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Papers by Edoardo Dotto
Si prendono qui in considerazione – anche attraverso l’esperienza di Marcel Proust – due di queste desuete tecnologie, il telefono ed il Théâtrophone, cercando di mostrare come lo stupore che questi mezzi suscitavano si annidasse nello scollamento reciproco tra la collocazione fisica dell’uditore e quella dell’interlocutore, nel loro essere, letteralmente, ‘fuori luogo’. Questa condizione può essere accostata a quella che si determina ogni qual volta utilizziamo uno strumento, persino un utensile, per percepire e agire superando i confini mensurali del nostro corpo, utilizzando sintesi drastiche nelle informazioni che veicoliamo, in affinità ai fondamenti costitutivi di ogni forma di rappresentazione.
In full analogy with the technologies that, especially in the last year, have allowed our personal communications to develop through a sort of virtual telepresence, between the nineteenth and twentieth centuries in France some devices for the remote communication of sounds and voice spread. They, at the beginning, created clamor and bewilderment, soon replaced by extensive sharing and social acceptance. Two of these obsolete technologies, the telephone and the Théâtrophone, are taken into consideration here - also through the experience of Marcel Proust - trying to show how the amazement that these means aroused was nestled in the mutual disconnect between the physical location of the listener and that of the interlocutor, in their being, literally, 'out of place'. This condition can be compared to the one that is determined every time we use an instrument, even a tool, to perceive and act by overcoming the mensural boundaries of our body, using drastic syntheses in the information we convey, in affinity to the constitutive foundations of every form of representation.
riguarda la sovrapposizione di diversi livelli informativi,
posti in aggiunta al piano dell’immagine.
L’uso di layer con figure o testi che si sommano alla
schietta ‘immagine ottica’ compone una modalità
illustrativa che orienta e guida la lettura delle immagini.
In questa nota si prenderanno in considerazione
diversi esempi di questo genere: un disegno
tracciato da Dürer attorno al 1512, alcune opere
di Joseph Kosuth e di Imre Bak, comuni immagini
fotografiche annotate con appunti di testo e le moderne
immagini per la diagnostica medica. Questi
esempi mostrano strette analogie con le modalità
definite dalla cosiddetta ‘realtà aumentata’ che nella
sostanza propone in tempo reale – attraverso l’impiego
di dispositivi ottici come smartphone, tablet,
visori e smart glasses – la sovrapposizione all’immagine
ottica di figure astratte, indicazioni e descrizioni
di testo, fornendo informazioni puntuali e riducendo
l’ambiguità e la complessità che affrontiamo
ogni volta che siamo chiamati a interpretare la realtà.
Questi dispositivi orientano la nostra percezione
in modo preciso, costituendo, in ogni caso, una
sorta di sottile censura, tanto più invadente quanto
più decidiamo di estenderne l’esperienza d’uso al
tessuto della vita quotidiana.
A widespread practice in the field of illustration
concerns the superimposition of different
information levels, placed in addition to the image
plane. The use of layers with figures or texts that
are added to the straightforward ‘optical image’
creates an illustrative method that orients and
guides the reading of the images. In this note
we will consider several examples of this kind:
a drawing made by Dürer around 1512, some
works by Joseph Kosuth and Imre Bak, common
photographic images annotated with text notes
and modern images for medical diagnostics. These
examples show close analogies with the modalities
defined by the so-called ‘augmented reality’ which
essentially proposes in real time –through the use
of optical devices such as smartphones, tablets,
viewers and smart glasses– the superimposition of
abstract figures on the optical image, indications
and text descriptions, providing clear informations
and reducing the ambiguity and complexity we
face every time we are called to interpret reality.
These devices orient our perception in a precise
way, constituting, in any case, a sort of subtle
censorship, the more intrusive the more we decide
to extend the experience of use to the weave of
daily life.
La riflessione che si presenta viene sviluppata utilizzando alcuni casi emblematici, perlopiù di origine tardo ottocentesca, alcuni forniti da occasioni giocose altri da studi di grande rigore e coerenza.
A fundamental characteristic of concise and effective graphic communication concerns the appropriate choice of the most appropriate information to share. Making this selection is far from simple. Rather than maximizing the quantity of measures used, it often turns out to be necessary for those who weave communication to appeal to their sense of measure based on their knowledge and competence. Even in a period in which, with the support of revolutionary technologies, the request for precision risks becoming a priority, it remains however necessary to develop a synthesis between the need to provide large quantities of data and that of identifying and managing those essential to guarantee immediate and effective understanding of forms.
This consideration is developed using some emblematic cases, mostly of late nineteenth-century origin, some provided by playful occasions, others by studies of great rigor and consistency.
In this survey we consider a relevant – although little investigated – aspect of the architect's work, that is the one linked to the typological innovations brought about by his work.
In the case under examination – the work never built by the church of Our Lady of Lourdes in Zagreb – this innovation consists of the unusual arrangement of the four rows of columns that separate the naves of the church, almost as if they are arranged in a casual manner.
The first phase of this work deals with the graphical analysis of the plan. It has shown that the unusual design choice is, in truth, a functional-typological expedient linked to purely visual necessities. The theory has been corroborated through the digital reconstruction of the building and the perspective restitution of the interior spaces.
A graphic comparison with other Plečnik buildings – in the second part of the contribution – frames the case of Our Lady of Lourdes within the much broader experimentation pursued with constancy by the architect. On the one hand, especially in ecclesiastical buildings, the preference for types of unitary internal spaces makes its appearence again; on the other hand there is a mastery of drawing in perspective that often becomes – as in the case studied – pure design tool. A constant research that culminates, in the most known and mature projects like the parliament of Ljubljana, with the construction of real ‘accelerated’ perspective devices.
In conclusion, Plečnik’s work significantly summarizes the symbiotic bond – extremely alive – between design and project.
I disegni autografi di Dufourny rappresentano solo aspetti legati alle realizzazioni settecentesche curate da Marvuglia al quale era legato da profonda stima ed amicizia. Essi sono una pianta generale, il prospetto principale dell’abbazia, due sezioni ed una pianta della nuova biblioteca. Questi disegni, seppur schematici, sono di grande efficacia espressiva e, se posti in relazione con il disegno di autore ignoto, riescono a descrivere compiutamente l’intero complesso abbaziale.
Si prendono qui in considerazione – anche attraverso l’esperienza di Marcel Proust – due di queste desuete tecnologie, il telefono ed il Théâtrophone, cercando di mostrare come lo stupore che questi mezzi suscitavano si annidasse nello scollamento reciproco tra la collocazione fisica dell’uditore e quella dell’interlocutore, nel loro essere, letteralmente, ‘fuori luogo’. Questa condizione può essere accostata a quella che si determina ogni qual volta utilizziamo uno strumento, persino un utensile, per percepire e agire superando i confini mensurali del nostro corpo, utilizzando sintesi drastiche nelle informazioni che veicoliamo, in affinità ai fondamenti costitutivi di ogni forma di rappresentazione.
In full analogy with the technologies that, especially in the last year, have allowed our personal communications to develop through a sort of virtual telepresence, between the nineteenth and twentieth centuries in France some devices for the remote communication of sounds and voice spread. They, at the beginning, created clamor and bewilderment, soon replaced by extensive sharing and social acceptance. Two of these obsolete technologies, the telephone and the Théâtrophone, are taken into consideration here - also through the experience of Marcel Proust - trying to show how the amazement that these means aroused was nestled in the mutual disconnect between the physical location of the listener and that of the interlocutor, in their being, literally, 'out of place'. This condition can be compared to the one that is determined every time we use an instrument, even a tool, to perceive and act by overcoming the mensural boundaries of our body, using drastic syntheses in the information we convey, in affinity to the constitutive foundations of every form of representation.
riguarda la sovrapposizione di diversi livelli informativi,
posti in aggiunta al piano dell’immagine.
L’uso di layer con figure o testi che si sommano alla
schietta ‘immagine ottica’ compone una modalità
illustrativa che orienta e guida la lettura delle immagini.
In questa nota si prenderanno in considerazione
diversi esempi di questo genere: un disegno
tracciato da Dürer attorno al 1512, alcune opere
di Joseph Kosuth e di Imre Bak, comuni immagini
fotografiche annotate con appunti di testo e le moderne
immagini per la diagnostica medica. Questi
esempi mostrano strette analogie con le modalità
definite dalla cosiddetta ‘realtà aumentata’ che nella
sostanza propone in tempo reale – attraverso l’impiego
di dispositivi ottici come smartphone, tablet,
visori e smart glasses – la sovrapposizione all’immagine
ottica di figure astratte, indicazioni e descrizioni
di testo, fornendo informazioni puntuali e riducendo
l’ambiguità e la complessità che affrontiamo
ogni volta che siamo chiamati a interpretare la realtà.
Questi dispositivi orientano la nostra percezione
in modo preciso, costituendo, in ogni caso, una
sorta di sottile censura, tanto più invadente quanto
più decidiamo di estenderne l’esperienza d’uso al
tessuto della vita quotidiana.
A widespread practice in the field of illustration
concerns the superimposition of different
information levels, placed in addition to the image
plane. The use of layers with figures or texts that
are added to the straightforward ‘optical image’
creates an illustrative method that orients and
guides the reading of the images. In this note
we will consider several examples of this kind:
a drawing made by Dürer around 1512, some
works by Joseph Kosuth and Imre Bak, common
photographic images annotated with text notes
and modern images for medical diagnostics. These
examples show close analogies with the modalities
defined by the so-called ‘augmented reality’ which
essentially proposes in real time –through the use
of optical devices such as smartphones, tablets,
viewers and smart glasses– the superimposition of
abstract figures on the optical image, indications
and text descriptions, providing clear informations
and reducing the ambiguity and complexity we
face every time we are called to interpret reality.
These devices orient our perception in a precise
way, constituting, in any case, a sort of subtle
censorship, the more intrusive the more we decide
to extend the experience of use to the weave of
daily life.
La riflessione che si presenta viene sviluppata utilizzando alcuni casi emblematici, perlopiù di origine tardo ottocentesca, alcuni forniti da occasioni giocose altri da studi di grande rigore e coerenza.
A fundamental characteristic of concise and effective graphic communication concerns the appropriate choice of the most appropriate information to share. Making this selection is far from simple. Rather than maximizing the quantity of measures used, it often turns out to be necessary for those who weave communication to appeal to their sense of measure based on their knowledge and competence. Even in a period in which, with the support of revolutionary technologies, the request for precision risks becoming a priority, it remains however necessary to develop a synthesis between the need to provide large quantities of data and that of identifying and managing those essential to guarantee immediate and effective understanding of forms.
This consideration is developed using some emblematic cases, mostly of late nineteenth-century origin, some provided by playful occasions, others by studies of great rigor and consistency.
In this survey we consider a relevant – although little investigated – aspect of the architect's work, that is the one linked to the typological innovations brought about by his work.
In the case under examination – the work never built by the church of Our Lady of Lourdes in Zagreb – this innovation consists of the unusual arrangement of the four rows of columns that separate the naves of the church, almost as if they are arranged in a casual manner.
The first phase of this work deals with the graphical analysis of the plan. It has shown that the unusual design choice is, in truth, a functional-typological expedient linked to purely visual necessities. The theory has been corroborated through the digital reconstruction of the building and the perspective restitution of the interior spaces.
A graphic comparison with other Plečnik buildings – in the second part of the contribution – frames the case of Our Lady of Lourdes within the much broader experimentation pursued with constancy by the architect. On the one hand, especially in ecclesiastical buildings, the preference for types of unitary internal spaces makes its appearence again; on the other hand there is a mastery of drawing in perspective that often becomes – as in the case studied – pure design tool. A constant research that culminates, in the most known and mature projects like the parliament of Ljubljana, with the construction of real ‘accelerated’ perspective devices.
In conclusion, Plečnik’s work significantly summarizes the symbiotic bond – extremely alive – between design and project.
I disegni autografi di Dufourny rappresentano solo aspetti legati alle realizzazioni settecentesche curate da Marvuglia al quale era legato da profonda stima ed amicizia. Essi sono una pianta generale, il prospetto principale dell’abbazia, due sezioni ed una pianta della nuova biblioteca. Questi disegni, seppur schematici, sono di grande efficacia espressiva e, se posti in relazione con il disegno di autore ignoto, riescono a descrivere compiutamente l’intero complesso abbaziale.
strumenti non abbia avuto un’ampia diffusione, essi rivelano come tra il Seicento e la prima metà del Settecento vi fosse la tendenza a strutturare il disegno degli ordini come una precisa procedura grafica, mostrando come l’architettura e la matematica stessero intessendo relazioni fitte e profonde.