, anno 2017, la procedura di valutazione dei contributi è stata affidata ai seguenti referee:

Even though virtual archaeology has assumed an educational role, in no way it can be compared with the excitement of the visit to an archaeological site. Our project proposes an innovative exhibition in situ of some archeological goods located in Campania. In order to suggestively enrich the emotional impact, we provide a Plexiglas display, based on a visual and perspective effect that overlaps the ruins still visible and reconstructs, "in the eyes of the observer", the original shape of the building. It is a re-composition, in a perspective view, of both real and virtual signs. The transparent panels on which some appropriate perspective drawings are printed from a 3D virtual model, collaborate actively in the unveiling of what have been lost in architecture, in a cognitive process of strong impact, comparable only to the more expensive "augmented reality", that, however, interposes an electronic device between the object and the observer. We allow the visitor to enjoy the architectonic space just by direct vision. The project is a flexible solution to be adapted to several archeological sites. It will provide the observer with an emotional experience, so to communicate, through a multisensory effect, the inner value of the visited sites.

Nel 1926 Vico Consorti si trasferì a Roma per frequentare la Scuola dell'Arte della medaglia. Questa esperienza ed il soggiorno nella capitale possono essere considerati per il giovane un momento di transizione verso l'età matura e l'inizio della carriera artistica che lo scultore ha deciso di intraprendere. Nel triennio in cui frequenta la Scuola (1926-29) l'artista sviluppa le sue due anime di scultore che poi lo accompagneranno per la sua intera produzione: da un lato, stimato dal maestro Giuseppe Romagnoli, perfeziona lo sbalzo, il rilievo, affina la predilezione per i diversi materiali; dall'altro, continuando a collaborare con Fulvio Corsini, acquista autonomia e competenza di mestiere nella scultura monumentale. Nel 1930, dopo lunghe riflessioni, Consorti decide di stabilire il suo studio nella capitale. Non è una scelta facile poiché deve trovare una sistemazione ed occasioni di lavoro per mantenersi, ma è assolutamente certo che vivere a Roma significhi avere maggiori opportunità espositive e lavorative, poter stringere contatti con personalità influenti e partecipare, con maggiori chances di vittoria, ai bandi per i concorsi pubblici che in questi anni si stanno moltiplicando in tutta Italia. Pertanto alla fine della Scuola, vincitore del Pensionato che gli avrebbe concesso l'opportunità di una formazione all'estero, converte la borsa di studio in denaro per potersi sposare e continuare a frequentare gli ambienti artistici in cui si è inserito. Dal il 1930 al 1943 farà la spola tra Siena, dove vive la famiglia ed è già considerato un artista capace, e Roma dove, dopo varie sistemazioni di fortuna, ha affittato uno studio in via Flaminia, poco lontano dalle due stanze in cui vive e soprattutto vicino a Villa Strohl-Fern, luogo di ritrovo e lavoro di scultori, ormai amici, come Ercole Drei. Il rapporto di Consorti con Roma è controverso: ne detesta la confusione ma ne adora gli scorci, la vita di borgata, le bellezze artistiche. Qui tesse una rete di relazioni con personalità di rilievo, chiedendo appuntamenti, facendosi presentare dagli amici influenti per assicurarsi commissioni in tutta Italia. Così, con qualche timore, ma senza esitazioni, trascorso appena un mese dalle nozze e già tornato a Roma, decide di partecipare al concorso per il Monumento al Bersagliere per il piazzale di Porta Pia. Era questa un'occasione che sentiva congeniale alla sua arte, poiché non era la prima volta che si cimentava in un monumento da porre in una pubblica piazza. Ora, però, la commissione sarebbe stata per la capitale,

is a fixed-term researcher at the Department of Architecture of the University of Naples Federico II for the SSD ICAR/17. Her studies focus on architectural, urban and archaeological sur veying techniques, on the semantic annotation systems of digital models, on the methodologies of representation and communication of CH also through AI systems.

There are unique and varied examples of dry stone constructions in the Mediterranean region, whose interest, in Puglia (Italy) and attested in recent decades, has determined a speculative attitude that has made possible for these vernacular architectures to gain considerable economic value. Consequently, in addition to the actions supported by municipal regulations and both local and regional planning instruments, it is necessary to identify their cultural value and their peculiarities, all of them required for implementing conscious policies for a correct protection and preservation. We particularly aim to focus on the survey of these architectures within this contribution, a neglected subject of certain complexity, in order to propose a series of reflections that support the activity of those who intend to intervene on these artifacts. In fact, their plastic component and morphological uniqueness allow them to blend with sculptures that require the usage of modern and refined methodologies and technologies for their documentation. Thus, the lack of recognition on features and peculiarities has resulted in actions regarding their restoration with a general formal homologation and the loss of the original morphological singularity during interventions for their conservation.

Se la conoscenza delle dimensioni di ciò che dev’essere rappresentato è condizione necessaria per
poterlo relazionare scientificamente con il mondo fenomenico, la conoscenza della misura del fenomeno
osservato è condizione necessaria per l’attribuzione di senso, ruolo e significato dell’artefatto
creato sulla terra per misurare il cosmo e il trascorrere del tempo.
Sin dai tempi antichi, l’umanità, limitata nel proprio ciclo di vita nel flusso eterno degli eventi passati
e futuri, ha desiderato proiettarsi nell’eternità, cercando di dominare il tempo attraverso la sua
misurazione e la capacità di prevedere il ritorno ciclico di ogni istante trascorso. Questo desiderio
ha portato al primo tentativo di oggettivizzare il passare del tempo basandosi sull’osservazione dei
corpi celesti, specialmente il Sole, la cui mutevole posizione determinava l’ombra e le sue continue
variazioni nel mondo fenomenico.
Così nell’ambito più ampio della misura del tempo, l’evoluzione degli strumenti creati, dei simboli
adottati nei quadranti, dell’uso che nel tempo si è fatto della lettura dei fenomeni naturali luminosi
fino ad arrivare alla stretta relazione tra arte e scienza, testimoniano come il concetto di dimensione
e misura possano essere il filo conduttore di apparati narrativi scientifici e artistici, attraverso i secoli
e lo sviluppo di tecnologie fino al contemporaneo.

La Sacrestia Vecchia di San Lorenzo a Firenze è opera di Filippo Brunelleschi e l’inizio della sua costruzione
è probabilmente da riferire al 1422. Un’incisione ricorda che nel 1428, l’anno della morte
del suo committente, Giovanni d’Averardo dei Medici, viene realizzata la lanterna posta sulla sommità
della famosa cupola ad ombrello dell’ambiente principale. Un piccolo altare è situato nella scarsella
coperta da una superficie emisferica con diametro di circa 4 metri, decorata da un complesso ed
enigmatico apparato pittorico. Il dipinto riproduce solo una metà della sfera celeste, il modello teorico
messo a punto dagli astronomi per rappresentare la posizione e il movimento degli astri e dei pianeti. I
suoi elementi fondamentali sono tracciati grazie ad una serie di linee geometriche dorate; sono inoltre
presenti le affascinanti iconografie delle costellazioni, il Sole, la Luna e alcuni pianeti. Illustri ricercatori
hanno affrontato lo studio di questo insolito oggetto, singolarmente collocato in un contesto sacro, allo
scopo di individuarne i dati astronomici e il loro significato. Il contributo presenta i primi risultati della
ricerca che ha preso avvio da un rilievo strumentale (laser scanner e fotogrammetrico) con il fine di
indagare sulla geometria della cupola, sulle sue misure, sul sistema di tracciamento delle linee dorate e
sul livello di precisione degli ideatori e degli esecutori.

The Sacristy of San Lorenzo in Florence, designed by Filippo Brunelleschi, likely began construction
around 1422. An engraving recalls that in 1428, the year of the death of its patron, Giovanni d’Averardo
dei Medici, the lantern was completed at the top of the famous umbrella dome of the main
space. A small altar is located in the apse covered by a hemispherical surface with a diameter of about
4 meters, adorned with a complex and enigmatic pictorial apparatus. The painting reproduces only
half of the celestial sphere, the theoretical model developed by astronomers to represent the position
and movement of the stars and planets. Its fundamental elements are traced by a series of golden
geometric lines, and it also features fascinating iconographies of constellations, the Sun, the Moon, and
some planets. Distinguished researchers have undertaken the study of this unusual object, singularly
placed in a sacred context, to identify its astronomical data and their significance. The paper presents
the initial results of the research, which began with instrumental surveying (laser scanning and photogrammetry)
aimed at investigating the geometry of the dome, its measurements, the system of tracing
the golden lines, and the level of precision of the creators and craftsmen.

This work aims at showing the fundamental role that the integration of geomatic techniques and a specific multidisciplinary approach could have in the study, conservation and valorization of ancient buildings, by presenting some results of a research conducted in Pompeii, one of the most important city of the ancient world. The research, which is part of a wider project headed by the University of Padova (MACH-Multidisciplinary methodological Approaches to the knowledge, conservation and valorization of Cultural Heritage), aims at studying the Sarno Baths, an architectural complex located in the southwestern part of Pompeii (Regio VIII, Insula 2, house numbers from 17 to 21). The complex is composed by a set of buildings, the main of which is made of five floors. It leans against the southern rocky front of the city and has a façade which is about 15 m high and 40 m wide. Different research units of the University of Padua were involved in the project and different aspects were dealt with: survey and structural analysis, archaeological excavations, architectural analysis, study of frescoes and building materials. The Archaeological Superintendence of Pompeii has supervised all the phases of the project and has provided part of the data. As regard the architectural survey, after the verification of the existing 3D data acquired from the Superintendence, it has proved necessary to execute a new laser scanning survey of the façade, because of lack of data in some areas (due to the presence of vegetation) and to create a reference topographic network. A set of related spatial data and ortho-images were produced for the architectural and archaeological studies. Moreover, a photogrammetric survey, with both classical and Structure from Motion approach, were performed. The obtained data contributed to an improvement of the available information about the building, in terms of completeness, and helped the archaeologists to study and to better understand its building features, constructive phases and its architectural transformations that occurred before and after 79 CE.

This paper presents a systematic review of recent academic research literature spanning the past decade, focusing on the application of Internet of Things (IoT) technology in the preservation of architectural heritage, introduces a range of IoT applications in heritage conservation, delineates the IoT devices utilized for safeguarding architectural heritage, elucidates the distinctive features of IoT monitoring big data, and expounds upon the data processing workflows and methodologies rooted in artificial intelligence.  It conducts comparative analyses of diverse technological approaches, algorithms, and platforms, while critically evaluating the limitations and challenges associated with IoT implementation in the context of architectural heritage protection. This literature search  endeavor serves to offer practitioners guidance in selecting appropriate technological solutions tailored to their specific requirements, thereby optimizing the efficacy of their practical applications.

In village (Arcos de Valdevez) is preserved a fortified landscape built during the Extremo
Restauration War (1640-1668).
It is composed of fortifications, communication trenches, luminaries, batteries, marching
camps... occupying two elevated areas of the mountain range that control each other.
The interdisciplinary research developed since 2019 by a team integrated by researchers
from the Universities of Minho (Portugal) and Santiago de Compostela (Spain), with the
collaboration of researchers from the Universities of Coruña and Salamanca, in Spain, and
the Instituto Arqueologico de Merida (CSIC, Spain), among others, has allowed to
understand what this fortified landscape looks like. Five research projects have been
developed, some of which are still ongoing.

L’articolo indaga e discute l’evoluzione e le transizioni del disegno nell’ambito della rappresentazione architettonica. Il suo continuo mutare, nei fini e nei mezzi, comporta una riflessione sulla evoluzione dei linguaggi grafici adottati. La dimensione virtuale, dagli anni Ottanta del ’900 in poi, ha trasformato progressivamente il disegno da mezzo per la rappresentazione a strumento per la costruzione. Questa transizione ha spostato progressivamente l’attenzione sulle tecniche o sulle tecnologie per realizzare il disegno, trascurando gli esiti formali che manifestano il potenziale culturale. In risposta a questo spostamento tecnofilo, nell’ultimo decennio si è sempre più affermata una tendenza verso un disegno post-digitale, che nella sua molteplicità espressiva, tenta un recupero del valore espressivo autoriale del disegno. A tal proposito attraverso una ricognizione tassonomica del disegno post-digitale, che riconosce famiglie e ordini differenti, si delinea una prospettiva di ricerca che recuperi gli aspetti culturali e f igurativi della disciplina del Disegno. L’articolo indaga la molteplicità degli aspetti formali del disegno post-digitale tentando di riconoscere i limiti, le potenzialità espressive e i prodromi culturali, con l’obiettivo di riconoscere alla nostra disciplina il ruolo fondamentale nella formazione dei futuri progettisti/disegnatori.

The article investigates and discusses the evolution and transitions of drawing in architectural representation. Its continuous mutation, in ends and means, entails a reflection on the evolution of the graphic languages adopted. From the 1980s onwards, the virtual dimension has progressively transformed drawing from a medium for representation to a tool for construction. This transition has gradually shifted the focus on techniques or technologies to realise drawing, neglecting the formal outcomes that manifest cultural potential. In response to this technophilic shift, a trend towards post-digital drawing, which in its expressive multiplicity, attempts to recover the explicit authorial value of drawing, has increasingly emerged over the past decade. In this regard, through a taxonomic reconnaissance of post-digital drawing, which recognises different families and orders, a research perspective is outlined that recovers the cultural and symbolic aspects of the discipline of Drawing. The article investigates the diversity of formal elements of post-digital drawing, attempting to recognise the limits, expressive potential and cultural prodromes to recognise our discipline’s fundamental role in the training of future designers.

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In the light of the Panofskian analogy between scholastic thought and Gothic cathe-drals,  which  share  the  same  mental habit,  and  the  interpretative  problems  it  pre-sents, the article intends to investigate a possible way to lighten the architectural metaphor by shifting the discourse to the level of aesthetic habit through a phenom-enology of ornamentation, in order to achieve interesting results on a theoretical and aesthetic level. Starting  from  Giovanni  Piana’s  observations  on  chromaticism  in  music  as  a  di-alectic between continuous and discrete, the theme of ornamentation in architecture is explored in this sense, focusing on two examples: the tiles of Giotto’s Campanile of Santa Maria del Fiore in Florence and those of the intradoses on the facade of the Turin  Cathedral.  While  in  the  former  one  notices,  for  example,  a  discretisation  of  the vertical continuum in grace of the horizontality of a narration of social practices (the  liberal  and  mechanical  arts),  which  have  also  become  aesthetic  habits,  in  the  decorations  on  the  portals  of  the  Turin  Cathedral,  in  some  cases,  one  observes  a  fluidification of the discrete into a continuous narration. The idea of ornamentation as an aesthetic habit is thus outlined, an ornament in which the practices of a certain society are settled, in which the continuities of forms are  discretised,  or  discrete  relations  are  fluidised  according  to  visual  or  sonorous  consonant relationships. Keywords: aesthetic habits, ornament, Giotto’s Bell Tower, Duomo of Turin, phenom-enology, music

Link al volume completo: https://www.francoangeli.it/Libro/AbiTO.-Abitudini-estetiche-e-arte-pubblica?Id=29251

Il testo Risalire le città è tratto dalla lezione telematica tenuta il 16 aprile 2020 nell'ambito del Programa de Pós-Graduação Stricto Sensu Arquitetura e Urbanismo, attivato dalla Faculdade Meridional IMED di Passo Fundo (Brasile). 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 furto e opera ai danni della cultura. Nel caso in cui fosse stato commesso qualche errore o omissione riguardo ai copyrights delle illustrazioni saremo lieti di correggerlo nella prossima ristampa. Book design: Gaetano Salemi In copertina: Progetto di una risalita pedonale meccanizzata a Camerino (Mc) tra viale Betti e piazza Cavour, pianta alla quota di viale Betti (HOFLAB-Paolo Belardi, HOFPRO-Alessio Burini, 1986).

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 furto e opera ai danni della cultura. Nel caso in cui fosse stato commesso qualche errore o omissione riguardo ai copyright delle illustrazioni saremo lieti di correggerlo nella prossima ristampa.

The paper gives an overview of the ongoing project Take Care, granted in the framework of the PRIMA program by Compagnia di S. Paolo, Turin. The project deals with the preventive and planned conservation of the Royal Museums in Turin.
Besides organizing a three years remedial works program on several parts of the complex, the project encompasses the draft of a comprehensive conservation plan and the development of an interdisciplinary research on the digitalisation of conservation planning, including new perspectives on knowledge management, surveying and digital informative modelling of the building. The structure of the project fosters the applied character of the research, which explores the frontiers of digitalisation, including AI techniques to speed up the most time consuming phases of the work, but keeps centred on facing also the feasibility issues related to process innovation for the implementation of planned conservation procedures. The ongoing project already shows some outcomes, both in detecting and operating practical problems of the available tools and of the new perspectives of digitalizing the processes in cultural heritage sector.

Every cultural landscape requires documentation that satisfies the need to recognize and identify it, seeking to understand the multiple aspects that have shaped its conformation and persistence over time. The Sanctuary of Las Lajas in Colombia brings together various aspects related to potential exceptional universal values, which require a methodological approach that includes strategies to document both the tangible architectural and landscape heritage, as well as its intangible aspects.

The city of Reggio Calabria, its local context and the history that, in this last century, distinguished it, assumed an important role in the determination of the proposal for the project of a virtual museum of the city, which remembers its configuration before the earthquake. It’s an experience started in the 2014, about the reconstruction of a city that has been deleted by the earthquake of the 1908 and about its new settlement of the historical memory and of the place’s identities. The project deals with the creation of urban paths with an high multimedia effect and for this reason we asked to Franz Fischnaller in a brief interview to describe some of his more important experiences of virtual museum realized through new generation systems, able to link the digital entertainments to the urban sites, adapted to recreate historical lost paths.

The city walls of Florence constitute a complex system: six circles and at least nine distinct phases of use and transformation, from the foundation of Florentia to Florence Capital, to contemporary adjustments. The DIDA, Department of Architecture of the University of Florence with the Municipality of Florence, has been carrying out since 2012 the FIMU project with the study of the various walls circuits and diachronic surveys of the surviving wall sections. The aim is to combine and harmonize the historical data with technical-scientific innovation, expressing its own vision of the relationship between the history of the city of Florence and the correct valorization of one of its important Landmark. Every citizen must be able to recognize in the traces of the past his belonging to a community, the results expected from this research are the realization of an informative-didactic and informative apparatus that will emphasize this important historical testimony of Florence and its transformations occurred over the centuries. Data acquisition, processing and visualization methods define this research as 'experimental' for the knowledge and evolution of a historic city that would contribute to elevating services for the technical scientific community and the citizen, to which data would become available currently 'raw' with the preparation of an apparatus based on a database through the 'Open Data' platform of the Municipality of Florence.

In the seventeenth century, Guarino Guarini, mathematician and architect, affirmed that architecture, a discipline that primarily deals with measures, relies on geometry: therefore, the architect needs to know at least its basic principles. On behalf of Guarini’s words, we designed a set of interdisciplinary teaching experiences, between mathematics (via a calculus course) and drawing (via our Architectural Drawing and Survey Laboratory courses) that we proposed to first-year under graduate students studying for an Architecture degree. The tasks concern mathematical and representational issues about vaulted roofing systems and are based on the use of physical models in conjunction with digital tools, in order to make the cognitive geometric process more effective, thus following a consolidated tradition of both disciplines.

Although nowadays sustainable reuse of underground cultural heritage has become a global trend, as yet Underground Built Heritage (UBH) is not regarded as a distinctive class eligible for protection. After a critical overview of previous attempts at defining underground heritage by associations such as UIS, SSI and UNESCO, this article updates the definition of the new-born class of UBH on the basis of three main criteria: position (by introducing the concept of Geographical Zero Level), manmade character, and cultural relevance, both material and immaterial. Building on the outputs of several projects devoted to this topic and the results of academic expertise in this field, the author proposes a new dedicated methodological approach consisting of a chart for the classification of artefacts as historical UBH and a strategy for their reuse based on a four-level scale: Re-inventing, Re-introducing, Re-interpreting and Re-building.

Il contributo analizza il Catalog Mathematischer Modelle, edito da Schilling nel 1903, nella sua duplice accezione di catalogo: di modelli matematici e di immagini dei modelli stessi. Il lavoro è un primo esito della lettura critica di una fonte grafico/testuale/analitica avviata con un approccio interdisciplinare, che indaga i modelli fisici come linguaggio geometrico, tattile e visivo comune all'Architettura e alla Matematica. Il catalogo rappresentò, per la vendita di modelli matematici, una tipologia di sistematizzazione nuova rispetto ad analoghi esempi editi nel ventennio precedente, proponendo una presentazione delle informazioni per famiglia e non solo per innovazione del prodotto da immettere sul mercato, mediando quindi il suo ruolo da catalogo di vendita a riferimento per la scelta degli ausili visivi per la didattica della Matematica. Il contesto socio-scientifico e l'analisi condotta, sostanzialmente visiva, non solo degli strumenti scelti per la rappresentazione, ma anche delle dinamiche editoriali, hanno portato a leggere criticamente il Catalogo come medium di comunicazione di risultati matematici con un risvolto visuale sul Pensiero Visivo nella materia di appartenenza, indagandone quindi le connessioni tra immagini scritte e parole disegnate, con uno sguardo verso l'oggetto reale, tra collezioni fisiche e digitali. Parole chiave Comunicazione della Geometria, modelli fisici, oggetti matematici, geometria delle superfici algebriche, Brill-Schilling.

Il contributo analizza il Catalog Mathematischer Modelle, edito da Schilling nel 1903, nella sua duplice accezione di catalogo: di modelli matematici e di immagini dei modelli stessi. Il lavoro è un primo esito della lettura critica di una fonte grafico/testuale/analitica avviata con un approccio interdisciplinare, che indaga i modelli fisici come linguaggio geometrico, tattile e visivo comune all'Architettura e alla Matematica. Il catalogo rappresentò, per la vendita di modelli matematici, una tipologia di sistematizzazione nuova rispetto ad analoghi esempi editi nel ventennio precedente, proponendo una presentazione delle informazioni per famiglia e non solo per innovazione del prodotto da immettere sul mercato, mediando quindi il suo ruolo da catalogo di vendita a riferimento per la scelta degli ausili visivi per la didattica della Matematica. Il contesto socio-scientifico e l'analisi condotta, sostanzialmente visiva, non solo degli strumenti scelti per la rappresentazione, ma anche delle dinamiche editoriali, hanno portato a leggere criticamente il Catalogo come medium di comunicazione di risultati matematici con un risvolto visuale sul Pensiero Visivo nella materia di appartenenza, indagandone quindi le connessioni tra immagini scritte e parole disegnate, con uno sguardo verso l'oggetto reale, tra collezioni fisiche e digitali. Parole chiave Comunicazione della Geometria, modelli fisici, oggetti matematici, geometria delle superfici algebriche, Brill-Schilling.