On non-linear and non-ideal interactions in two vibrating problems

In practical situations, the dynamics of the forcing function on a vibrating system cannot be considered as given a priori, and it must be taken as a consequence of the dynamics of the whole system. In other words, the forcing source has limited power, as that provided by a DC motor for an example, and thus its own dynamics is influenced by that of the vibrating system being forced. This increases the number of degrees of freedom of the problem, and it is called a non-ideal problem. In this work, we considerer two non-ideal problems analyzed by using numerical simulations. The existence of the Sommerfeld effect was verified, that is, the effect of getting stuck at resonance (energy imparted to the DC motor being used to excite large amplitude motions of the supporting structure). We considered two kinds of non-ideal problem: one related to the transverse vibrations of a shaft carrying two disks and another to a piezoceramic bar transducer powered by a vacuum tube generated by a non-ideal source Copyright �� 2007 by ASME.

A structure excited by a DC motor of limited power supply and controlled by a pendulum like device

In this paper, a mathematical model is derived via Lagrange's Equation for a shear building structure that acts as a foundation of a non-ideal direct current electric motor, controlled by a mass loose inside a circular carving. Non-ideal sources of vibrations of structures are those whose characteristics are coupled to the motion of the structure, not being a function of time only as in the ideal case. Thus, in this case, an additional equation of motion is written, related to the motor rotation, coupled to the equation describing the horizontal motion of the shear building. This kind of problem can lead to the so-called Sommerfeld effect: steady state frequencies of the motor will usually increase as more power (voltage) is given to it in a step-by-step fashion. When a resonance condition with the structure is reached, the better part of this energy is consumed to generate large amplitude vibrations of the foundation without sensible change of the motor frequency as before. If additional increase steps in voltage are made, one may reach a situation where the rotor will jump to higher rotation regimes, no steady states being stable in between. As a device of passive control of both large amplitude vibrations and the Sommerfeld effect, a scheme is proposed using a point mass free to bounce back and forth inside a circular carving in the suspended mass of the structure. Numerical simulations of the model are also presented Copyright �� 2007 by ASME.

Comparison of environmental indicators of two aviaries for laying Hens

Funda����o de Amparo �� Pesquisa do Estado de S��o Paulo (FAPESP)

The systematic significance of floral morphology, nectaries, and nectar concentration in epiphytic cacti of tribes Hylocereeae and Rhipsalideae (Cactaceae)

A long-standing interest in cactus taxonomy has existed since the Linnaean generation, but an appreciation of the reproductive biology of cacti started early in the 1900s. Numerous studies indicate that plant reproductive traits provide valuable systematic information. Despite the extensive reproductive versatility and specializations in breeding systems coupled with the striking floral shapes, the reproductive biology of the Cactaceae has been investigated in approximately 10% of its species. Hence, the systematic value of architectural design and organization of internal floral parts has remained virtually unexplored in the family. This study represents the most extensive survey of flower and nectary morphology in the Cactaceae focusing on tribes Hylocereeae and Rhipsalideae (subfamily Cactoideae). Our objectives were (1) to conduct comparative morphological analyses of flowers and floral nectaries and (2) to compare nectar solute concentration in these two tribes consisting of holo- and semi-epiphytic species. Flower morphology, nectary types, and sugar concentration of nectar have strong taxonomic implications at the tribal, generic and specific levels. Foremost, three types of nectaries were found, namely chamber nectary (with the open and diffuse subtypes), furrow nectary (including the holder nectary subtype), and annular nectary. All Hylocereeae species possess chamber nectaries, in which the nectarial tissue has both trichomes and stomata. The Rhipsalideae are distinguished by two kinds of floral nectaries: furrow and annular, both nectary types with stomata only. The annular nectary type characterizes the genus Rhipsalis. Nectar concentration is another significant taxonomic indicator separating the Hylocereeae and Rhipsalideae and establishing trends linked to nectar sugar concentration and amount of nectar production in relation to flower size. There is an inverse relationship between flower size and amount of nectar production in the smaller Rhipsalideae flowers, in which nectar concentration is more than two-fold higher despite the smaller volume of nectar produced when compared to the large Hylocereeae flowers. Variability of nectary morphology and nectar concentration was also evaluated as potential synapomorphic characters in recent phylogenies of these tribes. In conclusion, our data provide strong evidence of the systematic value of floral nectaries and nectar sugar concentration in the Cactaceae, particularly at different taxonomic levels in the Hylocereeae and Rhipsalideae. �� 2013 Perspectives in Plant Ecology, Evolution and Systematics.

Interrelationships Between Bones, Muscles, and Performance: Biting in the Lizard Tupinambis merianae

Conselho Nacional de Desenvolvimento Cient��fico e Tecnol��gico (CNPq)

O canteiro experimental e o ensino

N��o dispon��vel

O vazio da uni��o das culturas nipo-brasileira: projeto no bairro da Liberdade-SP

The work aims at an architectural project in the neighborhood of Liberdade in Sao Paulo, from analysis of the spread of Japanese culture in Brazil. Within this theme, the paper focuses on the Japanese urban space and the search for an identity of the Japanese, besides the problems that the neighborhood has. The architectural design is justified by the need for spaces of rest, meetings and green areas, where people can get away a bit of pace that the neighborhood has. The source of this research is based on bibliographic references, reviews of other projects, investigating the experience of urban space and the richest source of contributions that were the memories of living in Japan for eight months. The expected result is the visualization of the project through sketches, experiments and artistic designs for the chosen location

An��lise energ��tica e ambi��ncia de modelos arquitet��nicos propostos pelo programa nacional de habita����o rural

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

Analysis of Vilanova Artigas' unbuilt designs in Sao Paulo

The aim of this article is to examine unbuilt residential projects designed by Vilanova Artigas. The formal and spatial conception of these projects is investigated through physical models. The object of this research project consists of the unbuilt residential projects designed by Vilanova Artigas in Sao Paulo that are available in FAUUSP's digital Library. The results indicate that physical models contribute to a better interpretation of unbuilt architectural design, both from the conceptual and aesthetic and from the functional and technical point of view. The original contribution lies in the object, i.e. the unbuilt projects, in the method, using physical models for analysis, and in the objective, viz. to establish a relationship between Artigas' built works and his unbuilt residential projects in order to better understand the design's spatial conception and its architectural approach.

Quatro Desenhos de Frank Lloyd Wright

O objetivo deste trabalho �� discutir aspectos do processo de projeto e sua representa����o gr��fica, num momento em que softwares de projeto 3D vem se tornando hegem��nicos na pr��tica do arquiteto e no ensino de arquitetura, em contraponto ��s pr��ticas de desenho em prancheta. Os motivos e circunst��ncias n��o s��o objeto do trabalho, cujo foco est�� numa pr��tica de projeto e representa����o gr��fica 2D, mas que tem muito a contribuir para o debate do quadro acima: os desenhos de projeto de Frank Lloyd Wright. Casos de estudo: quatro pranchas desenhadas por FLLW. �� importante notar que, no vasto quadro da historiografia wrightiana, an��lises e interpreta����es originais, pioneiras, da arquitetura vem surgindo nas ��ltimas d��cadas, mas ainda h�� poucos textos sobre desenhos e representa����o gr��fica do arquiteto. Este constitui uma primeira aproxima����o do autor acerca de tema que oferece abrangente potencial. S��o exemplos em que, na rela����o imagem-objeto, a representa����o bidimensional constr��i o projeto tridimensional. A arquitetura emerge como experimenta����o sem cair na especula����o formal. Demonstram uma pr��tica mais lenta, reflexiva e laboriosa do que a oferecida pelos software 3D atuais ��� mas onde cada tra��o, textura e grafismo implica um significado de espa��o e materialidade.

Uma arqueologia de diagramas cibern��ticos

This paper investigates the use of explicit structures of information in architectural design. Particularly, it approaches the use of diagrams related to cybernetics and information theory in experimental practices in the 1960���s and 1970���s. It analyses the diagram of cybernetic control proposed by the cybernetician Gordon Pask for the Fun Palace, the diagrams produced by the utopian architect Yona Friedman in the conceptual description of the Flatwriter program and Christopher Alexander���s diagrams and his theories of Synthesis of Form and Pattern Language. Finally it establishes a brief parallel between current domestication and use of dataflow programming with the cybernetic diagrams, highlighting differences in their complexity approach.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ���for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ���. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill���s relations with Italy. The original contribution of the present research regards this particular ���geographic delimitation���; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realt�� nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Cr��ation movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill���s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ���Werk���, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill���s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur R��egg and Hans Frei, and in ���Konkrete Architektur?���, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur R��egg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Mart��, Bruno Reichlin and Ton Salvad��, the latter publication concentrating on a few Bill���s themes and architectures. An urge to studying and going in depth in Max Bill���s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ���minimalist��� tradition in Swiss architecture. Bill���s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill���s son and painter himself, recently published a work on Bill���s experience in Bauhaus, and earlier on he had published an in-depth study on ���Endless Ribbons��� sculptures. Angela Thomas Schmid, Bill���s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill���s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill���s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill���s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill���s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill���s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill���s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ���Concrete Art��� of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ���rules of the game���, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill���s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill���s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ���zero degree��� reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and ���considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill���s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ���on the surface��� and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill���s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill���s main lesson.

Rafael Moneo: la complessit�� del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco S��enz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It���s of a period of great intensity as in the production like in the promotion of the Basque art. The collective ���Blanco y Negro���, than is held in 1959 at the Galer��a Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza���s construction is the void like limit of the knowledge, like border between known and unknown. It doesn���t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn���t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it���s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about ���birth of the idea of plan��� like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

Ignazio Gardella, metodo e linguaggio nel progetto della residenza

La ricerca inquadra all���interno dell���opera dell���autore, lo specifico tema della residenza. Esso costituisce il campo di applicazione del progetto di architettura, in cui pi�� efficacemente ricercare i tratti caratteristici del metodo progettuale dell���architetto, chiave di lettura dello studio proposto. Il processo che giunge alla costituzione materiale dell���architettura, viene considerato nelle fasi in cui �� scomposto, negli strumenti che adotta, negli obbiettivi che si pone, nel rapporto con i sistemi produttivi, per come affronta il tema della forma e del programma e confrontato con la vasta letteratura presente nel pensiero di alcuni autori vicini a Ignazio Gardella. Si definiscono in tal modo i tratti di una metodologia fortemente connotata dal realismo, che rende coerente una ricerca empirica e razionale, legata ad un���idea di architettura classica, di matrice illuministica e attenta alle istanze della modernit��, all���interno della quale si realizza l���eteronomia linguistica che caratterizza uno dei tratti caratteristici delle architetture di Ignazio Gardella; aspetto pi�� volte interpretato come appartenenza ai movimenti del novecento, che intersecano costantemente la lunga carriera dell���architetto. L���analisi dell���opera della residenza �� condotta non per casi esemplari, ma sulla totalit�� dei progetti che si avvale anche di contributi inediti. Essa �� intesa come percorso di ricerca personale sui processi compositivi e sull���uso del linguaggio e permette un riposizionamento della figura di Gardella, in relazione al farsi dell���architettura, della sua realizzazione e non alla volont�� di assecondare stili o norme a-priori. E��� la dimensione pratica, del mestiere, quella che meglio si presta all���interpretazione dei progetti di Gardella. Le residenze dell���architetto si mostrano per la capacit�� di adattarsi ai vincoli del luogo, del committente, della tecnologia, attraverso la re-interpretazione formale e il trasferimento da un tema all���altro, degli elementi essenziali che mostrano attraverso la loro immagine, una precisa idea di casa e di architettura, non autoriale, ma riconoscibile e a-temporale.

Il Foro Bonaparte: l'architettura della citta'

La ricerca ha per oggetto il progetto del Foro Bonaparte a Milano redatto da Giovanni Antonio Antolini a seguito del decreto del 23 giugno 1800 che stabiliva l���abbattimento delle mura del Castello Sforzesco. Si affronta il tema dell���architettura avendo come obiettivo una lettura critica di tale progetto servendosi dell���analisi compositiva come strumento in grado di stabilire i rapporti che intercorrono tra la citt��, l���architettura e il tipo. Attraverso lo studio del progetto urbano la ricerca conferma l���ipotesi per la quale la grande forma totalizzante, perentoria e assoluta �� capace di mutare la struttura urbana, offrendo un nuovo modello con cui rinnovare la citt��. L���ambizione di Antolini di veder realizzata l���opera �� destinata a svanire nell���arco di pochi anni, ma il progetto per il Foro Bonaparte continuer�� per lungo tempo ad evocare la sua idea innovativa fino ai giorni nostri. Sebbene l���opera sia destinata a rimanere un���architettura solo disegnata, le varie pubblicazioni continuano a circolare nelle accademie prima e nelle universit�� successivamente, costituendo un importante patrimonio di studio e di ricerca per generazioni di architetti, fino alla riscoperta avvenuta con Aldo Rossi e Manfredo Tafuri negli anni sessanta del secolo scorso. Dalle lezioni formulate nelle architetture del passato �� possibile avanzare nuove ipotesi e alimentare riflessioni e dibattiti sul ruolo dell���architettura nella citt�� contemporanea. La ricerca si occupa del progetto d���architettura per offrire un ulteriore contributo al tema, attraverso una lettura di carattere compositivo, supportata da una serie di schemi e disegni di studio necessari per completare il testo e per verificare i concetti esposti. Dopo aver raccolto, catalogato ed analizzato il materiale iconografico relativo al progetto per il Foro Bonaparte si �� scelto di basare il ridisegno sulla raccolta di disegni conservati presso la Biblioteca Nazionale di Francia.