VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICA · CONGRESO INTERNACIONAL DE EXPRESIÓN GRAFICA EN...

VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICA

Córdoba - Argentina - 2016

“PRESENTE, PASADO Y FUTURO DE LA EXPRESIÓN GRÁFICA”

EN INGENIERÍA, ARQUITECTURA Y CARRERAS AFINES

CONFERENCIAS - POSTERS - RESU

MEN DE PONENCIAS

“PRESENTE, PASADO Y FUTURO DE LA EXPRESION GRÁFICA”. PONENCIAS

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VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICA EN INGENIERÍA, ARQUITECTURA Y CARRERAS AFINES

Del 22 al 24 DE SEPTIEMBRE DE 2016CIUDAD DE CÓRDOBA - ARGENTINA

DATOS DEL LIBRO

Primera Edición - Córdoba , Argentina - Septiembre de 2016.-230 páginas , 21x 29,7 cm.

Está prohibida la reproducción total o parcial de esta obra por cualquier método fotográfico, fotocopia, mecánico, óptico, magnético o electrónico, sin la autorización de los propietarios del copyright.

Impreso en :

ISBN:

SEDES : FACULTAD DE ARQUITECTURA URBANISMO Y DISEÑO -UNCFACULTAD DE CIENCIAS EXACTAS FÍSICAS Y NATURALES -UNC

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Facultad de Ciencias Exactas, Físicas y NaturalesUniversidad Nacional de Córdoba

Universidad Nacional de Río Cuarto

UNRC

22 al 24 DE SEPTIEMBRE DE 2016CIUDAD DE CÓRDOBA - ARGENTINA

PONENCIAS

VI Congreso Internacional de Expresión Gráfica en Ingeniería, Arquitectura y carreras afines. : presente, pasado y futuro de la expresión gráfica : ponencias / Silvina Barra ... [et al.] ; compilado por Roberto Ferraris ; coordinación general de Sergio Priotti ; editado por Carlos Melo. - 1a ed ilustrada. - Córdoba : Editorial de la Facultad de Arquitectura, Urbanismo y Diseño de la Universidad Nacional de Córdoba, 2016. Memoria USB, Book app for Android

ISBN 978-987-1494-70-5

1. Dibujo Arquitectónico. 2. Actividades Gráficas. 3. Actas de Congresos. I. Barra, Silvina II. Ferraris, Roberto, comp. III. Priotti, Sergio, coord. IV. Melo, Carlos, ed. CDD 720.284


VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICA EN INGENIERÍA, ARQUITECTURA Y CARRERAS AFINES

Del 22 al 24 DE SEPTIEMBRE DE 2016CIUDAD DE CÓRDOBA - ARGENTINA

DATOS DEL LIBRO

Primera Edición - Córdoba , Argentina - Septiembre de 2016.-230 páginas , 21x 29,7 cm.

Está prohibida la reproducción total o parcial de esta obra por cualquier método fotográfico, fotocopia, mecánico, óptico, magnético o electrónico, sin la autorización de los propietarios del copyright.

Impreso en :

ISBN:

SEDES : FACULTAD DE ARQUITECTURA URBANISMO Y DISEÑO -UNCFACULTAD DE CIENCIAS EXACTAS FÍSICAS Y NATURALES -UNC

INS

TIT

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Facultad de Ciencias Exactas, Físicas y NaturalesUniversidad Nacional de Córdoba

Universidad Nacional de Río Cuarto

UNRC

IV CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICAEN INGENIERÍA, ARQUITECTURA Y ÁREAS AFINES

EGraFIA ARGENTINA 2016Córdoba, ARGENTINA

22 al 24 de Septiembre de 2016

EGraFIA Argentina 2016

AUTORIDADES

UNIVERSIDAD NACIONAL DE CÓRDOBARector Dr. Hugo Oscar Juri

Vicerrector Dr. Ramón Pedro Yanzi Ferreyra

Decano Facultad de Arquitectura, Urbanismo y Diseño Arq. Ian DutariVicedecano Facultad de Arquitectura, Urbanismo y Diseño DI Daniel Capeletti

Decano Facultad de Ingeniería Mg. Ing. Pablo RecabarrenVicedecana Facultad de Ingeniería Mg. Ing. Adriana Cerato

EGraFIA ArgentinaAsociación de Profesores de Expresión Gráfica en

Ingeniería, Arquitectura y Carreras AfinesPresidente Arq. Hernán José Lucero

Vicepresidente Arq. Roberto FerrarisSecretario Ing. Elisa Beatríz Bombassei

Tesorero Ing. Ariel Uema

Vocales Cristina Nicasio, Érica Gabriela Zurita, Gonzalo Eduardo Martínez,

Diego Adorni, Francisco Mucilli, Fernando Cappellari,Silvina Barra, Sergio Priotti.

COMISIÓN ORGANIZADORA DEL CONGRESO

Presidentes Arq. Roberto Ferraris – Ing. Francisco Mucilli Coordinación General: Sergio W. Priotti

Relaciones Institucionales Arq. Sergio Priotti Organización de evento: Silvana Bonafe, Victoria Ferraris, Cristina Nicasio

Concursos y Exposiciones Silvina Barra, Victoria Ferraris, Silvina Barraud, Cristina NicasioPágina Web: Martín Ali, Nicolás Pedrosa,

Publicaciones Martin Ali, Carlos Merlo, Jerónimo Bajo, Victoria Ferraris, Nicolás Pedrosa

COMITÉ CIENTÍFICOCoordinadores Generales Comité Científico

Ing. Elisa Bombassei, Ing. Fernando Cappellari Coordinadores Área Ingeniería

Ing. Gonzalo MartínezCoordinador Área Arquitectura

Arq. José Luis Molinuevo Coordinadores Área Carreras Afines

Arq. Hernán Lucero – Ing. Erica Zurita





EVALUADORES

InternacionalesSalvatore Barba, Glaucia, Augusto Fonseca, Carlo Biagini, Emanuela Chiavoni, Andrea Giordano

NacionalesAriel Uema, Silvina Barra, Adriana Incatasciato, María Marta Mariconde,

Roberto Ferraris, Carlos Merlo, Victoria Ferraris, Diego Adorni, Matías Ameri, Alejandra Bianchi, Elisa Bombassei, Pedro Bramati, Fernando Cappellari, Carlos Luis De Vedia, Javier Elías, Elida Folchi, Laura

Leonor Fuertes, Sergio Gavino, Leandro Duillo Giorgetti, Luzmila Janda, Cecilia Kruzynski, Graciela Kruzynski, Laura Lopresti, Hernán Lucero, Gonzalo Martínez, Félix Bombassei, José Luis Molinuevo, Adriana Montalpare, Cristina Nicasio, Jorge Pedra, Renata Piñedo Valdivieso, Silvia Portiansky, Lucía

Fortuna, Andrea Ulacia

Coordinación General del libro: Roberto Ferraris, Sergio W. PriottiDiseño de tapa: Carlos Merlo

Texto introductorio: Roberto Ferraris Compaginación y armado: Martin Ali, Jeronimo Bajo, Carlos Merlo, Victoria Ferraris, Nicolás Pedrosa

1º Edición.Ciudad de Córdoba, Argentina

Septiembre de 2016

Se deja constancia que el contenido de los artículos es de absoluta responsabilidad de sus autores, quedando los organizadores del Congreso exentos de toda responsabilidad.

PRÓLOGO Prof. Arq. Roberto Ferraris Presidente del VI Congreso EGraFIA Argentina – 2016

VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRAFICA EN

INGENIERÍA, ARQUITECTURA Y CARRERAS AFINES Córdoba, Argentina – 2016

Por tercera vez Córdoba fue elegida sede del Congreso Internacional de Expresión Gráfica en Córdoba. Esto nos motivó para lograr el mismo éxito que tuvieron las dos ediciones anteriores de 2007 y 2010. En esta oportunidad, nos sentimos especialmente gratificados por la gran participación de colegas extranjeros, lo que habla a las claras de la trascendencia y prestigio que EGraFIA Argentina ha ganado a nivel internacional. Por otra parte, nos obligó a esforzarnos por brindar a nuestros visitantes la mejor experiencia posible durante su permanencia en Córdoba, ciudad que se precia de ser “la Docta”, ya que su Universidad Nacional, con 413 años, es la segunda más antigua de América.

Quiero mencionar especialmente el trabajo realizado por muchos colegas que se

hicieron el tiempo para colaborar con la recepción de Ponencias, evacuación de consultas, armado de publicaciones, organización de eventos, etcétera. A todos ellos les debemos un profundo agradecimiento. Nuestro reconocimiento también a otras instituciones académicas por su apoyo, en especial a la Universidad Nacional de Río Cuarto, sede de EGraFIA Argentina y desde donde el Comité Científico desarrolló su invalorable trabajo.

Debemos destacar el compromiso asumido por estudiantes jóvenes, que durante

varios meses aportaron con entusiasmo y buena disposición su colaboración en la organización del Congreso, sabiendo que EGraFIA Argentina tiene un lugar de privilegio reservado para ellos, que son el objetivo de todos nuestros esfuerzos como Profesores de la disciplina. Ellos serán sin dudas la continuidad de nuestra tarea por mantener viva la llama de la Expresión Gráfica como representación visible de las ideas.

Una vez más hemos sido ámbito de discusiones y debates fructíferos sobre

nuestro quehacer académico y profesional en el campo de la Expresión Gráfica, con sus tradiciones y nuevos desafíos tecnológicos. Cada encuentro organizado por EGraFIA Argentina es una oportunidad para reforzar nuestro compromiso con la representación. Por ello, el dibujo, como medio de comunicación entre ingenieros, arquitectos y diseñadores, “tuvo la palabra” otra vez en Córdoba.

Indudablemente fueron jornadas de trabajo, pero impregnadas de la alegría y

camaradería que siempre acompañan nuestros encuentros. Pedimos disculpas por cualquier error que hayamos cometido en nuestro afán por dar lo mejor de nosotros y deseamos que todos se hayan llevado el mejor recuerdo de este VI Congreso Internacional de Expresión Gráfica – Córdoba 2016.

Sinceramente, Prof. Arq. Roberto Ferraris Presidente del VI Congreso

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PRO - 755EGraFIA Argentina 2016

VI CONGRESO INTERNACIONAL DE EXPRESIÓN GRÁFICA EN INGENIERÍA, ARQUITECTURA y ÁREAS AFINES

EGraFIA Argentina 2016 Córdoba, ARGENTINA



REFERENCIAS BIBLIOGRÁFICAS

[1] JONES, D, MANZANELLI, H, y PECHENY, M. (2007) La teoría fundamentada: su aplicación en una investigación sobre vida cotidiana con VIH/sida y con hepatitis c (pp.47) en KORNBLIT, A. L. (2007). Metodologías cualitativas en ciencias sociales. Buenos Aires: Editorial Biblos. [2] GAUSA; M. y GUALLART, V. (2001) Diccionario Metápolis arquitectura avanzada. Barcelona: Actar. [3] PERÍES, L. (2011). Miradas proyectuales. Complejidad y representación en el diseño urbano-arquitectónico. Buenos Aires: Nobuko.

[4] FERNÁNDEZ PER, A, MOZAS, J, OLLERO; A (2013). 10 HISTORIAS SOBRE VIVIENDA COLECTIVA. Análisis gráfico de diez obras esenciales. [5] MARTÍNEZ LÓPEZ, V y PUEBLA PONS, J. (2007). Diagramas digitales y comunicación visual en arquitectura. Actas de SiGRAdi. pp. 280-284. [6] ROTH, J. (1997). Dos casas de le Corbusier y Pierre Jeanneret. Valencia. Artes gráficas Soler.

Francesco Di Paola1,2

1Department of Architecture, University of Palermo, Palermo, Italy 2IEMEST, Euro Mediterranean Institute of Science and Technology

[email protected]

INFORMATION SYSTEMS FOR THE CONSERVATION AND FRUITION OF CULTURA HERITAGE. THE CHURCH OF SANTA TRINITÀ DI DELIA

TEMA: PROFESSIONSUBTEMA: Professional experiences of applied graphic expression.

ABSTRACT:The study describes the knowledge process started on one of the most representative monumental examples of Norman architecture of the first half of the twelfth century in Sicily: the church of the Trinità di Delia in Castelvetrano (TP). The steps of the survey and the 3D representation of the constructive and decorative elements follow a parametric approach and the acquired data provide an information support system implemented by successive conservative restoration interventions of the structure. The workflow is constructed so as to employ hardware / software low-cost technologies, describing procedural methods of processing data transferable to the professional activity.

RESUMEN:Lo studio descrive il processo di conoscenza avviato su uno degli esempi monumentali più rappresentativi dell’architettura normanna della prima metà del XII sec. in Sicilia: la chiesa della Trinità di Delia a Castelvetrano (TP). Le fasi del rilievo e della rappresentazione 3D degli elementi costruttivi e decorativi seguono un approccio parametrico costituendo un sistema informativo implementabile di supporto per successivi interventi di restauro conservativo della struttura. Il workflow è struturato in modo tale da impiegare tecnologie hardware / software low-cost, descrivendo metodiche procedurali di elaborazione dati trasferibili all’attività professionale.

Fig. Up, parametric software interface; abacus of material degradation. Down: a perspective view of the 3D model (left); a tab of a decorative item scanned by the SFM techniques (right).





1.- INTRODUCCIÓN

The research describes a study experience aimed to the creation of a framework that is able to manage and display, on a single platform, various data of a cultural heritage asset, such as 2D/3D graphical information, technical-scientific data, and historical-documentary archives.

The investigation involved the Arab-Norman monument: chiesa della Trinità di Delia (Church of the Trinity of Delia), located on the right bank of Delia river, few kilometres outside Castelvetrano (Trapani, Sicily) (Pic. 1).

From the bibliography, several historical-building information can be noticed, which highlight the stylistic peculiarities of the monument. The church has been defined as a small jewel of the Arab-Norman architecture, and it is an asset of great importance for the Sicilian architectural heritage.

With time, it has undergone several volumetric modifications, both inside and outside. The current conservation status requires a constant monitoring that can guarantee the structural integrity, even though no major signs of deterioration can be observed.

Furthermore, considering its importance as part of the Arab-Norman architectural heritage, it would be beneficial to promote the monument for its fruition from the public through newly-implemented new digital technologies.

Some of the research steps are here described. They provide useful and effective interpretation for better planned restoration activities, tourist-cultural fruition, as well as communication and management of the monumental complex, in order to facilitate both the exploration and the geometrical-spatial analysis. 2.- METODOLOGÍA

The study uses a set of eidotypes and drawings, through direct measurement processes and indirect topographical procedures. It also illustrates the elaboration of a three-dimensional semantic model, built with the aid of a parametric object modeling software with BIM (Building Information Modeling) technology, known as Revit

Architecutre, by Autodesk. The workflow integrated geometrical-spatial information with numerical and textual data, creating effective measurement and control tools for future restoration activities.

The created 3D assets tell the different changes and transformations that the monument underwent with time. The rich collection of decorations can be experienced through digital and interactive representations.

Pic. 1 - South façade. Picture from: Arata G., L’Architettura arabo-normanna e il Rinascimento in Sicilia, 1914.

The adopted methodological approach

aimed to the creation of an informative system, which is scalable and implementable through the use of equipment and procedures often used by professionals.

One of the objectives of the research is to develop a procedure through which it would be possible to document the material deterioration as well as the cracking that can occur. This would also allow a rigorous spatial control of the acquired data.

Through specific queries, the database interrogation of the built parametric model, allows to highlight, manage, and control elements of deterioration that may affect the construction parameters of the façades.

3.- DESARROLLO

Before describing the investigation process that lead to the realization of the parametric model,





here are some historical key events of the monument evolution.

The dating information related to the church foundation are fragmentary and incomplete. It was mentioned for the first time in 1392 in an old document (a royal letter sent to the bishop of Mazzara) [1-5], though - judging from the building style - it could be dating back to a previous period. In fact, the constructive and decorative elements remind of Palermo's churches S. Giovanni degli Eremiti, S. Maria dell'Ammiraglio, as well as local civil constructions such as the Zisa and Cuba complexes.

The archived documents indicate that chiesa della SS. Trinità (church of the Most Holy Trinity) was built by the will of King Ruggero II and founded by Ordine dei frati Basiliani (Order of Basilian Monks). Its conformation is functional for Greek rites, though it was built following the stylistic traits of Islamic architecture, representing a perfect example of Greek-Muslim blend.

In the 15th century, it was annexed to the Benedictine Monastery of San Giovanni degli Eremiti (St. John of the Hermits) in Palermo. In 1474, it became headquarters of the Priory of Delia.

At the beginning of 16th century, the complex underwent numerous transformations.

Some of the major transformations were: additional service sections were adjoined to the northern and western sides (archive documents report the existence of an old Basilian Monastery annexed to the building, now missing); in 1509, a passage was open in the major apse; the main altar was rebuilt near the western entrance; the windows were walled, while the one serving the apse underwent a reduction that modified its circular arch profile; the façades, both internal and external, were plastered, and merlons were realised as top crowning.

From the outside, the building shows simple and recognisable geometries, well-divided and squared. The mural mass is made of small ashlars of calcareous tufa.

The three entrance doors complied with specific needs for the Greek-Byzantine rite, which involved a sex-based separation for individuals entering the building.

Inside, the building develops in a Greek cross-in-square plan. At the apex of the central nave, four columns stand out supporting the arches which, in turn, sustain both the tholobate and the semi-spheric dome. On one side of the main perimeter, three semi-circular apses are distributed (Pic. 2, 3).

Pic. 2 – Hypothesis on the presentation of the monument in 1880 (left), and before Patricolo's works (right).

Pic. 3 - Graphical compositions of SS. Trinità di Delia.

In 1880, the owners, the Saporitos,

decided to build a crypt with a Greek-cross layout below the church and accessible from the outside.

The church regained its original appearance after the restoration works, which were coordinated by architect Giuseppe Patricolo [6].

As previously mentioned, the renown BIM software Revit Architecture was used for the design and creation of the parametric model, allowing not only the geometric representation of the building, but also the georeferencing of the




756 - PROEGraFIA Argentina 2016





1.- INTRODUCCIÓN

The research describes a study experience aimed to the creation of a framework that is able to manage and display, on a single platform, various data of a cultural heritage asset, such as 2D/3D graphical information, technical-scientific data, and historical-documentary archives.

The investigation involved the Arab-Norman monument: chiesa della Trinità di Delia (Church of the Trinity of Delia), located on the right bank of Delia river, few kilometres outside Castelvetrano (Trapani, Sicily) (Pic. 1).

From the bibliography, several historical-building information can be noticed, which highlight the stylistic peculiarities of the monument. The church has been defined as a small jewel of the Arab-Norman architecture, and it is an asset of great importance for the Sicilian architectural heritage.

With time, it has undergone several volumetric modifications, both inside and outside. The current conservation status requires a constant monitoring that can guarantee the structural integrity, even though no major signs of deterioration can be observed.

Furthermore, considering its importance as part of the Arab-Norman architectural heritage, it would be beneficial to promote the monument for its fruition from the public through newly-implemented new digital technologies.

Some of the research steps are here described. They provide useful and effective interpretation for better planned restoration activities, tourist-cultural fruition, as well as communication and management of the monumental complex, in order to facilitate both the exploration and the geometrical-spatial analysis. 2.- METODOLOGÍA

The study uses a set of eidotypes and drawings, through direct measurement processes and indirect topographical procedures. It also illustrates the elaboration of a three-dimensional semantic model, built with the aid of a parametric object modeling software with BIM (Building Information Modeling) technology, known as Revit

Architecutre, by Autodesk. The workflow integrated geometrical-spatial information with numerical and textual data, creating effective measurement and control tools for future restoration activities.

The created 3D assets tell the different changes and transformations that the monument underwent with time. The rich collection of decorations can be experienced through digital and interactive representations.

Pic. 1 - South façade. Picture from: Arata G., L’Architettura arabo-normanna e il Rinascimento in Sicilia, 1914.

The adopted methodological approach

aimed to the creation of an informative system, which is scalable and implementable through the use of equipment and procedures often used by professionals.

One of the objectives of the research is to develop a procedure through which it would be possible to document the material deterioration as well as the cracking that can occur. This would also allow a rigorous spatial control of the acquired data.

Through specific queries, the database interrogation of the built parametric model, allows to highlight, manage, and control elements of deterioration that may affect the construction parameters of the façades.

3.- DESARROLLO

Before describing the investigation process that lead to the realization of the parametric model,





here are some historical key events of the monument evolution.

The dating information related to the church foundation are fragmentary and incomplete. It was mentioned for the first time in 1392 in an old document (a royal letter sent to the bishop of Mazzara) [1-5], though - judging from the building style - it could be dating back to a previous period. In fact, the constructive and decorative elements remind of Palermo's churches S. Giovanni degli Eremiti, S. Maria dell'Ammiraglio, as well as local civil constructions such as the Zisa and Cuba complexes.

The archived documents indicate that chiesa della SS. Trinità (church of the Most Holy Trinity) was built by the will of King Ruggero II and founded by Ordine dei frati Basiliani (Order of Basilian Monks). Its conformation is functional for Greek rites, though it was built following the stylistic traits of Islamic architecture, representing a perfect example of Greek-Muslim blend.

In the 15th century, it was annexed to the Benedictine Monastery of San Giovanni degli Eremiti (St. John of the Hermits) in Palermo. In 1474, it became headquarters of the Priory of Delia.

At the beginning of 16th century, the complex underwent numerous transformations.

Some of the major transformations were: additional service sections were adjoined to the northern and western sides (archive documents report the existence of an old Basilian Monastery annexed to the building, now missing); in 1509, a passage was open in the major apse; the main altar was rebuilt near the western entrance; the windows were walled, while the one serving the apse underwent a reduction that modified its circular arch profile; the façades, both internal and external, were plastered, and merlons were realised as top crowning.

From the outside, the building shows simple and recognisable geometries, well-divided and squared. The mural mass is made of small ashlars of calcareous tufa.

The three entrance doors complied with specific needs for the Greek-Byzantine rite, which involved a sex-based separation for individuals entering the building.

Inside, the building develops in a Greek cross-in-square plan. At the apex of the central nave, four columns stand out supporting the arches which, in turn, sustain both the tholobate and the semi-spheric dome. On one side of the main perimeter, three semi-circular apses are distributed (Pic. 2, 3).

Pic. 2 – Hypothesis on the presentation of the monument in 1880 (left), and before Patricolo's works (right).

Pic. 3 - Graphical compositions of SS. Trinità di Delia.

In 1880, the owners, the Saporitos,

decided to build a crypt with a Greek-cross layout below the church and accessible from the outside.

The church regained its original appearance after the restoration works, which were coordinated by architect Giuseppe Patricolo [6].

As previously mentioned, the renown BIM software Revit Architecture was used for the design and creation of the parametric model, allowing not only the geometric representation of the building, but also the georeferencing of the









researches and maintenance operations carried out on the monument.

The word “Revit” comes from Revise Instantly, which describes the major feature of this parametric modeling engine. Each representable architectonic component is governed by variational and associative principles enabling their transformation, even after they have been assembled; this allows to keep the data of reference models continuously updated [7].

The research began with a topographic survey (Topcon 7001L Total Station), for the acquisition of metric data useful for the creation of rectified images of the four façades, and finally the creation of scaled 2D models. The rectified photos were realised with the aid of Photometric, a software by Geotop, using a reference plain for each façade. With this in mind, a transformation of the topographic coordinates of the support points of each façade was carried out, in order to refer the values to the median plain. The images obtained from the rectification process, which were without perspective deformations, were used for mapping operations of the three-dimensional model.

Subsequently, with the aim of using the BIM technology, a deep analysis of the case study was carried out. A group of descriptors and redundant construction elements was identified, in order to pinpoint morphological traits linked to well-defined variational constraints.

For this case study, since an historical monument is involved, various aspects were considered, such as the level of details of the objects and the complexity of the 3D model to build.

The complex object was broke down in simple geometries and elements, which were created in families, as defined in Revit. Through the use of predefined families and creation of new ones, it was possible to add both standard and customised elements to the model. Thanks to the families, it is possible to have an excellent control over the elements that share a similar working principle and use. This allows an easy project transformation and an effective model management.

This allowed the creation of a geometrical-semantic model with a specific structure defined by rules which, in a single information system, control the formal, constructive, and relational structure.

The BIM system allows to compute rigorously big quantities of elements from the model (volumes and surfaces), as well as manage and querying heterogeneous information of the 3D system.

Pic. 4 – Perspective view of the original parametric model

The following step involved the classifications of nature and typology of the deteriorations affecting the church façades (the analysis of the macroscopic alterations was mapped following the UNI 11182-2006 regulation; the typologies found: alveolization, erosion, lack and presence of vegetation, etc.). Subsequently, the areas regarding the textual information were linked to the dimensional metric data.

Once the deteriorated areas were identified on the four façades, a specific metric computation was carried out to allow subsequent restorations.

To support and complete the elaborated data of the parametric model, an in-depth metric-dimensional analysis of the architectural-decorative elements inside the church was carried out.

Renown Structure from Motion (SfM) procedures were used for the data acquisition, with the aid of image based modelling techniques [8] (Pic. 5 – 7).





Pic. 5 – User interface of PhotoScan; photograms orientation and creation of the point cloud for one of the four capitals.

Pic. 6 – Synoptic table describing the mesh model Realization for one of the four capitals.

Pic. 7 – Synoptic table describing the mesh model realization for one of the two sarcophagi.

CONCLUSIONES The in-depth research aims to the creation

of a digital platform which collects systematically the church’s rich heritage, and allow an effective data retrieval regarding the realization of the work of art, the processing of the materials, the restoration and reinforcement operation, the diagnostic surveys on the deterioration as well as the conservation status of the surfaces [9].

A new mobile application is currently under development. It will allow end-users to navigate through the monument with extra content such as media, touristic routes, 3D models, pictures, as well as key historical facts regarding both the monument itself and the individual architectural components that make it inestimable. The app will be compatible with last generation devices (smartphones/tablet) running Android and iOS.

This contribution will help, in a non-invasive way, the preservation of the monument’s current conservation status for future generations.









REFERENCIAS

[1] ARATA G., (1914). L’Architettura arabo-normanna e il Rinascimento in Sicilia, Ed. Bestetti e Tuminelli, Milano. [2] BASILE F., (1975). L’architettura della Sicilia normanna, Catania. [3] BELLAFIORE G., (1975). Dall’Islam alla Maniera: profilo dell’architettura siciliana dal IX al VXI sec., ed. S.F. Flaccovio, Palermo. [4] FAZELLO T., (1954). De rebus siculis, Palermo. [5] PIRRI R., (1773). Sicilia Sacra, Palermo. [6] PATRICOLO G., (1880). La Chiesa della Trinità di Delia, Palermo. [7] OSELLO A., (2012). Il futuro del disegno con il BIM per ingegneri e architetti, Dario Flaccovio, Palermo. [8] INZERILLO L., SANTAGATI C., DI PAOLA F, (2013). Image-based modeling techniques for Archi-tectural heritage 3d digitalization: Limits and potentialities. International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, vol. XL-5/W2, p. 550-560, P. Grussenmeyer, Strasbourg. ISSN: 2194-9034.

[9] POTENZIANI M., CALLIERI M., et alii, (2015). 3DHOP. Una piattaforma flessibile per la pubblicazione e visualizzazione su Web dei risultati di digitalizzazione 3D, Archeomatica, N. 4, Dicembre.




PhD BARBATO, Davide1 - Eng. ZAPPIA, Ezio2

Dipartimento di Ingegneria Civile; Università degli Studi di Salerno1; BTB Byggnadstekniska Byrån2;

[email protected] - [email protected]

IL COORDINAMENTO NEI PROGETTI BIM-BASED: IL CASO STUDIO DELLA SCUOLA LILLA ALBY.

TEMA: PROFESIÓN SUBTEMA: Transferencia desde la Formación Académica a la Profesión Experiencias profesionales de

Expresión Gráfica aplicada

ABSTRACT: The exchange of information between the players of the building industry, is based nowadays on a cumbersome system and with limited content of technical information, which tend to dissipate in the transition from one professional figure to another. Circumstance which brings with it relevant economic and temporal losses. The proposed paper aims to highlight the considerable advantages that BIM can bring primarily to the actors of the building sector - such as designers and builders - as well as to the owners and managers of the work in question, through the analysis of a case study: the Lilla Alby School in Stockholm.

RESUMEN: Il flusso di lavoro alla base della metodologia del Building Information Modeling rappresenta oltre che un’evoluzione nel modo di progettare le opere di ingegneria, una vera e propria rivoluzione nel mondo dell’edilizia intesa in senso più ampio come Architecture, Engineering and Construction. Forte è la ritrosia per le innovazioni tecnologiche e ancor più per quelle metodologiche, ma una volta valutati coerentemente i benefici, è difficile non farsi conquistare. Il mondo della progettazione edilizia si basa su un continuo interscambio di informazioni tra gli attori in essa coinvolti: il flusso di dati è in continuo divenire e aumenta con l’evolversi sia delle fasi progettuali (preliminare, definitiva ed esecutiva) sia delle singole discipline coinvolte (architettura, struttura e impianti). Più si avanza con il progetto, più aumenta la necessità di confrontarsi con tecnici e committenti, tutti coinvolti nella stessa commessa. Se lo sviluppo tecnologico ha portato interessanti incrementi in termini di produttività nel settore dell’industria, lo stesso non si è ancora verificato nel mondo delle costruzioni. L’utilizzo di metodologie di progettazione quali il BIM può indubbiamente ridurre il gap, inteso in termini di produttività. Mediante tale contributo si vuole illustrare una testimonianza reale sull’implementazione di una metodologia di coordinamento tra le varie discipline progettuali (messe in atto durante la progettazione definitiva), simulando un iter procedurale tipico di una ‘catena di montaggio’ il cui fine è stato quello di ridurre i tempi e i costi di progettazione/esecuzione analizzando il caso reale della scuola Lilla Alby realizzata a Stoccolma (Svezia). La volontà di realizzare un progetto rispondente all’esigenze stringenti della committenza e di ridurre al minimo i tempi, i costi e le interferenze progettuali in corso d’opera, hanno spinto costruttori e progettisti all’utilizzo del BIM fin dalle prime fasi di progettazione preliminare consentendo di ultimare l’opera nei tempi e nei costi previsti.





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