Stefano Brusaporci

The chapter presents the outcomes of an experience that rises from
the realization of L’Aquila Smart City (Italy). Its realization roots on the possibly given by the realization of a smart tunnel with a net of optical fibers and by 5G mobile networking. This system of real time and diffused data computing and transmission allows the project of a ubiquitous Augmented Reality (AR) application. It favors the relationship between buildings and urban spaces with different kind of information, mainly of visual nature, such as 3D models, images, videos, texts. This interdisciplinary study gives the opportunity to develop a theoretical and methodological reflection on AR as mixed-media and on the relation that it establishes between tangible heritage and information, also in relation with the current post-digital approach to cultural heritage.

Technological revolutions have changed the field of architecture exponentially. The advent of new technologies and digital tools will continue to advance the work of architects globally, aiding in architectural design, planning, implementation, and restoration.

The Handbook of Research on Emerging Digital Tools for Architectural Surveying, Modeling, and Representation presents expansive coverage on the latest trends and digital solutions being applied to architectural heritage. Spanning two volumes of research-based content, this publication is an all-encompassing reference source for scholars, IT professionals, engineers, architects, and business managers interested in current methodologies, concepts, and instruments being used in the field of architecture.

SOCIAL BUILDINGS IN THIRTIES AND FORTIES OF THE 20TH CENTURY
CASE STUDIES IN ABRUZZO

English abstract

Between Thirties and Forties many social buildings were realized in Italy, according to an ethical and propagandist policy of modernization and new mass society creation, made by fascist government. 
Usually these buildings are related to initiatives of historical cities’ renewal; elsewhere, when isolated interventions, often they direct the urban development.
The social buildings wanted to be new directional and service centers for community. It follows specific formal and typological issues. In particular social buildings had to be able to arrange many different activities, such as gyms and parade halls; libraries; cinemas; refectories; didactic, free-time, social and health assistance services rooms; bathrooms and showers, etc. last but not least political offices.
The intellectual had strong controversy about the definition of the best and most functional architectural language to built and to represent the government. The debate focused on the role of the architecture in country reorganization; the relationship between “modernity” and “tradition” was essential, although interpreted in different ways, accordingly to the themes of “monumentality” and of "classic esprit”.
In social buildings definition, the rule of the public bodies was very important. They assigned the tasks and developed standards, manuals and typologies. At the same time public bodies checked the projects according to functional and economical standards. In general this centralized contracting system not ever meant homologation. Rather the Balilla National Organization, especially under Moretti direction, proposed some of the most interesting examples of Italian rationalism. The same happened for the Fascist Houses, where the public competition favoured the experimentation. Practically the government didn’t express any preference about the architectonical buildings’ style: mainly it was interested in buildings’ ideological and social value. Also the aim of “monumentality” could be reached both with eclectic or rational architectonical language.
About the constructive systems the theme of “tradition” combined with the one of “nationality” and “autarchy”. The autarchy also suggested the returning to traditional constructive technique, this aspect supported also by political and economic reasons. So masonries were the most diffused, many times coupled with concrete systems. The use of concrete and steel was essentials to realise floors larger than the traditional ones. Sometimes the structure was hidden into masonries, without correlation between structure and architectural language as in international rationalism. So techniques could be used independently by figurative settings.
The local situation was similar to the national one: not only different styles and techniques, but often the same building presented complex influences. As in the whole country, in Abruzzo many buildings were realised. Architects, planning buildings in provincial region, free from constraints of greater representative context, enjoyed greater freedom, experimenting solutions of particular value. The buildings are expression of a transition period where the renewal is implemented in continuity.

Aim and subject of the research is the constructive techniques of the masonries, employed benveen the XI and the XIV century, in the architecture of the soutli side of the Gran Sasso. Techniques and materials are studied in order to investigate the constructive and architectural qualities of the historical masonries. The objectives are: to pick up data about masonries, studied as documents characterized by an own evidence value; to correlate the technological characteristics with the historical and architectural values; to connect constructive characteristics with chronological references.
The research is related to studies on traditional building techniques, made by Architecture and Town Planning Department of L'Aquila University.
The territory of the south side of Gran Sasso is defined by the synthesis of geo-morphological characteristic and men's
modifications. Different buildings' kinds can be correlated to the process of "fortification", as walled towns, enclosure-walls, towers, castles, strongholds, fortified palaces, castle-residences. These structures are characterized by historical stratification, frequently by notable transformative processes connected to the reuse as habitations. The stratification, witness element of historical and architectonical values, make the direct inquire determinant, especially for the scarcity of docuniental data.
If we take in consideration technological characteristics, the study of masonry is based on the analysis of stone's material, of morphology, working and size of components, on modality of assembly. Nevertheless masonries have aesthetical qualities, especially if they are not plastered. The architecture is characterized by its own materials. The oriental region presents compact lime stones, the west region marls; sometimes there are sandstones. The stones have different colours: the lime stones are white, beige, pink and red; the marls are grey, ochre and brown. The colours of the historical cities are often related to other factors, such as biological crusts.
The kind of stones used in masonry shows that usually the quarry is near the building. Ancient rornan buildings have often been used as caves; the use of ancient stones concerns all the greatest factories of the territory.
The morphology of the stones is connected to the characteristics of the material and to the submitted works.
It's proposed a classification of the stone's elements, based on the kind of materials, morphology, dimensions and finishing.
The region is poor of clayey grounds, so the use of bricks is limited. They are used as inserts in masonries. Near the ancient roman buildings, perhaps the bricks originate from the ruins.
The mortars are entirely constituted by calcium carbonate, with aggregates produced by shattering the stones in site. We can fìnd better gradation-curves in religious buildings.
We have the following kinds of stone's assemblage: irregular, with irregular courses, with doubled or convergent courses,
with undulated courses, with sub-horizontal courses, with horizontal and parallel courses. Parameters for the individualization
of classes of hangings are: the kind of stone material; the kind of element; the dimensions and morphology of the elements; their finishing; the kind of assemblage.
The nucleuses of masonries can be divided in four classes: nucleuses made with elements inserted among tlie hangings; nucleuses
with constipated material; nucleuses with casting of the elements; masonries with a cut-stone's facing of the wall.
The masonries are classifìed according to the hangings and to the kind of nucleus.
Through a comparative analysis, the classification allows to indicate affinity among the masonries of different buildings.
The definition of masonry's kinds and the construction of a comparative matrix, give the possibility to compare masonries, locations and chronological data.
Analyzing the variation of the stones dimension for the so called apparecchio aquilano, we can indicate a reduction of their dimensions from the XII century to the beginning of the XIII century; the ineasures are constant or decrease during the XIII
century; they are constant or increase from the end of the XIII century. The chronological matrix indicates that masonries made with irregular stones are datable among the XIII and the XIV century; masonries made with regular draft stones are present from the XII to the XIV century; masonries made with small ashlars persist from the XI century to the XIV century; the typologies in cut-stones are attested around the XI-XIII century.

The BIM process, based on a parametric model connected to a complex and interactive database, leads to a new collaborative approach between the operators involved. Through the case study, the current technologies for the use of information are also tested on site, in order to streamline management and maintenance

Aim of the article is to reflect on how digital technologies and ICT are changing the way to analyze, visualize, and communicate architectural heritage. In particular, mixed reality apps favor the constant and ubiquitous combination of reality and virtuality. A new kind of advanced heritage grows, characterized by the mix of tangible heritage and digital heritage: Reality enriches with information and virtuality acquires new potentialities with its matching with reality. This process moves from the development of digital informative models made by 3-D and database complex models, characterized by real time manipulability, navigation and interaction. This context renews people's relationship with images, allowing a sort of “visual turn” in built heritage field, where reality reaffirms its centrality, and the digital sphere opens to new opportunities in architectural heritage's studying, computing, experiencing, and valorization. Follows a claim for transparency of information and computer-based visualization.

Aim of the paper is the study of how architectural representation changed in the digital age, focusing the relationship between the two following opposing aspects: on one hand the idea of progressive loss of any referentiality with the real world—as suggested by the concept of " Hypereality " defined by Baudrillard at the end of the Seventies, i.e., a simulated reality more real of reality; on the other hand computer-based visualization as tool for measurement, interpretation and understanding of the world. Through a reading of " The measure of the World " by Daniel Kehlmann and—in parallel—the telling of the laboratory educational work made in the Architectural Drawing Couse at L'Aquila University, the paper presents an experience that puts together the lines of " New Realism " and " Digital Videocultures " , aiming at a revaluation of perception and architectural representation, as antidote to bulimic cannibalism of digital images, and as critical tool to analyze , interpret and undergo them to a validation/falsification process.

The growing of digital tools – often of ease and affordable use –, the rise of ICT, the diffusion of digital devices, have brought to the spread of 3-D models, computer-based visualization, and the rise of advanced applications and of new scientific methodologies. The common practice with digital heritage, its affordances, and the interoperable use of digital instruments favour interdisciplinary works and collaborations between scholars and professionals. According to this context, aim of the paper is to offer a critical reflection on characteristics of architectural heritage and how digital heritage has influenced the discipline, to define references on which root interdisciplinary collaboration, underline peculiar aspects and suggest critical approaches for a wise use of digital tools, foster the study of experiences made in different fields, and support a useful collaboration between researchers of different fields

The growing of digital tools – often of ease and affordable use –, the rise of ICT, the diffusion of digital devices, have brought to the spread of 3-D models, computer-based visualization, and the rise of advanced applications and of new scientific methodologies. The common practice with digital heritage, its affordances, and the interoperable use of digital instruments favour interdisciplinary works and collaborations between scholars and professionals. According to this context, aim of the paper
is to offer a critical reflection on characteristics of architectural heritage and how digital heritage has influenced the discipline, to define  references on which root interdisciplinary collaboration, underline peculiar aspects and suggest critical approaches for a wise use of digital tools, foster the study of experiences made in different fields, and support a useful collaboration between researchers of different fields.

A b s t r a c t During the fascist government, many buildings are realized in Italy, according to a policy of modernization and new mass society creation. Primarily the buildings are new managerial and service centers for the community. It follows specific formal and typological issues. In particular they have to be able to arrange many different activities. The intellectual society presents strong polemics about the definition of the best and most functional architectural language. The debate focuses on the role of the architecture in country reorganization. The relationship between " modernity " and " tradition " is topical, although interpreted in different ways, accordingly to the themes of " monumentality " and "classic esprit " .

The chapter presents a reflection on the concept of transparency in digital modeling and visualization of
Architectural Heritage. Moving from topics of transparency and from the experiences in using paradata
in different fields to state model’s source, the degree of reliability of virtual re-constructions, and to made
the digital model testable by other professionals, transparency and paradata are studied and declined
for a dedicated application to historical buildings. In fact paradata is useful for model’s design, use,
management, diffusion, archiving, and interoperability. This according to an aim of model’s intellectual
transparency, and scientific computing and visualization of historic buildings. Follows issues about: the
relationship between physical and digital heritage, the design of the digital 3D model and the database,
the communication of transparency through spatial visualizations and multiple windowed representations,
the transparency as possible methodological workflow for scientific analysis.

Aim of the paper is to present how new technologies favor the " Graphical Analysis " process, i.e. the historical critical study of the architectural heritage through its representation .. The growth of digital technologies has affected disciplines involved in architectural studies, and computer based visualization has found in digital modeling an interpretative instrument for architectural heritage study and representation. 3D models can support a renewal of the graphical analysis and, from an educational point of view, the development of critical skills for understanding and communication of architectural characteristics. Background: The Concept of Graphical Analysis Vincenzo Fasolo, teacher of Drawing from the first decade of the twentieth century, and professor of " History and Styles of Architecture " at the School of Architecture of Rome from 1925, in 1954 published his essay titled " Guida metodica per lo studio della storia dell'architettura " [Methodological guide for the study of architectural history] (Fasolo 1954). In this book drawing plays an essential role, implicitly intended as a methodological tool for the analysis, comparison, and interpretation of the architectural characteristics and values of historical buildings. He opens his book with the following words: «The publication of the summary of the subject of the Courses of History and Styles of Architecture aims to guide young architects in reordering the graphic notes in which, according to the method adopted during the course, their observations, bibliographical research, interpretation are concretized» (p.5). He highlights how sketches and drawings made tangible the students' reflections and understanding; also the bibliographical research seems to be based on graphical notes, i.e. on the representation of buildings. And he points out how the graphical language is the way for the visualization and communication not only of geometric characteristics, but of architectural values. He lists the following values: «Harmonic, modular, geometric, mathematical values; geometrical synthesis; linear, two-dimensional (relationship between solid and voids), three-dimensional (volumes – masses) values; interpenetration of previous systems; spatial values (light – colors); the fourth dimension: time and perspective view; decorative spaces; elements of harmony: unity, rhythm, eurhythmics, symmetry, dissymmetry, contrast – opposition» (p.10-11). We don't aim to comment on this list, but we underline how Fasolo wanted to train students to look critically at the architecture, and to understand its values. To reach this purpose, drawing is intended as an ineludible tool. And he adds: «[…] Observation and interpretation of monumental characteristics is entrusted to the young architect through a graphical summary. We demand that he practically translates into drawings those that are the elements or characteristic and essential factors and of the architecture that he is studying. Not " copies " more or less brilliantly and nicely drawn from photographic models, like the real, as at the first time one is tempted to do, for a bad interpretation of the goals of these drawn observations, instead they have to show how much and what part in the study of the program the young student has had» (p.11): Nowadays we – in CAD used – should say: Models not only to realize photorealistic copies, but to achieve analytical, critical, and thematic visualizations.

Aim of the chapter is to present a critical reflection on computer-based visualization of the architectural heritage and investigate on its relationship with other disciplines, starting from interdisciplinary experiences and from examples of other subject areas, in particular the archaeological one. In particular
digital tools are used indifferently and simultaneously in dissimilar research fields, and scholars of different fields work and publish together. A clear definition of the ontologies, principles and procedures for advanced surveying, modeling, and visualization could allow the interdisciplinary collaboration.
But cornerstone is the awareness of the disciplinary characteristics of the architectural heritage’s issues for its critical digital representation.

The cathedral of SS. Massimo and Giorgio in L'Aquila was destroyed by the earthquake of 1703; its reconstruction protracted unti1 the xx century. The historical drawings studying and the correlating with the resuits of surveying, give the possibility to anaiyse historicai planning choices, in particular according the facade and the dome. The dome was never built and at last it was replaced with a trompe I'oeil. About the main elevation, the Cipriani's drawings of 1708 planned a facade with porch. A drawing of 1806 describes an elevation terminated only in the lower part and with a porch; the architectonic characteristics are different from the originai ones, but the configuration suggests that the existing built elevation is influenced by pre-existences. The seismic event of 2009 destroyed the transept and caused the lost of the trompe d'oeil. In the May of 1828 Cathedral's Capitol abandoned the idea of a great dome and decided to built a light reed dome, but its...

M. Centofanti-S. Brusaporci, The City’s Design and Its Transformations «City’s design» conceptually suggests the idea of a guiding project and of a defined foundational act, capable of resolving the urban shape. That is not so because of the very nature of the historic city that, over time, redefines its forma urbis through a continuing process of change. This is also the case of L’Aquila, where the historic process of formation and transformation, during the course of its many centuries of life, has been marked by significant moments of discontinuity and profound renovation. In that sense, the constituent themes are: the medieval framework, that by means of roads and piazzas configures the urban layout; the vast eighteenth century figurative makeover following the 1703 earthquake; the relationship between old and modern in the twentieth century phase, when the process of transformation lost its continuity with the historical urban fabric.

From integrated surveying to SiArch-3D: the case-study of S. Paolo church in Peltuinum (AQ). The church of S. Paolo near Peltuinum (AQ) has been chosen as case study to test the SiArch, i.e. the Architectonical Informative System studied by the Research Unit of L'Aquila University. Before the earthquake of ApriI 6th 2009, happened during the research period, the building was surveyed using digital photogrammetry techniques by PhotoModeler Scanner 6 software. After the seismic event the church was surveyed with laser scanner. About architectonical surveying, according to the used instruments, digital photogrammetry techniques are simpler, faster and more economie, but surfaces built by photogrammetric point clouds are satisfying only for flat façades or with regular curvature, and elements with limited prominence. Using all surveying data, was reelised the church's 3D photorealistic model. To build an Architectonical Informative System, the first step is planning the database...

Historic watermills are studied as a complex heritage given by the synergy of buildings, hydraulic works and mechanical elements. They are the result of processes of modification and stratification that have occurred over the centuries, interrelated to landscape and human history. In particular, the paper focuses on historic watermills in the territory of Teramo (Italy), aiming to understand the history, culture, economy, and technological evolution of the territory. Moreover although these mills are local phenomena, the solutions—in particular, those derived through an accurate, wise and pragmatic use of natural resources—can reveal traditional practices no longer known, recurrent in similar environmental contexts, that can explain common solutions of wider historical and territorial diffusion.

Giovanni Pomodoro was a mathematician, astronomer and land-surveyor, and an experienced instruments builder, who lived in the XVI century. His figure and his name cannot be split off from his only known work: the treatise “Geometria Prattica” [Practical Geometry], published posthumously in 1599. The treatise has a constant practical aim and in all probability in this aspect lies the fame and fortune of the work through the centuries: It is “modern”, shaped as a “handbook”, more than as an exhaustive “treatise”, and it favoured the diffusion of scientific notions and solutions between clients and common people, according to the process of knowledge diffusion that would be implemented between the XVI and the XVII centuries. In particular it is thanks to the numerous  tavolas dedicated to the "surveyor’s cross" that the work has always been a reference in the study of historical surveying methods and tools.

Aim of the paper is a reflection on the concept of Historical Town and on the issues in its surveying. The background is analyzed to state the more significant topics and to trace an operational line of study. The point of view is the historical-critical methodology for architectural analysis. The urban heritage is seen as a work of art made by the sylloge of architectures and urban spaces, defined by the modification and stratifications processes occurred during centuries. In particular the values of the urban heritage roots on a “relational” system; it can be studied with historical synchronic and diachronic interpretations and values’ judgments, useful to make evident the current characteristics, i.e. what we have to preserve.

There is a theoretical-methodological question: according to the traditional subdivision between urban survey and architectural survey, whether there might be a third dimension represented by the relief of the building fabric. Without prejudice to the essential uniqueness of the method, it can be said that the survey of the building fabric poses on a intermediate dimension – not only physical but conceptual and logical – between architectural and urban survey, with a precise connotation regarding the urban block and its historical and typological values.

Architecture represents the physical space built by man—in its immanent and tangible presence—and a spatial and temporal event. The architectural 3D digital model is the mediator between intellect and tangible reality, and it takes the form of a digital replica of the observable phenomenal reality. Thereby the model expresses—i.e. contains—the history and it’s passage through time; a visual narration that is part of the historical process and critical analysis. It’s an interpretable document, but also a genuine critical-historical text, expressed with the figurative language of the virtual dimension. Presupposition of this methodology for historical analysis, it’s a careful architectural surveying, a wise modeling project and an intelligent and critical use of the digital model.

The paper presents a study on the mills on the Tordino river in the Abruzzo region (Italy). They are
analysed as a synthesis of architecture, hydraulic works and mechanisms. Watermills are related to the geographic and
economic historical system, therefore they present characteristics and typologies that changes both in relation to the
development of manufacturing technologies, both in function of the landscape

The landscape expresses the values of the historicized territory, intersection of natural environment and human activity. Landscape restoration is founded on the knowledge of heritage values. Therefore the study of the territorial settlement along the river Tordino has a peculiar importance,  with particular regard to watermills, because they are indicators of architectural, historical and cultural istances.

Many treatises on geometry were written in the XVI century. Ieronimo Pico Fonticulano in the sixty book of his treatise titled Geometria describes the surveying instruments and their methodological and operative use.
Aim of the paper is studying the instruments described by Fonticulano and, thanks to the numerous applicative examples, analysing the surveying methods. It focuses on instrument’s geometry and materials, their components, the using modalities, the instrumental positions, the working principles, the main application allowed. Last but not least instruments and methods are studied in relation to their historical context and to the ones presented in other treatises of the same age.

The study focuses on Cistercian constructions in the L'Aquila region, in particular churches where the original layout was still recognisable: the abbey of Santo Spirito d'Ocre, Santa Maria ad Cryptas in Fossa and San Pellegrino in Bominaco. An integrated architectural survey, was carried on all three. The study highlights the special features of the buildings vis-à-vis their surroundings and how they were influenced by both narional and local culture. Metrology reveals the presence recurrent measurement and suggests that workmen could have played a key role in building fortifications in the region. Proportional analyses reveal the use of harmonic ratios and geometries reminiscent of Bernhardt's plan - ad quadratum and ad triangulum – as well as a 3 to 4 ratio between the measurements classified by Hahn. Based on the studies, theories are
developed regarding the construction process.

Aim of the research is studying how 3D digital models can be used for historic architecture’s representation and documentation. The question is what are the characteristics of a 3D model to be suitable as a restitution of an architectonical surveying, that is to be a correct scientific description of architectonical data.
An historical architecture is made by spaces, surfaces, volumes, materials, constructive systems, etc. and it’s the synthesis of modification and stratification processes occurred during centuries. In particular it’s important
the representation of the constructive elements. The realization of architectonical Information Systems is useful. With the correlation between 3D digital components, historical documents and surveying data, 3D architectonical models can favour processes of knowledge, critical analysis and planning.

Rebuild starting from the schools: the examples of Enrico Fermi in Celano and Corradini-Pomilio in Avezzano - Through the analysis of architectural construction values of two school buildings realized in Marsica after the earthquake of 1915 - the school Enrico Fermi of Celano and the school Corradini Pomilio of Avezzano - the essay wants to
highlight the features and quality of the two processes . At the same time, based on the study of design events that led to the buildings creation, we want to deepen the reconstruction process occurred in Marsica territory, with specific reference to educational buildings. Indeed such experiences, referring to the early twentieth century architectural and construction culture, find in the - albeit sad - opportunity offered by the earthquake, the chance to experience typological, figurative, and functional solutions
and technologies of particular interest.

Digital instruments and technologies enrich architectonical representation and communication opportunities. Computer graphics is organized according the two phases of visualization and construction, that is modeling and rendering, structuring dichotomy of software technologies.
Visualization modalities give different kinds of representations of the same 3D model and instruments produce a separation between drawing and image’s creation. Reverse modeling can be related to a synthesis process, ‘direct modeling’ follows an analytic procedure. The difference between interactive and not interactive applications is connected to the possibilities offered by informatics instruments, and relates to modeling and rendering. At the same time the word ‘model’ describes different phenomenon (i.e. files): mathematical model of the building and of the scene; raster representation and post-processing model. All these correlated different models constitute the architectonical interpretative model, that is a simulation of reality made by the model for improving the knowledge.

Ignazio Carlo Gavini (1931), obseres - in some buildings of the city of L'Aquila and of the surrounding tertitory - the use of a particular constructive technique for the realization of stone masonries, calling it the "apparecchio
aquilano" (Masonry System of L'Aquila). This technique is characterized by a face realized in little stony ashlars, placed in staggered horizontal courses. The apparecchio quilano morphologically recalls the Roman opus reticulatum and the opus vittatum, and its reintroduction might be due to the Benedictine culture.
The presence of some ashlars in a vertical position, recalls an influence of some constructive manners typical of the Cistercian architecture , that are visible as well on the edge disposition of some elements or like in the opus spicatum. A wide research has consented to verify that the apparecchio aquilano is diffused in all the southern slope of the Gran Sasso massif, even with different, in part, from the examples of the chief town, in dimensions and in workmanship of the stony elements. The classification of the constructive techniques of the proposed masonries allows to correlate the analysed masonries with their historical-territorial context, and to compare the various constructive types with the documented data. In the light of the available data, the typologies in regular ashlars are present from the XIIth Century to the XVth Century; while the examples with little ashlars from the XIth Century to the XV Century.