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Cartography represents places through symbols related to forms, dimensions and signs. By the meticulous decoding of all these signs and their connexions the user is enabled to enter the deep identity of places considered. The book is based on a rational consequential method by which the user can get the necessary information from the map in order to understand and imagine the represented places, so as to use it for personal aims. The book is primarily intended for specialists or students of territory, but also for hikers who use maps on excursions or just for people who are curious and interested in deepening their knowledge of territory.
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Cartography represents places through symbols related to forms, dimensions and signs. By the meticulous decoding of all these signs and their connexions the user is enabled to enter the deep identity of places considered. The book is based on a rational consequential method by which the user can get the necessary information from the map in order to understand and imagine the represented places, so as to use it for personal aims. The book is primarily intended for specialists or students of territory, but also for hikers who use maps on excursions or just for people who are curious and interested in deepening their knowledge of territory.
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Drawing is a powerful form of communication, and it can activate the imagery. This volume discusses two themes: the representation of landscape, where the image is used for descriptive purposes, and the prefigurement of landscape, where drawing is the tool for the definition of scenes. The two actions are closely related. Outlining the structure of the landscape (for which the bird's eye view appears to be an effective representation) enables the deduction of the constitutive and evolutionary rules which necessarily lead to the identification of the rules of good behaviour for the preservation and transformation of the landscape. Drawing these action guidelines can help aim the transformations, as it allows the simple and straight communication of the ways in which it is possible to intervene in our common living environment.
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The volume deals with the theme of urban landscape design, taking into account in particular the experience of "green belts" and "green wedges". The limit landscape project carries out experimentations in the peri-urban territories of Florence and is not aimed at the reconstruction of ideal limits to the city; it is rather aimed at offering instances of rebalancing, connotation and regenerating typical of border territories experiencing indetermination of identity characters and strong reductions in landscape quality.
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Drawing is a powerful form of communication, and it can activate the imagery. This volume discusses two themes: the representation of landscape, where the image is used for descriptive purposes, and the prefigurement of landscape, where drawing is the tool for the definition of scenes. The two actions are closely related. Outlining the structure of the landscape (for which the bird's eye view appears to be an effective representation) enables the deduction of the constitutive and evolutionary rules which necessarily lead to the identification of the rules of good behaviour for the preservation and transformation of the landscape. Drawing these action guidelines can help aim the transformations, as it allows the simple and straight communication of the ways in which it is possible to intervene in our common living environment.
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The volume deals with the theme of urban landscape design, taking into account in particular the experience of "green belts" and "green wedges". The limit landscape project carries out experimentations in the peri-urban territories of Florence and is not aimed at the reconstruction of ideal limits to the city; it is rather aimed at offering instances of rebalancing, connotation and regenerating typical of border territories experiencing indetermination of identity characters and strong reductions in landscape quality.
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Marie Luise Gothein verfasste 1914 mit ihrer ?Geschichte der Gartenkunst? einen Klassiker, der bis heute zwar übersetzt und neuaufgelegt, nie jedoch als Grundlagenwerk in den Fokus gerückt wurde. Diese Arbeit untersucht die intellektuellen und ästhetischen Konzepte der Autorin im Hinblick auf ihre Darstellung der Gartenkunst. Welchen Prämissen folgt die Kulturwissenschaftlerin bei der Fixierung des stets im Wandel begriffenen Raumkunstwerks Garten in Text und Bild? Welche Rolle spielt die Reformgartenbewegung, die zur Zeit der Veröffentlichung in vollem Gange war? Die Analyse von Gotheins Gartenbeschreibungen, etwa der Villa d?Este, zeigt, wie grundlegend die Geschichtsschreibung von den Herausforderungen der Zeit beeinflusst ist: Im Sinne des Ecocriticism spiegeln die Bände die Auseinandersetzung des Menschen mit seiner Umwelt.
Gardens. --- Gothein, Marie Luise Schroeter, --- Landscape art and architecture.
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Marie Luise Gothein verfasste 1914 mit ihrer ?Geschichte der Gartenkunst? einen Klassiker, der bis heute zwar übersetzt und neuaufgelegt, nie jedoch als Grundlagenwerk in den Fokus gerückt wurde. Diese Arbeit untersucht die intellektuellen und ästhetischen Konzepte der Autorin im Hinblick auf ihre Darstellung der Gartenkunst. Welchen Prämissen folgt die Kulturwissenschaftlerin bei der Fixierung des stets im Wandel begriffenen Raumkunstwerks Garten in Text und Bild? Welche Rolle spielt die Reformgartenbewegung, die zur Zeit der Veröffentlichung in vollem Gange war? Die Analyse von Gotheins Gartenbeschreibungen, etwa der Villa d?Este, zeigt, wie grundlegend die Geschichtsschreibung von den Herausforderungen der Zeit beeinflusst ist: Im Sinne des Ecocriticism spiegeln die Bände die Auseinandersetzung des Menschen mit seiner Umwelt.
Gardens. --- Gothein, Marie Luise Schroeter, --- Landscape art and architecture.
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A collection of essays such as this is intended primarily as evidence of a disciplinary process, a path that is moreover similar to that pursued in other Italian universities, while also being unique in its evolution and as specific as every experience must be. Ten years of scientific and educational work on the landscape were deserving of comment, and we have made this in the only way we know: in writing. Hence there is no celebratory intention. It is simply one of many ways of making a sort of self-analysis, of gaining a deeper insight into ourselves and expounding our experience to others, explaining what we have produced, how we did it and what the results were, with the aim of putting our experience at the disposal of those who deal with the same disciplinary areas or with analogous issues. Una raccolta di saggi come questa vuole essere soprattutto la testimonianza di un percorso disciplinare, un cammino simile peraltro a quello compiuto in altre università italiane e tuttavia unico nella sua evoluzione e particolare come ogni esperienza lo è. Dieci anni di lavoro scientifico e didattico sul paesaggio meritavano una riflessione e noi l'abbiamo fatta nell'unico modo che conosciamo: scrivendo. Non c'è, dunque, né potrebbe esserci nessuna volontà celebrativa, è solo un modo, fra i tanti, di compiere una sorta di autoanalisi, di comprendere più approfonditamente noi stessi e di far meglio conoscere agli altri la nostra vicenda, quello che abbiamo prodotto, come l'abbiamo fatto e quali risultati sono stati conseguiti, al fine di poterlo confrontare e mettere a disposizione di quanti si occupano della stessa area disciplinare o di problematiche ad essa vicine.
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A collection of essays such as this is intended primarily as evidence of a disciplinary process, a path that is moreover similar to that pursued in other Italian universities, while also being unique in its evolution and as specific as every experience must be. Ten years of scientific and educational work on the landscape were deserving of comment, and we have made this in the only way we know: in writing. Hence there is no celebratory intention. It is simply one of many ways of making a sort of self-analysis, of gaining a deeper insight into ourselves and expounding our experience to others, explaining what we have produced, how we did it and what the results were, with the aim of putting our experience at the disposal of those who deal with the same disciplinary areas or with analogous issues. Una raccolta di saggi come questa vuole essere soprattutto la testimonianza di un percorso disciplinare, un cammino simile peraltro a quello compiuto in altre università italiane e tuttavia unico nella sua evoluzione e particolare come ogni esperienza lo è. Dieci anni di lavoro scientifico e didattico sul paesaggio meritavano una riflessione e noi l'abbiamo fatta nell'unico modo che conosciamo: scrivendo. Non c'è, dunque, né potrebbe esserci nessuna volontà celebrativa, è solo un modo, fra i tanti, di compiere una sorta di autoanalisi, di comprendere più approfonditamente noi stessi e di far meglio conoscere agli altri la nostra vicenda, quello che abbiamo prodotto, come l'abbiamo fatto e quali risultati sono stati conseguiti, al fine di poterlo confrontare e mettere a disposizione di quanti si occupano della stessa area disciplinare o di problematiche ad essa vicine.
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