Barbara Messina
Barbara MESSINA is Associate Professor at the University of Salerno in disciplinary area “Architectural Drawings”. Graduated in 1998 at the University of Naples 'Federico II', with a first class honours degree in Architecture, she received the dignity of press for her thesis in Descriptive Geometry. In 2002, she achieved a Ph. D. in "Survey and Representation of the Architecture and the Environment", at University of Naples 'Federico II', with the doctoral dissertation on the geometric-configurational study of the Cordoba mosque vaults.
Her research, coherently developed with the didactic activity, is particularly addressed to the representation of the territory and the architecture, especially the historical heritage, to the descriptive geometry and the related applications, as an instrument for correctly interpreting the built space and landscape, and to the digital modelling, as system for visualizing the reality. The historical architectural heritage of the Mediterranean basin, especially the Campania region, as well as Islamic architecture constitute privileged areas of research
Since 2001 she has participated in numerous international, national and regional funded research project, and every year, since 2010 as scientific coordinator, in local interest research projects. In 2014 she is the scientific coordinator of the research project “From the digital model to the real prototype: measurement and shape of bone structures”, funded by the Campania Region, 2008-17.
She has participated as invited speaker in various conventions held in different foreign countries, with several published articles, establishing scientific collaboration with the teachers of the disciplines of representation of the Faculty of Engineering and Architecture which are part of the UID, such as the EGA, EGRAFIA, APEGA, ISGG, INGEGRAF, ISPRS and CIPA.
She is author of over 90 scientific publications on themes of interest of the representation field, including books, papers on national and international journals, chapters of volumes, conference presentations and proceedings.
Her research, coherently developed with the didactic activity, is particularly addressed to the representation of the territory and the architecture, especially the historical heritage, to the descriptive geometry and the related applications, as an instrument for correctly interpreting the built space and landscape, and to the digital modelling, as system for visualizing the reality. The historical architectural heritage of the Mediterranean basin, especially the Campania region, as well as Islamic architecture constitute privileged areas of research
Since 2001 she has participated in numerous international, national and regional funded research project, and every year, since 2010 as scientific coordinator, in local interest research projects. In 2014 she is the scientific coordinator of the research project “From the digital model to the real prototype: measurement and shape of bone structures”, funded by the Campania Region, 2008-17.
She has participated as invited speaker in various conventions held in different foreign countries, with several published articles, establishing scientific collaboration with the teachers of the disciplines of representation of the Faculty of Engineering and Architecture which are part of the UID, such as the EGA, EGRAFIA, APEGA, ISGG, INGEGRAF, ISPRS and CIPA.
She is author of over 90 scientific publications on themes of interest of the representation field, including books, papers on national and international journals, chapters of volumes, conference presentations and proceedings.
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Papers by Barbara Messina
architettoniche, ossia quelle che rispondono a rinnovate esigenze della vita contemporanea, producendo spazi di una complessità tale da essere inimmaginabili fino a qualche tempo fa.
Queste architetture, dette ‘digitali’, sono però sempre strutture con le quali il fruitore può e deve interagire: solo entrando nello spazio da esse racchiuso, ossia attraverso un’esperienza percettiva diretta e multisensoriale, tali architetture possono essere infatti intimamente
comprese. E ciò anche quando, al limite, spazio e cyberspazio addirittura coincidono, in quella che viene definita realtà virtuale.
La realtà virtuale, nella concezione dei nostri tempi, presuppone il coinvolgimento multisensoriale e, in quanto tale, soggettivo, del fruitore che la osserva e la fa propria mediante un’esperienza diretta, lontana però da una conoscenza propriamente ‘fisica’. Essa inoltre potrebbe non avere alcun legame con il costruito, risolvendosi tutta nella spazialità fittizia del mondo digitale; in tal senso un’architettura virtuale può essere tanto l’anticipazione di una realtà in fieri, quanto qualcosa che si conclude in se stessa. Qualcosa che, in quanto simulazione dello
spazio reale, ne consente la completa percezione, anche temporale.
Il giardino infatti è innanzitutto espressione di un’idea architettonica, tradotta in misure e forme geometriche, ma è anche sintesi armonica di un microcosmo ideato dall’uomo ad immagine e somiglianza del giardino dell’Eden, di cui viene riproposto l’ordine divino. Un ordine razionale che l’uomo dunque impone al territorio, antropizzandolo.
E questo soprattutto se si considera che quasi sempre il giardino si inserisce in un discorso ben più ampio e articolato, includendo la realizzazione di vere e proprie architetture. Il complesso villa-giardino, considerato nella sua globalità, diviene allora un fenomeno progettuale estremamente interessante che, già condizionato dal contesto paesistico, risente anche dell’influenza del momento storico, sociale e artistico in cui è stato pensato e prodotto.
Il paper si sofferma in particolare su due esempi significativi di complesso villa-giardino presenti a Ravello: villa Cimbrone e villa Rufolo. Queste, benché poco distanti tra loro, sono esempi emblematici di due differenti modi di concepire la natura progettata. L’uno, luogo di delizie, più selvaggio e vario, si configura a tratti come un bosco che improvvisamente si apre, per svelare agli occhi un panorama splendido. L’altro, raffinato e composto, assume le forme di un giardino a terrazzamenti, entusiasmando l’osservatore per le sue eleganti geometrie.
If on the one hand the use of digital technologies has strengthened the
traditional techniques of representation, allowing greater precision, speed of images visualization, easy reproducibility, on the other hand makes it possible to create virtual spaces, they are simply designed as infographics models or as perfectly accessible reality.
Apart from the aspects of this issue more properly related to cyberarchitecture, the proposed paper intend to dwell on the definition of the digital model as a tool to simulate non-existent spaces. The possibility to virtually represent buildings disappeared or never existed offers in-facts interesting cues if referred to all those examples of architectures that can give back, through the digital fiction, values that go beyond the simple meaning of matter. In particular, it wants to investigate the usefulness of this type of 'reconstruction' in reference to the knowledge of the city of Salerno in the period between the two world wars, and in particular in reference to projects of buildings that were never realized.
aims to reconstruct very complex architectural forms and how they have changed over the years.
This paper will present the intermediate results of an ongoing study on Villa Rufolo in Ravello, an excellent example of the Arab influence on architecture in Southern Italy. In particular, the paper will illustrate the
study of the small courtyard with its colonnade of small, slender and graceful coupled columns supporting the intertwined arches clearly inspired by Islam. There’s reason to believe that the courtyard was rebuilt after it was destroyed during the wars in the last century. Integrated survey and digital modelling techniques will be used to perform an in-depth analysis of the courtyard as it stands and also propose a figurative
reconstruction of the elements in the courtyards, adding (+) – where only fragments remain – what is no longer visible (-).
scientific-disciplinary sector DRAWING. The scientific activity, conducted in relationship with didactics, is principally articulated in four thematics:
- the buildings and landscape survey, for a deeper knowledge of the surrounding reality, conducted with direct and indirect traditional procedures, and with particular interest for the procedures of architectural photogrammetry and data acquisition by laser scanner;
- the elaboration of architectural digital models and the drawing of constructive elements, what system of ideation, verification and communication of the projected space and built;
- the representation of the territory, of the territorial infrastructures, as well as of urban and territorial complexes phenomena, also with the use of GIS;
- the three-dimensional representation of the architectural space, in the different epochs, analyzed in terms of morphology and geometrical characteristics.
All of this finds, inevitably, as the founding premise, the study and the teaching of the descriptive geometry, that it becomes the presupposition for a correct knowledge and representation of the building elements as well as those that characterize the territory and the environment.
research of daring perspectives tending to dilate the surfaces of the interior environments: these are
paintings in II and III style that depict architectural perspectives according to a marked taste for the theatrical
stage design applied to painted decoration; it’s aimed to determine the illusion of environments that you
happen endlessly in a game of feints architectures, often processed with extreme wisdom.
The working method is related to the establishing the relationship between the container and the space
created by the perspective illusion and has its starting point in rigorous photogrammetric survey technique
and rendering; then it move on to examine the specialties of roman painting, analyzing both the general
characteristics and specific aspects.
This study also uses of a philological analysis with reference to vitruvian rules and to greek-romans
typologies in order to reconstruct the painted space; finally the painted space, in 3d model, is recomposed
with real space, thin to land to representations more effective than they allow to gather better still the
experience of a quite new space, in a reconstruction of the architecture integrated by the illusion, as if it were
real In this simulation of virtual spaces, the digital graphics helps to lead the experimentation that is
developing, as part of the PRIN 2010-2011 research (Architectural Perspective: digital preservation, content
access and analytics, scientific coordinator Riccardo Migliari), by the Salerno Unit, with the annexed unities
(University of Naples ‘Federico II’, Second University of Naples, University of Basilicata). Of this research,
which puts particular attention to the architectural, archaeological and iconographical heritage in Campania,
are presented here only part of the achieved outcomes.
ignored by most of the Descriptive Geometry books for students in engineering and architecture.
This problem is usually approached in an operational way, identifying lines and planes, perpendicular to each other, as a solution to metric problems, but outside of an accomplished theoretical treatment, which defines the necessary and sufficient conditions of perpendicularity. The more in-depth texts, at most, provide some general mention of that problem, indicating the high road in the application the polarity.
On the basis of a student's intuition, our group has developed an unusual and interesting formulation of the perpendicularity condition, between straight line and plane, in isometric cavalier projection, precisely in "military axonometric projection". This condition completely disregards polar and anti-polar, rebatments of planes and switching in Monge method. Its geometrical proof, moreover, is very simple and the identification of the perpendicular to a generic plane requires only three steps.
The formulated perpendicularity condition, moreover, is valid for any type of isometric cavalier projection; or rather when the projection plane coinciding with one of the reference's planes, and the projector is an oblique direction, inclined by 45° to the projection plane.
Given the traditional difficulty of directly expressing the perpendicularity condition in axonometric projection, it is a very important result, not only because it allows simpler and faster graphical procedures, but mainly because it fills a real emptiness of the isometric model, offered in the courses for architects and engineers, which then appeared unfinished as completely independent model.
culturale e intangibile, che ogni giorno viviamo. La città contemporanea tende infatti, in un certo senso, a smaterializzarsi, a linearizzarsi, attraversata da un sempre maggior numero di reti e servizi telematici che sembrano prendere il sopravvento sullo spazio costruito.
In particolare l’esigenza di adeguare le classiche rappresentazioni delle reti urbane alle nuove potenzialità offerte dagli strumenti informatici e dai software oggi in uso induce a sperimentare un inedito modello di lettura dello spazio urbano che, pur inevitabilmente legato a norme e tecniche grafiche tradizionali, sia in grado di proporre un sistema di
rappresentazione in linea con le rinnovate necessità.
Per poter identificare con chiarezza il contributo di questo momento culturale sull’architettura della cittadina appare quindi necessario tratteggiarne i caratteri evolutivi onde riconoscere le parti che, nell’aggregazione dei diversi borghi costituenti nel loro insieme la città, maggiormente hanno risentito dei suddetti influssi.
rispetto ad altri organismi architettonici, rappresenta un modello progettuale emblematico.
Innanzitutto perché l’abitazione costituisce, in un certo senso, il limite fisico tra lo spazio pubblico e quello privato; ma soprattutto perché, costituendo essa un intimo ‘rifugio’ dal trambusto della vita quotidiana, diventa un momento di confronto tra esigenze di ordine pratico e
speculativo, dovendo da ultimo il progettista pervenire ad una soluzione che rispetti precisi canoni normativi e compositivi, sia in termini di spazialità che di fruibilità.
In questo lungo iter creativo, che partendo da un’idea originaria giunge al generarsi della forma progettata in senso compiuto, fondamentale è il ruolo del disegno. Intendendo con tale espressione non solo l’atto del tracciare linee e segni, quanto piuttosto la pura ideazione di uno spazio che sia appunto ‘disegnato’, ossia pensato in termini di risposte ad esigenze contingenti.
In particolare, l’approccio geometrico al progetto di uno spazio architettonico, e conseguentemente l’impiego di rigorosi principi matematici, permette in altre parole di pervenire ad organismi complessi, pur tuttavia riconducibili a modelli coerentemente riconoscibili. Organismi la cui bellezza e funzionalità non risiede tanto nella perfezione metrica – requisito che tuttavia conferisce maggiore armonia all’insieme – ma nell’essere logici e aderenti appunto alle leggi configurative.
L’uso del colore, il ricorso a figure note, l’impiego di texture o di disegni
che in qualche modo guidano il percorso possono aiutare i piccoli utenti a orientarsi e conoscere uno spazio, generando così un approccio positivo nei confronti della struttura stessa.
Dell'evento vengono descritte le giornate, con i relativi eventi, e le principali relazioni presentate in sessione plenaria.