Thèses sur le sujet « Teoria Architettura »
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Barbolini, Fausto <1967>. « Teoria e pratica dell'architettura solare - Morfologia, rendimento, strategia progettuale ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6418/1/Barbolini_Fausto_Tesi.pdf.
Texte intégralThe recent Directive 31/2010 of the European Union requires that the member states reorganize their national legislative framework in the field of energy performance of buildings. so that from 1 January 2021 the energy balance of all new buildings will tend to zero (1 January 2019 for public buildings). The concept of nearly Zero Energy Buildings (nZEB) is based on the assumption that the envelope follows the standard of the passive houses and the small energy consumption required on annual basis is compensated by the production of renewable energy, preferably on-site. In this context, the rethinking of the potential of solar architecture allows to identify concrete tools and valid methodologies to support the design of increasingly efficient envelopes that take full advantage of an inexhaustible, common and affordable energy source, such as the solar energy. This should be achieved considering the necessity of no longer delaying the reduction of the energy load due to buildings, known as responsible for over 40% of world consumption and 24% of greenhouse gas emissions. According to these premises, the central theme of the research is the integration of the heat gain systems, so-called passive, and the solar energy production, so-called active, in the envelope. The carried out analytical and operational path has set the objective of providing practical and methodological tools for the design of the architecture, in need of a new integrated approach to achieve the goals of energy savings. Through a general survey of the concept of solar architecture and its theoretical assumptions and terminology, the research has envisioned three types of outcome: a codification of the recurring morphologies in solar constructions, a comparative analysis of the solar performance in the principal types of building aggregations and a significant design verification, where the assumptions of the previous categories have been applied
Barbolini, Fausto <1967>. « Teoria e pratica dell'architettura solare - Morfologia, rendimento, strategia progettuale ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6418/.
Texte intégralThe recent Directive 31/2010 of the European Union requires that the member states reorganize their national legislative framework in the field of energy performance of buildings. so that from 1 January 2021 the energy balance of all new buildings will tend to zero (1 January 2019 for public buildings). The concept of nearly Zero Energy Buildings (nZEB) is based on the assumption that the envelope follows the standard of the passive houses and the small energy consumption required on annual basis is compensated by the production of renewable energy, preferably on-site. In this context, the rethinking of the potential of solar architecture allows to identify concrete tools and valid methodologies to support the design of increasingly efficient envelopes that take full advantage of an inexhaustible, common and affordable energy source, such as the solar energy. This should be achieved considering the necessity of no longer delaying the reduction of the energy load due to buildings, known as responsible for over 40% of world consumption and 24% of greenhouse gas emissions. According to these premises, the central theme of the research is the integration of the heat gain systems, so-called passive, and the solar energy production, so-called active, in the envelope. The carried out analytical and operational path has set the objective of providing practical and methodological tools for the design of the architecture, in need of a new integrated approach to achieve the goals of energy savings. Through a general survey of the concept of solar architecture and its theoretical assumptions and terminology, the research has envisioned three types of outcome: a codification of the recurring morphologies in solar constructions, a comparative analysis of the solar performance in the principal types of building aggregations and a significant design verification, where the assumptions of the previous categories have been applied
TAPIA, VILA KATERINE NINOSKA. « Mario Bianco. La dialettica tra urbanistica e architettura - fra teoria e pratica ». Doctoral thesis, Università IUAV di Venezia, 2019. http://hdl.handle.net/11578/282410.
Texte intégralCamporeale, Antonio. « ARCHITETTURA PLASTICA - L'impiego organico del calcestruzzo armato nel progetto contemporaneo ». Doctoral thesis, Universitat Politècnica de València, 2018. http://hdl.handle.net/10251/100088.
Texte intégralThe following notes represent the beginning of an investigation whose assumptions and beliefs are linked to the daily experience with architecture. Reference will be made to the critical method of analysis and interpretation on which the "Roman School" has defined the theoretical basis. This method aims to identify the permanent characters, which can be read in the different realities constructed in the slow changes that took place throughout history. A history that is not understood as a series of particular architectural episodes in which the special buildings represent the singularity, but as a sequence of transformations necessarily linked to each other that imply the totality of the constructed world, from the urban fabrics, passing through the city, to the anthropized territory. In this way, the reasons for form and expression are also reached, due to the consolidation and transmission, through time and space, of constructive needs and customs, typical of the different geographical-cultural areas. Why reinforced concrete? Because today is the building material par excellence. If on the one hand one can speak clearly of "elastic development", amply demonstrated by the widespread use of the structural framework in architecture, its "plastic potential", on the other hand however, seems to have not yet found a clear architectural definition. With "plastic" there is no reference to the "sculptural" aspect of such material, but to the constructive meaning of the term; that is, plastic as the ability of the material to reproduce new configurations after the "break" occurred caused by excessive loading; plastic as a union between quantities and capacities of transmission of loads; plastic, finally, as the ability to resist the material due to the shapes of the elements. Through this critical filter one can read the history of architecture as a continuous process that has affected the matter that constitutes reality; matter for the first time "found" by the nomadic man and from which his special capacity was later recognized to be used as construction material given the sedentary needs that arose. The material becomes a building element, through a greater effort of man in its development. Such elements can be assembled in a structure from which the characters will be legible according to the geographic-cultural area of formation. The geographic-cultural area is understood as a portion of territory in which a large number of common characters can be recognized in the materials, in the elements and in the structures of the constructions (Strappa, 1995).
Les següents notes representen l'inici d'una recerca que els seus suposats i creences estan lligats a l'experiència diària amb l'arquitectura. Es farà referència al mètode crític d'anàlisi i interpretació sobre els quals la "Escola Romana" ha definit la base teòrica. Aquest mètode té com a objectiu identificar els caràcters permanents, que poden ser llegits en les diferents realitats construïdes en els lents canvis que van tenir lloc al llarg de la història. Una història que no s'entén com una sèrie d'episodis arquitectònics particulars en els quals els edificis especials representen la singularitat, sinó com una seqüència de transformacions necessàriament vinculades unes a les altres que impliquen la totalitat del món construït, des dels teixits urbans, passant per la ciutat, fins al territori **antropizado. D'aqueixa manera s'aconsegueixen, a més, les raons de la forma i l'expressió, degudes a la consolidació i la transmissió, a través del temps i de l'espai, de necessitats i costums constructius, típiques de les diferents àrees geogràfica-culturals. Per què el formigó armat? Perquè avui és el material de construcció per excel·lència. Si d'una banda es pot parlar amb claredat de "desenvolupament elàstic", àmpliament demostrat per l'ús difós del marc estructural en l'arquitectura, el seu "potencial plàstic", d'altra banda no obstant açò, sembla encara no haver trobat una definició arquitectònica clara. Amb "plàstic" ací no es fa referència a l'aspecte "escultòric" de tal material, sinó a l'accepció constructiva del terme; és a dir, plàstic com a capacitat del material de reproduir noves configuracions després del "trencament" ocorregut causat per càrrega excessiva; plàstic com a unió entre quantitats i capacitats de transmissió de les càrregues; plàstic, finalment, com a capacitat de resistència del material a causa de les formes dels elements. A través d'aquest filtre crític es pot llegir la història de l'arquitectura com un procés continu que ha afectat a la matèria que constitueix la realitat; matèria per primera vegada "trobada" per l'home nòmada i de la qual després es va reconèixer la seua capacitat especial per a ser utilitzada com a material de construcció donades les necessitats sedentàries que van sorgir. El material es transforma en element de construcció, a través d'una major obstinació de l'home en la seua elaboració. Tals elements es poden assemblar en una estructura de la qual seran llegibles els caràcters en funció de l'àrea geogràfica-cultural de formació. L'àrea geogràfica-cultural s'entén com a porció de territori en què es pot reconèixer un gran nombre de caràcters comuns en els materials, en els elements i en les estructures de les construccions (**Strappa, 1995). La combinació de formigó amb ferro produeix un material que és totalment nou, desconegut, màgic. Una "pedra fosa", emmotllable en qualsevol forma que es desitge, que treballa a compressió i al mateix temps resistent a la tracció. **Pier Luigi **Nervi a Itàlia i Eduardo **Torroja a Espanya han intentat dur a terme una síntesi entre el mer disseny estructural, que es creia propi dels enginyers, i la contribució creativa dels arquitectes, donant a la construcció una funció unificadora.
Camporeale, A. (2018). ARCHITETTURA PLASTICA - L'impiego organico del calcestruzzo armato nel progetto contemporaneo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/100088
TESIS
Montanari, Stefano. « L'architettura come scienza ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/2874/.
Texte intégralMinghetti, Giulia. « Progettare nel verde urbano. Dalla teoria del settore a nuove ipotesi di densificazione e riqualificazione urbana : Un nuovo auditorium per bogota ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7986/.
Texte intégralBOERI, ELISA. « Architettura, teoria e rappresentazione negli anni della Rivoluzione Francese : i disegni dell'Architecture Civile di Jean Jacques Lequeu (1757-1826) alla Bibliothèque Nationale de France ». Doctoral thesis, Università IUAV di Venezia, 2016. http://hdl.handle.net/11578/278728.
Texte intégralLandi, Federico. « EMBODIED ARCHITECTURE Tinder dynamic as an Actor-Network and the spatial consequences of the self-profiling ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
Trouver le texte intégralBELVEDERE, Antonio. « Pratiche dell'architettura in Vittorio Ugo (1957-1987) ». Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/90994.
Texte intégralVittorio Ugo (Palermo, 1938-2005) is an Italian architect, mostly known in Italy and France as theorist and a critic as well, Professor at University of Palermo from 1964 to 1987. Much less known is his architectural work as author of projects on different scales: architecture, urban-planning, design. The years from 1957 to 1987 represent a sort of long training period, which prepare the second phase of Ugo’s biography, devoted exclusively to the Theory of Architecture. Born from a family of artists - his grandfather was a sculptor, his father an architect - he was looking for an original way to be an architect, feeling an ethical need to see architecture from a scientific point of view. The main argument of this research, starts from the belief that the fame of Vittorio Ugo as a theorist, together with his open International impulse - France and Japan were his second homeland – conceals a complex "apprenticeship ", yet to be revealed. Many of his former pupils wondered who he was, where he came from, what had determined his passion of teaching and the care he devoted to his students. In 1978, he was living in Paris attending the heated debates that took place at the prestigious Ecole des hautes études en sciences sociales, inside the courses of Louis Marin and Hubert Damisch. «[...] Que venait chercher Victor Hugo auprès de cette école de pensée sémiologique?» What was Vittorio Ugo looking for in that school of semiological thought? Philippe Potié was asking a few years ago. How to explain the choice of Ugo to devote himself to the Theory, after twenty years of designing?
Ori, Eva <1982>. « Enrico Prampolini tra arte e architettura. Teorie, progetti e Arte Polimaterica ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6275/1/Ori_Eva_tesi.pdf.
Texte intégralThe main objective of this research is to add a missing piece, through a new interpretation, to the artistic and theoretical activity of the futurist Enrico Prampolini (1894-1956). This thesis , wants collect everything related to architecture and the relationship of the latter with the arts in the work of Prampolini and takes the opportunity to point out this aspects still poorly explored, thanks also to the analysis of unpublished documents’ artist kept at the CRDAV of the MACRO. The core of the research consists in the new elements emerged at the Prampolini Archives consisting in a descriptive reports of architectural plans for a development of the Centre of Hospitality of Castel Fusano (1938) and two hotels in the center of Rome (1938-1939). The second part of the research focuses on the analysis of the relationship between art and architecture in Futurism and the fundamental contribution in this direction by Prampolini, particularly through the "plastica murale" as completion of Futurist and Fascist architecture and the conception of the Polymaterials Art. In the last part of the research we deal with the analysis of the relationship between art and architecture managed in Italy in the institutional context, between the two Wars, with the enactment, in 1942, of the law known as the "2%". Appearance of until now unpublished events related to the "law of 2%" is the emergence of the central role of Prampolini in contributing to the debate that led to its approval, and not secondarily for search of better economic conditions and more job opportunities for artists. The figure of Enrico Prampolini therefore emerges from this research as a crucial question to understand some of the unexplored aspects of the Italian architectural and artistic culture of the Twenties-Forties.
Ori, Eva <1982>. « Enrico Prampolini tra arte e architettura. Teorie, progetti e Arte Polimaterica ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6275/.
Texte intégralThe main objective of this research is to add a missing piece, through a new interpretation, to the artistic and theoretical activity of the futurist Enrico Prampolini (1894-1956). This thesis , wants collect everything related to architecture and the relationship of the latter with the arts in the work of Prampolini and takes the opportunity to point out this aspects still poorly explored, thanks also to the analysis of unpublished documents’ artist kept at the CRDAV of the MACRO. The core of the research consists in the new elements emerged at the Prampolini Archives consisting in a descriptive reports of architectural plans for a development of the Centre of Hospitality of Castel Fusano (1938) and two hotels in the center of Rome (1938-1939). The second part of the research focuses on the analysis of the relationship between art and architecture in Futurism and the fundamental contribution in this direction by Prampolini, particularly through the "plastica murale" as completion of Futurist and Fascist architecture and the conception of the Polymaterials Art. In the last part of the research we deal with the analysis of the relationship between art and architecture managed in Italy in the institutional context, between the two Wars, with the enactment, in 1942, of the law known as the "2%". Appearance of until now unpublished events related to the "law of 2%" is the emergence of the central role of Prampolini in contributing to the debate that led to its approval, and not secondarily for search of better economic conditions and more job opportunities for artists. The figure of Enrico Prampolini therefore emerges from this research as a crucial question to understand some of the unexplored aspects of the Italian architectural and artistic culture of the Twenties-Forties.
RICCOBONO, Alessia. « Architectural Design in the Digital Era. Identifying computer influences and new expressive trends in current architecture ». Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/91050.
Texte intégralThe research concerns the field of the contemporary architecture evolution related to the increasingly massive use of digital technologies in the design process. The introduction of computers in architecture has produced a real revolution in design methods and processes, which contribute to the generation of architectural shape. It was understood that the pervasive use of software has substantially altered the architectural language in the last years. Therefore, main goal of the research has been to understand how architectural expressivity is changing, how much pervasive are digital influences on architectural design and which may be future developments. The research is carried out through the development of an analytical database with sixty recent case studies, recognized digital influenced architectures, as expression of what is really happening inside architectural scenario. The case studies have been studied and classified according to a logical theoretical framework, consisting of different categories and parameters, that allows to analyze several aspects. The results suggest that a new era is coming, where the conceptual starting point of designers is often born in the digital space, taking advantage of the augmented representation skills to control and manipulate form. Starting from a critical interpretation of the results, we have identified some transversal trends, representative of contemporary digital architecture.
RAITANO, Manuela. « Esiste un'architettura italiana ? La crisi dell'architettura italiana tra teoria e prassi ». Doctoral thesis, 2001. http://hdl.handle.net/11573/403437.
Texte intégralCAMILLI, FRANCESCO. « Manierismo partecipativo. Architettura e consenso in epoca post-ideologica ». Doctoral thesis, 2020. http://hdl.handle.net/11573/1364996.
Texte intégralMOLINARI, CARLA. « Architettura in sequenza. Progettare lo spazio dell'esperienza ». Doctoral thesis, 2016. http://hdl.handle.net/11573/915615.
Texte intégralEL, KHOURY CHADI. « LA PIEGA : MODELLO MORFO-SEMANTICO DI SUPPORTO ALLA FASE CREATIVA DEL PROGETTO ». Doctoral thesis, 2015. http://hdl.handle.net/11573/918306.
Texte intégralVALERIANI, ANDREA. « La città di latta e la città di vetro. Utopie e distopie della metropoli brasiliana contemporanea ». Doctoral thesis, 2018. http://hdl.handle.net/11573/1448511.
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