CARLO INGLESE
Carlo Inglese Architetto, PhD
Professore Associato - Facoltà di Architettura, “Sapienza” Università di Roma, DSDRA.
Dal 1993 collabora con vari corsi del SSD ICAR 17 presso la Facoltà di Architettura, "Sapienza" di Roma.
Dal 1993, ha preso parte a Ricerche e lavori conto terzi presso il Dipartimento DSDRA (ex RADAAR).
Nel 1999 ha conseguito il titolo di dottore di ricerca in "Rilievo e Rappresentazione dell'Architettura e dell'Ambiente" presso il Dipartimento di Rilievo e Rappresentazione.
Dal 2000 al 2010 è Professore a contratto, ricevendo incarichi nelle varie discipline del SSD ICAR17, presso "Sapienza ".
Nel 2003 Risulta vincitore di un assegno di ricerca biennale per la Disciplinare H11X, SSD ICAR17 presso il Dipartimento RADAAR.
Dal 2006 è Docente al Master PARES di Secondo livello in "Architettura e Costruzione storica per il recupero di spazi pubblici" della "Sapienza".
Nel 2010 Risulta vincitore della Valutazione comparativa per un posto da Ricercatore universitario presso la Facoltà di Architettura dell’Università “La Sapienza” di Roma, II^ sessione 2008, per il settore disciplinare ICAR 17
Dal 2011 fa parte del Collegio del Dottorato di Ricerca in "Scienze della Rappresentazione e Rilievo" del DSDRA.
Nel 2013 viene confermato nel ruolo dei ricercatori.
Nel 2014 ottiene l’Abilitazione nazionale per Professore di II fascia.
Dal 2013 al 2016 è Coordinatore Scientifico del LiraLAB
Nel 2018 Risulta vincitore della Procedura valutativa di chiamata per n. 1 posto di Professore di ruolo di II fascia per il settore concorsuale 08/E1 (SSD ICAR/17) presso il DSDRA – Facoltà di Architettura. D.R. n. 170/2018 del 18.01.2018.
Nel 2019 Prende servizio quale Professore di ruolo di II fascia per il settore concorsuale 08/E1 (SSD ICAR/17) presso il DSDRA. D.R. 760/2019 del 27.02.2019
Professore Associato - Facoltà di Architettura, “Sapienza” Università di Roma, DSDRA.
Dal 1993 collabora con vari corsi del SSD ICAR 17 presso la Facoltà di Architettura, "Sapienza" di Roma.
Dal 1993, ha preso parte a Ricerche e lavori conto terzi presso il Dipartimento DSDRA (ex RADAAR).
Nel 1999 ha conseguito il titolo di dottore di ricerca in "Rilievo e Rappresentazione dell'Architettura e dell'Ambiente" presso il Dipartimento di Rilievo e Rappresentazione.
Dal 2000 al 2010 è Professore a contratto, ricevendo incarichi nelle varie discipline del SSD ICAR17, presso "Sapienza ".
Nel 2003 Risulta vincitore di un assegno di ricerca biennale per la Disciplinare H11X, SSD ICAR17 presso il Dipartimento RADAAR.
Dal 2006 è Docente al Master PARES di Secondo livello in "Architettura e Costruzione storica per il recupero di spazi pubblici" della "Sapienza".
Nel 2010 Risulta vincitore della Valutazione comparativa per un posto da Ricercatore universitario presso la Facoltà di Architettura dell’Università “La Sapienza” di Roma, II^ sessione 2008, per il settore disciplinare ICAR 17
Dal 2011 fa parte del Collegio del Dottorato di Ricerca in "Scienze della Rappresentazione e Rilievo" del DSDRA.
Nel 2013 viene confermato nel ruolo dei ricercatori.
Nel 2014 ottiene l’Abilitazione nazionale per Professore di II fascia.
Dal 2013 al 2016 è Coordinatore Scientifico del LiraLAB
Nel 2018 Risulta vincitore della Procedura valutativa di chiamata per n. 1 posto di Professore di ruolo di II fascia per il settore concorsuale 08/E1 (SSD ICAR/17) presso il DSDRA – Facoltà di Architettura. D.R. n. 170/2018 del 18.01.2018.
Nel 2019 Prende servizio quale Professore di ruolo di II fascia per il settore concorsuale 08/E1 (SSD ICAR/17) presso il DSDRA. D.R. 760/2019 del 27.02.2019
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Books by CARLO INGLESE
Negli ultimi venti anni, partendo dalla Dichiarazione di Segesta (1995) e poi con la Carta di Siracusa (2004) i Teatri Antichi sono divenuti un importante elemento nel dibattito sui Beni Culturali, stretti tra conservazione e utilizzo sostenibile. In questo quadro il presente volume raccoglie i risultati delle attività di documentazione e di analisi sviluppate sui teatri di Mérida, Petra, Jerash, Carthage, Cherchell e Siracusa nel quadro del Progetto UE Ancient Theatres Enhancement for New Actualities (ATHENA – Programma Euromed Heritage IV), certamente uno dei risultati più rilevanti di questo contesto culturale prima che scientifico.
Gli esiti che presentiamo, frutto delle elaborazioni condotte dal nostro gruppo di ricerca sulla base dei dati acquisiti nel corso di ATHENA, sebbene vedano la luce a circa tre anni di distanza dalla conclusione del progetto si pongono in perfetta continuità con esso e in qualche misura rappresentano una prova della sua capacità di proiettarsi oltre i limiti temporali del programma di ricerca originale. Ma più di questo, il presente volume intende testimoniare, una volta di più, la rilevanza delle discipline del Disegno nel processo di conoscenza degli elementi costruiti.
Ancient Theatres are one of the most extraordinary legacies handed down to us by past civilizations. The fact they are spread far and wide throughout the Mediterranean Basin is quite extraordinary, as is the number of theatres in which plays and performances continue to be staged.
In the past twenty years, beginning with the Declaration of Segesta (1995) and more recently the Siracusa Charter (2004), Ancient Theatres have become an important issue in the debate about Cultural Heritage that has to carefully balance strict conservation and sustainable usage.
It is within this framework that the current volume presents the results of the documentation and analysis performed on the theatres of Mérida, Petra, Jerash, Carthage, Cherchell and Siracusa within the framework of the EU Project Ancient Theatres Enhancement for New Actualities (ATHENA – Euromed Heritage IV Programme), certainly one of the most relevant achievements of a context that is first cultural and then scientific.
Although this book is being published three years after completion of the ATHENA project it nevertheless follows on from it, especially the data originally acquired by our research group. In actual fact, to some extent it illustrates how the shadow cast by the Project falls well beyond the temporal limits of the original research programme. But it is more than this. Once again this book highlights and emphasises the importance of Drawing disciplines as part of the process used to understand built elements.
L’analisi dei tracciati, infine, è stata condotta considerando le regole geometriche insite nella loro esecuzione e l’organizzazione dei cantieri antichi.
Studies on the subject, considering the scale archaeological embedded in the theme, revealed as the focus of the layouts found by archaeologists on artefacts during excavations, abundantly documented in specific texts , focused primarily on " traces of processing "and" guidelines or of faith, "especially in Greek and Roman times, providing a thorough sampling of what is now unanimously recognized as a standard practice of the construction process.
Through extensive bibliography can find a classification summarized as follows:
- Traces of machining tools such as chisels, chisel, pencil lead-colored;
- Traces on the surfaces of discharge and on the faces of contact, such as anathyrosis, (special processing of the contact faces, which presents itself as a band and finished contornante adjust one or more margins of an element, with the central part which remains retracted );
- Traces of guidelines for the installation of construction elements: stone blocks and drums of columns, or for installation of decorative elements, such as triglyphs, metopes, geison;
- Tracks for the connection of these elements: holes of the lever, casting, receipts for polos and empolion (particular connection system consists of an element fitted with a pin and another equipped with built-in);
- Traces to assemble and identification: brands of masons, contractors, initials, letters and symbols.
The ultimate goal of this classification lies in the attempt to trace a clear date of the article studied through the identification of repetitive elements, certain well-recognized and then chronologically.
The arguments just given, supported by a detailed bibliography, now formed a body of work very good and well established, thanks to the efforts by archaeologists in a field of almost absolute dominance.
Unlike the traces of drawings engraved in stone elements on site, construction parts and decorative, whose interpretation is not yet unanimous, is a field under development, which meet in a sort of doctrine to its strong multidisciplinary archaeological experiences and architectural expertise.
For some scholars they represent real projects of architectural details, the true scale, for others, would be objective representations of the parts made, for others still graphical models, scale, used to control the phases of implementation .
From what has been said and the introduction of what would later be discussed more thoroughly, it is noted that in some historical periods and in some geographical areas the use of the tracks had become common practice in the conduct of a construction site, is identified in the case of engravings numerous archaeological sites in Greece, archaic, Hellenistic, Roman monuments in the main, especially in the Imperial age, and major French Romanesque and Gothic cathedrals.
To confirm this, and how most obvious example is enough to mention the numerous recordings tracked at the main architectural works of the Roman Empire, built or restored during the first and second century. A.D. under the reign of the Flavian and Antonine dynasties in Italian cities such as showing the path of an arch with concrete amphitheater SMCapua Vetere, the two gables with capital on the pavement entrance of the Mausoleum of Augustus Rome, executed for the portico of the Pantheon, the incisions for the realization of the grooves of the Temple of Hadrian and Pantheon, the capital of the Baths of Agrippa Laconicon have been reported on the Schedule which the main lines for sizing, the guidelines carved on the entablature of the Temple of Vespasian at Rome, and the same in Brescia, or the tracings in certain cities of the provinces as a foreign Sabratha in Libya, Baalbek and Jerash Lebanon.
The proposed classification follows two major addresses, the first identified as "Paths Project", with a sense of architecture, which has the main topics "Paths to work site", ie those paths, large substance, found in the circumstances or, some cases, on the same articles, the "Paths of detail on architectural elements", ie those of lesser magnitude, identified on the details for their realization, and finally the "Nomograms", those paths, ie, comparable to geometric diagrams or otherwise signs are part of graphics operations used to trace, set the measurements of a known element, in other, unknown factors.
In "Paths to work site" are, in some cases, also including tracks, which by their nature should be categorized as "assembly", but given their size and nature of "meta" is more suited to this second class is the case of some extended compound paths simultaneously guidelines, level lines and axes of symmetry, those, namely, that Ruiz de La Rosa calls "de Dibujos replanteo" identifying the procedure used more than once he saw the "replanting "principal elements constituting an architectural work, the sketch of the designer, often out of scale, directly on the strong, a true to scale. This procedure allowed to check the validity of the alignments of the axes and then make any changes.
The second, identified as "Paths of assembly", with archaeological sense, has, however, as the field of implementing the "Guidelines" that is, those incisions performed "in situ" by the juxtaposition of structural elements and control the placement of architectural elements as columns, walls and perimeter marked, and detail elements as metopes, triglyphs, capitals, etc.., and the "marks" that all that body of signs, symbols, letters and numbers that were used by the count of working hours of workers, identification of the blocks in the quarries, the previous numbering assembly of architectural structures composed of multiple elements, simple signs superstitious.
The handling of that issue, the apparent strangeness of the tracks with the theme, assumes an important affinity with it, if interpreted as a complement to the design procedure. The trademarks, in fact, in all its different types, they fit perfectly in design methodology defined by the engravings and the paths of the yard, providing a series of explanations and clarifications otherwise not feasible, like annotation metrics, morphological and technical Nowadays we use in preparing the graphics design. Through this reading, which significantly reduces the time lag with modern methods, it will clear the construction process of an artifact in the ancient world, starting from its concept phase, to the preparative, to that, finally, embodiment.
The classification as defined, also can not ignore the historical-chronological approach, with the aim of controlling the development over the following centuries, so that any tramandazioni, as well as periods when the use of these procedures was very healthy and consistent.
I think, ultimately, be stated that the work is not aimed solely at identifying these construction procedures, it has even less claim to catalog all existing examples, but wants to be, above all, the attempt to identify, through a "process "historical-chronological, a baseline for future studies on the origin of the architectural design today is understood as the Executive.
Papers by CARLO INGLESE
Negli ultimi venti anni, partendo dalla Dichiarazione di Segesta (1995) e poi con la Carta di Siracusa (2004) i Teatri Antichi sono divenuti un importante elemento nel dibattito sui Beni Culturali, stretti tra conservazione e utilizzo sostenibile. In questo quadro il presente volume raccoglie i risultati delle attività di documentazione e di analisi sviluppate sui teatri di Mérida, Petra, Jerash, Carthage, Cherchell e Siracusa nel quadro del Progetto UE Ancient Theatres Enhancement for New Actualities (ATHENA – Programma Euromed Heritage IV), certamente uno dei risultati più rilevanti di questo contesto culturale prima che scientifico.
Gli esiti che presentiamo, frutto delle elaborazioni condotte dal nostro gruppo di ricerca sulla base dei dati acquisiti nel corso di ATHENA, sebbene vedano la luce a circa tre anni di distanza dalla conclusione del progetto si pongono in perfetta continuità con esso e in qualche misura rappresentano una prova della sua capacità di proiettarsi oltre i limiti temporali del programma di ricerca originale. Ma più di questo, il presente volume intende testimoniare, una volta di più, la rilevanza delle discipline del Disegno nel processo di conoscenza degli elementi costruiti.
Ancient Theatres are one of the most extraordinary legacies handed down to us by past civilizations. The fact they are spread far and wide throughout the Mediterranean Basin is quite extraordinary, as is the number of theatres in which plays and performances continue to be staged.
In the past twenty years, beginning with the Declaration of Segesta (1995) and more recently the Siracusa Charter (2004), Ancient Theatres have become an important issue in the debate about Cultural Heritage that has to carefully balance strict conservation and sustainable usage.
It is within this framework that the current volume presents the results of the documentation and analysis performed on the theatres of Mérida, Petra, Jerash, Carthage, Cherchell and Siracusa within the framework of the EU Project Ancient Theatres Enhancement for New Actualities (ATHENA – Euromed Heritage IV Programme), certainly one of the most relevant achievements of a context that is first cultural and then scientific.
Although this book is being published three years after completion of the ATHENA project it nevertheless follows on from it, especially the data originally acquired by our research group. In actual fact, to some extent it illustrates how the shadow cast by the Project falls well beyond the temporal limits of the original research programme. But it is more than this. Once again this book highlights and emphasises the importance of Drawing disciplines as part of the process used to understand built elements.
L’analisi dei tracciati, infine, è stata condotta considerando le regole geometriche insite nella loro esecuzione e l’organizzazione dei cantieri antichi.
Studies on the subject, considering the scale archaeological embedded in the theme, revealed as the focus of the layouts found by archaeologists on artefacts during excavations, abundantly documented in specific texts , focused primarily on " traces of processing "and" guidelines or of faith, "especially in Greek and Roman times, providing a thorough sampling of what is now unanimously recognized as a standard practice of the construction process.
Through extensive bibliography can find a classification summarized as follows:
- Traces of machining tools such as chisels, chisel, pencil lead-colored;
- Traces on the surfaces of discharge and on the faces of contact, such as anathyrosis, (special processing of the contact faces, which presents itself as a band and finished contornante adjust one or more margins of an element, with the central part which remains retracted );
- Traces of guidelines for the installation of construction elements: stone blocks and drums of columns, or for installation of decorative elements, such as triglyphs, metopes, geison;
- Tracks for the connection of these elements: holes of the lever, casting, receipts for polos and empolion (particular connection system consists of an element fitted with a pin and another equipped with built-in);
- Traces to assemble and identification: brands of masons, contractors, initials, letters and symbols.
The ultimate goal of this classification lies in the attempt to trace a clear date of the article studied through the identification of repetitive elements, certain well-recognized and then chronologically.
The arguments just given, supported by a detailed bibliography, now formed a body of work very good and well established, thanks to the efforts by archaeologists in a field of almost absolute dominance.
Unlike the traces of drawings engraved in stone elements on site, construction parts and decorative, whose interpretation is not yet unanimous, is a field under development, which meet in a sort of doctrine to its strong multidisciplinary archaeological experiences and architectural expertise.
For some scholars they represent real projects of architectural details, the true scale, for others, would be objective representations of the parts made, for others still graphical models, scale, used to control the phases of implementation .
From what has been said and the introduction of what would later be discussed more thoroughly, it is noted that in some historical periods and in some geographical areas the use of the tracks had become common practice in the conduct of a construction site, is identified in the case of engravings numerous archaeological sites in Greece, archaic, Hellenistic, Roman monuments in the main, especially in the Imperial age, and major French Romanesque and Gothic cathedrals.
To confirm this, and how most obvious example is enough to mention the numerous recordings tracked at the main architectural works of the Roman Empire, built or restored during the first and second century. A.D. under the reign of the Flavian and Antonine dynasties in Italian cities such as showing the path of an arch with concrete amphitheater SMCapua Vetere, the two gables with capital on the pavement entrance of the Mausoleum of Augustus Rome, executed for the portico of the Pantheon, the incisions for the realization of the grooves of the Temple of Hadrian and Pantheon, the capital of the Baths of Agrippa Laconicon have been reported on the Schedule which the main lines for sizing, the guidelines carved on the entablature of the Temple of Vespasian at Rome, and the same in Brescia, or the tracings in certain cities of the provinces as a foreign Sabratha in Libya, Baalbek and Jerash Lebanon.
The proposed classification follows two major addresses, the first identified as "Paths Project", with a sense of architecture, which has the main topics "Paths to work site", ie those paths, large substance, found in the circumstances or, some cases, on the same articles, the "Paths of detail on architectural elements", ie those of lesser magnitude, identified on the details for their realization, and finally the "Nomograms", those paths, ie, comparable to geometric diagrams or otherwise signs are part of graphics operations used to trace, set the measurements of a known element, in other, unknown factors.
In "Paths to work site" are, in some cases, also including tracks, which by their nature should be categorized as "assembly", but given their size and nature of "meta" is more suited to this second class is the case of some extended compound paths simultaneously guidelines, level lines and axes of symmetry, those, namely, that Ruiz de La Rosa calls "de Dibujos replanteo" identifying the procedure used more than once he saw the "replanting "principal elements constituting an architectural work, the sketch of the designer, often out of scale, directly on the strong, a true to scale. This procedure allowed to check the validity of the alignments of the axes and then make any changes.
The second, identified as "Paths of assembly", with archaeological sense, has, however, as the field of implementing the "Guidelines" that is, those incisions performed "in situ" by the juxtaposition of structural elements and control the placement of architectural elements as columns, walls and perimeter marked, and detail elements as metopes, triglyphs, capitals, etc.., and the "marks" that all that body of signs, symbols, letters and numbers that were used by the count of working hours of workers, identification of the blocks in the quarries, the previous numbering assembly of architectural structures composed of multiple elements, simple signs superstitious.
The handling of that issue, the apparent strangeness of the tracks with the theme, assumes an important affinity with it, if interpreted as a complement to the design procedure. The trademarks, in fact, in all its different types, they fit perfectly in design methodology defined by the engravings and the paths of the yard, providing a series of explanations and clarifications otherwise not feasible, like annotation metrics, morphological and technical Nowadays we use in preparing the graphics design. Through this reading, which significantly reduces the time lag with modern methods, it will clear the construction process of an artifact in the ancient world, starting from its concept phase, to the preparative, to that, finally, embodiment.
The classification as defined, also can not ignore the historical-chronological approach, with the aim of controlling the development over the following centuries, so that any tramandazioni, as well as periods when the use of these procedures was very healthy and consistent.
I think, ultimately, be stated that the work is not aimed solely at identifying these construction procedures, it has even less claim to catalog all existing examples, but wants to be, above all, the attempt to identify, through a "process "historical-chronological, a baseline for future studies on the origin of the architectural design today is understood as the Executive.