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ISSN [print version]: 2384-9576  - MIUR E211002

ISSN [electronic version]: 2035-7982 - MIUR  E199789 

INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING

ANVUR - GEV 08 - SCIENTIFIC JOURNAL

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ISSN [electronic version]: 2035-7982

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The scientific and cultural project EDA has identified its aim in the thought of Werner Heisenberg, Nobel Prize for the Physics in 1932

... It is probably true quite generally that in the history of human thinking the most fruitful developments frequently take place at those points where two different lines of thought meet. These lines may have their roots in quite different parts of human culture, in different times or different cultural environments or different religious traditions: hence if they actually meet, that is, if they are at least so much related to each other that a real interaction can take place, then one may hope that new and interesting developments may follow.

 

 

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INGEGNERI E ARCHITETTI ITALIANI IN COLOMBIA

Politecnico di Torino | Castello del Valentino

23-26 maggio 2017

 

 

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ANGIOLO MAZZONI

INGEGNERE ITALIANO IN COLOMBIA (1948-1963)

Bogotà 15 giugno -  29 luglio 2017

 

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INTERNATIONAL CALL |  ARCHITECTURE AND NEUROSCIENCE

DEALINE: JULY, 28 2017

 

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III WORKSHOP RIGPAC  - 2017

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Riccardo Morandi (Roma, 1902 - 1989) was an Italian civil engineer best known for his interesting use of reinforced concrete. Amongst his best known works abroad we have the General Rafael Urdaneta Bridge, an 8 km crossing of Lake Maracaibo, in Venezuela incorporating a cable-stayed bridge and a bridge in Barranquilla, in Colombia, designed in 1970-1974. In Italy he has worked to the exploration of reinforced and prestressed concrete structures and embarked on the design of a series of cinema structures and very important bridges. The document analyzes the work in Colombia and the sad fate of the modern engineering in these countries where there are no laws of protection of cultural heritage.

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Though many architects reject the system of rational urban planning by presenting utopian designs, critics like Manfredo Tafuri consider the most experimental projects of the 1960s and 1970s as meaningless paper architecture with no concern for the social reality of the city. He connects the contemporary architecture with the historical avant-garde of Italian rationalism, which was always related to social transformation and critical resistance against established society, and considers modernism as a development in which the avant-gardes - visions of utopia come to be recognized as an idealization of capitalism, a transfiguration of the rationality into autonomous form. Yet, Tafuri also relates Le Corbusier´s rational designs to multiple readings that also include a surrealist sensibility. He constructs the architectural concepts around the struggle between the universal values represented by nature and the rational values represented by technology. A case in point is the Beistegui Apartment in Paris (1930-31) who was a collector of surrealist art.
The architecture of the 1960s and 1970s overthrew the modernist principle of formal composition, functional fit, and constructional logic by opening up the discipline to the realm of artificiality, consumer imagery, Pop art and science fiction aesthetics. Yet, critical positions, such as Tafuri, speak of a technocratic idealism, claiming that this submission to the present totalizing technologically advanced conditions of production and consumption would strip the emergent experimental lineage of a social and political efficacy. Tafuri dismisses both the modernist ideology of the functionalist plan and the nave belief in progress. Both positions make architecture the efficient agent of capitalist 'planification' and, indeed, complicitous with the commodity system, that fully arrived in postwar consumer culture. Hence, such projects cannot serve as operative criticism, which aims at the reengagement of the discipline, because the autonomy of architecture closely connected to its social functions.

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Continuità e razionalità del progetto
The architecture rational measure is all inside the lesson Alberti once the bill takes charge of responding to the needs of modernity of their time without giving up the arduous search of concreteness. A measure representing values and meanings or even more often, such a limit to be defined in one word ethics and aesthetics of architecture.
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As with Adolf Loos, the consistency and coherence of theoretical Aldo Rossi of the classical world finds its construct and refined in history of tradition with the certainty of tradibilità of the past. As for the Alberti adheres to the reality of the time and the culture of an to express the authenticity of the work.
Ernesto Nathan Rogers, Ludovico Quaroni and Giuseppe Samonà have interpreted the difficult modernity of the twentieth century in the schools of Milan, Venice and Rome and Rossi reflects the heritage of the outstanding masters of rationalism to renew and transmit the rational language in Italian schools of architecture and leads to completion the Homeric myth of the father who is so accomplished their spirituality.

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