Università
della
Svizzera
italiana
Accademia
di architettura
Istituto di storia e teoria dell'arte e dell'architettura

 
 

Ricerche in corso

 

The weak point of today's theory of passive climate control is its focus on individual buildings and self-sufficiency which should be overcome by focusing on interdependence and synergy effects on an urban scale. In this research project, the "passive house" is to be rethought as an "urban passive house" and conceptualized as part of the "political ecology" of the city. The project's investigation is at the intersection of architecture, ethnography, and science and technology studies. It examines the complex relationship between the climate and the city.

The future conception of the urban passive house relies on coordinated "combinations" between the different "agents" of passive climate control. Therefore at the very centre of this project is the investigation of meaningful "associations" (Bruno Latour) of spatial structures, sociocultural practices, and political regulations. The control of climate is conceived as a practice fundamentally influenced by culture and politics.

The two PhD projects will provide important empirical insights for theorizing the urban passive house. The doctoral researchers investigate the thermal conditions of an urban neighborhood in the global South (Cairo, Santiago de Chile) and exploring modernization strategies that foster passive climate control in the district. With the underlying rationale of the city as a political ecology, the projects shall combine bioclimatic urban research with microscale investigations on the use of "common-pool resources" (Elinor Ostrom), on local thermal practices, and on the political regulations of climate control.

 

 

Urbanising Passive Climatisation Theory.

A Cross-cultural Approach to the Urban Passive House

 

  • Responsabile
    • Prof. Dr. Sascha Roesler
  • Collaboratori
    • Lionel Epiney
    • Dalila Ghodbane
    • Madlen Kobi
    • Lorenzo Fabian Stieger
  • Durata
    • 48 mesi
  • Inizio
    • Novembre 2015
  • Enti finanziatori
    • FNS, Divisione 1
  • Links 

Gottfried Semper (1803–1879) is considered to be one of the most significant architects of the 19th century. The path of his life led him from his native Hamburg to Dresden – through Paris, Italy and Greece –, from Dresden to London and finally to Zurich and Vienna, opening up broad intellectual and cultural horizons along the way. He received international acclaim for his built works as well as for his writings already in his lifetime, and his influence extends to the present day. His theoretical writings, extending to many hundreds of pages, have left a particularly important mark on the history of art and architecture in the past 150 years.

Semper’s main theoretical work, Style in the Technical and Tectonic Arts, or Practical Aesthetics (1860/63), stands at the centre of this project. His Stylefascinates its readers until today with its ambitious attempt to understand architecture as a product of cultural practices. The breadth of his writings necessarily entailed that his investigations extended far over the boundaries of architectural and art history into the domains of other disciplines, including the history of culture and language, evolutionary biology, and anthropology.

The aim of this project – a collaboration between ETH Zurich and the Università della Svizzera italiana (USI), Mendrisio – is to produce a critical and commented edition of draft and published versions of Semper’s Stylein digital form. This will make the whole of the extensive illustrative and textual content of the work accessible online for the first time creating a reliable and verifiable resource for researchers and the general public. Semper’s ample preparatory materials (notes, drafts, proofs, and drawings kept in the gta Archives, ETH Zurich) will be analysed by the means of text critique and will form a key part of the edition. Furthermore, the edition will highlight the differences between distinct print editions. The extent and complexity of the manuscript holdings will demand a full twelve years to complete the research and editorial work, conceived in three stages. The first of these (2017–20) has published the material relating to the first volume of Style. The second phase (2021-2024) will publish the manuscripts of the Kunstformenlehre – a predecessor of the Style – and materials relating to the second volume. Pending funding approval, a third phase is planned to edit the materials relating to the intended but unpublished third volume of the Style.

Gottfried Semper: Style
Critical and Commented Edition

 

  • Responsabile
    • Prof. Dr. Philip Ursprung, ETH Zürich
  • Co-responsabile
    • Prof. Dr. Sonja Hildebrand
  • Project leader
    • PD Dr. Michael Gnehm​ (USI, ETH)
  • Collaboratori scientifici
    • Dr. Elena Chestnova (USI)
      PD Dr. Felix Christen (USI) 
    • Dr. Dieter Weidmann (USI)
      Raphael Germann (USI)
  • Studenti assistenti
    • Xuhean Li (ETH)
      Céline Berberat (ETH)
  • Durata
    • 96 mesi
  • Inizio
    • Gennaio 2017
  • Enti finanziatori
    • FNS, Divisione 1
  • Links 

Im Jahr 2014 ist in der Staatlichen Kunsthalle Karlsruhe eine spektakuläre Neubestimmung gelungen: Zwei Alben mit insgesamt 297 Zeichnungen können seither dem römischen Künstler, Architekten, Theoretiker, Antiquar und Antikenhändler Giovanni Battista Piranesi (1720-1778) und seiner Werkstatt zugeordnet werden; bis dahin galten sie als Werke des Karlsruher Architekten Friedrich Weinbrenner (1766-1826). Zahlenmäßig handelt es sich bei dem Fund um die größte zusammenhängende Gruppe von Zeichnungen Piranesis und seines näheren Umfelds. Diese Entdeckung eröffnet die Chance auf eine umfassende Neubewertung des künstlerischen Werkes von Piranesi, das im Fokus des beantragten Projektes steht: Der Fund umfasst die gesamte typologische Breite im zeichnerischen Werk Piranesis - von den frühen capricci bis zu den archäologischen Darstellungen des Spätwerks. Höchst bedeutsam sind die zahlreichen Skizzen, die vor Ort entstandenen Zeichnungen nach der Antike, Abklatsche und anderen Typen von Zeichnungen, die nur höchst selten in Piranesis bisher bekanntem Oeuvre begegnen. Sie liegen hier in großer materialtechnischer Vielfalt vor. Die Zeichnungen weisen außerdem verschiedene Spuren früherer Benutzung und Montierung auf, die vollkommen erhalten sind und die Einblicke in Piranesis Werkstattpraxis erlauben. Teilweise können diese Spuren auf die Benutzung der Blätter als Unterrichtsmaterial in der Karlsruher Bauschule zurückgeführt werden, der Weinbrenner von 1800 bis 1825 vorstand. Er war es vermutlich auch, der die Zeichnungen am Ende seines Romaufenthaltes (1792-1797) in der Werkstatt Piranesis erwarb, sie mit nach Karlsruhe brachte und sie in die heutigen Alben montieren ließ. Die Breite des Bestands reicht geographisch weit über Karlsruhe hinaus: Gegendrucke und Kopien von Karlsruher Blättern befinden sich in den Nachlässen von Architekten des 18. und 19. Jahrhunderts, die heute in internationalen Sammlungen bewahrt werden (London, New York, Besançon, Dessau). Sie bezeugen die große internationale Verbreitung und den Einfluss von Piranesis Zeichnungen, der jetzt neu zu bewerten ist. Das interdisziplinäre Forschungsprojekt, an dem Kunsthistoriker und Restauratoren beteiligt sind, wird die komplexen Zusammenhänge offenlegen, in denen die Karlsruher Zeichnungen entstanden sind. Schlüsselfragen betreffen die Autorschaft Piranesis bzw. der Mitarbeiter seiner Werkstatt, Typus, Funktion und Technik der Zeichnungen, die Werkstattpraxis sowie die Benutzungsspuren und die Konservierung; darüber hinaus wird nach Piranesis Bedeutung für die zeitgenössische römische Graphik- und Buchproduktion gefragt, auch im Hinblick auf ihre weiträumige Verbreitung. Das methodisch innovative Forschungsprojekt wird erstmals die Karlsruher Alben in Piranesis Werk einbetten und deren Bedeutung für die europäische Kunstgeschichte sichtbar machen.

Giovanni Battista Piranesi and his Workshop: Two newly identified Albums at Karlsruhe
 

  • Responsabile
    • Prof. Dr. Christoph Frank 
  • Collaboratore
    • Bénédicte​ Maronnie
  • Durata
    • 24 mesi
  • Inizio
    • Gennaio 2018
  • Enti finanziatori
    • FNS, Divisione 1 
  • Links

 

 

 

Il progetto (SNSF Research Infrastructure), condotto in collaborazione tra le cattedre di studi medievali dell'Istituto di storia e teoria dell’arte e dell’architettura dell'Accademia di architettura, Università della Svizzera italiana (Prof. Dr. Daniela Mondini) e dell'Istituto di Storia dell'arte dell'Università di Zurigo (Prof. Dr. Carola Jäggi), ha come obiettivo la redazione di un catalogo in 7 volumi delle circa 120 chiese medievali romane rimaste o tramandate dalle fonti. La maggioranza die queste chiese ha dovuto cedere il posto ai rinnovamenti barocchi o ha perduto i suoi originari arredi liturgici. Lo studio dei frammenti superstiti nonché delle fonti testuali e figurative consente, tuttavia, di ricomporre un’immagine ricca e variegata della peculiare arte romana, nota con la definizione di “cosmatesca”. Ogni edificio occupa nei conflitti tra le fazioni una posizione specifica di autorappresentazione della curia, dell’aristocrazia, del Comune o degli ordini che dipendeva da segni forti e da evidenti distinzioni. Riflettendo anche la fortuna critica e la storia dei restauri, queste “biografie” delle chiese di Roma costituiscono un elemento della nostra presente storia delle idee.

In questa fase del progetto sono previsti il completamento e la pubblicazione del sesto volume, iniziato nel 2018 e dedicato alle due celeberrime basiliche apostoliche di S. Paolo fuori le mura e S. Pietro in Vaticano (progetto 10FI13_170405) nonché l’avvio delle ricerche per il settimo volume. Questo, destinato ad essere il volume conclusivo del Corpus, includerà una quarantina di chiese, a partire dalla P, con S. Pancrazio, fino fine dell’alfabeto. I monumenti in esso affrontati comprenderanno importanti edifici medievali, come la basilica di S. Prassede, il complesso dei SS. Quattro Coronati, le chiese di S. Saba, S. Sebastiano fuori le mura, S. Stefano rotondo, SS. Vincenzo e Anastasio e, naturalmente, la cappella papale situata nel Palazzo lateranense, meglio nota come Sancta Sanctorum, ovvero uno degli ambienti del tardo XIII secolo che ha meglio conservato tutto lo splendore e la magnificenza delle decorazioni marmoree, musive e pittoriche. È, inoltre, probabile che le indagini sulle chiese meno conosciute condurranno a inattese scoperte e contribuiranno a portare in luce opere ancora ignote o non sufficientemente considerate, grazie all’attento studio delle fonti scritte e agli accurati sopralluoghi.

 

Le Chiese di Roma nel Medioevo (1050-1300)
Corpus Cosmatorum II, vol. 6: San Paolo fuori le mura e San Pietro in Vaticano

 

  • Responsabile
    • Prof. Dr. Daniela Mondini
  • Co-Responsabile
    • Prof. Dr. Carola Jäggi, Universität Zürich
  • Collaboratori
    • Dr. Almuth Klein (USI)
    • Giorgia Pollio-Rossi (USI)
    • Angela Yorck von Wartenburg (UZH)
    • Dr. Biancamaria Hermanin de Reichenfeld (UZH)
  • Collaboratori esterni
    • Prof. Dr. emer Sible de Blaauw (Radboud University Nijmegen)
    • Prof. Nicola Camerlenghi (Dartmouth College)
    • Prof. Dr. emer. Peter Cornelius Claussen (UZH)
    • Dr. Michael Schmitz (Bibliotheca Hertziana)​
    • Darko Senekovic (Zurigo)​
  • Durata
    • 48 mesi
  • Inizio
    • Aprile 2021
  • Enti finanziatori
    • FNS, Divisione 1
  •  Links