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Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Annali di Storia delle Università Italiane is the property of CISUI: Centro Interuniversitario per la Storia delle Universita Italiane and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Annals for Istrian & Mediterranean Studies / Annales: Series Historia et Sociologia is the property of Historical Society of Southern Primorska of Koper and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia Postmedievale is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals for Istrian & Mediterranean Studies / Annales: Series Historia et Sociologia is the property of Historical Society of Southern Primorska of Koper and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Origini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of E-Review is the property of Viella Editrice srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservation Science in Cultural Heritage / Quaderni di Scienza della Conservazione is the property of Salvatore Lorusso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Collage is no longer a simple representation of the project or either a discourse through images meant to remain confined to the format of paper architecture. In the digital age, it has become a decisive tool in the design process. It is thanks to Photoshop collages that the new generations of architects, active since the early 2000s, began to challenge their discipline and its history, to reactivate interrupted paths and to introduce fragments of retroactive visions in the contemporary project, avoiding stylisation resurged in the postmodern times. Through the work of Office, and its unpublished drawings, the essay proposes to reconstruct the advent of Photoshop collage and its perspective vision as design criteria in today’s architecture.

Between the end of the eighteenth and the first half of the nineteenth century, the south of Italy becomes one of the central destinations of the Grand Tour, travelers and foreign artists tell the landscape through the drafting of travel reports and drawings that give back an image of the places often changed over time. In particular, the territory of Campania and above all the city of Naples and the adjacent Phlegrean territory, exerts a certain charm that translates into the creation of real works of art. The work of the French architect and landscape painter Prosper Barbot is part of this context, thanks to two trips undertaken at the beginning of the XIX century, he draws up a corpus of drawings in which, through a technique that is anything but static, shows an image of the places visited completely new and personal. Through the selection of some of these designs, the paper intends to illustrate how the author’s gaze and interest have outlined the image of urban environments and spaces related to the Phlegrean and Neapolitan context.

In the second half of the 18th century, renowned archaeological sites and exuberant nature attracted travellers from many parts of Europe to Sicily. They wanted to end their Grand Tour on the Island in search of the picturesque and sublime cities, ruins and landscapes of a mythical, wild, Mediterranean territory. The fourth volume of the Voyage pittoresque ou description des royaumes de Naples et de Sicile by Jean-Claude Richard Abbé de Saint-Non, published in two parts in 1785 and 1786, marked the arrival point of the artistic, archaeological and naturalistic interests of many travellers who arrived on the Island in those years. These were symbolically represented by Dominique Vivant Denon, appointed by Saint-Non to describe the places and monuments in writing, which had also been described through the images of the artists who had accompanied him during the trip. The abbot, dismantled and reassembled the texts of the diary of Denon, also in the fourth volume, as he had done in the previous three volumes, published in original form only at a later time, and only in the case of Sicily (Voyage in Sicile, 1788). Denon’s diary, published ten years after its original editorship and without the full-bodied historical insights later added by Saint-Non, kept the freshness of the author’s travel impressions intact. This diary will be the main reference of this paper that intends to retrace the journey from Messina to Catania, along the traces of the roads of eastern Sicily, also through the images handed down by the artists who accompanied him: the landscape painter Claude-Louis Châtelet and the architects Louis-Jean Desprez and Jean-Augustin Renard.

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The architectural project has had different ways of representing itself and has been evolving for about a century, following the progress of science and technology that, with the advent of digital technology in the 1960s, completely subverted how a project idea was presented. Each historical period, which not by chance had its own way of representing architecture, responds quite accurately to what can be called the influential trends of the time. It is no coincidence that the beauty of architecture corresponds to models of life and society that are never in antithesis. Architectural research has historically had, until the Modern era, a way of representing itself quite univocally and has rarely tried to dialogue with the other arts, even in moments of greater reaction to the art and architecture of the time. My personal experience in the use of collage as a tool for the definition of the architectural project was mainly focused in the search for models of representation, using firstly paper collage and, later, the photo collage, with the new possibilities to impress a photographic plate and even later, in the 1980s, with the use of the photocopy. The advent of digital technology has also allowed us to perfect this mechanism, even though it has almost completely lost the dexterity in the composition of the drawing and deprived the author of the uniqueness of the work, allowing the digital to reproduce infinitely the work itself. These various and complex techniques can only be accomplished through the manual and intellectual capacity of those who know mechanisms that are not purely technical, but which are rather found in a complete whole that is the architectural project, legible in its essence and materiality.

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il termine Smart City nasce come risposta ad alcuni problemi concreti che la città del XXI secolo si trova ad affrontare: aumento della popolazione, dell’inurbamento, cambiamento climatico. La città del XX secolo si è sviluppata in maniera deregolata, senza considerare quanto il “bene Terra” fosse limitato e come il suo ecosistema fragile. E’ all’interno di questo clima che il concetto di città “intelligente” nasce e si sviluppa. Lo studio si pone l’obiettivo di studiare il fenomeno partendo dall’analisi delle sue origini e dall’evoluzione storica che lo ha prodotto. / The Smart City word borns as an answer to some important problems that the XXI century city is asked to answer: population growing, urbanisation, climatic changes. The development of the XX century city was carried on in a deregulated way, without considering that the “Earth good” was limited and its ecosystem breakable. It is into this crisis climate that the concept of intelligent city borns and develops. The paper aims to study this issue from the origins of the word and from the historic evolution that made the concept real.

Copyright of Origini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)