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There are works attributed to G. P. Panini derived from Piranesi's The Campidoglio from the side, which prompts an investigation of how Panini in fact represented the Campidoglio compared to Piranesi. It looks at the sightlines they employed. Whereas Piranesi privileged the Trofei di Mario, Panini wrestled with the relationship between the statues of Castor and Pollux and the buildings behind depending on the purpose of the image.
EdA - Esempi di Architettura, 2020
Does it still make sense today, over time dominated by the image and its power, to question the reasons and the potential of Architectural Drawing? Could we use, instead, this immaterial force that pervades our era against the modus operandi of the tabula rasa that affects the Modern Italian architectural heritage? An attempt to answer these questions could come from the study of a work no longer existing by Marcello Piacentini, Casa Giobbe della Bitta, of 1925. Starting from the critical re-drawing of the building, we want to attempt a decoding of the vanished architecture, analyzing it geometric shapes and matrices that generated it; digital 3D modeling, on the other hand, attempts to return in the form of an image the essence of space and its intrinsic value to which Italian culture has now definitively given up. While renouncing to provide judgments of a historical nature, both on the controversial character, and on the architecture investigated, we want to fill a small void in the study of architecture of the early 1900s, with the hope of favoring a greater awareness on our part in preserving and protecting the works of modern Italian.
PIONEER AND CONTEMPORARY STUDIES IN ARCHITECTURE, PLANNING AND DESIGN / Book Chapter, 2023
Giovanni Battista Piranesi, originally an eighteenth-century Italian architect and engraver, etched over two thousand engravings where he rendered his fantasies, created imaginary structures, played with the strict rules of perspective, and gathered unusual fragments and multi-information on one sheet. His practice, based on fragmented projections of the future in connection with the past, instigated several transformations in the eighteenth century's theory and practice of arts and architecture. By referring to the studies of several academicians and theoreticians, this study reviews Piranesi’s ground-breaking etchings to uncover his legacy, teaching to dissolve the ordo on several levels such as architectural imagination and representation, film theory, perspectivism, formal coherence, and collective memory codes of representation and two-dimensional spatiality. For revealing the power of image in transforming long-lasting ideologies, this study demonstrates the context that the wicked use of visuals triggered so many modern projects in arts and architecture at those times and today.
By the nature of his profession as a painter of capricci and vedute, Giovanni Paolo Panini (1692–1765), had to be well acquainted with issues of architectural style and theory. In 1732 he was one of the judges of a competition to choose the architect of the new façade of S. Giovanni in Laterano under the Florentine Pope Clement XII Corsini (reigned 1730–1740). By examining his critiques of the various models and drawings submitted to the Lateran competition, this article attempts to establish where Panini stood in relation to the architectural design issues of his day, in particular the conflict between an established tradition derived from the unexecuted designs of Francesco Borromini (1599–1667) for the façade and the radical conception of the winner of the competition, the Florentine architect Alessandro Galilei (1691–1736). It also argues that a painting in which Panini makes significant changes to the design of the Quirinal Caffeaus by Ferdinando Fuga (1699–1782) was a considered correction of what Panini considered to be deficiencies in Fuga’s style.
This article argues that Onofrio Panvinio's 1571 study of the Roman triumph embodies a central innovation of sixteenth-century classical scholarship, the use of visual reconstructions alongside textual accounts to communicate the details of ancient ceremonies. Panvinio built on the work of predecessors, most notably Pirro Ligorio, to produce a densely-detailed image of the triumphal procession in the style of Roman bas-reliefs, using the evidence of coins, friezes and texts. This illustration can be seen as an alternative historical rendition, rather than as an accompaniment to a textual description of the triumph. More generally, it reveals the creativity of Renaissance antiquarianism, a movement usually seen as devoted to the dry accumulation of evidence about antiquity, not its imaginative interpretation.
The Rijksmuseum bulletin, 2010
Voir l’au-delà. L’expérience visionnaire et sa représentation dans l’art italien de la Renaissance P. Morel, A. Beyer, A. Nova (eds.), 2017
Approaches to World Literature, ed. Joachim Küpper (Berlin: Akademie-Verlag, 2013), , 2013
Antonio Lafuente, David Gómez Abad y Juan Freire (2018), "El arte de documentar", in Sierra, F., Leetoy, S. y Gravante, T. (Eds.), Ciudadanía digital y democracia participativa. Salamanca: Comunicación Social, pp. 47-59., 2018
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Policy Brief Pertanian, Kelautan dan Biosains Tropika
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