How do we measure the distance between us and unbuilt architecture? This apparently specious question may be useful to hinge some reflections on the use of Drawing in the study of unbuilt architecture, especially that of the early 20th century. In fact, in investigating a project that has remained unrealized by Luigi Moretti for the city of Piacenza (the local "Caserma-Teatro G.I.L."), the main aim was to verify a method that foresees the application of some of the instruments of the Science of Representation. The culmination of this slow process of decoding and subsequent exegesis was certainly graphic analysis (which made it possible to discretize Moretti's work into parts that are certainly notable but autonomous from a tectonic, syntactic, spatial or functional point of view) and three-dimensional digital modelling (which gave back that perspective-chiaroscuro depth that cannot be perceived solely through observation of the project drawings). The results of the research coincide with the images accompanying the text, which become a true tool for verifying the Roman architect's design thinking.
Come si misura la distanza che intercorre tra noi e un edificio rimasto sulla carta? Questa domanda apparentemente pretestuosa può esserci utile per incardinare delle riflessioni sull’uso del Disegno nello studio dell’architettura non realizzata, soprattutto quella del primo ‘900. Non a caso, nell’approfondire un progetto rimasto tale di Luigi Moretti per la città di Piacenza (la locale “Caserma-Teatro G.I.L.”) si è voluto prioritariamente verificare un metodo che prevede l’applicazione di alcuni degli strumenti propri della Scienza della Rappresentazione. I culmini di questo processo lento di decodifica e successiva esegesi sono stati certamente l’analisi grafica (che ha permesso di discretizzare l’opera di Moretti in parti certamente notevoli ma autonome dai punti di vista tettonico, sintattico, spaziale o funzionale) e la modellazione tridimensionale digitale (che ha restituito quella profondità prospettico-chiaroscurale non percepibile solo attraverso l’osservazione dei disegni di progetto). Gli esiti della ricerca coincidono con le immagini a corredo del testo, che assurgono a divenire vero e proprio strumento di verifica del pensiero progettuale dell’architetto romano.
Disegnare il non costruito: la Caserma-Teatro G.I.L. di Luigi Moretti a Piacenza
Di Mauro, E;Damiano, S
2021-01-01
Abstract
How do we measure the distance between us and unbuilt architecture? This apparently specious question may be useful to hinge some reflections on the use of Drawing in the study of unbuilt architecture, especially that of the early 20th century. In fact, in investigating a project that has remained unrealized by Luigi Moretti for the city of Piacenza (the local "Caserma-Teatro G.I.L."), the main aim was to verify a method that foresees the application of some of the instruments of the Science of Representation. The culmination of this slow process of decoding and subsequent exegesis was certainly graphic analysis (which made it possible to discretize Moretti's work into parts that are certainly notable but autonomous from a tectonic, syntactic, spatial or functional point of view) and three-dimensional digital modelling (which gave back that perspective-chiaroscuro depth that cannot be perceived solely through observation of the project drawings). The results of the research coincide with the images accompanying the text, which become a true tool for verifying the Roman architect's design thinking.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.