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.
Re-drawing of vanished space: Casa Giobbe della Bitta by Marcello Piacentini
Damiano S.
2020-01-01
Abstract
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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
