Irene Cazzaro
Università Iuav di Venezia, Culture Del Progetto, Department Member
- Morphology, Morphogenesis, Morphogenetic Design, Morphogenetic Approach, Design, Urban Morphology, and 97 moreUrban Design, Urban Morphogenesis, Graphic Design, Industrial Design, Visual Studies, Visual Arts, Visual Culture, Visual Semiotics, Visual Communication, Visual Communication Design, Data Visualization, Infographics and data visualization, Infographics, Architecture, Architectural History, Landscape Architecture, History of architecture, Architectural Theory, Green architecture, Art History, Contemporary Art, Art Theory, Art, History of Art, Philosophy of Art, Aesthetics, Semiotics, Morfologia, Morfologia Urbana, Interior Design, Product Design, Architettura, STORIA DELL'ARTE, Estetica, Estética, Semiotica, Sémiotique, Geometria Descrittiva, Descriptive Geometry, Disegno E Rilievo, Architectural survey, Disegno Dell'Architettura, Disegno, Disegno, rappresentazione, teoria e storia della rappresentazione, Rilievo, Fotogrammetria, Disegno, Drawing, Technical Drawing, Drawing as a research tool, Architectural Drawing, Drawing as a tool for design, Imagination, Theory and Philosophy of Image, Theory of images, Art and image theory, Image theory, Dynamical Systems, Computational Geometry, Design Theory, Design thinking, Design Theory and Philosophy, Differential Equations Theory and Dynamical Systems, Semiotics of Artifacts, Semiotics of Perception and Cognition, Eidetic Categories, Graphic Arts & Design, History of Graphic Design, Graphics Design, Graphic design history, Visual Design, Design Visualization (Architecture), Eidos, Eidos, Idea, Morphe, Eidogenesis, Alan Turing, Gilbert Simondon, Gilbert Simondon (Philosophy) (Philosophy), Gilbert SimondonPhilosophy of Technology, René Thom, D'Arcy Wentworth Thompson, Computational Modelling, Generative design, Generative Art, Generative Architectural Design, Generative Design Research, Generative form, Generative Design (Design Multi Disciplinary Practice), Generative Urbanism, Morphogenetics, Digital Morphogenesis, Computational Morphogenesis, Cognitive Psychology, Cognitive Science, Psychology of Visual Perception, Psychology of Perception in Architecture, Psychology of Perception in Arts, Psychology of Perception, and Semiotics; Psychology of Perception(Urban Design, Urban Morphogenesis, Graphic Design, Industrial Design, Visual Studies, Visual Arts, Visual Culture, Visual Semiotics, Visual Communication, Visual Communication Design, Data Visualization, Infographics and data visualization, Infographics, Architecture, Architectural History, Landscape Architecture, History of architecture, Architectural Theory, Green architecture, Art History, Contemporary Art, Art Theory, Art, History of Art, Philosophy of Art, Aesthetics, Semiotics, Morfologia, Morfologia Urbana, Interior Design, Product Design, Architettura, STORIA DELL'ARTE, Estetica, Estética, Semiotica, Sémiotique, Geometria Descrittiva, Descriptive Geometry, Disegno E Rilievo, Architectural survey, Disegno Dell'Architettura, Disegno, Disegno, rappresentazione, teoria e storia della rappresentazione, Rilievo, Fotogrammetria, Disegno, Drawing, Technical Drawing, Drawing as a research tool, Architectural Drawing, Drawing as a tool for design, Imagination, Theory and Philosophy of Image, Theory of images, Art and image theory, Image theory, Dynamical Systems, Computational Geometry, Design Theory, Design thinking, Design Theory and Philosophy, Differential Equations Theory and Dynamical Systems, Semiotics of Artifacts, Semiotics of Perception and Cognition, Eidetic Categories, Graphic Arts & Design, History of Graphic Design, Graphics Design, Graphic design history, Visual Design, Design Visualization (Architecture), Eidos, Eidos, Idea, Morphe, Eidogenesis, Alan Turing, Gilbert Simondon, Gilbert Simondon (Philosophy) (Philosophy), Gilbert SimondonPhilosophy of Technology, René Thom, D'Arcy Wentworth Thompson, Computational Modelling, Generative design, Generative Art, Generative Architectural Design, Generative Design Research, Generative form, Generative Design (Design Multi Disciplinary Practice), Generative Urbanism, Morphogenetics, Digital Morphogenesis, Computational Morphogenesis, Cognitive Psychology, Cognitive Science, Psychology of Visual Perception, Psychology of Perception in Architecture, Psychology of Perception in Arts, Psychology of Perception, and Semiotics; Psychology of Perception)edit
- Irene Cazzaro is currently a research fellow at the IUAV University of Venice and adjunct professor at the Alma Mater... moreIrene Cazzaro is currently a research fellow at the IUAV University of Venice and adjunct professor at the Alma Mater Studiorum University of Bologna, where she obtained her PhD in 2023. She is also member of the Laboratory of Image Theories at IUAV University of Venice and she is teaching assistant in the same university for the courses of representation and morphology of artefacts. She conducts studies on morphology, morphogenesis and digital reconstruction in architecture and art history.(Irene Cazzaro is currently a research fellow at the IUAV University of Venice and adjunct professor at the Alma Mater Studiorum University of Bologna, where she obtained her PhD in 2023. She is also member of the Laboratory of Image Theories at IUAV University of Venice and she is teaching assistant in the same university for the courses of representation and morphology of artefacts. She conducts studies on morphology, morphogenesis and digital reconstruction in architecture and art history.)edit
An architectural portfolio must be accurate not only from a graphical point of view: it has also to be organised in an effective way. This book deals with these aspects and helps students create their personal portfolio. It contains... more
An architectural portfolio must be accurate not only from a graphical point of view: it has also to be organised in an effective way. This book deals with these aspects and helps students create their personal portfolio.
It contains exercises about lettering and diagrams as well.
It contains exercises about lettering and diagrams as well.
Research Interests: Visual Studies, Design, Architecture, Visual Culture, Visual Semiotics, and 17 moreDesign Visualization (Architecture), Graphic Design, Visual Communication, Drawing, Visual Arts, Visual Design, Portfolio, Visual Communication Design, Art and image theory, Image theory, Descriptive Geometry, Interior Design Portfolio, Design Portfolio, Architectural Portfolio, How to Create Architecture Portfolio, architecture Portfolio, and graphic design portfolio(Design Visualization (Architecture), Graphic Design, Visual Communication, Drawing, Visual Arts, Visual Design, Portfolio, Visual Communication Design, Art and image theory, Image theory, Descriptive Geometry, Interior Design Portfolio, Design Portfolio, Architectural Portfolio, How to Create Architecture Portfolio, architecture Portfolio, and graphic design portfolio)
(Design Visualization (Architecture), Graphic Design, Visual Communication, Drawing, Visual Arts, Visual Design, Portfolio, Visual Communication Design, Art and image theory, Image theory, Descriptive Geometry, Interior Design Portfolio, Design Portfolio, Architectural Portfolio, How to Create Architecture Portfolio, architecture Portfolio, and graphic design portfolio)
Il saggio è una riflessione sul rapporto tra la visualità e le urgenze che scienza e società spesso vivono. L’assunto che il pensiero si strutturi per immagini e che le immagini guidino il pensiero fa da sfondo a una ricerca che... more
Il saggio è una riflessione sul rapporto tra la visualità e le urgenze che scienza e società spesso vivono. L’assunto che il pensiero si strutturi per immagini e che le immagini guidino il pensiero fa da sfondo a una ricerca che attraversa il mondo della visualità. Grazie alle immagini e al disegno è possibile trovare risposte a questioni irrisolte (Friedrich Kekulé), proporre soluzioni per reagire a urgenze e necessità impellenti (Renzo Piano), ma anche denunciare e sensibilizzare riguardo questioni stringenti (Banksy). Nelle arti visive, la risposta alle crisi ecologiche assume varie forme, da grafici e infografiche che illustrano dati climatici, fino ad opere d’arte in cui l’azione dell’artista si fonde con quella del paesaggio in evoluzione, suscitando riflessioni sul rapporto tra uomo e natura. L’arte come strumento per affrontare le crisi sociali si concretizza in opere di protesta che spesso reinterpretano simboli radicati nell’immaginario collettivo e si esprimono attraverso la street art. Emergono anche iniziative per preservare queste opere tramite archivi digitali. Per comprendere cosa sta accadendo intorno a noi, anche le arti performative operano con sguardi trasversali, spesso rintracciando nelle interazioni tra virtuale e reale, urgenze sociali e ambientali. L’imminenza delle necessità si risolve nei linguaggi dinamici di reinterpretazioni ballettistiche, talvolta proponendo immagini grottesche che amplificano l’impotenza umana di fronte ai drastici cambiamenti epocali. Luci, coreografie sincopate e sperimentazioni in realtà aumentata propongono una molteplicità di sguardi che si integrano nelle gestualità contemporanee, per rivelare soltanto alcune delle possibili performatività urgenti.
Research Interests:
The contribution supports the following thesis: the use of semiotic methods of the structural school in applications of Artificial Intelligence allows to deal with aesthetic and historical-critical issues with greater documentation... more
The contribution supports the following thesis: the use of semiotic methods of the structural school in applications of Artificial Intelligence allows to deal with aesthetic and historical-critical issues with greater documentation capability. In particular, the contribution concerns an actualisation of the axiology of spatial enhancement built by Jean Marie Floch assuming it as a fundamental semantic framework to construct an interior morphology valid in the various areas of interior design. Floch's semiotic analysis allows us to better specify the notion of "environmental affordance" developed in James Gibson's phenomenology of ecological perception. Following Gibson, the authors indicate an 'environmental' specification of the "affordances" and pose the question of their objectification and measurement. For the purpose of this objectification and measurement of environmental affordances, the contribution advances the hypothesis of using some Artificial Intelligence applications usually employed, nowadays, in the processing of large data sets of digital documents, to achieve creative, critical, historical-archival aims. In conclusion, the contribution outlines some fundamental conditions of possibility of such an objective measurement by describing some initial characteristics of an artificial system of recognition of morphological categories of interior spaces starting from huge data sets of documents.
Research Interests:
Uncertainty assessment is fundamental when dealing with digital 3D reconstructions of hypothetical artefacts. In this framework, a range of uncertainty scales based on different classifications and visualisation techniques have been... more
Uncertainty assessment is fundamental when dealing with digital 3D reconstructions of hypothetical artefacts. In this framework, a range of uncertainty scales based on different classifications and visualisation techniques have been proposed through time without reaching a standard. Besides this, we argue that, even starting from a very simple uncertainty scale (which can also become more complex if needed) and assuming that it becomes widespread, a variety of challenges arise at different levels: at least a technical, a visual and a cultural one, which are here analysed describing the different kinds of 'transitions' that they can convey. At a technical level, the uncertainty scale can be applied to different levels of detail (allowing transitions between them), can be communicated through platforms (generating transitions of knowledge) and hopefully by means of (a transition to) standard exchange formats. At a visual level, a transition should be guaranteed between different uncertainty visualisation techniques, but also to infographics representing uncertainty data in more complex ways. At a cultural level, we should take into account that this transition of knowledge may occur in different domains and have different targets, in a balance between complexity and adaptation depending on the audience we refer to. We conclude with two goals for the future: the integration of the uncertainty documentation as a property in the CIDOC CRM ontology for cultural heritage and the visualisation of uncertainty directly on suitable online viewers.
Research Interests: Digital Humanities, Cultural Heritage, Digital Archaeology, Reasoning about Uncertainty, Digital heritage in architecture, and 15 moreDigital Media & Learning, Digital preservation (Cultural Heritage), Digital Heritage, Digital reconstruction (Archaeology), Digital Cultural Heritage, Uncertainty, Digital Reconstruction, Uncertainty analysis, Digital Image Processing, 3D modeling, Computer vision, Spatial Uncertainty, Digitalisation of Cultural Heritage, Uncertainty Modeling, Digital Platforms, Coping With Uncertainty, and Hypothetical 3D reconstructions(Digital Media & Learning, Digital preservation (Cultural Heritage), Digital Heritage, Digital reconstruction (Archaeology), Digital Cultural Heritage, Uncertainty, Digital Reconstruction, Uncertainty analysis, Digital Image Processing, 3D modeling, Computer vision, Spatial Uncertainty, Digitalisation of Cultural Heritage, Uncertainty Modeling, Digital Platforms, Coping With Uncertainty, and Hypothetical 3D reconstructions)
(Digital Media & Learning, Digital preservation (Cultural Heritage), Digital Heritage, Digital reconstruction (Archaeology), Digital Cultural Heritage, Uncertainty, Digital Reconstruction, Uncertainty analysis, Digital Image Processing, 3D modeling, Computer vision, Spatial Uncertainty, Digitalisation of Cultural Heritage, Uncertainty Modeling, Digital Platforms, Coping With Uncertainty, and Hypothetical 3D reconstructions)
The documentation of the procedures, the applied method as well as the resulting outcomes is one of the cornerstones of scientific practice. Over the centuries, scientific publication established itself with set basic principles, such as... more
The documentation of the procedures, the applied method as well as the resulting outcomes is one of the cornerstones of scientific practice. Over the centuries, scientific publication established itself with set basic principles, such as verification of methods, objectivity, disclosure of sources, comprehensibility of reasoning, accessibility of results, accuracy and reliability, uniformity (Brink, 2013). In the field of computer-based hypothetical 3D reconstruction, the application of the above basic principles faces a yet unsolved challenge related to the new nature of research data and their derivation. Considering 3D modeling and the 3D model as a scientific interpretation, reasoning and hypothesis, it is found that due to manifold and rapidly developing software applications, modeling methods and types, no application-related documentation and publication of 3D models has been established. In consequence, the results of the work are not traceable, cannot be found, are not accessible and are not sustainable. Three decades after the spread of computer-aided 3D-visualization in the research and dissemination of cultural heritage, we observe an intensified examination of the question of what and how should be documented. Web-based documentation and publication requires technical infrastructures and services as well as the definition of scientific methods in terms of a comprehensible model creation and sustainable accessibility to the research data (re-)presented in form of 3D models. The Scientific Reference Model aims at establishing an academic working method with a low barrier for a broad application in digital hypothetical 3D reconstruction. As a result, it should ensure a comprehensible and accessible (on the web) 3D model which can serve as a source reference for further research and dissemination of knowledge. The method is based on seven work packages developed and tested within research projects (Kuroczyński et al., 2021) and educational courses.
Research Interests:
In object-oriented historical research the need to combine hypotheses and textual arguments with the critical analysis based on sources – such as floor plans, sections, perspectives, and photographs – has considerably benefited from the... more
In object-oriented historical research the need to combine hypotheses and textual arguments with the critical analysis based on sources – such as floor plans, sections, perspectives, and photographs – has considerably benefited from the developments in Digital Humanities (Münster, 2022). The use of digital 3D models has overcome many limitations inherent to two-dimensional records. Since the early 1990s hypothetical 3D reconstructions have therefore increasingly become routine research tools and essential means of representation capable of offering new methods of investigation, enabling new insights into the object-related research. In terms of a holistic approach to the analysis and case studies, i.e. the enhanced ability to examine and explore (Favro, 2012) serious challenges remain regarding documentation, interoperability and long-term access to 3D-based research outputs.
In this context, numerous initiatives and research projects have emerged with the common objective of systematising and rationalising the various problems identified by scholars. Such projects still tend to remain isolated, lacking a significant impact on the community of potential users. 3D research outputs are not widely applicable, due to the complex prototypes of the software architecture, difficult to apply in a broad sense. Furthermore, the ‘old’ problems still exist, i.e. the traditional approaches - which do not consider a 3D model as a scholarly result, but only an investigative tool - and the reluctance to share these results and the associated procedures. Therefore, an attempt is being made to define the development and evaluation of an applicable methodology for the hypothetical 3D historical reconstruction, based on a shared theoretical approach.
The working method presented here reflects many years of engagement with source-based hypothetical 3D reconstruction of no longer extant or unrealised architecture for teaching and research. Our focus is therefore on a low-threshold, application-oriented method of the Scientific Reference Model (SRM) as a documented and published basic model. The structured SRM represents an important working and knowledge state, which clarifies the essential information about the object, its components, its credibility or extent of hypothesis and copyright. Such SRM is made available for further research, edits and refinement, as well as further derivatives (special applications). Thus SRM represents a findable referential result of a scholarly investigation of a material object that physically no longer exists.
In this context, numerous initiatives and research projects have emerged with the common objective of systematising and rationalising the various problems identified by scholars. Such projects still tend to remain isolated, lacking a significant impact on the community of potential users. 3D research outputs are not widely applicable, due to the complex prototypes of the software architecture, difficult to apply in a broad sense. Furthermore, the ‘old’ problems still exist, i.e. the traditional approaches - which do not consider a 3D model as a scholarly result, but only an investigative tool - and the reluctance to share these results and the associated procedures. Therefore, an attempt is being made to define the development and evaluation of an applicable methodology for the hypothetical 3D historical reconstruction, based on a shared theoretical approach.
The working method presented here reflects many years of engagement with source-based hypothetical 3D reconstruction of no longer extant or unrealised architecture for teaching and research. Our focus is therefore on a low-threshold, application-oriented method of the Scientific Reference Model (SRM) as a documented and published basic model. The structured SRM represents an important working and knowledge state, which clarifies the essential information about the object, its components, its credibility or extent of hypothesis and copyright. Such SRM is made available for further research, edits and refinement, as well as further derivatives (special applications). Thus SRM represents a findable referential result of a scholarly investigation of a material object that physically no longer exists.
Research Interests: Research Methodology, Documentation, Open Access, Open Access Publishing, Digital Media, and 12 moreMethodology, Standards, 3D Modelling (Architecture), Standardization, 3D modelling cultural heritage, Open science, 3d Reconstructions in Archaeology, 3d Modeling, 3d Modelling, Standardisation, Publication, and Hypothetical 3D reconstructions
The documentation and visualisation of digital 3D models related to hypothetical artefacts can be useful to analyse our past and make new discoveries, but can also be informative in educational contexts and when dealing, more in general,... more
The documentation and visualisation of digital 3D models related to hypothetical artefacts can be useful to analyse our past and make new discoveries, but can also be informative in educational contexts and when dealing, more in general, with non-specialised users. The publication of these models in web-based and open platforms, which would be a good practice, especially raises some questions related to the audience we refer to. This paper analyses the issue of communication of digital reconstructions and tries to give some answers to it by presenting a methodology through a case study and by indicating future developments.
Research Interests: Communication, Perception, Cultural Heritage, Documentation, Visual perception, and 15 moreCultural Heritage Conservation, Archaeological documentation, Reasoning about Uncertainty, Technologies Applied to Cultural Heritage, 3D Reconstruction, 3D visualisation, Cultural Heritage Management, 3D Modelling (Architecture), Digital reconstruction (Archaeology), Digital Cultural Heritage, Education and Cultural Heritage, Uncertainty, Heritage Conservation and Documentation, Uncertainty analysis, and Uncertainty Assesment(Cultural Heritage Conservation, Archaeological documentation, Reasoning about Uncertainty, Technologies Applied to Cultural Heritage, 3D Reconstruction, 3D visualisation, Cultural Heritage Management, 3D Modelling (Architecture), Digital reconstruction (Archaeology), Digital Cultural Heritage, Education and Cultural Heritage, Uncertainty, Heritage Conservation and Documentation, Uncertainty analysis, and Uncertainty Assesment)
(Cultural Heritage Conservation, Archaeological documentation, Reasoning about Uncertainty, Technologies Applied to Cultural Heritage, 3D Reconstruction, 3D visualisation, Cultural Heritage Management, 3D Modelling (Architecture), Digital reconstruction (Archaeology), Digital Cultural Heritage, Education and Cultural Heritage, Uncertainty, Heritage Conservation and Documentation, Uncertainty analysis, and Uncertainty Assesment)
The large amount of data generated in different fields, among which bioimage informatics and digital humanities, is increasingly requiring appropriate automatic processing techniques, such as computer vision, data mining and particular... more
The large amount of data generated in different fields, among which bioimage informatics and digital humanities, is increasingly requiring appropriate automatic processing techniques, such as computer vision, data mining and particular visualisation tools, to extract information out of complexity and to clearly display it. This has led, in digital humanities, to the use of pattern recognition techniques similar to those applied in biology, chemistry and medical studies, but where patterns to be analysed and segmented are extracted from texts, images, audiovisual and online media rather than from cells and tissues. Regularities can be recognised through machine learning, based on artificial neural networks that are modelled, to some extent, after the brain's structure, showing a variety of analogies between natural and artificial world. These processes can also add information to 3D models for cultural heritage: data mining technologies allow information retrieval from archives and repositories, as well as the comparison of data in order to better understand the context of-and relationships between-works of art, thus producing knowledge enhancement. Various tools to describe complexity are here analysed not only for their educational aim, but also for their heuristic value, allowing new discoveries and connections between different disciplines.
Research Interests: Bioinformatics, Humanities Computing (Digital Humanities), Computer Vision, Visual Studies, Digital Humanities, and 15 moreData Mining, Cultural Heritage, Visual Culture in Education, Pattern Recognition, Archives, Complexity, Design Patterns, Digital Heritage, Digital repositories, Glass Structure, Artificial Neural Networks, Patterns, Analogy, Machine Learning and Pattern Recognition, and Bioimage Processing
Working in synergy with experts coming not only from different fields (computer scientists, archaeologists, historians...), but also from different countries, thus speaking a variety of languages, is very often essential in the field of... more
Working in synergy with experts coming not only from different fields (computer scientists, archaeologists, historians...), but also from different countries, thus speaking a variety of languages, is very often essential in the field of digital 3D reconstructions for cultural heritage, for heuristic rather than entertainment purposes.
This inevitably leads to the comparison of different methods and workflows, each of which is based on its own terminology. Therefore, comparing the terms that are used, following their evolution and, to some extent, attempting to standardise them is a prerequisite for making the reconstruction as objective and reproducible as possible, qualities that are of prime importance especially when the goal is the publication of results in online platforms, so that they are accessible and comprehensible to a wide audience of interested users.
Terminology is only one of the open problems in the field of digital 3D reconstructions, which, as is well known, also faces issues related, for instance, to different software and file formats, or even to data storage and to the platforms used to share them.
These problems, however, can hardly be tackled without a shared terminology and methodology, which should be the basis of any 3D digital reconstruction used to disseminate (and potentially enrich with new discoveries) cultural heritage, especially when it comes to hypothetical reconstructions of artefacts that have been destroyed or have never been built.
In this case, the dialogue between experts is a central element and it is therefore clear why, first of all, it is necessary to agree on the terms that are used. This study aims to analyse some of the most frequent ones in this sense, especially those relating to the certainty and reliability of a reconstruction, whose data model becomes a social and cultural object that we cannot ignore.
This inevitably leads to the comparison of different methods and workflows, each of which is based on its own terminology. Therefore, comparing the terms that are used, following their evolution and, to some extent, attempting to standardise them is a prerequisite for making the reconstruction as objective and reproducible as possible, qualities that are of prime importance especially when the goal is the publication of results in online platforms, so that they are accessible and comprehensible to a wide audience of interested users.
Terminology is only one of the open problems in the field of digital 3D reconstructions, which, as is well known, also faces issues related, for instance, to different software and file formats, or even to data storage and to the platforms used to share them.
These problems, however, can hardly be tackled without a shared terminology and methodology, which should be the basis of any 3D digital reconstruction used to disseminate (and potentially enrich with new discoveries) cultural heritage, especially when it comes to hypothetical reconstructions of artefacts that have been destroyed or have never been built.
In this case, the dialogue between experts is a central element and it is therefore clear why, first of all, it is necessary to agree on the terms that are used. This study aims to analyse some of the most frequent ones in this sense, especially those relating to the certainty and reliability of a reconstruction, whose data model becomes a social and cultural object that we cannot ignore.
Research Interests: Cultural Heritage, Vocabulary, Terminology, Reasoning about Uncertainty, Standards, and 12 more3D Reconstruction, Decision Making Under Uncertainty, 3D Modelling (Architecture), Standardization, Uncertainty, 3D reconstructions, 3d Reconstructions in Archaeology, 3d Modeling, Archaeology, Virtual Reconstructions, Computer Applications, Word Frequency, Uncertainty analysis, and Word Clouds
A shared terminology (and consequently methodology) should be the basis of a hypothetical 3D digital reconstruction conducted in a critical and scientific manner. We propose a study of the most frequent terms and the evolution of some of... more
A shared terminology (and consequently methodology) should be the basis of a hypothetical 3D digital reconstruction conducted in a critical and scientific manner. We propose a study of the most frequent terms and the evolution of some of their definitions over the last 25 years. The aim is to reach a more conscious – and to some extent standardised – use of these terms, in order to enhance the sharing and the dialogue about the digital reconstructions for cultural heritage, especially referring to destroyed or never built artefacts, whose exploration can lead to new discoveries. In this case it is also essential to declare the level of uncertainty of a model based on different sources, especially in the light of its online publication, in virtual research environments, where the individual choices that guided the process of reconstruction should always be documented and traceable.
Research Interests: Cultural Heritage, Documentation, Methodology, Archaeological documentation, Terminology, and 15 moreReasoning about Uncertainty, Intangible cultural heritage, 3D visualisation, Information Visualisation, 3D Modelling (Architecture), Heritage Management, Science for Conservation and Restoration of Cultural Heritage, Uncertainty, 3D modelling cultural heritage, 3d Reconstructions in Archaeology, Classification, 3d Modelling, Uncertainty analysis, 3D documentation, and Uncertainty Modeling(Reasoning about Uncertainty, Intangible cultural heritage, 3D visualisation, Information Visualisation, 3D Modelling (Architecture), Heritage Management, Science for Conservation and Restoration of Cultural Heritage, Uncertainty, 3D modelling cultural heritage, 3d Reconstructions in Archaeology, Classification, 3d Modelling, Uncertainty analysis, 3D documentation, and Uncertainty Modeling)
(Reasoning about Uncertainty, Intangible cultural heritage, 3D visualisation, Information Visualisation, 3D Modelling (Architecture), Heritage Management, Science for Conservation and Restoration of Cultural Heritage, Uncertainty, 3D modelling cultural heritage, 3d Reconstructions in Archaeology, Classification, 3d Modelling, Uncertainty analysis, 3D documentation, and Uncertainty Modeling)
The fundamental importance of an increasingly scientific presentation of photographic, graphic and textual documentation in the field of Cultural Heritage from the (parallel and integrated) points of view of both the representation and... more
The fundamental importance of an increasingly scientific presentation of photographic, graphic and textual documentation in the field of Cultural Heritage from the (parallel and integrated) points of view of both the representation and the restoration techniques is here discussed through the case study of the gate of villa Pentetorri in Modena. The drafting of documentation as a moment of analysis and study of the conservation problems of a Cultural Asset allows to deal with the surfaces of the artefact with objective – as far as possible – methodology, thus avoiding the possibility of neglecting some evidence. A scheme supported by a specific vocabulary is proposed to ensure that these phases are well balanced and that the collected data are organized in a structured way, allowing standardization and correct use of terminologies. The same applies to 3D virtual reconstruction, where standardization is required in order to share the research results among scholars. In this framework, a scale is proposed to assess the level of detail of the digital 3D model of the gate. These operations are aimed at ensuring a correct evaluation of the Cultural Asset with the purpose of planning a conservation and restoration intervention.
Research Interests: Cultural Heritage, Historic Preservation, Cultural Heritage Conservation, Digital Preservation, Technologies Applied to Cultural Heritage, and 9 moreCultural Heritage Management, Architectural preservation, Digital Cultural Heritage, Science for Conservation and Restoration of Cultural Heritage, Cultural Heritage and Preservation, Architectural Representation, Restauration and Conservation, Representation of ancient architecture (technical and pictoresques drawings), and Restoration and Conservation of Ancient and Historic Buildings and Structures(Cultural Heritage Management, Architectural preservation, Digital Cultural Heritage, Science for Conservation and Restoration of Cultural Heritage, Cultural Heritage and Preservation, Architectural Representation, Restauration and Conservation, Representation of ancient architecture (technical and pictoresques drawings), and Restoration and Conservation of Ancient and Historic Buildings and Structures)
(Cultural Heritage Management, Architectural preservation, Digital Cultural Heritage, Science for Conservation and Restoration of Cultural Heritage, Cultural Heritage and Preservation, Architectural Representation, Restauration and Conservation, Representation of ancient architecture (technical and pictoresques drawings), and Restoration and Conservation of Ancient and Historic Buildings and Structures)
This paper exposes a new (historico-technical) interpretation and some (planning) updates related to the theme of the ‘perspective boxes’, created as cases of ‘anamorphic’ devices pertaining to the genre of the ‘interior views’ in the... more
This paper exposes a new (historico-technical) interpretation and some (planning) updates related to the theme of the ‘perspective boxes’, created as cases of ‘anamorphic’ devices pertaining to the genre of the ‘interior views’ in the Belgian and Dutch 17th century. We present our considerations as a demonstrative and experimental topic of a more general thesis concerning the aesthetic contiguity between the social domains that we now call ‘art’ and ‘science’. We argue that these ‘curious objects’ are experimental devices generating aesthetic experience since their functioning induces in the spectator a process of subsequent awareness of the different modes of existence (actual, realised, potential and virtual) of the images of a single internal space. The relationships between the geometric construction of these devices and the semantic frames that are proposed for their use allow us to experience their aesthetic and semiotic functioning through some of their current reinventions in the field of displaying.In the study of this particular category of visual artefacts we have followed an ‘anachronical’ method: a) philological analysis of the existing specimens and their essential genealogy, b) study of their geometric device, c) study of their semiotic device, d) real experimentation through their reinventions that highlight some actualising aspects and allow an in vivo demonstration of the interpretative hypotheses.
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Questo contributo espone una nuova interpretazione (storico-tecnica) e alcune riattualizzazioni (progettuali) del tema delle 'scatole prospettiche' realizzate come casi di dispositivi 'anamorfici' nel genere delle 'vedute d'interni' del XVII secolo belga e olandese. Presentiamo le nostre considerazioni come argomento dimostrativo e sperimentale di una tesi più generale concernente la contiguità estetica tra i domini sociali che oggi chiamiamo 'arte' e 'scienza'. Sosteniamo che questi 'oggetti curiosi' sono dispositivi sperimentali d'esperienza estetica giacché il loro funzionamento induce nello spettatore un processo di successive prese di coscienza dei diversi modi di esistenza (attuale, realizzata, potenziale e virtuale) delle immagini di uno stesso spazio in-terno. Le relazioni tra la costruzione geometrica di questi dispositivi e le cornici semantiche che si propongono al loro uso ci consentono di sperimentare il loro funzionamento estetico e semiotico attraverso alcune loro reinvenzioni attuali nel campo del displaying. Nello studio di questa particolare categoria di artefatti visuali abbiamo seguito un metodo 'anacro-nico': a) analisi filologica degli esemplari esistenti e della loro genealogia essenziale, b) studio del loro dispositivo geometrico, c) studio del loro dispositivo semiotico, d) sperimentazione reale attraverso loro reinvenzioni che ne mettono in luci alcuni aspetti attualizzanti e consentono una dimostrazione in vivo delle ipotesi interpretative. Parole chiave storia della rappresentazione, teoria delle immagini, scatole proiettive, displaying, didattica della geo-metria descrittiva.
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Questo contributo espone una nuova interpretazione (storico-tecnica) e alcune riattualizzazioni (progettuali) del tema delle 'scatole prospettiche' realizzate come casi di dispositivi 'anamorfici' nel genere delle 'vedute d'interni' del XVII secolo belga e olandese. Presentiamo le nostre considerazioni come argomento dimostrativo e sperimentale di una tesi più generale concernente la contiguità estetica tra i domini sociali che oggi chiamiamo 'arte' e 'scienza'. Sosteniamo che questi 'oggetti curiosi' sono dispositivi sperimentali d'esperienza estetica giacché il loro funzionamento induce nello spettatore un processo di successive prese di coscienza dei diversi modi di esistenza (attuale, realizzata, potenziale e virtuale) delle immagini di uno stesso spazio in-terno. Le relazioni tra la costruzione geometrica di questi dispositivi e le cornici semantiche che si propongono al loro uso ci consentono di sperimentare il loro funzionamento estetico e semiotico attraverso alcune loro reinvenzioni attuali nel campo del displaying. Nello studio di questa particolare categoria di artefatti visuali abbiamo seguito un metodo 'anacro-nico': a) analisi filologica degli esemplari esistenti e della loro genealogia essenziale, b) studio del loro dispositivo geometrico, c) studio del loro dispositivo semiotico, d) sperimentazione reale attraverso loro reinvenzioni che ne mettono in luci alcuni aspetti attualizzanti e consentono una dimostrazione in vivo delle ipotesi interpretative. Parole chiave storia della rappresentazione, teoria delle immagini, scatole proiettive, displaying, didattica della geo-metria descrittiva.
Research Interests:
The digitisation and cataloguing of the Seguso Vetri d'Arte archive-together with other archives of glass factories preserved in the Giorgio Cini Foundation in Venice-has led to the analysis not only of the documents themselves, but also... more
The digitisation and cataloguing of the Seguso Vetri d'Arte archive-together with other archives of glass factories preserved in the Giorgio Cini Foundation in Venice-has led to the analysis not only of the documents themselves, but also of the relationships between them. What emerges is the particular design process that gives shape to glass. We refer to the process for which the material is responsible, rather than to the intervention of a designer. The role of the designer-in constant cooperation with the glassmaker-remains nonetheless influential, but there are particular constraints to take into account. The research analyses the process that leads to the creation of an artefact through drawings and, consequently, some features of the production of hand-blown glass artefacts in some of the most famous glass factories in Murano during the 20 th century, giving rise to considerations that are related both to artistic and scientific theories emerged in the same years.
Research Interests:
Characterised by a concise style, made up of simple phrases that aim at clarity and scientific effectiveness, the brief introduction of The Chemical Basis of Morphogenesis by Alan Turing already includes all of the themes which will be... more
Characterised by a concise style, made up of simple phrases that aim at clarity and scientific effectiveness, the brief introduction of The Chemical Basis of Morphogenesis by Alan Turing already includes all of the themes which will be discussed in detail in the following paragraphs of his text; at the same time, the author’s awareness that these topics require knowledge that may not be obvious to all readers also emerges. Such knowledge is then mentioned and briefly explained in several passages, as happens for example – in paragraphs not reported here – for some concepts related to the differential equations and the chemical reactions on which his model is based. Hence, the essay has several levels of reading, and, even in this case, it is the author himself who advises the reader which paragraphs to tackle and which to leave out on the basis of his scientific preparation, without losing the general sense of the discussion. This is the reason why this article leaves out mathematical formalisation, as well as the paragraphs that focus more in detail on the physical-chemical aspects. Instead, we have isolated the description of the model, the summary of the results obtained and the author’s conclusions, which contain the desired but unfinished developments of the work. This allows us to focus on the more general characteristics of the model and to appreciate its influence in different areas, above all from an aesthetic point of view, in different fields, therefore not only in physics and chemistry, but also in the theory of arts, architecture and design, in relation to particular artefacts for which, for example, adjectives such as ‘morphogenetic’, ‘parametric’ or ‘performative’ are used.
Research Interests:
The essay investigates some aspects of the "anti-perspective" - i.e. the drawing that tries to figure the intrinsic spaces of Things, to graphically translate them on the plane with effects of ambiguous, reversible, reflected spatiality,... more
The essay investigates some aspects of the "anti-perspective" - i.e. the drawing that tries to figure the intrinsic spaces of Things, to graphically translate them on the plane with effects of ambiguous, reversible, reflected spatiality, reversing the (topological) meaning of interior/exterior, centre/periphery, enclosed/enclosing - in the opposite formulations of the theme that coexisted in the framework of the Muscovite VchuTeMas. The difference between (Florenskij's) "figurative" and (the constructivists') "abstractionist" anti-perspective is studied by means of a comparison between coeval drawings, emblematic of the two opposite aesthetics. On the one hand (the abstractionist one) it mainly concerns the graphic genre of the unfolded and reversed axonometry, developed through El Lissitzky's projects for the installations of the spatial Proun works, then spread as a visual theme in the abstractionist international in the 1920s and in its subsequent American diaspora. On the other hand (the realist one) it deals with Florenskij's anti-perspective theory, as well as some examples that testify to it: the woodcut covers by Vladimir Favorskij (instructed by Florenskij) in which the techniques of reflection and inversion are highlighted. Translating the opposition between "abstractionists" vs. "figurativists" into the one between "palingenists vs. anachronists", we clarify the difference between the two opposite "anti-perspectives" as a difference between two models of visual signification: the first excludes the "figurative" and allegorical dimension on which the second is based.
Research Interests: History of Perspective in Painting, Graphic Design, History of Architectural Representation, Representation, Perspective, and 15 moreStereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas(Stereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas)
(Stereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas)
Il saggio indaga aspetti della "anti-prospettiva" - cioè, del disegno che cerca di figurare gli spazi intrinseci delle cose, di tradurli graficamente sul piano con effetti di spazialità ambigua, reversibile, riflessa, invertendo il senso... more
Il saggio indaga aspetti della "anti-prospettiva" - cioè, del disegno che cerca di figurare gli spazi intrinseci delle cose, di tradurli graficamente sul piano con effetti di spazialità ambigua, reversibile, riflessa, invertendo il senso (topologico) di interno/esterno, centro/ periferia, inglobato/inglobante - nelle formulazioni opposte del tema che convissero nell'ambiente dei VchuTeMas moscoviti. Si studia la differenza che sussiste tra l'anti-prospettiva "figurativa" (di Florenskij) e quella "astrattista" (dei costruttivisti) attraverso un confronto tra grafici coevi, emblematici delle due opposte estetiche. Da un lato (astrattista) si tratta specialmente del genere grafico dell'assonometria svolta e rovesciata, sviluppato coi progetti per gli allestimenti dei Proun spaziali di El Lissitzky, poi diffuso come tema visuale nell'internazionale astrattista degli anni Venti e nella sua successiva diaspora americana. Dal lato opposto (realista) si tratta della teoria anti-prospettica di Florenskij, nonché di esempi che la testimoniano: le copertine xilografiche di Vladimir Favorskij (istruite da Florenskij) nelle quali si evidenziano le tecniche della riflessione e dell'inversione. Traducendo l'opposizione tra "astrattisti" e "figurativisti" in quella tra "palingenici e anacronici", chiariamo la differenza tra le due opposte "anti-prospettive" come differenza tre due modelli di significazione visiva: il primo esclude la dimensione figurativa e allegorica dalle quali muove il secondo.
Research Interests: History of Perspective in Painting, Graphic Design, History of Architectural Representation, Representation, Perspective, and 15 moreStereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas(Stereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas)
(Stereotomy, Descriptive Geometry, History of Masonry Architecture, Art and image theory, Pavel Alexandrovich Florensky, Figuration, Pavel Florenski, Image theory, Descriptive Geometry, El Lissitzky, Foundations and applications of Descriptive Geometry, Pavel A. Florenskij, Theory of images, History of representations, Axonometric Drawing, ВХУТЕМАС, and Vchutemas)
On considère ici le sujet de l'imagination et de ses relations avec des théories particulières (qui ont été utilisées dans une grande variété de domaines) en donnant l'exemple d'Alan Turing, qui a envisagé un modèle de la... more
On considère ici le sujet de l'imagination et de ses relations avec des théories particulières (qui ont été utilisées dans une grande variété de domaines) en donnant l'exemple d'Alan Turing, qui a envisagé un modèle de la morphogenèse pour expliquer le développement des êtres vivants et un moyen pour visualiser ce mécanisme à l'aide d'un ordinateur et d'une feuille quadrillée.
De cette façon, il a pu reconstruire plusieurs des stades du développement d'un système stochastique qui est capable de décrire un grand nombre de processus naturels et qui a été appliqué récemment aussi à la forme des villes et à la création d'objets qui font partie du design morphogénétique. Dans tous ces cas, on peut retrouver la même logique d’émergence d’une forme à partir d’une matière qui n’est pas inerte comme dans le modèle hylémorphique aristotélicien, un mécanisme qui nous permet d’analyser les analogies qui sont à la base de nos catégories eidétiques.
De cette façon, il a pu reconstruire plusieurs des stades du développement d'un système stochastique qui est capable de décrire un grand nombre de processus naturels et qui a été appliqué récemment aussi à la forme des villes et à la création d'objets qui font partie du design morphogénétique. Dans tous ces cas, on peut retrouver la même logique d’émergence d’une forme à partir d’une matière qui n’est pas inerte comme dans le modèle hylémorphique aristotélicien, un mécanisme qui nous permet d’analyser les analogies qui sont à la base de nos catégories eidétiques.
Research Interests: Mathematics, Stochastic Process, Chemistry, Philosophy, Design, and 15 moreNonlinear Dynamics and Stochasticity, Settlement Patterns, Pattern Recognition, Biology, Design Patterns, Morphology, Drawing, Imagination, Morphogenesis, Pattern Recognition and Classification, Alan Turing, Stochastic Modeling, Shape, Philosophy of Mind: Imagination, and Eidetic Categories
The representation of the interiors in exhibitions – as “exemplary interiors” – and in the graphic, photographic, cinematographic images, is studied here according to the theme of the “anti-perspective” that characterises the two opposite... more
The representation of the interiors in exhibitions – as “exemplary interiors” – and in the graphic, photographic, cinematographic images, is studied here according to the theme of the “anti-perspective” that characterises the two opposite tendencies – the abstractionist and the realist one – in the teaching of graphic arts at VChUTEMAS in Moscow. On the one hand, the best example of Proun, intended both as a graphic representation and a spatial installation, is the Kabinett der Abstrakten by El Lissitzky. On the other hand, Pavel Florenskij’s teaching opposes to the naive abstractionism a realist semiotics of the work of art and an anti-Kantian geometry that we exemplify by showing its analogy with the conception of “internal space” expressed by Andrej Tarkovskij in Solaris.
Research Interests:
By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore,... more
By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore, we can say that form is the result of forces located inside the matter, as it also happens in the generation of a living organism. For this reason the discourse on the creation and graphic representation of these objects can be approached from the point of view of biomorphism, a feature that can be found in similar artefacts on several levels: from the figurativity of the glass animals to the almost abstract shape obtained from the self-organising matter through its intrinsic forces. It is precisely in the creations with a higher degree of abstraction that we observe the same “biomorphic” feature found in some of the major scientific and artistic studies since the 1950s, although the tradition of blown glass, with its particular processing techniques, is preserved.
Research Interests:
Cities as organisms in constant transformation can be described with the aid of models based on dynamic and complex systems. Among the different possibilities, we will analyse Alan Turing's morphogenetic model as an exemplary case: it has... more
Cities as organisms in constant transformation can be described with the aid of models based on dynamic and complex systems. Among the different possibilities, we will analyse Alan Turing's morphogenetic model as an exemplary case: it has been initially used to account for the growth of living beings, but it has been later applied to many different fields as well. Its adequacy to describe the development of cities lies in the fact that it is a stochastic model, where the interaction between a series of local forces gives rise to global arrangements that cannot be actually predicted.
We will deal with some of the most relevant approaches in urban morphogenesis related to these theories in order to prove that, from this point of view, there are analogies between phenomena that occur in the natural and in the artificial domain and that cannot be explained making use of a hylomorphic scheme, according to which form is imposed to an inert matter. On the contrary, form emerges through a mechanism of self-organisation whose description requires particular eidetic categories.
We will deal with some of the most relevant approaches in urban morphogenesis related to these theories in order to prove that, from this point of view, there are analogies between phenomena that occur in the natural and in the artificial domain and that cannot be explained making use of a hylomorphic scheme, according to which form is imposed to an inert matter. On the contrary, form emerges through a mechanism of self-organisation whose description requires particular eidetic categories.
Research Interests: Stochastic Process, Self-Organization, Nonlinear Dynamics and Stochasticity, Urban Studies, Morphology, and 10 moreCellular Automata, Urban Morphogenesis, Digital Morphogenesis, Morphogenesis, Computational Morphogenesis, Stochastic Modeling, Urban form, Reaction-Diffusion Systems, Stochastic Optimization, and Eidetic Categories
In 1921-25, between two opposite aesthetics of the anti-perspective taught at the VchuTeMas - i) the “Reverse perspective” of the Russian icons described by Florenskij and ii) El Lissitzky's theory of the “Proun” - there was a failed... more
In 1921-25, between two opposite aesthetics of the anti-perspective taught at the VchuTeMas - i) the “Reverse perspective” of the Russian icons described by Florenskij and ii) El Lissitzky's theory of the “Proun” - there was a failed dialogue that, a century later, must be resumed starting to cross the two opposite utopias from which those aesthetics come: i) the spiritualist and figurative one, and ii) the abstractionist and productivist one. The first, the bearer of an embryonic semiotic model of the work of art; the second, the advocate of a transformation of the social domains of the arts into forms of design.
Research Interests: Interior Design, Drawing, Interior Design (Architecture), Drawings (Architecture), Russian avant-garde art, and 15 moreInterior Architecture, Piet Mondrian, Perspective, Pavel Alexandrovich Florensky, Interior, Pavel Florenski, Architectural Drawing, El Lissitzky, Russian Avant-Garde, Pavel A. Florenskij, Florensky, Drawing as a research tool, Drawing as a tool for design, Axonometric Drawing, and Proun
The drawings and photographs preserved in the Seguso Vetri d'Arte archive at the Giorgio Cini Foundation in Venice allow us to reconstruct the creative process that leads to the generation of glass objects and to analyse it in the light... more
The drawings and photographs preserved in the Seguso Vetri d'Arte archive at the Giorgio Cini Foundation in Venice allow us to reconstruct the creative process that leads to the generation of glass objects and to analyse it in the light of the – physical and metaphorical – theme of reflection. Taking specifically into consideration the production of glass fish, we study, on the one hand, the techniques that have been adopted during the twentieth century to emphasize the three-dimensionality of the object, limiting its reflection and refraction; on the other hand, the features of living beings that are reflected in these creations at different levels. This analogy can be considered at a figurative level, but also at a deeper one, when a greater degree of abstraction is reached, dealing with the interaction of forces, which recalls some biological morphogenetic theories developed in the 1950s, highlighting the interdependence of form and matter.
Research Interests:
The representation of the interiors in exhibitions – as “exemplary interiors” – and in the graphic, photographic, cinematographic images, is studied here according to the theme of the “anti-perspective” that characterises the two opposite... more
The representation of the interiors in exhibitions – as “exemplary interiors” – and in the graphic, photographic, cinematographic images, is studied here according to the theme of the “anti-perspective” that characterises the two opposite tendencies – the abstractionist and the realist one – in the teaching of graphic arts at VChUTEMAS in Moscow. On the one hand, the best example of Proun, intended both as a graphic representation and a spatial installation, is the Kabinett der Abstrakten by El Lissitzky. On the other hand, Pavel Florenskij’s teaching opposes to the naive abstractionism a realist semiotics of the work of art and an anti-Kantian geometry that we exemplify by showing its analogy with the conception of “internal space” expressed by Andrej Tarkovskij in Solaris.
ISBN 978-88-99586-07-2
ISBN 978-88-99586-07-2
Research Interests:
By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore,... more
By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore, we can say that form is the result of forces located inside the matter, as it also happens in the generation of a living organism.
For this reason the discourse on the creation and graphic representation of these objects can be approached from the point of view of biomorphism, a feature that can be found in
similar artefacts on several levels: from the figurativity of the glass animals to the almost abstract shape obtained from the self-organising matter through its intrinsic forces.
It is precisely in the creations with a higher degree of abstraction that we observe the same "biomorphic" feature found in some of the major scientific and artistic studies since the 1950s, although the tradition of blown glass, with its particular processing techniques, is preserved.
ISBN 978-88-99586-07-2
For this reason the discourse on the creation and graphic representation of these objects can be approached from the point of view of biomorphism, a feature that can be found in
similar artefacts on several levels: from the figurativity of the glass animals to the almost abstract shape obtained from the self-organising matter through its intrinsic forces.
It is precisely in the creations with a higher degree of abstraction that we observe the same "biomorphic" feature found in some of the major scientific and artistic studies since the 1950s, although the tradition of blown glass, with its particular processing techniques, is preserved.
ISBN 978-88-99586-07-2
Research Interests:
The contribution focuses on the comparison of two types of case studies: 1) educational devices dedicated to the historical heritage of the Interior Design and 2) artistic (on-site) installations dedicated to the experience of the... more
The contribution focuses on the comparison of two types of case studies: 1) educational devices dedicated to the historical heritage of the Interior Design and 2) artistic (on-site) installations dedicated to the experience of the landscape. Both cases are characterised by low digital technology, high level of analogic experience, translation of images between different visual and haptic media in real environments that still function as wunderkammern. Our aim is to study the semiotic device shared by these different cases.
Research Interests: Art History, Cultural Heritage, Contemporary Art, Landscape Architecture, Visual Semiotics, and 14 moreInterior Design, Low Cost Technology, Venetian art and architectural history, Imagination, Immersive Virtual Learning Environment, Immersive Environments, Imaginarios sociales, The Historical Imagination, Google Sketchup, Interior, Imaginary, Immersive Virtual Learning Environments, Immersive visualization, and Descriptive Geometry(Interior Design, Low Cost Technology, Venetian art and architectural history, Imagination, Immersive Virtual Learning Environment, Immersive Environments, Imaginarios sociales, The Historical Imagination, Google Sketchup, Interior, Imaginary, Immersive Virtual Learning Environments, Immersive visualization, and Descriptive Geometry)
(Interior Design, Low Cost Technology, Venetian art and architectural history, Imagination, Immersive Virtual Learning Environment, Immersive Environments, Imaginarios sociales, The Historical Imagination, Google Sketchup, Interior, Imaginary, Immersive Virtual Learning Environments, Immersive visualization, and Descriptive Geometry)
The contribution focuses on the comparison of two types of case studies: 1) educational devices dedicated to the historical heritage of the Interior Design and 2) artistic (on-site) installations dedicated to the experience of the... more
The contribution focuses on the comparison of two types of case studies: 1) educational devices dedicated to the historical heritage of the Interior Design and 2) artistic (on-site) installations dedicated to the experience of the landscape. Both cases are characterised by low digital technology, high level of analogic experience, translation of images between different visual and haptic media in real environments that still function as wunderkammern. Our aim is to study the semiotic device shared by these different cases.
Research Interests:
Cities as organisms in constant transformation can be described with the aid of models based on dynamic and complex systems. Among the different possibilities, we will analyse Alan Turing's morphogenetic model as an exemplary case: it has... more
Cities as organisms in constant transformation can be described with the aid of models based on dynamic and complex systems. Among the different possibilities, we will analyse Alan Turing's morphogenetic model as an exemplary case: it has been initially used to account for the growth of living beings, but it has been later applied to many different fields as well. Its adequacy to describe the development of cities lies in the fact that it is a stochastic model, where the interaction between a series of local forces gives rise to global arrangements that cannot be actually predicted.
We will deal with some of the most relevant approaches in urban morphogenesis related to these theories in order to prove that, from this point of view, there are analogies between phenomena that occur in the natural and in the artificial domain and that cannot be explained making use of a hylomorphic scheme, according to which form is imposed to an inert matter. On the contrary, form emerges through a mechanism of self-organisation whose description requires particular eidetic categories.
Full text: https://www.academia.edu/38230388/Urban_form_as_a_stochastic_equilibrium_some_applications_of_Alan_Turings_morphogenetic_model
ISBN 978-88-941188-5-8
We will deal with some of the most relevant approaches in urban morphogenesis related to these theories in order to prove that, from this point of view, there are analogies between phenomena that occur in the natural and in the artificial domain and that cannot be explained making use of a hylomorphic scheme, according to which form is imposed to an inert matter. On the contrary, form emerges through a mechanism of self-organisation whose description requires particular eidetic categories.
Full text: https://www.academia.edu/38230388/Urban_form_as_a_stochastic_equilibrium_some_applications_of_Alan_Turings_morphogenetic_model
ISBN 978-88-941188-5-8
Research Interests: Stochastic Process, Nonlinear Dynamics and Stochasticity, Urban Morphology, Urban Studies, Morphology, and 11 moreCellular Automata, Urban Morphogenesis, Digital Morphogenesis, Morphogenesis, Computational Morphogenesis, Stochastic Modeling, Urban form, Reaction-Diffusion Systems, Stochastic Optimization, Self-organisation, and Eidetic Categories
The daily show of real-time infographic, through different media and technological platforms, gives evidence of the topicality of a project of a rational visual communication system laid out by Neurath and bound to the idea of a rational... more
The daily show of real-time infographic, through different media and technological platforms, gives evidence of the topicality of a project of a rational visual communication system laid out by Neurath and bound to the idea of a rational evolution of the visual semiotic systems through the subject of the relationships between image and writing in history, pre-history and current design of visual artefacts. We indicate here some of the terms in which a physicalist semiotics can formulate a stylisation model in some species of visual artefacts, between graphics and architecture.
Research Interests: Visual Sociology, Visual Studies, Visualization, Visual Culture, Information Visualization, and 15 moreVisual Semiotics, Graphic Design, Visual perception, Visual Communication, Data Visualization, Rationality, Infographics and data visualization, Visual Communication Design, Infographics, Infography, Otto Neurath, Stylization, Neurath, Marie Neurath, and Stylisation
Cellular automata are models that deal with both nature and artefacts: they can indeed simulate living beings as well as be employed in the creation of objects. After the introduction of this concept by Stanislaw Ulam and John Von Neumann... more
Cellular automata are models that deal with both nature and artefacts: they can indeed simulate living beings as well as be employed in the creation of objects. After the introduction of this concept by Stanislaw Ulam and John Von Neumann in the late 1940s, many different kinds of cellular automata have been created and have become part of what Christopher Langton called " artificial life " in 1986. The most complex examples among them are based on stochastic development, thus they share their structural properties with morphogenetic models like the one suggested by Alan Turing (1952). This is the reason why some cellular automata are capable of simulating the development of living beings , but also of cities and artefacts. They are indeed widely used in computer graphics related to parametric design, in order to create performative objects at various scales that can be produced according to the principle of mass customisation. The purpose of this study is to analyse the properties of these models with the help of computer simulations and, as a consequence, to explore some of their different fields of application. As a result, it can be observed that these processes , based on a stochastic geometry, can lead not only to simple biomimicry (regarded as the artificial replication of biological features) but also, in a wider sense, to bioinspiration (a more general relation between nature and artefacts based on shared structural properties).
Research Interests: Stochastic Process, Computer Graphics, Design, Dynamical Systems, Nonlinear Dynamics and Stochasticity, and 33 moreMass Customisation, Artificial Life, Biomimetics, Nonlinear dynamics, Urban Morphology, Urban Studies, Morphology, Cellular Automata, Urban Morphogenesis, Parametric Design (Architecture), Bioinspiration, Morphogenesis, Differential Equations Theory and Dynamical Systems, Biomimicry, Mass Customization, Alan Turing, Geometry, Stochastic Modeling, biomimetics Design, Bioinspired design /architecture, Parametric Modeling, Parametric Design, Morphogenetic Fields, Lindenmayer systems, Bioinspired Algorithms, Parametric Urban Design, Biomimicry and Architecture, Morphogenetic Approach, Morphogenetic Design, Fredkin Zuse Thesis, Game of Life, Elementary Cellular Automata, and Eidetic Categories(Mass Customisation, Artificial Life, Biomimetics, Nonlinear dynamics, Urban Morphology, Urban Studies, Morphology, Cellular Automata, Urban Morphogenesis, Parametric Design (Architecture), Bioinspiration, Morphogenesis, Differential Equations Theory and Dynamical Systems, Biomimicry, Mass Customization, Alan Turing, Geometry, Stochastic Modeling, biomimetics Design, Bioinspired design /architecture, Parametric Modeling, Parametric Design, Morphogenetic Fields, Lindenmayer systems, Bioinspired Algorithms, Parametric Urban Design, Biomimicry and Architecture, Morphogenetic Approach, Morphogenetic Design, Fredkin Zuse Thesis, Game of Life, Elementary Cellular Automata, and Eidetic Categories)
(Mass Customisation, Artificial Life, Biomimetics, Nonlinear dynamics, Urban Morphology, Urban Studies, Morphology, Cellular Automata, Urban Morphogenesis, Parametric Design (Architecture), Bioinspiration, Morphogenesis, Differential Equations Theory and Dynamical Systems, Biomimicry, Mass Customization, Alan Turing, Geometry, Stochastic Modeling, biomimetics Design, Bioinspired design /architecture, Parametric Modeling, Parametric Design, Morphogenetic Fields, Lindenmayer systems, Bioinspired Algorithms, Parametric Urban Design, Biomimicry and Architecture, Morphogenetic Approach, Morphogenetic Design, Fredkin Zuse Thesis, Game of Life, Elementary Cellular Automata, and Eidetic Categories)
The old concept of eidos summed up those of “form” and “image” of an object; this is the subject covered here, supporting a realistic theory of conception and design, as opposed to the anti-realism of the postmodern age and its media... more
The old concept of eidos summed up those of “form” and “image” of an object; this is the subject covered here, supporting a realistic theory of conception and design, as opposed to the anti-realism of the postmodern age and its media conception of “image”. Nowadays it is believed that some ways of conceiving the form and image of the artefacts—according to the current tendency towards naturalisation in social science, which has followed the converging technological and scientific progress of the third industrial revolution—derive from particular morphogenetic (ontogenetic and phylogenetic) models developed in natural science. From this point of view, the subject of “natural images” has become a central issue, which can be interpreted in two considerably different meanings: (1) as perceptual characteristics of natural environments; (2) as a format of visions. The issue of “natural images” (by incorporating the meanings 1–2) is a morphological matter, which is highly relevant to both the natural (cognitive) and cultural (anthropologic) points of view in visual studies and theory of images. In other words, the topic allows some remarks on the ways the concepts of “form” and “image” equally concern Naturalia and Artificialia. This difference measures the complexity of the issue that we exemplify only in the case of cellular automata, but with a particular focus on the simultaneous new emerging meanings of the term “image”. The different specific meanings of “image” articulate the themes of the essay: from the image interpreted as shape, eidos and Bild—i.e., as objective geometry (the shape of things)—to its definition in terms of Gestalt, i.e., as subjective geometry (format of perception).
Research Interests: Cognitive Psychology, Aesthetics, Visual Studies, Design, Dynamical Systems, and 50 moreComputational Geometry, Visual Culture, Visual Culture in Education, Visual Semiotics, Computational Modelling, Design Theory, Gilbert Simondon, Morphology, Generative Design (Design Multi Disciplinary Practice), Urban Morphogenesis, Design thinking, Design Theory (Architecture), Design Theory and Philosophy, Generative design, Digital Morphogenesis, Dynamical systems and Chaos, Morphogenesis, Visual Arts, Differential Equations, Differential Equations Theory and Dynamical Systems, Computational Morphogenesis, Alan Turing, Psychology of Perception, Aesthetics, Semiotics and Visual Cognition, Architectural Morphology, Visual Cultures, Art and image theory, Generative Architectural Design, Psychology of Visual Perception, Image theory, Aesthetics and Visual Culture, Psychology of Perception in Architecture, Morphogenetic Approach, Semiotics of Perception and Cognition, Eidos, Morphogenetics, Theory of images, Generative Architectural Design, Adaptive Morphogenetic Architecture, Semiotics of Artifacts, Psychology of Perception in Arts, Morphogenetic Design, Theory and Philosophy of Image, Generative form, Computational Architecture, Semiotics of Visual Images, Semiotica Visual, Cognitive Visual Semiotics, Semiotics; Psychology of Perception, Eidetic Categories, and Eidogenesis(Computational Geometry, Visual Culture, Visual Culture in Education, Visual Semiotics, Computational Modelling, Design Theory, Gilbert Simondon, Morphology, Generative Design (Design Multi Disciplinary Practice), Urban Morphogenesis, Design thinking, Design Theory (Architecture), Design Theory and Philosophy, Generative design, Digital Morphogenesis, Dynamical systems and Chaos, Morphogenesis, Visual Arts, Differential Equations, Differential Equations Theory and Dynamical Systems, Computational Morphogenesis, Alan Turing, Psychology of Perception, Aesthetics, Semiotics and Visual Cognition, Architectural Morphology, Visual Cultures, Art and image theory, Generative Architectural Design, Psychology of Visual Perception, Image theory, Aesthetics and Visual Culture, Psychology of Perception in Architecture, Morphogenetic Approach, Semiotics of Perception and Cognition, Eidos, Morphogenetics, Theory of images, Generative Architectural Design, Adaptive Morphogenetic Architecture, Semiotics of Artifacts, Psychology of Perception in Arts, Morphogenetic Design, Theory and Philosophy of Image, Generative form, Computational Architecture, Semiotics of Visual Images, Semiotica Visual, Cognitive Visual Semiotics, Semiotics; Psychology of Perception, Eidetic Categories, and Eidogenesis)
(Computational Geometry, Visual Culture, Visual Culture in Education, Visual Semiotics, Computational Modelling, Design Theory, Gilbert Simondon, Morphology, Generative Design (Design Multi Disciplinary Practice), Urban Morphogenesis, Design thinking, Design Theory (Architecture), Design Theory and Philosophy, Generative design, Digital Morphogenesis, Dynamical systems and Chaos, Morphogenesis, Visual Arts, Differential Equations, Differential Equations Theory and Dynamical Systems, Computational Morphogenesis, Alan Turing, Psychology of Perception, Aesthetics, Semiotics and Visual Cognition, Architectural Morphology, Visual Cultures, Art and image theory, Generative Architectural Design, Psychology of Visual Perception, Image theory, Aesthetics and Visual Culture, Psychology of Perception in Architecture, Morphogenetic Approach, Semiotics of Perception and Cognition, Eidos, Morphogenetics, Theory of images, Generative Architectural Design, Adaptive Morphogenetic Architecture, Semiotics of Artifacts, Psychology of Perception in Arts, Morphogenetic Design, Theory and Philosophy of Image, Generative form, Computational Architecture, Semiotics of Visual Images, Semiotica Visual, Cognitive Visual Semiotics, Semiotics; Psychology of Perception, Eidetic Categories, and Eidogenesis)
The old concept of “eidos” summed up those of “form” and “image” of an object; this is the subject covered here, supporting a realistic theory of conception and design, as opposed to the anti-realism of the postmodern age and its media... more
The old concept of “eidos” summed up those of “form” and “image” of an object; this is the subject covered here, supporting a realistic theory of conception and design, as opposed to the anti-realism of the postmodern age and its media conception of “image”. Nowadays it is believed that some ways of conceiving the form and image of the artefacts – according to the current tendency of naturalisation in social science following the converging technological and scientific progress in the third industrial revolution – derive from particular morphogenetic (ontogenetic and phylogenetic) models developed in natural science.
From this point of view, the subject of “natural images” has become a central issue which can be interpreted in two considerably different meanings: 1) as perceptual characteristics of natural environments; 2) as a format of visions.
The issue of “natural images” (by incorporating the meanings 1-2) is a morphologic matter which is highly relevant to both the natural (cognitive) and cultural (anthropologic) point of view in visual studies and theory of images. In other words, the topic allows some remarks on the ways the concepts of “form” and “image” equally concern Naturalia and Artificialia.
This difference measures the complexity of the issue that we exemplify only for the case of cellular automata, but with a particular focus on the simultaneous new emerging meanings of the term “image”. The different specific meanings of “image” articulate the themes of the essay: from the image interpreted as shape, eidos and bild – i.e. as objective geometry (the shape of things) –, to its definition in terms of gestalt, i.e. as subjective geometry (format of perception).
From this point of view, the subject of “natural images” has become a central issue which can be interpreted in two considerably different meanings: 1) as perceptual characteristics of natural environments; 2) as a format of visions.
The issue of “natural images” (by incorporating the meanings 1-2) is a morphologic matter which is highly relevant to both the natural (cognitive) and cultural (anthropologic) point of view in visual studies and theory of images. In other words, the topic allows some remarks on the ways the concepts of “form” and “image” equally concern Naturalia and Artificialia.
This difference measures the complexity of the issue that we exemplify only for the case of cellular automata, but with a particular focus on the simultaneous new emerging meanings of the term “image”. The different specific meanings of “image” articulate the themes of the essay: from the image interpreted as shape, eidos and bild – i.e. as objective geometry (the shape of things) –, to its definition in terms of gestalt, i.e. as subjective geometry (format of perception).
Research Interests:
Set in the context of semiotics of (artefact) design, this contribution suggests a new frame to examine the “eidetic categories” used in the analysis of the “plastic level” of (visual) artefacts, starting from Gilbert Simondon's... more
Set in the context of semiotics of (artefact) design, this contribution
suggests a new frame to examine the “eidetic categories” used in the analysis of the
“plastic level” of (visual) artefacts, starting from Gilbert Simondon's thesis.
Simondon traces the most essential evolutionary path in relation to the design of
“inorganic” artefacts: these products tend to become increasingly “organic”, made
of integrated parts and bound to their environment. This evolution is not only
technical, but also aesthetical, and it leads to consider the matter as something that
tends to find the most metastable arrangement.
Thus, there is even an evolution in the “eidetic categories” adopted to describe an
object: this is explained through the case of Turing's morphogenetic model (1952)
and some examples of its recent applications to different fields, from urban studies
to decoration and morphogenetic design.
suggests a new frame to examine the “eidetic categories” used in the analysis of the
“plastic level” of (visual) artefacts, starting from Gilbert Simondon's thesis.
Simondon traces the most essential evolutionary path in relation to the design of
“inorganic” artefacts: these products tend to become increasingly “organic”, made
of integrated parts and bound to their environment. This evolution is not only
technical, but also aesthetical, and it leads to consider the matter as something that
tends to find the most metastable arrangement.
Thus, there is even an evolution in the “eidetic categories” adopted to describe an
object: this is explained through the case of Turing's morphogenetic model (1952)
and some examples of its recent applications to different fields, from urban studies
to decoration and morphogenetic design.
Research Interests:
In "The Design Journal: An International Journal for All Aspects of Design " 20:sup1, S317-S331, DOI: 10.1080/14606925.2017.1352849. Set in the context of semiotics of (artefact) design, this contribution suggests a new frame to examine... more
In "The Design Journal: An International Journal for All Aspects of Design " 20:sup1, S317-S331, DOI: 10.1080/14606925.2017.1352849.
Set in the context of semiotics of (artefact) design, this contribution suggests a new frame to examine the “eidetic categories” used in the analysis of the “plastic level” of (visual) artefacts, starting from Gilbert Simondon's thesis. Simondon traces the most essential evolutionary path in relation to the design of “inorganic” artefacts: these products tend to become increasingly “organic”, made of integrated parts and bound to their environment. This evolution is not only technical, but also aesthetical, and it leads to consider the matter as something that tends to find the most metastable arrangement. Thus, there is even an evolution in the “eidetic categories” adopted to describe an object: this is explained through the case of Turing's morphogenetic model (1952) and some examples of its recent applications to different fields, from urban studies to decoration and morphogenetic design.
Set in the context of semiotics of (artefact) design, this contribution suggests a new frame to examine the “eidetic categories” used in the analysis of the “plastic level” of (visual) artefacts, starting from Gilbert Simondon's thesis. Simondon traces the most essential evolutionary path in relation to the design of “inorganic” artefacts: these products tend to become increasingly “organic”, made of integrated parts and bound to their environment. This evolution is not only technical, but also aesthetical, and it leads to consider the matter as something that tends to find the most metastable arrangement. Thus, there is even an evolution in the “eidetic categories” adopted to describe an object: this is explained through the case of Turing's morphogenetic model (1952) and some examples of its recent applications to different fields, from urban studies to decoration and morphogenetic design.
Research Interests:
Based on the assumption that “Drawing” aims at providing the most effective expression of the figural geometry of visual, natural or artificial objects, this paper proposes to analyse two branches of the discipline: 1) a notion of... more
Based on the assumption that “Drawing” aims at providing the most effective expression of the figural geometry of visual, natural or artificial objects, this paper proposes to analyse two branches of the discipline:
1) a notion of “figural geometry” of the bodies consisting of a “figurative” (iconic and analogical) and a “plastic” (mereological and gestaltic) component;
2) new “form” (eidetic) categories more suitable for the comprehension of the main aesthetic artefacts – from city to decoration – resulting from some morphogenetic models, especially those developed by Turing and Thom.
1) a notion of “figural geometry” of the bodies consisting of a “figurative” (iconic and analogical) and a “plastic” (mereological and gestaltic) component;
2) new “form” (eidetic) categories more suitable for the comprehension of the main aesthetic artefacts – from city to decoration – resulting from some morphogenetic models, especially those developed by Turing and Thom.
Research Interests: Aesthetics, Design, Dynamical Systems, Computational Geometry, Visual Culture, and 21 moreVisual Semiotics, Design Theory, Urban Morphology, Morphology, Drawing, Urban Morphogenesis, Design thinking, Design Theory and Philosophy, Morphogenesis, Visual Arts, Differential Equations Theory and Dynamical Systems, Alan Turing, Art and image theory, Image theory, Descriptive Geometry, Semiotics of Perception and Cognition, Eidos, René Thom, Semiotics of Artifacts, D'Arcy Wentworth Thompson, and Eidetic Categories(Visual Semiotics, Design Theory, Urban Morphology, Morphology, Drawing, Urban Morphogenesis, Design thinking, Design Theory and Philosophy, Morphogenesis, Visual Arts, Differential Equations Theory and Dynamical Systems, Alan Turing, Art and image theory, Image theory, Descriptive Geometry, Semiotics of Perception and Cognition, Eidos, René Thom, Semiotics of Artifacts, D'Arcy Wentworth Thompson, and Eidetic Categories)
(Visual Semiotics, Design Theory, Urban Morphology, Morphology, Drawing, Urban Morphogenesis, Design thinking, Design Theory and Philosophy, Morphogenesis, Visual Arts, Differential Equations Theory and Dynamical Systems, Alan Turing, Art and image theory, Image theory, Descriptive Geometry, Semiotics of Perception and Cognition, Eidos, René Thom, Semiotics of Artifacts, D'Arcy Wentworth Thompson, and Eidetic Categories)