Literatura académica sobre el tema "San Gimignano tower"

This work presents the investigation of the efficiency of different prestressing devices as a rehabilitation measure for the seismic risk mitigation of historical masonry towers. As a first phase, the seismic vulnerability of theoretical masonry towers was assessed by means of numerical models validated with information from the literature, observed damage and behavior of these structures due to passed earthquakes (crack pattern and failure mechanisms), and mainly taking into account the engineering experience. Afterwards, the validated models were rehabilitated with different prestressing devices; analyzing the results and concluding which device or the combination of them improved in a better way the seismic performance of the masonry towers. Finally, the methodology will be applied in two historical masonry towers located in seismic areas; the medieval tower “Torre Grossa” of San Gimignano, Italy, and one of the bell towers of the Cathedral of Colima, Mexico.

Abstract The new Italian building code, published in 2018 [MIT in NTC 2018: D.M. del Ministero delle Infrastrutture e dei trasporti del 17/01/2018. Aggiornamento delle Norme Tecniche per le Costruzioni (in Italian), 2018], explicitly refers to the Italian “Guidelines for the assessment and mitigation of the seismic risk of the cultural heritage” [PCM in DPCM 2011: Direttiva del Presidente del Consiglio dei Ministri per valutazione e riduzione del rischio sismico del patrimonio culturale con riferimento alle norme tecniche per le costruzioni, G.U. n. 47 (in Italian), 2011] as a reliable source of guidance that can be employed for the vulnerability assessment of heritage buildings under seismic loads. According to these guidelines, three evaluation levels are introduced to analyse and assess the seismic capacity of historic masonry structures, namely: (1) simplified global static analyses; (2) kinematic analyses based on local collapse mechanisms, (3) detailed global analyses. Because of the complexity and the large variety of existing masonry typologies, which makes it particularly problematic to adopt a unique procedure for all existing structures, the guidelines provide different simplified analysis approaches for different structural configurations, e.g. churches, palaces, towers. Among the existing typologies of masonry structures there considered, this work aims to deepen validity, effectiveness and scope of application of the Italian guidelines with respect to heritage masonry towers. The three evaluation levels proposed by the guidelines are here compared by discussing the seismic risk assessment of a representative masonry tower: the Cugnanesi tower located in San Gimignano (Italy). The results show that global failure modes due to local stress concentrations cannot be identified if only simplified static and kinematic analyses are performed. Detailed global analyses are in fact generally needed for a reliable prediction of the seismic performance of such structures.

The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel com­prises the complex historical knowledge about numerous woodcuts which pre­sent views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tra­dition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indica­ted the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninha­bited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian ci­ties. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medie­val city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduc­tion, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.

Every continent has its unique beauty, and Europe isn’t an exception. Here you will find a variety of tourist destinations ranging from beaches, beautiful sceneries, cultural and art centers among others. It’s no wonder Europe has always been voted among the best continents to visit. So, if you are planning for a romantic getaway, cultural tour, family vacation, or a getaway with your friends, this content has something to offer and more in what you are looking for. However, with 51 countries and thousands of destinations to discover, narrowing down on a single destination can be overwhelming. We are here to make your decision easier with the following 5 places that will guarantee you a getaway of your lifetime. Tuscany, Italy There is no better way to tour Tuscany than taking a road trip. Plan to land in Florence and start your tour there as it is home to the largest airport. While there, you can visit the Uffizi Gallery and savor the art in the display or enjoy a beautiful view of the city from up the hill at Piazzale Michelangelo. After enjoying the city, start your journey to the countryside stopping at stunning sceneries to enjoy the sites. You can make your first stop in Lucca. Enjoy the breathtaking Piazza d’Anfiteatro and take a stroll along the tops of the city’s fortifying walls. After that, make other stops at Pisa, San Gimignano, Siena, Val d’Orcia, and Montepulciano to enjoy all that these spots have to offer; beautiful sceneries, food and get to taste the local wine before heading back to Florence. While you can move around using public transport, renting a car and driving yourself around offers a more convenient option. To do this, however, you would need to possess an international driver's license, a document that allows you to drive in a foreign city. Make sure you obtain one before leaving for your trip. Madeira, Portugal If you love nature, Madeira in Portugal is one of the best destinations for this. This place is full of flowers, trees, beaches, and unique landscapes that are home to birds and other incredible wildlife. If you are in for some amazing scenery, head to the Valley of the Nuns also known as Camara De Lobos, or to Miradouro das Flores viewpoint to enjoy the cliffs around. The geological formation of Pico de Ana Ferreira will not disappoint either. If you haven’t experienced black sandy beaches, Madeira Island has this to offer. You can head to Praia do Porto do Seixal to savor this and enjoy a swim or to the sea to search for dolphins. Of course, a nature trip wouldn’t be complete without a hike to a nature trail; head to Ribeiro Frio Natural park for some rugged mountains and forest experience. San Sebastian, Spain If you are looking for the best beach experience, this gem along the northern coastline of the Basque Country is your best bet. The famous La Concha Beach offers the best atmosphere to chill out or take a walk. You can also go surfing off Zurriola Beach or take a ferry to Santa Clara Island. Apart from the beaches, San Sebastian is surrounded by green hills and numerous historical and cultural attractions. You can dive into this after you are done enjoying the beach. A visit to the San Vicente Church, the oldest in San Sebastian, a tour around the cobbled streets of the Old Town, or a funicular ride up the top of Monte Igueldo will leave you mesmerized. Paris, France Paris is one of the most romantic cities in the world. If you have been looking for the best destination for your honeymoon, proposal, anniversary or your spouse’s birthday weekend, the City of Love is perfect for a romantic getaway. Sip a glass of champagne from the top of the famous Eiffel Tower overlooking the beautiful views of the city and wait for the dark to see the tower sparkle with numerous gold lights. You can also take a stroll or cycle around the city and linger at romantic spots such as the iron footbridge at the intersection of rue de la Grange aux Belles and Quai de Jemmapes to see the road bridge open to let canal boats through. Explore the city’s art galleries to savor romantic works or go boat riding in Bois de Boulogne and afterward head to Jardin Shakespeare through the woods to see flowers, plants, and trees in Shakespeare plays grow. Rotterdam, Netherlands With diverse cultures, Rotterdam is one of the best destinations for a cultural tour. Start your tour at The Markthal, a huge, horseshoe-shaped building that houses a gigantic food court. You will enjoy different local cuisines as you marvel at some of the largest artworks the planet has to offer. You can then take a stroll through Witte de Withestraat to enjoy contemporary art in galleries located along the street. Head to WORM to enjoy some concerts of the local music or to Kinderdijk, a UNESCO heritage site to witness 300 years old windmills that pump water from swamps. Complete the cultural experience by renting a suite in one of the city’s iconic buildings such as Hotel New York and enjoy beautiful views from there. Conclusion There you have it! Five European destinations that are bound to blow your mind away. You can determine the best time to visit the continent by considering the weather, your budget, and your personal preferences. If you want the best weather for hikes and adventurous activities, the summer that runs from June to August is the best time to visit. However, be prepared to pay more and deal with crowds. The rest of the months can be cheaper since they are off-peak seasons, but you might have to endure unfavorable weather.

L’attività di ricerca si è sviluppata con l’obiettivo di sperimentare i metodi e le tecniche di acquisizione, gestione e rappresentazione tridimensionale mediante l’uso del laser scanner per offrire un valido supporto alla documentazione e alla diagnostica finalizzate alla conservazione del nostro patrimonio culturale costruito. L’ampia diffusione delle tecniche di scansione non ci consente ancora di considerare concluso un tema di ricerca che erroneamente oggi si identifica soprattutto con la fase di “acquisizione dei dati”. Il problema è in realtà posposto alle fasi successive di elaborazione e rappresentazione e sono molti i quesiti a cui si cerca di rispondere in un tentativo di integrazione culturale tra restauro, geomatica ed elettronica: è insieme una sfida e una opportunità dove si tenta di superare le barriere linguistiche, dovute a differenti ambiti culturali, diversi approcci metodologici e vari percorsi formativi. Lo studio è condotto a livello multi-scala: a scala dell’edificio, con la Basilica di Santa Maria dell’Umiltà di Pistoia, nell’ambito della convenzione di ricerca stipulata tra il Laboratorio di Geomatica per i Beni Culturali dell’Università degli Studi di Firenze e la Soprintendenza per il Patrimonio Storico Artistico ed Etnoantropologico per le province di Firenze, Pistoia e Prato, in vista del restauro e del consolidamento dell’importante struttura rinascimentale; a scala urbana, con le Torri di San Gimignano, in occasione del progetto “RIschio Sismico negli Edifici Monumentali (RISEM)” finanziato dalla Regione Toscana e coordinato dal Dipartimento di Ingegneria Civile e Ambientale dell’Università degli Studi di Firenze, per la definizione del rischio sismico. I casi studio analizzati hanno portato alla consapevolezza che, a partire dalla banca dati tridimensionale, sempre aggiornabile e interrogabile, è possibile modulare l’elaborazione in funzione degli obiettivi interdisciplinari condivisi. Si propone, pertanto, un utilizzo nuovo della tecnica di rilievo laser scanning: l’attenzione non si pone specificatamente sugli elementi artistici e architettonici e lo scopo non è solo restituire in modalità tridimensionale un oggetto al fine di effettuare valutazioni qualitative di natura storica e culturale. L’idea è approcciarsi al dato laser con occhio critico nei confronti della struttura stessa e delle geometrie più o meno complesse. L’attenzione si sposta sugli elementi costitutivi e costruttivi, su eventuali testimonianze di fessurazioni e deformazioni critiche per l’effettiva stabilità della struttura. La necessità di disporre di un “modello irrefutabile”, a cui riferire le scelte progettuali, costituisce l’ossatura portante della ricerca. Goal of the research has been to test laser scanning acquisition, management and threedimensional representation methods and techniques to provide a valid documentation and diagnostics support aimed at the preservation of our cultural built heritage. The widespread use of scanning techniques does not allow to consider concluded yet a research topic that today is mistakenly identified especially with the phase of data acquisition. Actually the problem is postponed to the later stages of processing and representation and there are many issues partially solved through an attempt of cultural integration between restoration, geomatics and electronics: it is both a challenge and an opportunity, which carries along an effort to overcome language barriers, due to different cultural backgrounds, methodological approaches and educational paths. The study has been conducted with a multi-scale approach: at the building scale, with focus on the Basilica of Santa Maria dell’Umiltà in Pistoia, within the research agreement signed by the Laboratory of Geomatics for Cultural Heritage of the University of Florence and the Soprintendenza per il Patrimonio Storico Artistico ed Etnoantropologico per le province di Firenze, Pistoia e Prato, in view of the restoration and reinforcement of the relevant Renaissance architecture; at the urban scale, within the project “Seismic Risk in Monumental Buildings (RISEM)” funded by the Region of Tuscany and coordinated by the Department of Civil and Environmental Engineering of the University of Florence, for the seismic risk evaluation related to the San Gimignano towers. The above-mentioned case-studies raised the awareness that, on the basis of the 3D data set, which can be updated and queried at any time, it’s always possible to adjust the processing phase according to the fixed interdisciplinary goals. It is therefore proposed a new use of the laser scanning surveying technique: attention is not specifically given to the artistic and architectural elements and the aim is not only to represent an object in three-dimensions in order to make qualitative assessments on its historical and cultural value. The idea is to read data from laser scanning with the intent to review critically the structure and the more or less complex geometries. Focus is shifted on the constituent and constructive elements, on any evidence of cracks and deformations which may weaken the stability of the structure. The need for an “irrefutable model”, which can be used to orient any restoration plan, globally frames the research.