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This year too, UID promoted a new doctoral workshop which, as usual, focused on a specific theme, that is, an intensive training activity carried out over the course of a week, and in which doctoral students from various parts of Italy participated and were guided during the study days by various professors. [read more]

In the most general sense, ‘point of view’ means point from which something is imagined to be observed (an object, an architecture, a landscape, etc.). The concept of ‘point of view’ is in fact synonymous in terms of ‘angulation’, ‘visual angle’, ‘perspective’ and can correspond to a point that is both physical and figurative. [read more]

This paper investigates the recent innovative application of drone information technology to create complex visual narratives in the night skies, which refer to the more traditional images made by fireworks. The object of study involves two main topics. The first consists in a critical analysis of bibliographic literature in the field of pyrotechnic art through the consultation of texts from the sixteenth century to the twentieth century. The second is represented by the analysis of the recent digital technique of setting up colored images, created in the night sky by the movement of luminous drones. Compared to fireworks, the attention towards this type of luminous aerial views is decidedly increasing. In this sense, the luminous drones present themselves as alternative fireworks, reusable with countless different visual narratives and three-dimensional choreographies synchronized with musical performances. An increasingly widespread development of this digital display technology is therefore conceivable in the future. Therefore, it is of interest here to analyze the methods of implementation for the construction of the image and the transition from drawing ‘on paper’ to drawing ‘in the sky’.

Respecting the interdisciplinary and collective nature of the journal, this article proposes a reflection on the value of the image. The reflection is focused on the area of graphic design in relation to two significant commercial and technological contexts, and on the theoretical foundations that participate in the construction of the image. The assumption, which is supported here, is the ethical role of the image, viewed with an eye to the past and a projection towards the future, considered within the academic area for a manifesto aimed at the construction of meaningful images.

Introduced by a Preface by Francesca Fatta, this interesting monographic volume by Massimiliano Ciammaichella investigates the relationship between the invention of scenography in Venice between the sixteenth and seventeenth centuries and the science of perspective, articulating the theme in three chapters (read more).

Along with his humanistic interests, Leon Battista Alberti (1404-1472) was attracted to the world of scientific knowledge both during his youth, while studying physics and mathematics, and when he definitively returned to Rome in 1443 following Pope Eugene IV (1383-1447) and started to study these subjects in greater detail [Bertolini 2004, pp. 246, 249]. It was while in Rome, that according to recent studies, historiography would erroneously place at 1450-1452, Alberti composed a manuscript in the vernacular entitled Ex Ludis Rerum Mathematicarum, better known as Ludi Matematici (read more).

Le scale aperte del ’700 napoletano costituiscono evento urbano e architettonico di inusitata meraviglia e trovano in Ferdinando Sanfelice esempi magistrali di inedita sperimentazione formale e strutturale. Per la sua importante funzione architettonica, il progetto della scala è antico quanto l’architettura stessa. Tuttavia, è nel Barocco che si sperimentano forme tali da restituire il progetto della scala come una configurazione spazio-temporale rappresentativa dell’architettura e dalla dimensione non soltanto monumentale ma anche fantasiosa. Di derivazione quattrocentesca, le scale aperte del Settecento napoletano costituiscono organismi architettonici caratterizzati da peculiari rapporti spazio-percettivi. Gli schemi qui pubblicati comparano (per la prima volta e alla stessa scala di rappresentazione) i corpi scala realizzati a Napoli da Sanfelice. Su questi temi è stata poi svolta una campagna di rilievo architettonico e ambientale, eseguita con metodologia diretta e coordinata da chi scrive (2014-2016), di alcune scale napoletane il cui impianto spaziale rinvia ai modelli sanfeliciani qui esaminati. Queste scale sono state scelte per il peculiare valore urbano, spaziale e costruttivo. Nello specifico, saranno qui illustrate le matrici geometrico-configurative dei due modelli principali di scale denominati “ad ali di falco” e “a sbalzo” e gli esiti delle analisi condotte per comparazione, rispettivamente, fra le scale dei palazzi Sanfelice e Maciocco, e Palmarice e Persico.