Massimo Visone
Massimo Visone, architect and PhD, is associate professor at the University of Naples Federico II. He taught at the Italian Institute of Human Sciences (2008), Academy of Fine Arts of Naples (2009-2010) and University of Naples Federico II (2010-2016). He has been research fellow (2018-2019) and approved for the national scientific role of Associate professor in History of Architecture (2015-2024). Visone took part in national and international research groups, conferences and seminars (Brussels, Dortmund, Geneva, London, Santiago de Compostela). Visone is in the scientific committee of the Grupo de Investigación Iacobus (University of Santiago de Compostela), in the editorial board of book series and peer-reviewed journals (class A journals: Confronti and Quintana), member of the Research Centre on the Iconography of the European City (University of Naples Federico II), and secretary of Docomomo Italy (2018-2021). He wrote several contributions on English gardens and historical landscape. He edited exhibitions and published papers on urban iconography and architectural history in books, conference proceedings and peer-reviewed journals; amongst the others: Villa Reale (2003, 2012), Villa d’Elboeuf (2008, 2014), Castel Capuano (2011, 2013), Poggio Reale (2013, 2016), Castel Nuovo (2017), Palazzo Donn’Anna (2017), Palazzo Salerno (2017), Palazzo Penne (2018), siege views (2016) and 1783 Messine earthquake (2018). He published Napoli «Un gran Teatro della Natura» (Naples 2013), updated the notes of the book Napoli (2016) by Cesare de Seta, and edited Time Frames: Conservation Policies for Twentieth-Century Architectural Heritage (London-New York 2017).
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Books by Massimo Visone
media accelerations of contemporary architecture put in evidence deficiencies in protection laws in Italy and abroad.
The work suggests the need to establish a system of shared criteria for updating the Italian normative. A study that compares and contrasts the development of the conservation laws and the current intervention strategies on an international scale, as a function of identity in flux.
Papers in book by Massimo Visone
media accelerations of contemporary architecture put in evidence deficiencies in protection laws in Italy and abroad.
The work suggests the need to establish a system of shared criteria for updating the Italian normative. A study that compares and contrasts the development of the conservation laws and the current intervention strategies on an international scale, as a function of identity in flux.
REcube, funded by the ERASMUS + program, line KA220 - European cooperation partnerships in Higher Education, intends to transmit and disseminate at a European and international level a new sustainable approach to the conservation and reuse of modern reinforced concrete architecture, helping preserve this significant European heritage.
Designed for students of the different partner universities enrolled in Engineering and Architecture master’s programmes, the REcube training program aims to foster the development of a new mindset in the field of Modern Heritage Regeneration.
It is time to rethink how we manage and transform the architectures of our recent past, how we can restore and reuse them correctly and in a sustainable manner. It is an extremely topical issue, given that for many European countries by 2050 80% of the architecture will consist of pre-existing buildings, of which 97% will have to be renovated and possibly repurposed.
The REcube project, which will last 36 months, was conceived and implemented by a large-scale European university partnership, led by the Politecnico di Milano with the Laboratorio Nervi on the Lecco Campus.
Members of the partnership are: Budapest University of Technology and Economics (Hungary), Delft University of Technology (Netherlands), Hafencity University Hamburg (Germany), Middle East Technical University (Turkey), Politecnico di Torino (Italy), Technical University of Madrid (Spain), University of Naples Federico II (Italy), Université Libre de Bruxelles (Belgium), University of Minho (Portugal) and University of Rome La Sapienza (Italy).
Also participating: the Pier Luigi Nervi Project Foundation in Brussels, which for over 10 years has been engaged in the study and dissemination of the work by the great Italian designer and builder, as well as ICOMOS Italia, the Italian chapter of the UNESCO advisor non-governmental international organisation, whose mission is the conservation of the world’s monuments and sites.
During the three-year duration of the project, the 33 students selected annually by the participating universities will receive training that involves the completion of a MOOC (Massive Online Open Course) expressly created for Recube, which will be propaedeutic to the participation in 2 annual workshops: an intensive online course on cutting-edge scientific topics, followed by an on-site case-study focusing on the redevelopment and the architectural and structural recovery of works created by one of the Masters of reinforced concrete, Pier Luigi Nervi (the Municipal Stadium in Florence, Torino Esposizioni and the Mincio swimming pool in Milan).
The materials produced during the partnership will be made available online on an open-source platform, while the methodology proposed to students will be codified in the REcube Guidelines, published at the end of the project.
Structures and buildings in reinforced concrete have shaped European modernity, giving life to a shared architectural culture that has marked our continent with a common constructive language.
We believe that establishing, promoting and teaching unified and sustainable best practices in the field of Modern architectural preservation strengthens our common European identity while opening up new creative possibilities and career opportunities for young designers, builders and city planners everywhere in the Union.
February 14, 2021: abstract submission (max 2,000 characters, 1 image and 3 keywords)
March 12, 2021: notification of referee by the international scientific committee
June 13, 2021: full paper submission
The journal hosts two distinct sections:
Contributions, with critical essays on the subject (max 30,000 characters + 15 images)
Case studies, with examples (max 15,000 characters + 8 images)
Until the end of nineteenth century Eastern and Western Europe interacted more, influencing each other. Eastern Europe has been disconnected by this cultural process from the Second World War to the Fall of Berlin Wall. During this period cultural exchanges were stopped and a new urban imagery of eastern cities has been created in/for the west. Today urban iconography of East European cities spread in museums and collections worldwide is waiting to be reconnected with the most recent international studies.
This session welcomes proposals of case studies or specific topics of images of towns and landscapes that contributed to the knowledge of Eastern Europe from the 16th century to the dawn of photography. Some other questions that should join the session are: which is the role of urban iconography in globalization process? Is it possible to trace modern cities views for building 20th-century narrative histories? What are the cultural implications and the geographical connections within the images of cities and landscapes that are reshaping Eastern Europe? Can museums of the cities be considered as creators of glocal urban narratives?
Nella storia moderna e contemporanea la città ha dovuto tenere conto delle ‘alterità’ sociali, ossia delle classi privilegiate, delle minoranze, degli stranieri e degli immigrati, e delle conseguenti diversità culturali e religiose. La compagine urbana ha strutturato alcune parti del proprio tessuto come luoghi di esercizio del potere politico, militare o di classe, altre come spazi per gli arrivi, per la produzione e per gli scambi, ma anche per l’isolamento, l’emarginazione o il rimedio alla catastrofe. Nel corso dell’età moderna l’immagine della città ‘altra’ viene spesso falsata o addirittura negata da governanti e potenti per fini di apparenza o di propaganda politica; e se, tra Sette e Novecento, nuovi metodi di rappresentazione possono svelare la struttura e il paesaggio urbano nella loro oggettività, il ritratto di città mostra ancora oggi le contraddizioni di una comunità che a volte include, o addirittura esalta, le diversità, altre volte le respinge, tradendo il malessere di una difficile integrazione.
In modern and contemporary history, the city has taken account of social ‘otherities’, namely of privileged classes, minorities, foreigners and immigrants, and of resulting cultural and religious diversity. The urban community has structured some parts of its fabric as places of political, military or class power, other parts as spaces for arrivals, for production and trade, but also for isolation, marginalization or remedy for catastrophe. In the modern age, the image of the ‘other' city’ is often falsified or even deniyed by rulers and powerful people for purposes of political appearance or propaganda; and if, between the XVII and XX century, new methods of representation can reveal the structure and the urban landscape in their objectivity, the city portrait still shows the contradictions of a community that sometimes includes or even enhances the diversities, other times rejects them, betraying the malaise of a difficult integration.
La rivista semestrale di restauro architettonico «Confronti» lancia la call for papers per la redazione di un numero monografico sul restauro e sul riuso di strutture per lo spettacolo. Le esperienze di restauro e riuso avvenute in passato, quelle in corso e quelle previste per il futuro più prossimo sia sulle strutture antiche (si pensi alle attuali proposte per il Colosseo o ai restauri dei teatri greci), sia su quelle moderne (come la Fenice di Venezia, il Petruzzelli di Bari, il Liceu di Barcellona e altri) consentono di stimolare nuovi confronti critici e approfondimenti puntuali.
Deadlines 2015
23 marzo - invio abstract (max 3.000 battute, 1 immagine e 3 keywords)
20 aprile - notifica di referaggio da parte del Comitato Scientifico
30 giugno - invio contributo.
convegno annuale Società Italiana di Studi sul secolo XVIII
Trieste, 26-28 maggio 2022
La monumentalità delle dimensioni, gli studi di progetto, l’articolazione del disegno, la ricchezza botanica, l’ingegneria idraulica, la destinazione d’uso, l’accessibilità e la diversificazione degli spazi tematici, la programmazione culturale, la pianificazione urbanistica e l’aderenza ai dibattiti in corso mostrano in quest’opera una varietà culturale, tecnica e tipologica di particolare rilievo. Come disse Cocchia, «di tutto il complesso realizzato per la Mostra, il grande Parco verde costituisce indubbiamente la parte che può ben dirsi di maggiore interesse. La Mostra fu concepita tutta in funzione del suo Parco e, una volta tanto, l’entusiasmo sin dall’inizio non fu fuorviato o menomato dallo scarso effetto, che è di solito inevitabile in ogni impianto di zone verdi».
Gli apporti scientifici più pertinenti la storia dell’architettura del verde non hanno mancato di presentare alcune conflittualità e parzialità, restituendo un quadro che merita invece di essere inserito in un panorama più ampio per quanto riguarda diversi aspetti, come ad esempio l’architettura effimera, il revival colonialistico e la conflittuale affermazione del moderno in Italia.
Il presente contributo, grazie alla rinnovata prospettiva storica, alla consultazione di nuove fonti e alla rilettura di quelle note, sia dirette che indirette, intende illustrare uno studio che consente oggi di riconoscere nel parco della Mostra d’Oltremare un ‘giardino storico’ che, come tale, va raccontato e salvaguardato per la valorizzazione della sua identità e la conservazione delle tracce ancora in situ.
During the bicentenary, a series of events have been promoted and several products have been published, whose scientific contents were directed to narrate the Naples of Napoleon, through traditional and innovative methods, intended to intercept many people, usually affectionate to a specific area of the city's history.
My report focuses attention on a peculiar field of the History of architecture: the historic garden. The subject, exclusively instrumental, allow us to talk about the great themes of History, in our case of the French decade, through a mirror of that time: the English garden, public parks and landscape interventions, which in those years assert in the capital. These themes have found their application in products born during the Muratian celebrations, with the intent of capture attention and talk about those crucial years of societal change to a greater, sometimes even absent-minded public than the one who habitually frequents the traditional means of scientific divulgation.
ULB Faculté d'Architecture La Cambra Horta
Istituto Italiano di Cultura Bruxelles
Do.Co.Mo.Mo. Belgium
PLN Project
So.Co.Mo.Mo. Italia
avec le soutien de FEBELCEM
Promoted and organised by:
Politecnico Milano 1863 – Polo territoriale di Lecco
Department of Civil and Environmental Engineering
Implemented by:
P.L. Nervi Project Association
Do.Co.Mo.Mo. Italy
in cooperation with:
CTE – Collegio dei Tecnici della Industrializzazione Edilizia
Ordine degli Ingegneri di Lecco
FIB – International Federation for Structural Concrete
The historical survey and preservation strategies of modern architecture are being gradually associated with sustainability, while twentieth-century buildings are becoming an integral part of multiple strategies for the development of urban landscapes. Today, new critical perspectives and protection policies contribute to the deployment of projects related to the study, classification, listing, conservation and promotion of modern architecture.
These issues are confronted in Time Frames: Conservation Policies for Twentieth-Century Architectural Heritage (Routledge, 2017) by exploring the policies used to designate buildings as heritage sites worldwide. The editors of the book focus on the so-called ‘time rule’ which elapses between a building’s construction and its protection, if it exists. What emerges is a variable definition of what is “contemporary”, ie architecture which has not yet become “historic”.
There is the necessity also to explain the underlying assumptions for its commission, to describe the phases that led to its final design, as well as to clarify the conditions that may have changed its form during construction. It is important to outline the transformations that have changed its initial features to respond to the various events that have shaped the course of its life and, in some cases, determined the end of its splendour. The fate of a building can be determined by its inability to comply with the needs of a society in evolution or, more generally, to adapt to the variations of interests of a specific historical, political and/or cultural moment, thus determining the structural and architectural degradation resulting from neglect.
Le recenti ricorrenze del bicentenario della nascita di Eugène Emmanuel Viollet-le-Duc (Parigi, 27 gennaio 1814 – Losanna, 17 settembre 1879), del centenario della morte di Camillo Boito (Roma, 30 ottobre 1836 – Milano, 28 giugno 1914) e del cinquantenario dell’emanazione della Carta del Restauro di Venezia (Congresso Internazionale degli Architetti e Tecnici dei Monumenti, 31 maggio 1964) hanno offerto lo spunto per rinnovare il confronto scientifico sul tema della reintegrazione della lacuna – che oramai vanta una felice e ricca fortuna bibliografica – e per fare un punto sullo stato dell’arte e sulle prospettive future in questo ambito, sia dal punto di vista storico-critico, sia da quello dell’esperienza progettuale.
STORIA E IMMAGINE DELLA DIVERSITÀ URBANA: LUOGHI E PAESAGGI DEI PRIVILEGI / HISTORY AND IMAGE OF URBAN DIVERSITY: PLACES AND LANDSCAPES OF PRIVILEGE AND WELL‐BEING, OF ISOLATION, OF POVERTY, AND OF MULTICULTURALISM
Nella storia moderna e contemporanea la città ha dovuto tenere conto delle 'alterità' sociali, ossia delle classi privilegiate, delle minoranze, degli stranieri e degli immigrati, e delle conseguenti diversità culturali e religiose. Nel corso dell'età moderna l'immagine della città 'altra' viene spesso falsata o addirittura negata; tra Sette e Novecento, nuovi metodi di rappresentazione possono svelare la struttura e il paesaggio urbano nella loro oggettività. Il ritratto di città mostra ancora oggi le contraddizioni di una comunità che a volte include, o addirittura esalta, le diversità, altre volte le respinge, tradendo il malessere di una difficile integrazione.
In modern and contemporary history, the city has taken account of social 'otherities', namely of privileged classes, minorities, foreigners and immigrants, and of resulting cultural and religious diversity. The urban community has structured some parts of its fabric as places of political, military or class power, other parts as spaces for arrivals, for production and trade, but also for isolation, marginalization or remedy for catastrophe. In the modern age, the image of the 'other' city' is often falsified or even denied by rulers and powerful people for purposes of political appearance or propaganda; and if, between the XVIII and XX century, new methods of representation can reveal the structure and the urban landscape in their objectivity, the city portrait still shows the contradictions of a community that sometimes includes or even enhances the diversities, other times rejects them, betraying the malaise of a difficult integration.