Matteo G Ballarin

The urban fabric is both composed of a human and a natural counterpart; 'architecture' as a definition can be related to building processes and to landscape governance, thus underlying connecting elements both in the peripherals urban fringes and in consolidated urbanization. A proper management of the urbanity and its spaces also involves a proper use of design and governance tools; where usual CAD or GIS systems allow a territorial drawing limited to formal or statistical aspects, the usage of BIM (Building Information Modeling) is something that-apart from building design tout court-can be applied to landscape design and management, as it happens for the valuable research project Informasjonsmodell for landskapsobjekter, sponsored by Norwegian Government. In such a context, the numerical representation of landscape objects (different trees, planting, agricultural surfaces) is not limited to the formal values of a landscaping projects-at any scale-but links the urban form to information related to growth, age, ecological performances of the related objects. The system allows the identification of new methodologies for the interpretation and enhancement of urban space.

Nonostante la massiccia produzione di immagini architettoniche degli ultimi 15 anni, il disegno ha perso quel posto privilegiato che aveva occupato nel dibattito architettonico, non solo italiano, a partire dal secondo dopoguerra. A questa panoplia di immagini non si accompagna ancora una soddisfacente capacità critica e interpretativa.

In recent decades, territorial drawing and representation subsumed a considerable number of topics from urban debate. These topics led to an extreme -often excessive- complexity within a traditional kind of representation practice. They also led to the emergence of a whole category -technicians in territorial representation- whose theoretical processes are often subordinated to the political functions of planning tools. An approach rooted in visual studies and a critical review of some experiences of urban representation of wider scales may be an alternative to these trends.

A growing interest in the study of the exhibition space is often matched by processes of geometric reconstruction of relevant environments in the field of art history.
Where a traditional monument survey often relies on well established image-based techniques, it is virtually impossible to advance in a survey process when the surveyed object no longer exists. That is the case of temporary installations in which the only photographic documents are non-metric images meant for publishing. A critical use of this imagery can result in a  high reliability and accuracy of resulting digital models.

The urban fabric is both composed of a human and a natural counterpart; 'architecture' as a definition can be related to building processes and to landscape governance, thus underlying connecting elements both in the peripherals urban fringes and in consolidated urbanization.
A proper management of the urbanity and its spaces also involves a proper use of design and governance tools; where usual CAD or GIS systems allow a  territorial drawing limited to formal or statistical aspects, the usage of BIM (Building Information Modeling) is something that -apart from building design tout court- can be applied to landscape design and management, as it happens for the valuable research project Informasjonsmodell for landskapsobjekter, sponsored by Norwegian Government.
In such a context, the numerical representation of landscape objects (different trees, planting, agricultural surfaces) is not limited to the formal values of a landscaping projects -at any scale- but links the urban form to information related to growth, age, ecological performances of the related objects. The system allows the identification of new methodologies for the interpretation and enhancement of urban space.

65-Software gestionali e di produttività
113-Software CAD/BIM
149-Software per modellazione 3D e rendering
197-GIS. Sistemi informativi territoriali
223-Software per il Rilevamento
257-Software di fotoritocco, grafica, impaginazione
Conclusioni
Bibliografia
Crediti delle immagini
Indice

L’Esposizione Internazionale d’Arte di Venezia, che si tiene ogni due anni, è la più antica manifestazione di questo tipo ancora esistente; dopo più di 120 anni dalla sua creazione e la concorrenza di manifestazioni simili, come Documenta di Kassel, Manifesta o Art Basel (e di un altro centinaio di Biennali sparse per tutto il mondo), mantiene il suo posto d’onore nella promozione delle arti visive contemporanee, dei rapporti di potere tra nazioni e nella creazione dei valori di mercato dell’arte.
I suoi spazi -padiglioni ai Giardini di Castello, Arsenale e sedi espositive esterne- in continuazione allestiti e ripensati, odiati da generazioni di critici per via dei loro stili, spesso minacciati di demolizioni e restyling, ma idolatrati da decine di pubblicazioni, appaiono sempre di più come una dimostrazione del grande successo dell’istituzione veneziana.
Questi spazi appaiono oggi in una serie di disegni: sezioni, viste a volo d’uccello e spaccati prospettici permettono di cogliere con uno solo sguardo l’esterno e l’interno degli edifici e di comprendere immediatamente il rapporto tra l’organismo edilizio e l’esposizione delle opere d’arte.

The Venice Biennale International Art Exhibition, which is held every two years, is the oldest event of its kind still existing; notwithstanding its age and competition from similar events, such as Documenta in Kassel, Manifesta or Art Basel (and another hundred Biennials scattered throughout the world), the Biennale still retains its place of honor in the promotion of contemporary visual arts, in the relations between states and in the creation of the art market values.
Its spaces -pavilions in the Giardini, Arsenale and external exhibition venues- are continuously refurbished and redesigned; hated by generations of critics because of their styles, often threatened with demolition and restyling, but idolized by dozens of publications. They represent the best demonstration of the everlasting success of the Venice Biennale.
These spaces are shown here in a number of drawings: sections, plans, axonometric projections, bird's eye views, allowing us to understand the exterior and the interior of the buildings with a single glance and to understand the relationship between the building and the exhibits.