Papers by giovanna ceniccola
Storia dell'arte e catastrofi. Spazio, tempi e società, (a cura di) C.Belmonte, E.Scirocco, G.Wolf, Marsilio., 2019
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Storia dell'arte e catastrofi. Spazio, tempi , società, (a cura di) C. Belmonte, E.Scirocco, G.Wolf, Marsilio, Venezia, 2019
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in Stati Generali del Patrimonio Industriale 2022 a cura di Edoardo Currà, Marina Docci, Claudio Menichelli, Martina Russo, Laura Severi Marsilio Editori, Venezia. ISBN 978-88-297-1666-1, 2022
A seguito dell’Unità d’Italia, dello sviluppo della rete ferroviaria e delle bonifiche, l’Abruzzo... more A seguito dell’Unità d’Italia, dello sviluppo della rete ferroviaria e delle bonifiche, l’Abruzzo, regione da sempre caratterizzata da un’attività legata alla pastorizia, vede una fervente diffusione dell’industria laterizia grazie alla copiosa presenza di materia prima. Nel 1893 si contano già circa 500 fornaci che porteranno ad una progressiva modifica dei luoghi e del paesaggio.
La fornace Franchi di Martinsicuro, sulla costa teramana, rappresenta un importante esempio ancora ben conservato con le possenti strutture del forno, degli essiccatoi e dell’alta ciminiera a base ottagonale e con la permanenza dei caratteri industriali della zona. Attuali ipotesi di riuso la vedono trasformata in centro commerciale leggendo in esso un mero contenitore da riempire così come si è ipotizzato per la vicina fornace Fiore con un progetto (mai realizzato) di parco divertimenti.
La fornace Carradori di Campli, incipit per lo sviluppo della frazione di Sant’Onofrio nell’entroterra teramano, in attività fino al 1975, si conserva in totale stato di abbandono e privata di alcuni dei suoi volumi ottocenteschi sostituiti nella loro funzione da nuove costruzioni che sperimentano l’acciaio e il cemento armato del primo Novecento.
Il contributo, partendo dalle caratteristiche costruttive delle fornaci, si concentra sul loro ruolo nello sviluppo urbano dei territori e sull’attuale tema del riuso, contemplando le istanze di una complessa azione di tutela monumentale nonché di tutela del paesaggio.
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in La città e la cura. Spazi, istituzioni, strategie, memoria, atti del convegno AISU, a cura di Massimiliano Savorra, Marco Morandotti. , 2021
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in Confronti. Restauro e fruizione. Le terme suburbane di Pompei, 2020
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in A. Maglio, G. Belli (a cura di), Luigi Piccinato (1899-1983). Architetto e urbanista, Aracne editrice, Ariccia (RM) 2015.
The early Thirties of the Twentieth century represent for Benevento a period of great urban proje... more The early Thirties of the Twentieth century represent for Benevento a period of great urban project fervor aimed to give a new urbanism and decorum to the “old” city and, at the same time, to ensure a balanced development of the “new” city with its expansion outside of the historical center.
The city with which Piccinato must deal has many issues related to both the conservation and the expansion of the historic fabric of the building as well as the response to the new demands of fragmentary functional design which had not been satisied. The Arch of Trajan is, in particular, the focus of the debate with a general assumption to isolate it, to make the point of view of a new road axis, to ensure it to become a characteristic of the urban nodal point. The preservation of the monuments appear to follow a selective logic prefering the old architecture — especially, theArch and the Roman theater — to testify the grandeur of the past, in line with the ambition of the central government to exalt the romanitas character of the territory.
Piccinato work at Benevento from 1932 until the post–war period as a protagonist
of the transformation of a growing city, then of a city devastated by the bombings
of World War II and subsequently of the reconstruction phase. First task received by
Piccinato is the preparation of the Urban Development Plan of the city, in which one
of the key issues of the urban problem of Benevento is the set of questions related to
the “settlement of the old town”. He tackles the issue of planning of the “old” city
moving toward solutions that, with reference to the concept proposed by Gustavo Giovannoni,
ofer quite diferent choices from those promoted by previous designers. In
order to defende the “character” of the city and the environment of the monuments,
compared with a detailed knowledge of the urban fabric, the architect identiies speciic
solutions that are guided by the “case by case” logic, excluding the construction
of the new buildings inside the oldest urban fabric.
Following Roberto Pane, Piccinato considers the “old” city as the “ancient” city
and he reads its character not only in the monuments but rather in the stratiied urban
fabric deined as “minor architecture”.
Central themes of the relections of Piccinato are the projects for the Trigio quarter
with the Roman theater, the area of Posillipo overlooking the Calore River and the
Arch of Trajan.
The “new” city of Piccinato moves towards the consolidation of the expansion
lines already deined in the design of the second half of the nineteenth century when
Benevento had been named county seat and the expansion had gone outside the walls.
Luigi Piccinato
isBN 978-88-548-7834-1
dOi 10.4399/978885487834119
240 Giovanna ceniccola
The planning proposes to provide the residential districts of the necessary facilities
(schools, local market, wash house, gyms) and of green areas and new roads to redistribute
the lows; instead, new architecture are planned for the “quartiere dell’Angelo”
for which he plans, in particular, the square named “della Rivoluzione” or
“Risorgimento” with the building for the high school “Giannone”. Within a more
comprehensive urban development of the area, in a single project of the square in
addition to the high school, Piccinato designs the Technical Institute and the building
of the GIL in such a way that their functional spaces were shared. On the basis of
the examples of the foreigner school buildings he draws new buildings with modern
characters that make them distinguishable from the historic buildings.
From an overall survey of the proposals before the war, it is clear, therefore, that
the design action of Piccinato was strongly imbued with the desire to protect the architectural
contexts with a tendency to save the “environment of the monument” and
the “physiognomy the city”, in line with what was promoted by the Conference of
Athens. The respect for the history of the city and its values emerges in the decision to
place the construction of the new contexts with architectures characterized by “stark
simplicity” far from those stratiied ones.
The planning proposed by Piccinato shows, another, the will to protect the landscape:it limits the possibility of building along the via dell’Angelo, for example, orproposing a landscaping of the scenic via Posillipo.
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in "Confronti", n.6/7, 2016.
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in A.Aveta, B. G. Marino, R.Amore, La Baia di Napoli. Strategie per la conservazione e la fruizione del paesaggio culturale, Vol. I, Artstudio Paparo, Napoli 2017, 2017
The cultural landscape of the Valley of the mills in Gragnano originates from the geomorphologica... more The cultural landscape of the Valley of the mills in Gragnano originates from the geomorphological characteristics of the area, by the presence of water, finding in the proximity of the port ¬– the place where the grain came from – a strong incentive for the development of milling starting from the Seventeenth century. We read the action of man, therefore, in the addition of functional buildings to the economic-productive activity, the mills, within a mountain setting and at the same time near the sea.
The system of architectures for the production of flour that have been built along the river Vernotico in Gragnano, is composed of mills and also of aqueducts - for supply water to the mills –, bridges and canals.
Destination for the Grand Tour travelers the Valley of the mills with its rural area in front of a seascape is today facing a strong decay and neglect: now we have only eight of the fourteen constructions that the historical sources testify, as ruins or in a bad state of conservation.
A comprehensive survey on the status quo of Gragnano ‘water architectures’ allows to understand the constructive specificity of a still poorly investigated asset in the Campania area, leaving out the various compositions.
Together with the contribution of historical maps as an essential tool for understanding the evolution and the peculiarities of the place, it is intended to reflect on the present value of the entire system and the potential of its identity. It investigates, in particular, the memory value considering the strong 'brand' identifier that ties the local community to the production and processing flour again today and, therefore, how the presence of such water mills architectures define the landscape of the Valley .
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in R. Picone, V. Russo (a cura di), L' arte del costruire in Campania tra restauro e sicurezza strutturale/Construction art in Campania between restoration and structural safety, Clean, Napoli, 2017
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Atti del XXIX Convegno Internazionale Scienza e Beni Culturali «Conservazione e valorizzazione dei siti archeologici. Approcci scientifici e problemi di metodo», Bressanone, 9-12 luglio 2013, 2013
The archaeological site of Pompeii has many critical issues with respect to problems of fruition ... more The archaeological site of Pompeii has many critical issues with respect to problems of fruition common to all the Regiones and more specific problems peculiar to each of them. In particular, from 2010 the Regiones I and II are the object of an interdisciplinary research which aims to identify possible strategies for a broader use of the archaeological site.
The area, located at south and south-east of Pompeii and near to Piazza Anfiteatro, is characterized by very diversified architectures, closed by the city walls on two sides. It is composed of the landscape outside the city walls with large green areas and downstream enriched by the necropolis of Porta Nocera. Within the walls, the urban landscape presents public buildings as the large Palestra and the Amphitheater and residential insulae with a regular pattern on the south of Via dell'Abbondanza. The latter, unlike a large part of the domus, appear connoted by an "agricultural-naturalistic" character because of the presence of urban gardens.
The area, referring to its practicability within and outside the city walls, presents a rather problematic orography with a plateau corresponding to public buildings and highly sloping paths along the cardines and near to the walls. At the same time, it opposes many physical and perceptual "barriers" to visitors; among these, the connection between the southern access to the archaeological site and the necropolis of Porta Nocera and a system of pavements difficult to walk on. As surveys have demonstrated, large portions of the site are inconsistent in soil and pavings, sidewalks have irregular walking surfaces, inadequate size and high quotes above the roads; moreover, sloping paths along the city walls are entirely made by gravel. A major criticism is due, in addition, to the access to the Amphitheatre, whose cavea is at present accessible only by steep ramps and extremely uneven floors.
The aim of the proposals developed during the research and deepened in the paper in relation to theoretical issues and to compatibility between old and new can be linked to multiple aspects related both to the improvement of the visual enjoyment of urban and architectural parts and to the mitigation of the slopes, to the overrunning of quotes and to the expansion and regularization of the decking. "Punctual" solutions and proposals on a larger scale, mostly related to the ancient walling, are strictly intertwined. The Roman city walls, for orographic relations with the surrounding areas, are an important mean to lead the public to higher altitudes with an expansion of the perception of the ancient city and the landscape. In order to achieve this aim, specific studies have been carried out on the Towers II, VI and VIII, in accordance with the purposes of a compatibility between the old construction and the new additions and the clear possibility of discernment of the latter in accordance with the high quality of the surrounding archaeological landscape (by V. Russo).
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Proceedings of the International Conference on Cultural Heritage, EUROMED 2014, M. Ioannides et al. (eds.), Multi-Science, Hockley 2014.
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In "VisibileInvisibile. Percepire la città tra descrizioni e omissioni. Sezione II: Visibilità dell'antico. Patrimonio e istituzioni culturali. (ISBN 978-88-98547-07-4) ebook
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The landscape of the Telesina valley in Benvento's Sannio, in its upper part, is defined by a his... more The landscape of the Telesina valley in Benvento's Sannio, in its upper part, is defined by a historical system of crops in vineyards and olive groves lying to the geomorphological features of the area which harmoniously fit in small towns and features stone houses. Despite the population growths, small industrialization, changes in farming methods, this system has successfully maintained its landscape quality and its peculiarity, even against a strong sense of identity of the people who live it. In light of unpublished iconographic documentation, the paper aims to investigate the peculiarities of the context of the Telesina valley between the eighteenth and nineteenth century historians, tracing persistence in the road systems and modes of organization of the territory and in the relationship between the historic architecture and landscape. All that with the ultimate aim of transposing the reading of the identity characteristics of the Sannio territory in current conservation issues.
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"The paper aims to investigating the aspects of a sustainable mixed construction, the so-called a... more "The paper aims to investigating the aspects of a sustainable mixed construction, the so-called alla beneventana. This type of construction was coinceived as an anti-seismic part of architecture and it takes its name from the city of Benevento where it was used for the first time.
The masonry 'alla beneventana' consists of a wooden frame with infill masonry or wood species, and can be distinguished from other types of so-called 'baraccate' masonries for the finishing mortar that covers both the frame buffers. Through examples identified in the Sannio territory, the paper focuses on the sustainable features of this building technique from multiple points of view (economic, social and ecological)."
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R. Picone (a cura di), Pompei accessibile. Per una fruizione ampliata del sito archeologico, L’Erma di Bretschneider, Roma 2013.
The archaeological area of Pompeii contains the oldest amphitheatre known to this date. One of th... more The archaeological area of Pompeii contains the oldest amphitheatre known to this date. One of the destinations of the foreign travellers of the Grand Tour and one of the archaeological city’s most symbolic monuments, today the amphitheatre, albeit well preserved, offers a low accessibility, both owing to difficulties inherent to its architecture and to the material it is built with that makes the practicability of the spaces particularly difficult. Notwithstanding, the edifice provides many points of reflection and suggestions so that its practicability, and therefore its legibility, can be improved ‘for all’, also as regards the entire archaeological area thanks to its potential to provide a panoramic view over the antique city.
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Papers by giovanna ceniccola
La fornace Franchi di Martinsicuro, sulla costa teramana, rappresenta un importante esempio ancora ben conservato con le possenti strutture del forno, degli essiccatoi e dell’alta ciminiera a base ottagonale e con la permanenza dei caratteri industriali della zona. Attuali ipotesi di riuso la vedono trasformata in centro commerciale leggendo in esso un mero contenitore da riempire così come si è ipotizzato per la vicina fornace Fiore con un progetto (mai realizzato) di parco divertimenti.
La fornace Carradori di Campli, incipit per lo sviluppo della frazione di Sant’Onofrio nell’entroterra teramano, in attività fino al 1975, si conserva in totale stato di abbandono e privata di alcuni dei suoi volumi ottocenteschi sostituiti nella loro funzione da nuove costruzioni che sperimentano l’acciaio e il cemento armato del primo Novecento.
Il contributo, partendo dalle caratteristiche costruttive delle fornaci, si concentra sul loro ruolo nello sviluppo urbano dei territori e sull’attuale tema del riuso, contemplando le istanze di una complessa azione di tutela monumentale nonché di tutela del paesaggio.
The city with which Piccinato must deal has many issues related to both the conservation and the expansion of the historic fabric of the building as well as the response to the new demands of fragmentary functional design which had not been satisied. The Arch of Trajan is, in particular, the focus of the debate with a general assumption to isolate it, to make the point of view of a new road axis, to ensure it to become a characteristic of the urban nodal point. The preservation of the monuments appear to follow a selective logic prefering the old architecture — especially, theArch and the Roman theater — to testify the grandeur of the past, in line with the ambition of the central government to exalt the romanitas character of the territory.
Piccinato work at Benevento from 1932 until the post–war period as a protagonist
of the transformation of a growing city, then of a city devastated by the bombings
of World War II and subsequently of the reconstruction phase. First task received by
Piccinato is the preparation of the Urban Development Plan of the city, in which one
of the key issues of the urban problem of Benevento is the set of questions related to
the “settlement of the old town”. He tackles the issue of planning of the “old” city
moving toward solutions that, with reference to the concept proposed by Gustavo Giovannoni,
ofer quite diferent choices from those promoted by previous designers. In
order to defende the “character” of the city and the environment of the monuments,
compared with a detailed knowledge of the urban fabric, the architect identiies speciic
solutions that are guided by the “case by case” logic, excluding the construction
of the new buildings inside the oldest urban fabric.
Following Roberto Pane, Piccinato considers the “old” city as the “ancient” city
and he reads its character not only in the monuments but rather in the stratiied urban
fabric deined as “minor architecture”.
Central themes of the relections of Piccinato are the projects for the Trigio quarter
with the Roman theater, the area of Posillipo overlooking the Calore River and the
Arch of Trajan.
The “new” city of Piccinato moves towards the consolidation of the expansion
lines already deined in the design of the second half of the nineteenth century when
Benevento had been named county seat and the expansion had gone outside the walls.
Luigi Piccinato
isBN 978-88-548-7834-1
dOi 10.4399/978885487834119
240 Giovanna ceniccola
The planning proposes to provide the residential districts of the necessary facilities
(schools, local market, wash house, gyms) and of green areas and new roads to redistribute
the lows; instead, new architecture are planned for the “quartiere dell’Angelo”
for which he plans, in particular, the square named “della Rivoluzione” or
“Risorgimento” with the building for the high school “Giannone”. Within a more
comprehensive urban development of the area, in a single project of the square in
addition to the high school, Piccinato designs the Technical Institute and the building
of the GIL in such a way that their functional spaces were shared. On the basis of
the examples of the foreigner school buildings he draws new buildings with modern
characters that make them distinguishable from the historic buildings.
From an overall survey of the proposals before the war, it is clear, therefore, that
the design action of Piccinato was strongly imbued with the desire to protect the architectural
contexts with a tendency to save the “environment of the monument” and
the “physiognomy the city”, in line with what was promoted by the Conference of
Athens. The respect for the history of the city and its values emerges in the decision to
place the construction of the new contexts with architectures characterized by “stark
simplicity” far from those stratiied ones.
The planning proposed by Piccinato shows, another, the will to protect the landscape:it limits the possibility of building along the via dell’Angelo, for example, orproposing a landscaping of the scenic via Posillipo.
The system of architectures for the production of flour that have been built along the river Vernotico in Gragnano, is composed of mills and also of aqueducts - for supply water to the mills –, bridges and canals.
Destination for the Grand Tour travelers the Valley of the mills with its rural area in front of a seascape is today facing a strong decay and neglect: now we have only eight of the fourteen constructions that the historical sources testify, as ruins or in a bad state of conservation.
A comprehensive survey on the status quo of Gragnano ‘water architectures’ allows to understand the constructive specificity of a still poorly investigated asset in the Campania area, leaving out the various compositions.
Together with the contribution of historical maps as an essential tool for understanding the evolution and the peculiarities of the place, it is intended to reflect on the present value of the entire system and the potential of its identity. It investigates, in particular, the memory value considering the strong 'brand' identifier that ties the local community to the production and processing flour again today and, therefore, how the presence of such water mills architectures define the landscape of the Valley .
The area, located at south and south-east of Pompeii and near to Piazza Anfiteatro, is characterized by very diversified architectures, closed by the city walls on two sides. It is composed of the landscape outside the city walls with large green areas and downstream enriched by the necropolis of Porta Nocera. Within the walls, the urban landscape presents public buildings as the large Palestra and the Amphitheater and residential insulae with a regular pattern on the south of Via dell'Abbondanza. The latter, unlike a large part of the domus, appear connoted by an "agricultural-naturalistic" character because of the presence of urban gardens.
The area, referring to its practicability within and outside the city walls, presents a rather problematic orography with a plateau corresponding to public buildings and highly sloping paths along the cardines and near to the walls. At the same time, it opposes many physical and perceptual "barriers" to visitors; among these, the connection between the southern access to the archaeological site and the necropolis of Porta Nocera and a system of pavements difficult to walk on. As surveys have demonstrated, large portions of the site are inconsistent in soil and pavings, sidewalks have irregular walking surfaces, inadequate size and high quotes above the roads; moreover, sloping paths along the city walls are entirely made by gravel. A major criticism is due, in addition, to the access to the Amphitheatre, whose cavea is at present accessible only by steep ramps and extremely uneven floors.
The aim of the proposals developed during the research and deepened in the paper in relation to theoretical issues and to compatibility between old and new can be linked to multiple aspects related both to the improvement of the visual enjoyment of urban and architectural parts and to the mitigation of the slopes, to the overrunning of quotes and to the expansion and regularization of the decking. "Punctual" solutions and proposals on a larger scale, mostly related to the ancient walling, are strictly intertwined. The Roman city walls, for orographic relations with the surrounding areas, are an important mean to lead the public to higher altitudes with an expansion of the perception of the ancient city and the landscape. In order to achieve this aim, specific studies have been carried out on the Towers II, VI and VIII, in accordance with the purposes of a compatibility between the old construction and the new additions and the clear possibility of discernment of the latter in accordance with the high quality of the surrounding archaeological landscape (by V. Russo).
The masonry 'alla beneventana' consists of a wooden frame with infill masonry or wood species, and can be distinguished from other types of so-called 'baraccate' masonries for the finishing mortar that covers both the frame buffers. Through examples identified in the Sannio territory, the paper focuses on the sustainable features of this building technique from multiple points of view (economic, social and ecological)."
La fornace Franchi di Martinsicuro, sulla costa teramana, rappresenta un importante esempio ancora ben conservato con le possenti strutture del forno, degli essiccatoi e dell’alta ciminiera a base ottagonale e con la permanenza dei caratteri industriali della zona. Attuali ipotesi di riuso la vedono trasformata in centro commerciale leggendo in esso un mero contenitore da riempire così come si è ipotizzato per la vicina fornace Fiore con un progetto (mai realizzato) di parco divertimenti.
La fornace Carradori di Campli, incipit per lo sviluppo della frazione di Sant’Onofrio nell’entroterra teramano, in attività fino al 1975, si conserva in totale stato di abbandono e privata di alcuni dei suoi volumi ottocenteschi sostituiti nella loro funzione da nuove costruzioni che sperimentano l’acciaio e il cemento armato del primo Novecento.
Il contributo, partendo dalle caratteristiche costruttive delle fornaci, si concentra sul loro ruolo nello sviluppo urbano dei territori e sull’attuale tema del riuso, contemplando le istanze di una complessa azione di tutela monumentale nonché di tutela del paesaggio.
The city with which Piccinato must deal has many issues related to both the conservation and the expansion of the historic fabric of the building as well as the response to the new demands of fragmentary functional design which had not been satisied. The Arch of Trajan is, in particular, the focus of the debate with a general assumption to isolate it, to make the point of view of a new road axis, to ensure it to become a characteristic of the urban nodal point. The preservation of the monuments appear to follow a selective logic prefering the old architecture — especially, theArch and the Roman theater — to testify the grandeur of the past, in line with the ambition of the central government to exalt the romanitas character of the territory.
Piccinato work at Benevento from 1932 until the post–war period as a protagonist
of the transformation of a growing city, then of a city devastated by the bombings
of World War II and subsequently of the reconstruction phase. First task received by
Piccinato is the preparation of the Urban Development Plan of the city, in which one
of the key issues of the urban problem of Benevento is the set of questions related to
the “settlement of the old town”. He tackles the issue of planning of the “old” city
moving toward solutions that, with reference to the concept proposed by Gustavo Giovannoni,
ofer quite diferent choices from those promoted by previous designers. In
order to defende the “character” of the city and the environment of the monuments,
compared with a detailed knowledge of the urban fabric, the architect identiies speciic
solutions that are guided by the “case by case” logic, excluding the construction
of the new buildings inside the oldest urban fabric.
Following Roberto Pane, Piccinato considers the “old” city as the “ancient” city
and he reads its character not only in the monuments but rather in the stratiied urban
fabric deined as “minor architecture”.
Central themes of the relections of Piccinato are the projects for the Trigio quarter
with the Roman theater, the area of Posillipo overlooking the Calore River and the
Arch of Trajan.
The “new” city of Piccinato moves towards the consolidation of the expansion
lines already deined in the design of the second half of the nineteenth century when
Benevento had been named county seat and the expansion had gone outside the walls.
Luigi Piccinato
isBN 978-88-548-7834-1
dOi 10.4399/978885487834119
240 Giovanna ceniccola
The planning proposes to provide the residential districts of the necessary facilities
(schools, local market, wash house, gyms) and of green areas and new roads to redistribute
the lows; instead, new architecture are planned for the “quartiere dell’Angelo”
for which he plans, in particular, the square named “della Rivoluzione” or
“Risorgimento” with the building for the high school “Giannone”. Within a more
comprehensive urban development of the area, in a single project of the square in
addition to the high school, Piccinato designs the Technical Institute and the building
of the GIL in such a way that their functional spaces were shared. On the basis of
the examples of the foreigner school buildings he draws new buildings with modern
characters that make them distinguishable from the historic buildings.
From an overall survey of the proposals before the war, it is clear, therefore, that
the design action of Piccinato was strongly imbued with the desire to protect the architectural
contexts with a tendency to save the “environment of the monument” and
the “physiognomy the city”, in line with what was promoted by the Conference of
Athens. The respect for the history of the city and its values emerges in the decision to
place the construction of the new contexts with architectures characterized by “stark
simplicity” far from those stratiied ones.
The planning proposed by Piccinato shows, another, the will to protect the landscape:it limits the possibility of building along the via dell’Angelo, for example, orproposing a landscaping of the scenic via Posillipo.
The system of architectures for the production of flour that have been built along the river Vernotico in Gragnano, is composed of mills and also of aqueducts - for supply water to the mills –, bridges and canals.
Destination for the Grand Tour travelers the Valley of the mills with its rural area in front of a seascape is today facing a strong decay and neglect: now we have only eight of the fourteen constructions that the historical sources testify, as ruins or in a bad state of conservation.
A comprehensive survey on the status quo of Gragnano ‘water architectures’ allows to understand the constructive specificity of a still poorly investigated asset in the Campania area, leaving out the various compositions.
Together with the contribution of historical maps as an essential tool for understanding the evolution and the peculiarities of the place, it is intended to reflect on the present value of the entire system and the potential of its identity. It investigates, in particular, the memory value considering the strong 'brand' identifier that ties the local community to the production and processing flour again today and, therefore, how the presence of such water mills architectures define the landscape of the Valley .
The area, located at south and south-east of Pompeii and near to Piazza Anfiteatro, is characterized by very diversified architectures, closed by the city walls on two sides. It is composed of the landscape outside the city walls with large green areas and downstream enriched by the necropolis of Porta Nocera. Within the walls, the urban landscape presents public buildings as the large Palestra and the Amphitheater and residential insulae with a regular pattern on the south of Via dell'Abbondanza. The latter, unlike a large part of the domus, appear connoted by an "agricultural-naturalistic" character because of the presence of urban gardens.
The area, referring to its practicability within and outside the city walls, presents a rather problematic orography with a plateau corresponding to public buildings and highly sloping paths along the cardines and near to the walls. At the same time, it opposes many physical and perceptual "barriers" to visitors; among these, the connection between the southern access to the archaeological site and the necropolis of Porta Nocera and a system of pavements difficult to walk on. As surveys have demonstrated, large portions of the site are inconsistent in soil and pavings, sidewalks have irregular walking surfaces, inadequate size and high quotes above the roads; moreover, sloping paths along the city walls are entirely made by gravel. A major criticism is due, in addition, to the access to the Amphitheatre, whose cavea is at present accessible only by steep ramps and extremely uneven floors.
The aim of the proposals developed during the research and deepened in the paper in relation to theoretical issues and to compatibility between old and new can be linked to multiple aspects related both to the improvement of the visual enjoyment of urban and architectural parts and to the mitigation of the slopes, to the overrunning of quotes and to the expansion and regularization of the decking. "Punctual" solutions and proposals on a larger scale, mostly related to the ancient walling, are strictly intertwined. The Roman city walls, for orographic relations with the surrounding areas, are an important mean to lead the public to higher altitudes with an expansion of the perception of the ancient city and the landscape. In order to achieve this aim, specific studies have been carried out on the Towers II, VI and VIII, in accordance with the purposes of a compatibility between the old construction and the new additions and the clear possibility of discernment of the latter in accordance with the high quality of the surrounding archaeological landscape (by V. Russo).
The masonry 'alla beneventana' consists of a wooden frame with infill masonry or wood species, and can be distinguished from other types of so-called 'baraccate' masonries for the finishing mortar that covers both the frame buffers. Through examples identified in the Sannio territory, the paper focuses on the sustainable features of this building technique from multiple points of view (economic, social and ecological)."
nell’ambito del progetto Storia dell'arte e catastrofi: l’Italia sismica (sta-sis)", condotta per il Kunsthistorisches Institut in Florenz
Max Planck Foundantion con il fotografo Antonio Di Cecco,
Responsabili del progetto:
prof. Gerhard Wolf, dott.ssa Carmen Belmonte, dott.ssa Elisabetta Scirocco