Bibliografías temáticas / Edoardo Gellner

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Literatura académica sobre el tema "Edoardo Gellner"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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Artículos de revistas sobre el tema "Edoardo Gellner"

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Bezzecchi, Silvia y Alvise Trincanato. "Edoardo Gellner and the village of Corte di Cadore". SAJ - Serbian Architectural Journal 9, n.º 3 (2017): 263–84. http://dx.doi.org/10.5937/saj1703263b.

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This paper views to describe the Villaggio Eni, located in Borca di Cadore and designed by Edoardo Gellner in the 50's, as one of the most important examples of mountain architecture, and a unique case study about concurrent designing of the buildings - especially the Colony - and the community hosted in them, from the master plan to details. The Children camp is considered a summary of the architect's entire work. Many ideas about the use of wood, stone - materials belonging to the local traditional technique of construction - and cast-in-place or precast concrete are carried out in the children's camp. In particular, different concrete formworks were used to obtain different patterns and textures. and the use of modular precast concrete led to multi-scale shapes and numerous combination options. These solutions aimed at blending in of the artificial elements with nature into an unspoilt environment. Starting from these premises, the aim is to analyse the planning, technical and formal decisions made in the Children camp in relation to the post Second World-War debates on prefabrication - especially regarding the INA-CASA house building - and the new language for alpine architecture.
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Merlo, Michele. "Verso una Nuova Oggettività del paesaggio. Strumenti e metodi di Edoardo Gellner". ARCHALP, n.º 7 Volume 2021 (2021). http://dx.doi.org/10.30682/aa2107g.

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Edoardo Gellner never concealed the fact that he was a self-taught architect, although the references to the pragmatism of the Deutscher Werkbund and the theoretical teachings of the first Bauhaus are evident in his works. Drawing and photography are the tools through which Gellner educates his eye to look at the reality of things objectively and analytically. His method of analysis is based on a careful understanding of the territory and its matrices: from the comparison between military cartography and cadastral maps, Gellner draws a whole series of considerations on the historical, morphological, and social reasons that led to the development of such landscapes, and the study of centurial grids offers Gellner a counterproof to his theories. Thus, understanding the motivations of architecture but above all the origins of a landscape become the themes that Gellner deepens in an extensive series of studies for publications that were never completed that make these menabò real synthetic “or even artistic” visions of the landscape, as a tribute to the most perfect purovisibilist theory.
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Merlo, Michele. "Wie baue ich mein Haus? Edoardo Gellner e il dilemma dell’architetto". ARCHALP, Volume 2019, Issue N.3 (12 de octubre de 2020). http://dx.doi.org/10.30682/aa1903j.

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"To be able to resist to the most folkloristic calls of the mountain environment, one must be a cultured architect, and Gellner with his works has certainly proven to be one. In the “Casa Menardi”, his first project, built in Cortina d’Ampezzo in 1947, he proves to be an attentive connoisseur of the valley’s traditional architecture, by defining the way in which the building relates to the land and to the landscape. Later, with the “Palazzo Poste/Telve”, built for the 1956 Winter Olympics, Gellner renewed the tradition of old local houses by instilling them with the language of modernity. To further understand why we should consider Gellner a milestone in the history of alpine architecture, we need to look very closely at “Ca’ del Cembro”, his home and studio, built in Cortina d’Ampezzo in 1951. Inside his home, Gellner seems to be willing to transfer and inculcate all his past experience, his studies on rural architecture and his wish to invent a new alpine architecture. This building becomes the prototype from which he will then develop all of his architecture: the concept of continuous space, the relationship between interior and exterior, the mixture of traditional and modern materials, the concept of integrated furniture generating all the surrounding space. All these experiences will lead the architect, a few years later, to develop the project of the “Villaggio di Borca di Cadore” in which he will be able to realize a work of “total architecture” with the creation of a new inhabited and animated landscape, made of architecture and living spaces."
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Merlo, Michele. "Silenziosi creatori di paesaggi. Il Villaggio di Gellner tra azione e riflessione". Archalp 09, n.º 2022 (2 de febrero de 2023). http://dx.doi.org/10.30682/aa2209g.

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The village of Corte di Cadore created by Edoardo Gellner in the 1950s is the result of different phases in which thinking and acting were skillfully alternated to create a series of landscapes and ever-changing balances between architecture and nature. In the first phase, the natural element was meant to cooperate with the built element, connecting it to the surrounding natural scenery, thus generating a new “built landscape”; however, the vegetation grew lusher than expected, threatening to compromise the visual relationship conceived by the architect. In the wake of these sudden changes, the architect began to interpret the new landscape as an element to be enhanced and designed to limit its effects on architecture while maintaining its anarchist proliferation. The landscape project for the controlled felling of parts of vegetation had soon to be adapted to the change of management of the site, according to a forest planning approach that often does not take architectural issues into account. The recent events of the Vaia storm and the bark beetle infestation seem to indicate Nature’s desire to regain control and create its own image.
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Tesis sobre el tema "Edoardo Gellner"

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CIRINGIONE, VITO. "Edoardo Gellner e il progetto per la città Anic a Gela: frammenti di un discorso sul paesaggio". Doctoral thesis, Università IUAV di Venezia, 2016. http://hdl.handle.net/11578/278662.

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Fornai, Giulia. "Case elbane. La tradizione del moderno". Doctoral thesis, 2020. http://hdl.handle.net/2158/1190867.

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Nel 1939 i BBPR, probabilmente su incarico di Adriano Olivetti, redigono un piano di sviluppo turistico per l’Isola d’Elba, con l’intento di favorire uno sviluppo etico e adeguato per l’isola, “nel massimo rispetto delle risorse naturali”. Il progetto si inserisce in un dibattito di scala nazionale che riguarda proprio la costruzione dei litorali italiani, interessati come mai prima da una crescita rapida e spesso incontrollata delle attrezzature per la villeggiatura. L’Elba degli anni 30 è ancora terra turisticamente vergine, paesaggio incontaminato e a tratti selvaggio, abitato da vignaioli e pescatori, “schietta gente marinara”, e solo saltuariamente frequentato da qualche avventore amante del silenzio e della natura. Il piano dei BBPR non trova alcun seguito, ma, dopo la guerra, l’isola costruisce la sua piena vocazione turistica, unico volano di sviluppo economico: alberghi, lottizzazioni, piani interessano tutte le zone dell’Elba nell’arco di appena qualche decennio, cambiandone completamente il volto. Così molti protagonisti, più o meno noti, dell’architettura del dopoguerra italiano si trovano ad operare in questo luogo, mettendo qui in pratica quella particolarissima via italiana al Movimento Moderno che prende vita dal rapporto con la tradizione anonima dei luoghi. Le case di villeggiatura, realizzate o rimaste sulla carta, diventano la cellula primordiale che ri-costruisce questo paesaggio, e raccontano del proficuo legame tra una modernità misurata e le abitudini antiche di chi abita le campagne e le coste vicine e lontane. La ricerca intende dunque approfondire queste esperienze di architettura, che appaiono sì minute, limitate nel tempo e nello spazio, ma che invece sono capaci di riaffermare ancora una volta un modo di costruire e di abitare il paesaggio che, trovando origine nella tradizione minore, onesta e per certi versi necessaria, è ancora oggi valido perché modello di equilibrio e adeguatezza.
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Libros sobre el tema "Edoardo Gellner"

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1970-, Merlo Michele, ed. Edoardo Gellner: Interni = interiors. Milano: Skira, 2003.

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1930-, Achleitner Friedrich, ed. Edoardo Gellner: Corte di Cadore. Milano: Skira, 2002.

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Mancuso, Franco. Edoardo Gellner: Il mestiere di architetto. Milano: Electa, 1996.

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4

Valeria, Fois y Merlo Michele, eds. Edoardo Gellner: Percepire il paesaggio = living landscape. Milano: Skira, 2004.

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5

Parlare con la matita, 1909-2009 Edoardo Gellner e i percorsi dell'architettura del Novecento (Conference) (2011 : Venice, Italy), ed. Architettura, paesaggio, fotografia: Studi sull'archivio di Edoardo Gellner. Padova: Il poligrafo, 2015.

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6

Gellner, Edoardo. Carlo Scarpa e Edoardo Gellner: La chiesa di Corte di Cadore. Milano: Electa, 2000.

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7

Gellner, Edoardo. Carlo Scarpa e Edoardo Gellner: La chiesa di Corte di Cadore. Milano: Electa, 2000.

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8

Italy) Giornata di studi su Edoardo Gellner architetto (2005 Rome. Edoardo Gellner: Architetture organiche per Enrico Mattei, 1954-1961 : atti della Giornata di studi, Roma, Gela, Pieve di Cadore, Sala Herzog, Facoltà di architettura, Roma Tre, 17 marzo 2005. Roma: Gangemi, 2006.

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9

Mancuso. Edoardo Gellner il mestiere di architetto. Art Books Intl Ltd, 1997.

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