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Abstrakty
Perception, awareness and appreciation of the built environment are essential skills in urban representation and design. Among the different perceptual dimensions, the visual, or more precisely the visual-aesthetic dimension is the field that better expresses its potential in representation. The study, in an analytical-applicative perspective, addresses the reading of the relationship between forms and uses, symbols and meanings of an urban public space characterized by a recent transformation. The architectural stratifications and practices of use lead to the definition of space, in its tangible and intangible components. In this regard the analysis of the historical drifts, traced back through images and drawings, help us to make visible the mutations and the processes helpful to understand and describe its actual order. The aim of the research is to investigate the visual dimension of an urban space, both in its material and immaterial connotations, and its relationship with the stratified or new uses, explored by multiple and diversified tools of urban representation
Czasopismo
Rocznik
Tom
Strony
7--16
Opis fizyczny
Bibliogr. 33 poz.
Twórcy
autor
- Associate Prof., PhD; Faculty of Engineering and Architecture, University of Cagliari, via Corte d’Appello, 87, Cagliari, Italy
autor
- PhD student; Faculty of Engineering and Architecture, University of Cagliari, via Corte d’Appello, 87, Cagliari, Italy
Bibliografia
- [1] Van Bergeijk, H. (2012). Every picture tells a story and every story has a picture. In O. Carpenzano (Ed.), Idea immagine architettura: Tecniche d'invenzione architettonica e composizione (Idea image architecture: Techniques of architectural invention and composition). Roma: Gangemi editore.
- [2] Colistra, D. (2011). Novantanove idee in attesa di layout. In R. Salerno, Teorie e tecniche della rappresentazione contemporanea (Theories and techniques of contemporary representation). Santarcangelo di Romagna (RN): Maggioli Editore.
- [3] Brandt R. (2003). Filosofia della pittura. Da Giorgione a Magritte (Philosophy of painting. From Giorgione to Magritte). Bruno Mondadori, Milano.
- [4] Matteucci G. (2008). L’immagine che appare (The image that appears). Aisthesis, 1, 173-185
- [5] Di Nuovo S. (ed.) (1999).Mente e immaginazione. La progettualità creativa in educazione e terapia (Mind and imagination. Creative design in education and therapy). Milano : Franco Angeli.
- [6] Wunenburger, J.J. (1999). Filosofia delle immagini (Philosophy of immages). Torino, Einaudi.
- [7] Cobley, P. (2001). Narrative. London, U.K.: Routledge.
- [8] Eisner, W. (1985). Comics & sequential art. Florida: Poorhouse press.
- [9] McCloud, S. (1993) Understanding comics, The invisible art. New York: Kitchen Sink Press.
- [10] Le Corbusier. (1959). Towards a new architecture. London: Architectural Press, 154.
- [11] Gubler J. (2003). Motion, émotions. Thèmes d'histoire et d’architecture (Motion, emotions. History and Architecture themes). Gollion: Infolio.
- [12] Le Corbusier., Jeanneret, P. and Boesiger, W. (1935). Le Corbusier et Pierre Jeanneret. Zurich: Girsberger.
- [13] Le Corbusier. (1961). Le Corbusier talks with students. New York: The Orion Press, 44-45.
- [14] Pallasmaa, J. (2014). The eyes of the skin. Chichester: Wiley.
- [15] Paviol, S. (2011). Progetto architettonico/proiezione cinematografica. La villaMeyer di Le Corbusier e the Manhattan Transcripts di Bernard Tschumi (Architectural project / cinema projection. The Villa Meyer by Le Corbusier and the Manhattan Transcripts by Bernard Tschumi). In R. Salerno, Teorie e tecniche della rappresentazione contemporanea. Santarcangelo di Romagna (RN): Maggioli Editore.
- [16] Cullen, G. (1968). Townscape. London: Architectural Press.
- [17] Appleyard, D. Lynch K.,Meyer, J.R. (1971). The view from the road. M.I.T. (Massachusetts Institute of technology).
- [18] Tschumi, B. (1994). Architecture and Disjunction. Cambridge, MA - London, UK: The MIT Press.
- [19] Tschumi, B. (1994). The Manhattan Transcipts. Academy Editions.
- [20] Gombrich, E. (2000). Art and illusion. Princeton: Princeton University Press.
- [21] Kitson, M. (1964). Gombrich’s Hobby Horse. Encounter, 22, May, 65-6.
- [22] Bignante, E. (2011). Geografia e ricerca visuale. Strumenti e metodi (Geography and visual research. Tools and methods). Bari: Laterza.
- [23] Harper, D. (1988). Visual Sociology: Expanding Sociological Visions in The American Sociologist, 19.
- [24] Collier J.J. (1957). Photography in Antropology: a Report on Two Experiments, in American Anthropologist, 59.
- [25] Jarvis, R. (1980). Urban environments as visual art or social setting in Town Planning Review, 1.
- [26] Buchanan, P. (1988). What city? A plea for place in the public realm in Architectural Review, 1101.
- [27] Carmona, M. et alii (2003). Public Places-Urban Spaces. The dimension of Urban Design. Oxford: Architectural Press.
- [28] lttelson, W.H. (1978). Environmental perception and urban experience in Environment & Behaviour, 10.
- [29] Nasar, J.L. (1998). The Evaluative Image of the City. London: Sage.
- [30] Ginzarly M. et alii. (2018). The Historic Urban Landscape approach to urban management: a systematic review in International Journal of Heritage Studies.
- [31] Schwartz, R. (2014). The spatial self: Location-based identity performance on social media in New Media & Society, 17.
- [32] Cruz, E. G., MeyeR, E.T. (2012). Creation and Control in the Photographic Process: iPhones and the Emerging Fifth Moment of Photography in Photographies, 5.
- [33] Castells, M. (2009). The Rise of the Network Society. New York: Blackwell Pub.
Uwagi
PL
Opracowanie rekordu ze środków MNiSW, umowa Nr 461252 w ramach programu "Społeczna odpowiedzialność nauki" - moduł: Popularyzacja nauki i promocja sportu (2020).
Typ dokumentu
Bibliografia
Identyfikator YADDA
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