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Journal articles on the topic 'Italian architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Bartolini, Francesco. "Architettura e fascismo. Temi e questioni storiografiche." PASSATO E PRESENTE, no. 78 (October 2009): 125–37. http://dx.doi.org/10.3280/pass2009-078007.

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- Architecture and Fascism. Issues and interpretative perspectives examines the historical debate regarding Fascist architecture which has been ongoing over the last decade. In particular, it analyses some interpretative issues that have proven most interesting both for political historians and architectural historians: the existence of a «totalitarian style», the relationship between the Fascist regime and architects, the ideological connotation of urban and rural landscape, the legacy of the Fascist experience on the Italian Republic.Key words: Italian Architecture, Fascism, Totalitarianism, Urban and Rural History, Rome.Parole chiave: architettura italiana, fascismo, totalitarismo, storia urbana e rurale, Roma.

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2

De Carlo, Giancarlo, Renato Luiz Sobral Anelli, and Mônica Graner. "La visita de Giancarlo De Carlo a Brasil: una lección vigente = The visit of Giancarlo De Carlo to Brazil: A still current class." Cuaderno de Notas, no. 24 (September 30, 2023): 54–63. http://dx.doi.org/10.20868/cn.2023.5194.

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AbstractIn April 1985, architect Giancarlo De Carlo, returning from Argentina to Italy, made a stop in São Paulo, his only visit to Brazil. He gave a lecture to students at a renowned architecture school in São Paulo and granted an interview to some students and young architects. At that time, the Italian architect was already recognized in Latin America, mainly for his editorial work and participation in CIAM and Team X. However, his ideas about modern architecture, participatory design experiences, and interventions in historical Italian cities were not widely known in the Brazilian academic environment and caused a certain impact among the students. The testimony was transcribed in 1985 and published in 1992 in the magazine Óculum under the title «Depoimento de um Arquiteto Italiano - Sobre a Arquitetura do Pós-Guerra (Testimony of an Italian Architect - On Post-War Architecture)». This article presents the transcription of Giancarlo De Carlo’s testimony in Spanish, with a brief introduction.ResumenEn abril de 1985, el arquitecto Giancarlo De Carlo, regresando de Argentina a Italia, hizo una escala en São Paulo, su única visita a Brasil. Impartió una conferencia para estudiantes en una prestigiosa facultad de arquitectura paulista y concedió una entrevista a algunos estudiantes y jóvenes arquitectos. En ese momento, el arquitecto italiano ya era reconocido en América Latina, principalmente por su trabajo editorial y su participación en CIAM y Team X. Sin embargo, sus ideas sobre arquitectura moderna, sus experiencias de diseño participativo y sus intervenciones en las ciudades históricas italianas eran poco conocidas en el ambiente académico brasileño y causaron cierto impacto entre los estudiantes. El testimonio fue transcrito en 1985 y publicado en 1992 en la revista Óculum con el título «Depoimento de um Arquiteto Italiano - Sobre a Arquitetura do Pós-Guerra». Este artículo presenta la transcripción del testimonio de Giancarlo De Carlo en español, con una breve presentación.

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3

Maria Manola. "Italian monuments in Kos- present situation and tourist interest and the role of ICTs in their promotion." World Journal of Advanced Engineering Technology and Sciences 12, no. 2 (July 30, 2024): 098–114. http://dx.doi.org/10.30574/wjaets.2024.12.2.0242.

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The present study has to do with the Italian architecture in the Dodecanese and specifically on the island of Kos. The departure of the Italians bequeathed to the island a rich architectural work, which is a valuable capital for its tourist industry. It is the result of thirty-one years of Italian rule and is an important and special part of the island's cultural heritage. After a quantitative survey carried out in November 2023 with questionnaires distributed on the island, it was shown that the Italian monuments have been utilized to a satisfactory extent, so that today they provide the visitor with a unique combination of history and architecture that attracts tourists and contributes to local and cultural development and presentation.

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4

Longhi, Andrea. "A lay association as a client." Actas de Arquitectura Religiosa Contemporánea 10 (December 16, 2023): 48–63. http://dx.doi.org/10.17979/aarc.2023.10.0.10181.

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Research into the Italian Liturgical Movement emphasised the pedagogical commitment of lay associations, rather than architectural innovation they eventually promoted. The case study presented here discusses a little-known case of ambitious architectural patronage promoted in 1952-53 by the main Italian lay association: the Italian Youth of Catholic Action (Gioventù di Azione Cattolica, GiAC). The winning design by architect Enzo Magnani, the first president of the Catholic Union of Italian Artists (UCAI), was rejected directly by Pius XII, probably as an indirect consequence of the worsening of the political fracture between the GiAC and the main branches of the Azione Cattolica, oriented towards explicit support for conservative and clericalist political positions, rather than ecclesial engagment and liturgical afflatus. The archives of Azione Cattolica Italiana (preserved by ISACEM in Rome) and some private archives allow a first reconstruction of the matter, which had been completely erased from the asssociation’s official history, and probably broke any possible link between associative patronage and liturgical architecture during the decades that followed.

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5

Lucantoni, Francesco. "Historical Notes on the Architecture of Italian Confraternities." Confraternitas 17, no. 2 (July 1, 2006): 3–27. http://dx.doi.org/10.33137/confrat.v17i2.12506.

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Historians of architecture have always drawn a distinct line between civic and religious architecture. Although this separation allows for easier classification of the vast heritage of architecture, it is not adequate for analysing certain realities that, by their very nature, fall between the two categories. An example of this is confraternal architectural production that developed extensively, in a variety of forms and environments, in the Catholic world from the thirteenth century to the present. As lay institutions with religious aims, confraternities gave birth to a special type of architecture, distinctive because of its combination of lay and religious elements, and because it was not restricted to sacred buildings. This architecture presents a complexity and an originality borne out of the close relationship to its various devotional aspects and, above all, to the social-charitable role played by these organizations.

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6

Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.

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7

Irace, Fulvio. "Italian Architecture from the Inside." Architectural Design 77, no. 3 (2007): 102–3. http://dx.doi.org/10.1002/ad.464.

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8

Collotti, Francesco. "Heinrich Tessenow. Avvicinamenti e progetti iconici." Firenze Architettura 26, no. 1 (September 26, 2022): 174–81. http://dx.doi.org/10.36253/fia-13945.

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Tessenow é noto in Italia per la pubblicazione in italiano di Osservazioni elementari sul costruire. Un lavoro accurato e necessario di curatela e ricostruzione critica aggiorna ora la nostra conoscenza dell’architetto tedesco ed è stato condotto da Martin Boesch per l’Accademia di Architettura della Svizzera italiana. Heinrich Tessenow é considerato uno dei più significativi architetti tedeschi dei primi decenni del novecento ed é usualmente associati a progetti per piccole case operaie, per gli artigiani e per la piccola borghesia che, grazie alle loro forme semplici e squadrate, all’assenza di decorazioni e alle proporzioni discretamente controllate, segnano il paesaggio per la loro discreta eppure marcata presenza. Tessenow is known in Italy for the Italian version of Hausbau und dergleichen. An accurate and necessary work of editing and critical reconstruction which has updated our knowledge of the German architect was conducted by Martin Boesch for the Academy of Architecture of the University of Italian Switzerland. Heinrich Tessenow is considered one of the most significant German architects of the early decades of the 20th century and is usually associated with designs of small houses for workers, artisans, and the petite bourgeoisie which, through their simple, square forms, lack of decoration, and carefully controlled proportions, mark the landscape with their discreet yet distinctive presence.

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9

Joost-Gaugier, Christiane L., Colin Rowe, and Leon Satkowski. "Italian Architecture of the 16th Century." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 605. http://dx.doi.org/10.2307/20477014.

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10

Micheli, Silvia. "Reassessing 1960s and 1970s Italian Architecture." Fabrications 24, no. 2 (July 3, 2014): 198–213. http://dx.doi.org/10.1080/10331867.2014.963923.

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11

Andreotti, Libero, and Richard Etlin. "Modernism in Italian Architecture, 1890-1940." Journal of Architectural Education (1984-) 47, no. 2 (November 1993): 120. http://dx.doi.org/10.2307/1425177.

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12

Andreotti, Libero. "Modernism in Italian Architecture, 1890–1940." Journal of Architectural Education 47, no. 2 (November 1993): 120–22. http://dx.doi.org/10.1080/10464883.1993.10734588.

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13

Campioli, Andrea, Anna Mangiarotti, and Alessandra Zanelli. "Textile Architecture in the Italian Context." International Journal of Space Structures 23, no. 4 (November 2008): 201–6. http://dx.doi.org/10.1260/026635108786959861.

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The paper rediscovers the roots of Italian textile architecture and also previews some results of a national research study, one of whose focuses is the creation of an archive of knowledge for designers, to increase the qualified building of temporary spaces and the practised application of lightweight materials in our context.

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14

Menking, William, and Olympia Kazi. "Radical Italian Architecture Yesterday and Today." Architectural Design 77, no. 3 (2007): 99–101. http://dx.doi.org/10.1002/ad.463.

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15

Ibelings, Hans. "Italian Architecture from the Outside In." Architectural Design 77, no. 3 (2007): 104–5. http://dx.doi.org/10.1002/ad.465.

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16

Maniou Fotini, Roιdo Mitoula, Laloumis Dimitrios, and Olga-Eleni Astara. "Cultural entrepreneurship opportunities and new technologies regarding the Italian monuments of the island of Kos." World Journal of Advanced Engineering Technology and Sciences 12, no. 2 (July 30, 2024): 115–22. http://dx.doi.org/10.30574/wjaets.2024.12.2.0243.

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The period of the Italian Occupation was an important chapter in the traditions and cultural heritage of the Dodecanese, as it led to the development of a particular culture. The effects of this period are still felt today. This paper briefly studies Italian architecture in the Dodecanese and, specifically, in Kos during the Italian occupation (1912-1943). Reference is made to the main monuments/buildings of the period and their use then and now. The aim of this paper is to highlight the cultural heritage of the Italians on the island of Kos and to examine the possibilities of its exploitation in the context of cultural entrepreneurship.

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17

Skansi, Luka. "Manfredo Tafuri and the critique of realism." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 182–95. http://dx.doi.org/10.5937/saj1402182s.

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One of the main themes of Manfredo Tafuri's historical work, whether he was analyzing Renaissance, Enlightenment or the 20th century architecture, has been that of trying to illustrate the distance between architect's work and reality. This topic is also the premise, the introductory theoretical frame for his critical and historical discourses that are inherent to his "critique of realism": a critique that was expressed in the essay Architettura e Realismo [Architecture and Realism], published in 1985. A text that represented the conclusion of Tafuri's observation on the Italian postwar architectural culture. In this essay the Italian neorealism became the object of a rather unique historical contextualization, the object of Tafuri's deep critique and, ultimately, of his demystification.

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18

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.

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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.

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19

Goryunov, Vasiliy, Svetlana Goryunova, Vera Murgul, and Nikolai Vatin. "The Liberty Style-Italian Art Nouveau Architecture." Advanced Materials Research 1065-1069 (December 2014): 2681–85. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2681.

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This article refers the architecture of Italy of the end of the 19-the beginning of the 20th centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time.

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20

Ben-Ghiat, Ruth, and Dennis P. Doordan. "Building Modern Italy: Italian Architecture, 1914-36." Journal of Architectural Education (1984-) 43, no. 4 (1990): 43. http://dx.doi.org/10.2307/1425049.

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21

Arthurs, Joshua. "Moderns Abroad: Architecture, Cities and Italian Imperialism." Journal of Modern Italian Studies 16, no. 1 (January 2011): 146–48. http://dx.doi.org/10.1080/1354571x.2010.523566.

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22

Goriunov, Vasilii. "The Liberty Style - Italian Art Nouveau Architecture." MATEC Web of Conferences 53 (2016): 02004. http://dx.doi.org/10.1051/matecconf/20165302004.

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23

Meyer-Maril, Edina. "Moderns abroad. Architecture, cities and Italian imperialism." Mediterranean Historical Review 24, no. 1 (June 2009): 57–62. http://dx.doi.org/10.1080/09518960903036680.

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24

Ben-Ghiat, Ruth. "Building Modern Italy: Italian Architecture, 1914-36." Journal of Architectural Education 43, no. 4 (July 1990): 43–44. http://dx.doi.org/10.1080/10464883.1990.10758587.

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25

Pilat, Stephanie Z. "Slow Architecture: Production in Postwar Italian Housing." Journal of Architectural Education 71, no. 1 (January 2, 2017): 95–99. http://dx.doi.org/10.1080/10464883.2017.1260930.

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26

Mulazzani, Marco. "Holiday colonies for Italian youth during Fascism." Architectures of the Sun, no. 60 (2019): 16–23. http://dx.doi.org/10.52200/60.a.zseopkaa.

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Thousands of summer colonies were created for youth in Fascist Italy (1922–1943). Most were temporary structures set up to assist children only during the daytime; dozens became the concrete symbol of the totalitarian project undertaken by Fascism to shape “new Italians” starting from childhood. Actually the colonies promoted by the organizations of the regime, state agencies and industrial companies, due to a lack of precise “models” of reference for the architects involved, present a highly varied expressive panorama, reflecting the complexity of the architectural debate in those years and the difficulties that faced any truly modern approach to architecture.

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27

Batič, Matic. "Italijanizacija sakralne arhitekture na Goriškem v času med svetovnima vojnama." Res novae: revija za celovito znanost 6, no. 2 (December 2021): 35–76. http://dx.doi.org/10.62983/rn2865.212.2.

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After the end of the First World War, the Kingdom of Italy first occupied and then, following the Treaty of Rapallo in 1920, annexed the territory of the former Habsburg land of Gorizia-Gradisca (Goriško-Gradiška). In the following years, the Italian authorities implemented a series of Italianization measures aimed at changing the linguistic and ethnic character of this historically multi-ethnic area. Italianization measures were also reflected in the interventions in the local cultural landscape carried out during this time. The landscape was also supposed to express its “Italian” character, in accordance with the cultural and historical concepts of the nationalist intellectuals. This paper addresses a part of this process, namely the Italianization of sacral architecture. Interventions in the local sacral architecture express a distinct ideological charge, as Italian decision-makers deliberately sought to remove architectural influences from Central Europe and replace them with the Neo-Romanesque style. These changes were mostly confined to the process of post-war reconstruction, which required the repair of many local churches. In this way, the decision-makers primarily aimed to establish an architectural connection with the early Christian art and consequently with Roman antiquity, which represented the fundamental point of reference of the nationalist historical narrative.

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28

Maulsby, Lucy M. "Material Legacies: Italian modernism and the postwar history of case del fascio." Modern Italy 24, no. 02 (May 2019): 159–77. http://dx.doi.org/10.1017/mit.2019.10.

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In recent decades, architectural historians, preservationists, and the general public have shown a growing interest in Fascist-era buildings. Many of the most high-profile examples are those associated with the monumental excesses of the regime. However, new attention has also been focused on more modest buildings that are significant examples of interwar Italian modernism or Rationalism, including former party headquarters (case del fascio). Taking as primary examples works by Giuseppe Terragni, the architect most often associated with Rationalism, as well by Luigi Carlo Danieri and Luigi Vietti, whose interwar contributions to Italian modernism have been less often the focus of scholarly attention, this article traces the postwar histories of case del fascio with the aim of better understanding the ways in which architecture and politics intersect and some of the consequences of this for the contemporary Italian architectural landscape.

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29

Croci, Valentina. "The Italian Architectural Press." Architectural Design 77, no. 3 (2007): 106–7. http://dx.doi.org/10.1002/ad.466.

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30

Rifkind, David. "Gondar." Journal of the Society of Architectural Historians 70, no. 4 (December 1, 2011): 492–511. http://dx.doi.org/10.1525/jsah.2011.70.4.492.

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Gondar, Ethiopia, expanded dramatically in the late 1930s as a colonial administrative center for Italian East Africa. David Rifkind shows how urban design and architecture functioned in Gondar between 1936 and 1941 as key tools of Italian colonial policy. Italian urbanism throughout the fascist era illustrates the disquieting compatibility of progressive planning and authoritarian politics, and in Gondar modern urban design was used to define imperial identity for both Italian settlers and African colonial subjects. Gondar: Architecture and Urbanism for Italy's Fascist Empire documents the striking sensitivity to topography and historical preservation that Italian designers brought to their colonial mission as well as the skill with which they adapted to the material and political challenges of working in Italy's overseas dominions.

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31

Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 170–95. http://dx.doi.org/10.2307/991483.

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This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored, along with the implications of this eclecticism for the history of southern Italy. Utilizing the rich array of surviving medieval documents for the region, including episcopal charters, royal decrees, and medical treatises, the study then reconstructs the economic, social, and scientific significance of the baths within medieval Amalfi. As monuments outside the traditional contexts of art production in southern Italy, the baths challenge long-standing characterizations of southern Italy's art and architecture, and point to the existence of a Mediterranean-wide balneal culture in which Byzantine, Islamic, and southern Italian communities participated.

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32

Dal Falco, Federica. "Italian Rationalist Design: Modernity between Tradition and Innovation." Arts 8, no. 1 (February 22, 2019): 27. http://dx.doi.org/10.3390/arts8010027.

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This article is devoted to the Italian modern project of the 1930s, which involved architecture and design. The main theme is the influence that the autarchic economic policy of the Fascist regime had in the choice of materials and technologies, and, above all, the manner in which this choice led to innovative practices and figurative research. Through significant examples, the essay provides some insight into the style of Italian rationalism, whose contradictory aspects—conditioned by the regime’s policy—shaped urban planning, architecture, and design in the 1930s. I show that the Italian rationalist culture is a field of investigation that is of considerable scientific interest because it represents the idea of an integral project comprised of all the elements associated to a building, including those that are still used today. In particular, I present a case study centered on the Physics Institute of Rome’s Sapienza University (1933–1935) designed by the architect Giuseppe Pagano Pogatschnig, analyzing its materials, technologies, and architectural features, as well as its furnishings. Along these lines, the objective of this investigation is the transmission of a specific knowledge, looking at objects as essential parts of the aesthetics of Rationalism in order to protect and enhance the cultural heritage of modernity.

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33

Pechenkin, Il'ya E. ""THE ENGLISHNESS" IN I.V. ZHOLTOVSKY'S ARCHITECTURE. HORSERACING SOCIETY HOUSE." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 111–37. http://dx.doi.org/10.28995/2073-6401-2020-2-111-137.

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I.V. Zholtovsky’s name as well as his architecture are imagined as fully associated with Italian influences. Meanwhile, by the beginning of the 20th century, Italy was by no means the most significant country of palladianism: this stylistic movement had been developed much more in England, in addition the first monograph on Palladio was published in London (1902). Having studied the biographical documents of Zholtovsky, one can conclude that the “English theme” in his life was no less significant than the “Italian”. Moreover, this relation was not limited to the sphere of political or cultural preferences, but strongly affected the architect professional activities. By the example of Zholtovsky’s first independent work, the Horseracing Society house in Moscow, one can trace how the creative credo of Zholtovsky-neoclassicism was formed; how from imitation of the British Victorian style, through the study of English architectural books, he came to his own version of neoclassic style (that was so far from the patriotic-nostalgic features of the pre-revolutionary decades of Russian architecture).

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34

Reichlin, Bruno, and Branden W. Joseph. "Figures of Neorealism in Italian Architecture (Part 1)." Grey Room 5 (October 2001): 78–101. http://dx.doi.org/10.1162/152638101317127822.

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Reichlin, Bruno, and Branden W. Joseph. "Figures of Neorealism in Italian Architecture (Part 2)." Grey Room 6 (January 2002): 110–33. http://dx.doi.org/10.1162/152638102317406515.

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36

Mecella, M., and C. Batini. "Enabling Italian e-government through a cooperative architecture." Computer 34, no. 3 (March 2001): 40–45. http://dx.doi.org/10.1109/2.901166.

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37

KITAGAWA, Keiko, and Masayuki IRIE. "A STUDY ON EDOARDO PERSICO'S CRITICISM ON THE ITALIAN RATIONAL ARCHITECTURE : A study on the Italian rational architecture Part 2." Journal of Architecture and Planning (Transactions of AIJ) 67, no. 562 (2002): 285–92. http://dx.doi.org/10.3130/aija.67.285_3.

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38

Battelli, Cesare. "AI and Synaesthetic Space: Architecture from Hybrid Visions of Intelligent Machines." Architectural Design 94, no. 3 (May 2024): 46–53. http://dx.doi.org/10.1002/ad.3054.

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AbstractOne of AI's core abilities is the conjuring up of images that seem familiar to us, based on our individual visual and architectural preoccupations. This splicing of the known with the unknown can create a sense of déjà vu that is both centred and defamiliarised. Italian artist, architect and researcher in visionary architecture Cesare Battelli takes us through some of the characters of the past who have utilised such creative tactics.

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Wiroj Sheewasukthaworn. "Palladian Architecture in Thailand : Its meanings and Evolution." Journal of Electrical Systems 20, no. 4s (April 17, 2024): 1668–77. http://dx.doi.org/10.52783/jes.2230.

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This research aims to study Palladian architecture in Thailand focusing on its meaning and evolution Palladian architecture is originated from an Italian architect, Andrea Palladio, in the Renaissance period. The distinctive identity is that it has beautiful proportions that are harmoniously consistent, with the style which unraveled from ancient Greco-Roman architecture. Around the 17th century, Palladian architectural style was popular in Europe. Therefore, It can be clearly reflects as a symbol of Western architecture. In 19th century, Western powers began to gain more influence in Southeast Asia as well as in Thailand. The arrival of Westerners led to the development of western architecture in many cities. The Palladian architectural style was used as a model for the design of many buildings. This study finds that Western architects worked in Thailand had applied their knowledge of classical architecture to design the buildings according to Thai’s cultures. Palladian architecture in Thailand are mostly applied for large buildings. Its layout is outstanding. The main circulation uses the central hall as a link to different functions. Palladian architecture reflected luxury, simply majestic, easy to be applied to suit the terrain and modernity equivalent to the developed western nations.

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KITAGAWA, Keiko, and Masayuki IRIE. "ON THE EXHIBITIONS OF THE ITALIAN RATIONAL ARCHITECTURE AND THE ACTIVITIES OF THE M.I.A.R.(MOVIMENTO ITALIANO PER l'ARCHITETTURA RAZIONALE) : A study on the Italian Rational architecture Part 1." Journal of Architecture and Planning (Transactions of AIJ) 66, no. 548 (2001): 285–91. http://dx.doi.org/10.3130/aija.66.285_2.

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41

Khokhlova, Svetlana. "К проблеме авторства Успенского собора в Дмитровe." Modernités Russes 12, no. 1 (2011): 59–83. http://dx.doi.org/10.3406/modru.2011.951.

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The article is devoted to Dormition Cathedral in the town of Dmitrov, a very significant architectural site in terms of Italian influence of the 16th century. The clarity and directness of the spatial system and of the décor, certain features different from the Archangel Cathedral and many other early Russian buildings in the “Italian style”, can be regarded as proof of an Italian architect’s participation in this project. The formal and stylistic features of the building are closely connected with the ideological and political circumstances of its construction. In order to date it correctly, we must have a full knowledge of how the “Italian manner” in Russian architecture spread in the first quarter of the 16th century. In the present article, we can only venture to suggest that it simultaneously embodies the beginning and one of the peak achievements of this trend, executed by a master for whom order was not just a model to be reproduced, but almost his “native language”.

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42

Corr, Alice. "Address inversion in southern Italian dialects." Isogloss. Open Journal of Romance Linguistics 8, no. 4 (October 27, 2022): 1–37. http://dx.doi.org/10.5565/rev/isogloss.168.

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This article proposes a ‘topological’ reinterpretation of the extended nominal architecture in relation to southern Italo-Romance vocatives with and without allocuzione inversa (‘address inversion’, Renzi 1968), a phenomenon involving the ‘inverse’ lexical indexation of the speaker-addressee relationship (reg.It. Mangia, papà! ‘Eat up, little one!’, father to child). Topological Mapping Theory (Longobardi 2005; Martín & Hinzen 2014) posits a unified model of grammatical structure and nominal reference denotation in argumental constituents, where a hierarchy of referentiality (from predicativity to deixis) emerges through the expansion of the functional architecture. Contributing to a growing theoretical consensus favouring extra ‘vocative’ structure in the nominal left periphery, I argue that Italo-Romance vocatives with and without address inversion involve a part-whole expansion of structure, yielding a necessarily tripartite nominal architecture (VocP-DP-NP) in line with topological principles. The non-literal interpretation of N observed in the ‘lexical flip’ of address inversion vocatives is argued to be the surface manifestation of movement into VocP, a functional space whose internal articulation serves to construe the ostensive-deictic possibilities of an object-referring expression at the exophoric level.

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Cataldai, Giancarlo, Gian Luigi Maffei, and Paolo Vaccaro. "Saverio Muratori and the Italian school of planning typology." Urban Morphology 6, no. 1 (January 5, 2002): 3–14. http://dx.doi.org/10.51347/jum.v6i1.3899.

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This paper outlines the development of the Muratorian school of urban morphology and building typology. Starting from Muratori's experience as a talented architect, deeply rooted in the Roman interpretation of Italian rationalism, the authors describe the growth of Muratori's interest in history as a means of recovering a sense of continuity in architectural practice. Adopting a theoretical approach grounded in architecture and urban design, he started working on a critical framework which could explain the creation and transformation of urban form over the centuries. He had many followers. The resurgence of interest in Muratori's work in the 1990s is described.

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Malone, Hannah. "Legacies of Fascism: architecture, heritage and memory in contemporary Italy." Modern Italy 22, no. 4 (September 18, 2017): 445–70. http://dx.doi.org/10.1017/mit.2017.51.

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This article examines how Italy has dealt with the physical remains of the Fascist regime, as a window onto Italian attitudes to the past. Theventennioleft indelible marks on Italy’s cities in the form of urban projects, individual buildings, monuments, plaques and street names. In effect, the survival of physical traces contrasts with the hazy memories of Fascism that exist within the Italian collective consciousness. Conspicuous, yet mostly ignored, Italy’s Fascist heritage is hidden in plain sight. However, from the 1990s, buildings associated with the regime have sparked a number of debates regarding the public memory of Fascism. Although these debates present an opportunity to re-examine history, they may also be symptomatic of a crisis in the Italian polity and of attempts to rehabilitate Fascism through historical revisionism.

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Bonfanti, Angelo, Enrico Battisti, and Luca Pasqualino. "Social entrepreneurship and corporate architecture: evidence from Italy." Management Decision 54, no. 2 (March 21, 2016): 390–417. http://dx.doi.org/10.1108/md-08-2014-0532.

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Purpose – The purpose of this paper is to examine the contribution of corporate architecture to social value creation. It especially analyses the social effects of investments in experiential corporate architecture that have been carried out by Italian industrial companies. Design/methodology/approach – This study follows a qualitative approach. It is based on a survey and semi-structured in-depth interviews undertaken with six Italian industrial companies. The dimensions of the social-entrepreneurship model (innovativeness, proactiveness, risk management) proposed by Weerawardena and Sullivan Mort were chosen as a framework to investigate the social effects of investments in corporate architecture. Findings – The social effects of the innovativeness dimension are the integration of the company with the territory and development of sustainability. Proactiveness is related to improving the employees’ wellbeing in the workplace and the community’s quality of life. Risk management ensures the development of the local economic-social fabric. Research limitations/implications – This study combines social entrepreneurship and corporate architecture by highlighting the social effects of corporate architecture. Further, it proposes the structural embeddedness of the company in the territory of reference, a sense for beauty, and a sense of gift giving as further entrepreneurial traits that are generally not proposed in the social entrepreneurship literature. Practical/implications – The results of this study suggest that top management should consider: that investments in corporate architecture are a deliberate strategy of the company; that profits are not a purpose in and of themselves, but rather a means to achieve the social mission’s objectives; and the relationship with architects in terms of mutual involvement in order to understand corporate and local needs and effectively transform them into appropriate architectural solutions. Social/implications – Corporate architecture can help to solve a number of social problems, such as improving the community’s quality of life, providing employments opportunities, allowing the community to benefit from places of socialisation and aggregation, and offering facilities and services that support culture and encourage cultural exchange. Given that the social benefits are reciprocal, all stakeholders should financially support companies that invest in corporate architecture. Originality/value – To the knowledge, this is the first study to connect social entrepreneurship and corporate architecture. This research brings to light some Italian industrial companies that are investing in corporate architecture to create social value in the twenty-first century, after the pioneering investments of the Olivetti company.

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Sasi, Ashwini. "Redefining: Cultural Impression in Princely States During Colonial Period." Resourceedings 1, no. 2 (November 27, 2018): 88. http://dx.doi.org/10.21625/resourceedings.v1i2.325.

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India is well diverse with a variety of cultural and traditional practices. Impact of age-old practices redefined the idea of culture and tradition, not only as a hereditary system, but also as part of art and architecture. Factors such as the cultural changes between North and South India, impact of the British, changes in spatial organization and patriarchy and matrilineal system drew an impact on cultural impression of India through time. Palaces (04th —18th century) and the lifestyle of the heirs, being a soul example to exhibit the Indian uniqueness, gradually inclined towards British culture and morals. This influence brought a change in the architectural design of palaces, which is the core study area in the thesis. Comparing the architectural planning of palaces from the 13th to the 18th century showed a clear change on how British influenced Indian palace design. This became one of the finest reasons to identify cities with palaces based on their culture and tradition, and on art and architecture. In addition to finding how it has brought the influential change and what is the present scenario of the same palaces. The architectures that were adopted in India was a form of true traditional architecture which is been followed through a very long time and hence it was collaborated with Italian, French, Indo Sarcenic or European style.

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Alonso Pereira, José Ramón. "Roma 1935: arquitectura, ciudad, retórica y propaganda en el Congreso Internacional de arquitectos = Rome 1935: Architecture, City, Rhetoric and Propaganda in the International Congress of Architects." Cuaderno de Notas, no. 23 (October 30, 2022): 38–55. http://dx.doi.org/10.20868/cn.2022.4983.

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AbstractThe period 1922-1943 —the so-called fascist venthenium— was a fruitful and creative time in Italian architecture. Its rich and plural fundamentals established singular relationships between classical and modern cultures, which transcends their historical moment and present new topics for analysis and reflection. To know and appreciate its architecture, we will use the journeys of the professionals who came to Rome from all over the world to participate in the International Congress of Architects in 1935, considering the Congress as a space of opportunity for that reflection, and taking the visits around Rome scheduled by the organizers as a source of the architectural and urban interests of its time, and a reflection of the trends that were stirring then in Italy.ResumenEl periodo entre 1922 y 1943 —el llamado ventenio fascista— fue una época fecunda y creativa en la arquitectura italiana. Sus bases ricas y plurales establecieron relaciones singulares entre el mundo cultural clásico y el moderno, que trascienden su momento histórico y plantean en nues-tros días nuevos temas de análisis y reflexión. Para conocer y valorar su arquitectura y su modelo urbano, nos serviremos del viaje al que fueron llevados los profesionales que de todo el mundo llegaron a Roma para participar en el Congreso Internacional de Arquitectos en 1935, considerando el Congreso como un espacio de oportunidad para esa reflexión y tomando las visitas a la ciudad programadas por los organizadores como fuente de los intereses arquitectónicos y urbanos de su tiempo, reflejo de las tendencias que se agitaban entonces en Italia.

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Radice, Flavia. "Architecture of the university chapels." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 166–73. http://dx.doi.org/10.17979/aarc.2013.3.0.5099.

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University chapels are evangelization outposts offering the possibility to give evidence on the presence of the Church in places otherwise not reached from the ordinary pastoral action. In most Italian campuses there is no place for worship. Indeed, Italy presents a variegated phenomenology of university buildings and related chapels, understandable looking at their history. The liturgical problem arises noting that university chapels are places of particular relationship with the sacraments, great invitation to meditation and occasions of architectural experimentation. Helped by some international examples, this search means to enrich the historiographical and critical outline of the architecture-liturgy connection.

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Yawein, Oleg I., and Elena V. Lisenkova. "Carlo Scarpa: "Poetry is Born of the Thing in Itself"." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 3 (September 27, 2018): 37–47. http://dx.doi.org/10.22337/2077-9038-2018-3-37-47.

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This article is the first in Russia detailed publication about Carlo Scarpa, one of the greatest masters of Italian architecture of the twentieth century: an architect, an artist, a designer, about whom almost annually books and catalogs are published, scientific works are being written, exhibitions and conferences are held. In this article, the experience of these publications, searches and discussions has for the first time become the object of a special study. It is found that variety of authors refer to the Scarp's buildings, drawings and statements as a kind of "Scarpianlaboratory" (the term M. Tafuri), that allows to reveal the implicit; deep levels of architectural structures and their meanings. Theleading research topics, which are projected onto keylevels of the architecturallanguage and the creative method of the master are identified. Each of these topics is covered by a small section entitled in terms adopted by Scarpa himself or his interpreters. Within the sections, author's and research positions are presented by selections of specially made translations of lectures that Carlo Scarpa and studies devoted to his work, including articles by Manfredo Tafuri, Bruno Dzevi and other great theorists and historians of Italian architecture. A number of fundamental ideas and provisions of this article were put forward for the first time, including for Italian theory and criticism.

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Guido, Luca. "“The Biennale of Dissent 1977” and Italian Architecture during the 1970s." AM Journal of Art and Media Studies, no. 12 (April 20, 2017): 17. http://dx.doi.org/10.25038/am.v0i12.164.

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In 1977, “The Biennale of Dissent” was a significant event in the history of the anti-Soviet dissidence. In Italy during the 1970s intellectuals, artists and architects had many connections with Marxist theories and the Soviet Union, but their role, referred to in this event, appears complex and, on occasions, contradictory. The Italian cultural world mirrored a political situation, in which it became a duty to take up a position which opposed Italy’s Fascist past. Artistic and political opinions coincided. For this reason, in Italy the culture of dissidence led to a heated debate. One generation of architects was born in this context and few were able to think outside the box. The interpretation proposed for Italian architecture and the masters of the time should prompt a consideration of the current absence of Italian critics and architects in international debates. Article received: December 16, 2016; Article accepted: January 13, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Guido, Luca. "'The Biennale of Dissent 1977' and Italian Architecture during the 1970s." AM Journal of Art and Media Studies 12 (2017): 17-28.

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