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The Italian artist Alberto Burri is known for his artistic research on the expressiveness of materials and particularly for his pictorial cycles more than for his sculptures. However, his expressive power is strongly manifested also in his sculptures. Burri had a strong sensitivity towards solid geometry and his sculptures are absolute works of art. In particular, the paper will investigate the first sculpture created by Burri in 1973, demolished in 1989 and then rebuilt in 2015: the Teatro Continuo created for the Milan Triennial. It is located on the spectacular perspective axis at the centre of the Sempione Park, and it is a synthesis between art and architecture, combining the characteristics of a sculpture, an architectural work and a theatre in the same object. The paper investigates its construction and geometry. The sculpture consists of a raised concrete platform of 17 x 10.5 meters, which can be reached by ramps on each side. On the short sides, there are three rotating iron wings measuring 2.5 x 6 x 0.25 meters, remotely controlled with movements independent one to each other. These had different colours on their sides: the natural colour of the metal sheet and white on the other side, although in Burri's idea the colour could be changed at will. The Teatro Continuo was created with the aim of showing how art can have a flywheel effect in the interaction between humanity and the urban environment, and how much its construction is important as a representative space for the relationship between people and the city.

The paper describes an operational working methodology to be applied for surveys with phase-shift laser scanning, which allows defining a guidelines system to optimize in-field data collection. While reducing the number of scan positions still using the same quality, it is possible to obtain smaller files, in order to limit the computational requirements during editing and post-production. Nonetheless, this methodology guarantees results that are qualitatively comparable to the standard data collection process. Consequently, the angle ranges have been analyzed to find a value that guarantees for the survey a point cloud lighter and more manageable and, at the same time, that maintains a reasonable accuracy. Subsequently, two parameters were defined, “redundancy” and “closeness”, to find an operational process that allows to schematize what is usually achieved with the help of experience in the field: to evaluate the minimum number of scan points that can ensure the necessary overlap for optimal coverage of the entire building surveyed. After defining the study of the ideal situation, the model is applied in a case study, situated in a densely built context, typical of European historical urban centers: the main façade of the G. Ciamician Institute of Chemistry of the University of Bologna (Italy).

In the last two decades, the approach to surveying, profoundly modified by massive acquisition methodologies, has strongly influenced the construction of 3D models, which come closer and closer to reality. Various operations performed on numerical models prove to be necessary for defining geometric or mathematical models, which become ever more congruent with architectonic and archaeological artifacts. Today models are the point of departure for all the activities aimed at a more profound knowledge of the object. Different fields of operations connected with Cultural Heritage - from cataloguing to preservation, from designing to restoration and valorization - begin to present the enormous potentialities inherent in models obtained through 3D surveys. In some cases to observe artifacts in various scales and from different viewpoints, it is such to explore such models than the work itself. Moreover, they make it possible to design and prepare reconstruction, reinforcement and restoration operations directly in three dimensions as well as to document different transformations the artifacts underwent in the course of centuries. Models prove to be an indispensable element not only at the stage of preparation, preservation and valorization but also at that of prevention, which at present seems to be the most efficient and far-sighted means for ensuring the stability and security of architectonic and urban heritage.

The research has started from the cataloguing of the main low cost photomodeling softwares and technologies that can be found on the Internet. After having selected some programs, the research has been held trying to ob-tain - using the same set of photos each time - the urban survey of a representa-tive architecture of the island of Procida, which is a little Mediterranean oasis. We have included in our research softwares such as Photoscan, ReMake, Re-Cap, VisualSFM, and Phyton. These programs work starting from an input, which consists in a certain number of photos, to create the output, which is the 3D model of what the photos de-scribe. Having obtained the same model from each program, we will then pro-ceed to analyse each one, in order to find the slightest differences: the main purpose is to understand which low cost programme will give out the best mod-el. The criteria will be mainly based on the colour and dimensional yield that each program will give out. In conclusion, the main aim of this research is to find the best technologies available, among low cost or licensed programs, which may allow us to get the best survey in the shortest time, in view of further applications in several fields.

The new technologies solved some of the problems of surveying, for example, accelerating data collecting, yielding graphic models less subject to interpretation and more adequately corresponding to reality, or offering the possibility to reproduce the graphic models many times with the view to sharing it with other researchers and scholars. The technology developed in the last twenty years makes it possible to obtain millions of points almost automatically in ever-shorter spans of time. The great advantage of the innovative technologies is that they make it possible to create models of objects characterized by a density of metric and geometric information that no traditional surveying method can yield. This new technologies constitute an useful and flexible tool to restitute a great part of scientific documentation on Cultural Heritage. This paper precisely presents the City of La Havana (Cuba): a series of buildings overlooking the five main squares located in its historic center have been taken into consideration. The process of surveying is conducted with a set of techniques. The acquired data are observable, empirical and measurable with the uncertainty level stated a priori and strictly controlled. Moreover, they can be archived and shared, and thus can be assessed autonomously. Also, all the procedures applied are replicable and therefore it is possible to acquire new sets of information for making comparisons. The SFM technique was applied to the Cuban case study; Structure from motion technique is a digital technology able to generate three-dimensional clouds of points departing from simple raster images. Today, digital technologies at our disposal impose the necessity to analyze in depth hardware and software that work together at all the stages of surveying (acquisition, elaboration, modelling and – obviously – CAD drawing). On the one hand, it is precisely this equipment that allows one to acquire points quickly and without difficulties relative to the volume of the object and the detail level (it is possible to survey artifacts of great dimensions and geometrically complex). On the other hand, the representation of surfaces acquired cannot be said to be so direct. The more relevant the complexity of the object, the more operations are necessary while difficulty level requisite for its representation soars. That is precisely why we are wary of the equipment which executes the whole process fully automatically in favor of semi-automatic processes which allow the operator to intervene in order to select the material, taking into account his knowledge of history and geometry, and to decide which surfaces will be the best for reconstructing the model with the greatest fidelity to reality. Each digital model has to be assigned a scale reference in close relationship with its geometric and perceptual characteristics. We consider it worthwhile to ponder the way in which the information has to be acquired in reference to the enormous possibilities opened up by digital technologies of surveying and representation.

Alberto Burri is an Italian artist who worked in the post-war period; his works belong to the current called "arte informale", that is, contrary to any form. His artistic research ranges from painting to sculpture, where he always focused on the expressiveness of materials, while making his works with common materials. His career initially developed as works in separate series, where each series used a different material. This is precisely the great strength of Burri's work, as each material becomes itself the main subject. The research presented in the paper will focus on the last period of Burri's career, when he added sculptures to his pictorial cycles. The form and meaning of the artist's sculptures will be analysed for the Grandi Ferri (i.e. the Big Irons).

This article deepens the subject of photo-modelling applied to architecture, on a medium and large scale. It in detail deepens the development of the application of a 3D dimensional rendition technology applied to buildings and historical sites that belong to the architectural and cultural heritage of Havana City (Cuba). This article describes the necessary steps to obtain a 3D dimensional textured models from reality through a photographic set. The project aims at providing some new and innovative methods for the Cuban reality. A very interesting topic for the Oficina del Historiador de Ciudad de la Habana, a Cuban public body, that oversees the architectural and cultural heritage of the city. The survey deals with the five squares of Habana Vieja (old town of Havana), through two different ways of working. The first one has a typical technical scientific nature. It elaborates a survey with the combination of various techniques. In this way there is a rendition of a 2D dimensional and 3D dimensional scale model, that includes the urban and architectural information of the squares and their buildings. The second one provides the useful material to create an application just for mobile devices (like smartphone and tablet), for popular, cultural and tourist purposes that can be used offline and online. It is also used as a database in order to create AR (Augmented Reality) applications.

The article deals with the topic of Historic Building Information Modeling (H-BIM) applied to the historical architecture of an urban park within the Itabashi district of Tokyo. The document will address a methodological discussion concerning the construction of parametric models of historic buildings in the park starting from laser scanner detection and Geographic Information System Technology . The research is prompted by the modern need to have databases full of exhaustive information, through which we can preserve the historical heritage present in the Japanese reality, monitoring the conditions and planning the future. This work is carried out in collaboration with the Nihon University of Tokyo, the Alma Mater Studiorum University of Bologna, the Itabashi municipality and the Topcon industry. This work is preparatory for the development of the redevelopment project of the park, through the reuse of its buildings, the arrangement of the green and urban furniture pursuing the objectives of maintaining the historical memory of the place and its harmonization in the urban context, creating a further pole of attraction for citizens and visitors.

Cultural heritage 3D digitalization is a matter of modernity for some Countries, especially those which don't have yet the possibility to take advantage of developed technologies for external communication of their “image”. This research studies in deep the topic of SFM applied to specific urban spaces which are characterized by naturally different features compared to the isolated building, particularly focusing on places and edifices belonging to Old Havana’s cultural and architectural heritage with the purpose to elaborate an AR spreading tool that could be installed on mobile devices.

The research treats the application of technologies related with augmented and virtual reality to architectural and historical context in the city of Havana, Cuba, on the basis of historical studies and Range-Imaging techniques on buildings bordering old city’s five main squares. The specific aim is to transfer all of the data received thanks to the most recent mobiles apps about Augmented Reality (AR) and Virtual reality (VR), in order to give birth to an innovative App never seen before in Cuba. The "Oficina del Historiador de la ciudad de La Habana", institution supervising architectural and cultural asset in Cuba, is widely interested in the topic in order to develop a new educational, cultural and artistic tool to be used both online and offline.Augmented reality apps introduce themselves as a tool of intersection between history and memory. Augmented reality mixes images from the real world with other kinds of data (in this case historical pictures, 1D/2D and 3D, drawings, etc.). The main purpose is to create a tool generating an continuous experience in which digital objects seems to take on a life on its own. This illusion’s not easy to maintain especially in a context like Old Havana’s one, where GPS devices are still not that accurate and the urban texture is various and stratified, it can lead to imprecise data bouncing and so point’s choice is essential. Augmented reality can generate a combination of physical world’s vision and digital representation with a simple click. Future research are developing in this way, investigating on new functionalities to valorize such a beautiful heritage like Cuban one.

The lighthouse, an architecture landmark of the coasts around the world has been the subject of study, especially it focused on the drafting the restoration project of the Punta of Guardia lighthouse on the Ponza island, Italy. Ponza is an island which gives its name to the archipelago of the Pontine islands, located off the Lazio coast. The lighthouse in question is one of the most important signaling systems of medium-high Tyrrhenian, built on a sea stack 112 meters above sea level, at the end of 1800. As almost the totality of these structures, the lighthouse has been abandoned by the date of its automation, for about forty years. The study was accompanied by an historical research of the building, the execution metric and photographic surveys, the materials and construction techniques and as a result of analysis of the degradation and restoration work. All these operations were the prelude for the preparation of a project on the conservation of surfaces and the renovation of the structure, addressing mainly due to humidity problems in all its forms. Then, the restoration has had a conservative order and structure protection in order to strengthen its maritime signaling connotation. Everything preparatory to a reconversion of the touristic intended use, the island's main vocation and to which the building is more likely for its geographical position of extraordinary charm, in full compliance with the soul of the lighthouse, a place that offers an open and flexible tourism type, a lighthouse accommodation, the strength of European tourism of recent years. The project is based on three key point: environment, culture and sustainability.

This article deepens the subject of photo-modelling applied to architecture, on a medium and large scale and it shows all the possibilities to apply the last technologies of augmented reality and virtual reality to the historical and architectural contest of Havana City in Cuba. The context was quite unsuitable to our project because of different and complex reasons. The need to minimize the size of the tools, their weight and cost. Minimize the time of survey and photographic shot on site. To face the difficulties given by the continuing presence of a chaotic influx of people disturbing the work. Not least the difficulty of having a limited number of daily hours available to carry out photographic shots that requires special lighting conditions. This article describes the necessary steps to obtain a 3D dimensional textured model from reality through a photographic set.

There has always existed an inextricable interrelation between architecture and drawing. On the other hand it is obvious that architecture can manifest itself as an expressive literary form (studies of treatises, etc.) as a construction (i.e. as realized usable spaces, etc.) or precisely as drawing (i.e. as a thought-form expressed through signs). Starting from these points the research traces—through historical interpretation, critical analysis and the use of informatics utilizing virtualization as an element of representation—the development of the design idea and the construction of Carlo Scarpa’s Casa Ottolenghi.

The article presents Niccolò Tartaglia as a mathematician active in various fields of science such as mathematics, arithmetic, mechanics, geometry as well as ballistics and military architecture. Although he won general recognition for the Tartaglia's Triangle and his solution to cubic equations, he made important discoveries in ballistics, geometry and military architecture. Among them were calculations of the trajectory of cannon balls, the volume of complex figures and requirements for constructing fortifications able to resist enemy attacks. But his activity remains of interest today mainly because he knew how to fuse theoretical knowledge with practical experience – the fundamental principle of modern science.

The knowledge of historical and architectural heritage is today reinforced by the growing use of digital instruments serving the purpose of documenting and disseminating data. The development techniques to build 3D models made them pivotal elements in popularizing information on objects on the scale of architectonic structures. Digital archives supplement 3D models with heterogeneous data (2D models, images, texts, video materials, bibliographical documents) with the purpose to preserve, evaluate and popularize cultural heritage (CH) by devising an open system of knowledge. This study puts forward a critical operative method and some guidelines to record, construct, manage, visualize and navigate 3D models with a view to achieving a full comprehension of the architecture in their own context, permitting to discover their inter-relationships through a digital archive.

Evaluation and preservation of cultural heritage in the XXI century is inextricably connected with the innovative processes of gaining, managing and using knowledge. The continuous technological advancement and in particular the great digital revolution offer new research tools that are easily applied to science. The development and perfecting of techniques for acquiring and elaborating models made them pivotal elements for popularizing information on objects on the scale of architectonic structures. These technologies therefore become absolutely essential for the cognition and preventive conservation in case of disasters, such as earthquakes, the effects of climate change, extreme weather and other disasters. Being low cost technologies that enable low cost and speedy acquisition, they are also very useful in reality. It’s the relationship between software and hardware devices that help us record the undergoing changes of the survey in an important moment of transition from a traditional approach to one closely connected with the huge potential inherent in digital technologies. Recently, the dense stereo matching or images based modelling technologies have become a valid instrument for surveying and representing architecture. The research is focused on some architectural areas of the city of Rome.

[EN] Coastal lighthouses in Italy incarnate mathematical formalism. Modern mathematics, when applied to geometry, is formal, aiming at the concrete meaning of the analyzed entities: geometric shapes and surfaces. Lighthouses integrate the functional aspects of navigation, orientation and security and refer to geometric and symbolic concepts. Each lighthouse constitutes a geometric equation. The article presents the typological organization of their architecture, or rather of their helical staircases, in terms of geometry and symbolism. The form of lighthouse towers, designed according to fundamental concepts of Euclidean geometry are also analyzed. The analysis leads to the conclusion that architecture and mathematics are systems permeated with abstract symbols which linked together assume precise and concrete meanings. The study of the relationship between geometry and symbolism enables us to see and understand the synergy of the individual parts of the buildings analyzed, [ES] Los faros costeros italianos encarnan perfectamente el formalismo matemático. La matemática moderna, sobre todo aplicada a la geometría, es formal y aspira al significado concreto de las entidades: formas y superficies geométricas de cualquier especie.Los faros integran los aspectos funcionales de la navegación, orientación y seguridad, y al mismo tiempo evocan conceptos geométricos y simbólicos. Cada faro, por sus proporciones y detalles, constituye una ecuación geométrica elaborada. El artículo trata de la organización tipológica y formal de la arquitectura de los faros: las escaleras helicoidales, como geometría y símbolo. Se trata el tema de la forma del faro, sólido elemental de la geometría euclidiana, para afirmar cómo la arquitectura y la matemática son sistemas impregnados de símbolos abstractos que, si relacionados, adquieren significados específicos. Este estudio sobre las relaciones entre geometría y simbolismo nos lleva a tener que manejar objetos, los faros, y conceptos con la comprensión de que existe una total sinergia entre las partes.

The paper is an enquiry into all the aspects of geometric-architectonic representation in Wes Anderson's movie “The Grand Budapest Hotel” with the aim to demonstrating its power to create true cinematographic masterpieces. The movie can serve as an interesting excuse for investigating and exploring representation potentialities to perceive a constructed object – with its implications concerning geometries, symmetries, colors – in the continuum between objective and illusory reality. The movie condense in it all the technical device that constitutes a complicated and powerful imaginative construction. The drawing in “The Grand Budapest Hotel” becomes narration and representation allows to built an illusory reality. Wes Anderson proves to be a real master in organizing movies with a refined mastery of the architectonic space. The design of the set is a mix between real and illusion thanks to a continuous and interchangeable perception. All the characters move inside illusory spaces, represented through drawings, colors, photographs, collage, etc. and everything is strictly linked to the representation and the rules that define it.

"2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts, SGEM2015: conference proceedings", ISBN 978-619-7105-50-6 / ISSN 2367-5659. Book 4, Vol. 1

The constant development and improvement of laser scanning instruments together with the digital rebirth of photogrammetry (photomodelling) has triggered the operative and methodological evolution that in many aspects has already facilitated the acquisition phase, especially referring to the time required for the procedure. The present paper, however, investigates the methodological changes occurred especially in the last decade concerning surveying and its representation. We shall describe the peculiarities and articulations of these methods aiming at pointing out some conceptual issues involving measurement, interpretation and representation. The final objective is to construct an “operative critical method” which seems indispensable to standardize and regulate the procedures of data collection, elaboration and representation of architectural artifact providing results more objective and reliable: in other words more scientific.

Architecture is a complex system composed of parts and elements which interact with one another. As Vitruvius claims: 'The design of a temple depends on symmetry, the principles of which must be most carefully observed by the architect. They are due to proportion /.../ Without symmetry and proportion there can be no principle in the design of any temple; that is, if there is no precise relation between its members, as in the case of those of a well shaped man. […] Therefore, if it is agreed that the numerical system was found out from the members of the human body, and that there is a symmetrical correspondence between the members separately and the entire form of the body, we can have nothing but respect for those who, in constructing temples for the immortal gods, have so arranged the members of the works that both the separate parts and the whole design may harmonize in their proportions and symmetry.' In order to understand a work of architecture in depth and comprehend it meaning in relation to time and the context of its construction, it is necessary to recognize everything that imposes unity on the system. Thus the system of relations which connect all the parts has to be brought out with reference to geometric matrices, orthogonal grids, proportional and golden relations which make for the unity of the composition of the whole. It is moreover necessary to explain the modality which defines the sketch (drawing). Referring again to Vitruvius - who says: 'Thus in the human body there is a kind of symmetrical harmony between forearm, foot, palm, finger, and other small parts; and so it is with perfect buildings' - we have decided to enquire into the representation of the human form which then lies at the foundations of architectural proportion in various historical epochs. Analyzed in the article are representation systems applied, starting from Egyptian art, passing through the art of ancient Greece, Rome and the Middle Ages and arriving at the most representative moment during the Renaissance when Vitruvius presented the famous „Man of Vitruvius”. Although sketched out by Leonardo da Vinci, it evoked numerous discussions and debates on the subject of proportions. In this epoch more than in any other, man becomes the point of reference for harmony and proportion. The human body was inscribed into the structure of plants and analyzed for the purpose of studying proportions of order and so it seems particularly interesting to study its proportions in depth.

Key words for the future of the architectural heritage are network, memory, identity, use and communication. Public Cultural Institutions are in charge of set up and manage catalogues for cultural heritage that today has be designed according to digital standards and sharing resources on the web platforms. For this reason it is essential to provide an index of cultural heritage, enhancing existing databases, making them visible to general public, making them interoperate in a flexible way through the construction of multimedia information archives that can provide a structured and conscious use of available information. The stock information is the tool that allows to view on map cataloging data and to extract the information contained in the schedules of each architectural unity. From the map, in fact, there is direct access to the archives by making spatial and effectively usable to all users, the data stored. Documenting location, nature and quality of all cultural resources, through a culture based on a GIS also allows to provide information that can be used to support management decision and processes., Le parole cardine per il futuro del patrimonio architettonico sono luogo, rete, memoria, identità, fruizione e comunicazione. Le principali istituzioni culturali si occupano di creare e gestire cataloghi del patrimonio culturale che oggi diventano sovente archivi consultabili attraverso la rete. Dal punto di vista strategico la documentazione dei beni culturali deve costruire la base operativa e strumentale per valorizzare le banche dati esistenti, rendendole visibili al grande pubblico, facendole interoperare in modo flessibile attraverso la costruzione di archivi informativi multimediali in grado di fornire una fruizione consapevole e strutturata delle varie informazioni disponibili. Gli archivi informativi sono infatti lo strumento che consente di visualizzare sulla mappa i dati della catalogazione e di estrarre le informazioni contenute nelle schede di ciascun bene architettonico. Dalla mappa, infatti, si accede direttamente agli archivi alfanumerici e geografici rendendo fattivamente utilizzabili, a tutti gli utenti, i dati archiviati. Documentare la posizione, la natura e la qualità di tutte le risorse culturali, attraverso una cultura basata su un GIS permette anche di fornire informazioni che possono essere utilizzate per supportare i processi decisionali.

The aim of this paper is to promote a discussion on the transmission of Le Corbusier’s work over time and, more in general, on the technological performance of his buildings. The specific object of investigation is one of the earliest projects by Le Corbusier, the Pavillon de l’Esprit Nouveau, built in 1925 for the Exhibition of Decorative Arts in Paris. Being temporary, the building was demolished at the end of the exhibition, but an exact replica was erected in Bologna in 1977, to pay homage to the participation of France in the International Building Exhibition (SAIE) in the city. The initial review of some publications on technical aspects of Le Corbusier’s work, in particular environmental issues, is followed by a description of the replica in Bologna and an investigation of its performances by means of digital models, in particular with regard to energy and illumination aspects. Through the performance analysis of the building, the paper aims to highlight the complex relationship between modern language and techniques and the fruition of the artwork in society, not only from an aesthetic and anthropological perspective but also from a functional and technological point of view.

The Solimene factory is a work by the architect Paolo Soleri built in 1955, considered one of the best expressions of the Italian “Organic” movement and today protected under the Italian Code of Cultural Heritage and Landscape. For educational purposes, the advocated restoration intervention, it attracted renewed interest upon the demise of its designer. Based on TLS data acquisition and Building Information Modeling, this study investigates the opportunity to implement interventions on modern architectures with interoperable processes and data integration. The present paper aims to reconcile two fundamental but opposite aspects of information modeling of historical buildings (H-BIM): the formal accuracy and the identification of standard properties for component parameterization, by presenting the creation of exclusive oriented objects.

Giuseppe Vaccaro in his original handbook “Schemi distributivi di Architettura” dating back to the mid thirties provides a key to solving the compositional project of various types of buildings. At the same time, as writing this text, he applied those principles to the School of Engineering in Bologna, built between 1933 and 1935. This paper will examine the functional aspects and the solutions provided by the method developed by the architect who, in the theoretical debate of the time, proposed his own original schematization of the whole composition of the building. The capacity of synthesis obtained through the lexicon and syntax proposed represents a sort of homologous model of the real building, providing an abstract and analytical representation of it. The homologous model also enables a compositional balance among the parts of the building, suggesting esthetical features while supplying a coordination between the various functions of the public building. The full and thorough understanding of the project, starting from the scheme to the practical implementation is now more important than ever in order to plan and manage the maintenance, re-use and adaptation of the building: definition of compatible functions, distributive variations, adaptation to contemporary regulatory housing standards.

Il video mapping, noto anche come mappatura di proiezione, è una tecnica visiva che utilizza qualsiasi tipo di superficie (dagli oggetti alle facciate di edifici) per proiettare contenuti visivi basati su animazioni e filmati, creando illusioni ottiche. I suoi fondamenti storici hanno radici profonde, anche se il suo utilizzo, nell’attuale forma, avviene solo a partire dal XXI secolo. Le fasi del processo tecnico del video mapping sono molto chiare e la tecnica fonda il suo successo sulla possibilità di acquisire preliminarmente la geometria dello spazio oggetto della proiezione, grazie a metodi di rilevamento laser scanner ad alta precisione. Attraverso l’uso di sofisticate tecnologie nel campo dei software di animazione e di mappatura, così come in quello dei dispositivi per la proiezione, e grazie al controllo sapiente della luce, è possibile dare origine a effetti di grande impatto visivo, soprattutto quando l’oggetto della proiezione è l’architettura. Il paper intende concentrarsi proprio sull’adozione del video mapping in architettura, sottolineando come la riproduzione fedele della realtà, e quindi il rilevamento corretto dell’edificio, siano necessari per ottenere un’alterazione percettiva d’effetto.

The Faculty of Engineering is considered a jewel of local rationalist heritage since it follows the main principle of Modernism, namely that “form follows function”, meaning that design should come directly from the purpose. The aim of maximum functionality is perfectly expressed in the building, thanks to the comb‐like scheme adopted for the layout, which is the most effective solution to the internal distribution problem for a school building complex. The use of industrial systems and materials for the most advanced plant equipment, the innovative nature in finishing components, and the refusal of decorations thanks to introducing a reinforced concrete structure, definitively confirm its compliance with the principles and the lexicon of Modern Architecture. The whole result is a solid architecture based on the balance between the static nature derived by the full masses and the typical dynamic sense of layout articulation and windowed facade s. After 85 years of its construction, the most obvious problem related to its conservation is material degradation, especially in those parts affected by transformations or more fragile due to their construction features. One of them is the library tower, where marked phenomena of material degradation must be solved. Recently, its accurate survey, carried out using Terrestrial Laser Scanning techniques and photogrammetric reconstruction, has allowed the understanding of its construction characteristics, especially for the western facade. It was originally made of glass bricks and later replaced by a semi‐prefabricated structure whose features and installation methods have never been documented.

Documentation of architectural and archaeological heritage must be a multidisciplinary approach that enables analysis and interpretation from many fields of expertise. Nowadays, the representation of the architectural/archaeological survey represents a monumental change in capabilities thanks to the acquisition and alignment of massive survey data describing the geometry, appearance and context of the target environments. The construction of models is the point of departure for essential activities – from cataloguing to preservation, from design to restoration and valorization – linked to the knowledge of Cultural Heritage. The presented research focuses on the control over data quality from massive 3D acquisition, in terms of metric accuracy, by comparing 3D image-based acquisition methods with consolidated methods, in order to present the enormous potentialities inherent in models obtained through 3D surveys.

To make Italy a place of great splendor are also its natural beauties, like the long coastal border that besides being environmental heritage, they are also the residence of buildings that arouse to emotions and sensations of great charm, we are talking about lighthouses. Our coasts are dotted with them, unexplored places that awaken curiosity, the same curiosity that led to this research. The Punta of Guardia Lighthouse was chosen, one of the most important of the medium-high Tyrrhenian Sea, located to the south of Ponza Island, the greater of the Pontine Islands archipelago positioned in front the Lazio coast. Built in 1886, the building today, is unattended and therefore abandoned due to the automation of its lantern operating for technical purposes only. The study process started with a series of analyzes: historical investigation, knowledge of places by developing new planimetric and elevation surveys, researches of building types, analysis of degradation and the resolution of related problems. We understand that the study was aimed at the renovation of the building, up to this point. This phase has been prepared for the new use, without which the restoration project would have no reason to be. A conversion has been studied in a tourist location, a lighthouse accommodation on Europe's footsteps, where for many years lighthouses are being reused as tourist destinations, with great success. The design is done in full respect of the place, without wanting to distort the soul in any way. Indeed, the project is based on three key points: environment, culture and sustainability, through a conservative restoration that aims to protect the connotation of the lighthouse as a maritime signal. Its main purpose is to return this island corner to the community that every year chooses to spend its time discovering its wonders but above all, to give back and revive the symbol of its own island to the ponzese community that for years has been fighting for this purpose.

In the works of the Swiss artist Felice Varini, the fusion of color, space, architecture, geometry and visual perception make room for spectacular spaces. Taking advantage of the synergy between the anamorphosis and color, the artist creates optical illusions. The colored forms assume their real semblance only when observed from a particular point of view. Form all the other angles they seem to be just random stains of color. The right point of view is generally situated at the average hight of man along the inevitable route, for example along the way from one location to another. However, this is not always so because not all spaces have a systematically superimposed obvious way of passing through them. He brings forth and uses simple geometrical forms: squares, triangles, ellipses, circles, rectangles and the like. These forms are generally created with primary colors: red, blue or yellow, and very rarely with such colors as white or black.

This project shows all the possibilities to apply the last technologies of augmented reality and virtual reality to the historical and architectural contest of Havana City. The historical research and analysis and the knowledge of the state of art identify the methods used for the survey and the 2D and 3D graphic rendition of the buildings that surround the five main squares of the Habana Vieja. Techniques of photo-modelling have been useful to transfer the obtained data to the newest AR and VR applications for mobile devices. These techniques are very interesting for the Cuban public body that oversees the architectural Heritage of the city, the Oficina del Historiador de la Ciudad de la Habana. This project also implements available devices for popular, cultural and tourist purposes, that can be used offline and online.

Il film di Wes Anderson Gran Budapest Hotel offre un interessante pretesto per verificare le potenzialità proprie della rappresentazione di far percepire un oggetto costruito, con tutte le sue implicazioni di geometrie, simmetrie, colori, ecc., in un continuum tra realtà oggettiva e realtà illusoria. La ricerca vuole indagare tutti questi aspetti della rappresentazione geometrico-architettonica e dimostrare come la sua forza possa creare veri e propri capolavori cinematografici. Wes Anderson's film “The Grand Budapest Hotel” can serve as an interesting excuse for exploring representation potentialities to perceive a constructed object – with its implications concerning geometries, symmetries, colors, etc. - in the continuum between objective and illusory reality. The paper is an enquiry into all the aspects of geometric-architectonic representation with the view to demonstrating its power to crate true cinematographic masterpieces.

The continuous technological advancement and in particular the great digital revolution offer new research tools that are easily applied to science. Only in survey technological advancements lead to the development of three different areas of research: the first works around the problem of data acquisition (nowadays they are able to provide, in a short time, a large amount of information with a great level of detail); the second area is more restricted because it studies and suggests new low cost solutions; the third concerns the traditional methods and their integration with the former two. The survey operation, as a process involving deep knowledge, aims at the accurate representation of the analyzed subject, and for this reason drafting a procedure that uses the interaction between direct and indirect low cost methodologies and their elaboration for the realization of 2D and 3D models would be a topic of great interest, to make the final scientific results more objective and correct. The experiment concerns a study focused on some architectural elements of the city of Rome.

It is not rarely that we stumble upon architectural signs whose generative concept and underlying geometry that define their form may be considered visionary or imaginative being expressions of an oneiric journey. Through various cultural phenomena, like literature or architecture, we have always met travelers or dreamers who – immersed in ethereal space of the imagination - draw from the unknown an architectural entity, a fruit of their journey into the unknown. These architectural signs – drawn or built – imprint or mark the fruit of the imaginary wandering on paper or in real space through not immediately tangible meanings.

L'area STAVECO è oggetto di una riflessione progettuale collettiva da parte di un nutrito gruppo di ricercatori del dipartimento di Architettura dell'Università di Bologna: il libro ne raccoglie i risultati. L'articolo illustra gli elementi di cultura urbana che possono essere ricompresi nel progetto per un nuovo polo universitario. L'area, attraversata dall'Aposa, si pone a cavallo tra città e collina ed è tangente alla demolita cerchia muraria, in prossimità dei giardini Margherita; acquedotti antichi, "miracolose immagini", sorgenti e bagni romani, ivi presenti, costituiscono suggestivi spunti progettuali.

La breve presentazione si propone di illustrare criticamente il modo espositivo grafico con cui è stata condotta la ricerca illustrata nel testo. In particolare è trattata la questione dei modelli come mezzi di restituzione di rilievi d'architettura, questione complessa che richiede - come nel testo presentato - una soluzione rigorosa. Se il disegno dell’esistente, in quanto forma interpretativa, è essenziale nella loro analisi; la rappresentazione digitale poi si presenta a noi come mezzo passibile all’esplorazione secondo una duplice direzione. Al di là dell’argomento in sé in modo analogo alle tecniche tradizionali, il paradigma digitale si offre anche come mezzo di verifica di metodi che offrono nuova materia allo spazio, al tempo, al casuale contrapposto al sequenziale, all’integrazione di forme espositive e figurative differenti, sorta di Giano bifronte in cui la conoscenza dipende anche dal grado di autocoscienza. A questo lavoro, che abbisognava sempre di una duplice interpretazione e di una duplice interpretabilità, è stato deciso di dare uno svolgimento secondo un metodo rigoroso e noto per evitare equivoci e dilatazioni fuorvianti, un metodo che se da un lato ha consentito di agganciarsi perfettamente alla tradizione della rappresentazione rendendo le immagini facilmente interpretabili, dall’altro ha permesso nuovi sviluppi cambiando il mezzo.