Segno e Disegno. Editoriale di Engramma 207
Creators: name: De Maio, Fernanda
Publisher: name: La Rivista di Engramma
Year: 2023
Subjects: Architectural drawing
Arts drawing
Hand drawing
Digital drawings
Architectural pedagogies
Ivan Leonidov
Russian Avantgarde
Soviet Architecture
Partisan Cemetery
Edvard Ravnikar
Francesco Venezia Pompeii Pyramid
Sebastian Irarrazaval Pavillion
Ruined Architecture
Boullee Platonic Architecture
Valparaiso Subercaseaux Palace
Heinrich Tessenow
Baukunstler
Peter Markli
Alberto Ferlenga
Architettura La differenza italiana
Mario Merz
Arte Povera
Madonna del Salice
Xilography
Ferrara
Ercole Strozzi
Giotto
Padova
Burri
Fontana
Bill Viola
Kessler
Experiencing Medieval Art
Botticelli
Calunnia
Sara Agnoletto
Monica Centanni

description: Engramma 207 investigates the distance between drawing for architecture and drawing for art in the awareness that, although this represents a common medium for human thought activities, there are clear differences with respect to the semantic aspects linked to the sign. These differences are the result of compositional techniques that draw on very different traditions; for example, the way in which the human figure occupies space in a work of painting and the way in which this, conversely, occupies space in an architectural drawing. It was precisely from this example that it seemed necessary to divide this issue into two sections, one dedicated to Architecture and one to Art.
In the first part, L’orlo sfuggente. Riflessioni sparse su segno e disegno by Alberto Ferlenga questions about the relation between Art and Architecture; Strategie del dettaglio: ragioni critiche del disegno di architettura by Guido Morpurgo deals with manual geometric drawing with ruler, square and chiaroscuro hatching for detail drawings; Il tempo del disegno digitale. Potenzialità e limiti di uno strumento troppo giovane per essere già vecchio by Alberto Calderoni confronts with the urgency to circumscribe pedagogy within the semantics of digital design; L’opera al nero. Segno e disegno in Ivan Leonidov by Luca Lanini deals with the drawing on black background as the means of communication used by Ivan Leonidov; l disegno come disvelamento rivoluzionario by Laura Scala addresses the theme of the total work of art in the Russian avant-garde, starting with sketches of costumes and sets for a theatrical play; La magia figurativa del segno. Il cimitero partigiano di Vojsko by Susanna Campeotto proposes the study of a particularly significant work by E. Ravnikar in order to investigate the process of inventing the ‘signs’ of the place from which the project originates; Il primato del disegno nell’architettura italiana del secondo Novecento by Manuela Raitano examines the drawings of some Italian masters of the second half of the Twentieth century to try to understand their legacy for contemporary architecture; 2015. La piramide e la sfera. Geometrie pure tra rovine di città by Fernanda De Maio makes a parallel between two spatially distant exhibitions, drawing attention to geometries, shapes and primary signs grafted into ruined buildings, to focus on the theme of unity between science and art; Segno e disegno nell’opera di Heinrich Tessenow by Giacomo Calandra di Roccolino takes on the drawings by Tessenow stating that they are often works with which he pursues his research into the art of building, the most intimate expression of his being Baukünstler, understood as the perfect synthesis of artist and builder; Tracce visive di pensiero by Michela Maguolo presents the book Peter Märkli: Dessins/Disegni curated by Fabio Don and Claudia Mion, on 330 drawings by Märkli; lastly, this first section is concluded by an excerpt from Architettura. La differenza italiana by Alberto Ferlenga (2023) where the author investigates the reasons for a crisis in the social role of the Italian architect in the world.

In the second section, Abitare l’archetipo. Tempo, preistoria e mito nella poetica di Mario Merz by Pasquale Fameli proposes a reconsideration over prehistory, archetypes and ‘primary’ images in relation to arte povera; Una, nessuna, molteplici Madonne del Salice. Un’immagine e i suoi riflessi by Lorenzo Gigante deals with a woodcut devotional image, the so-called Madonna del Salice, and its fortune throughout history; Un ciclo di lunette per il Chiostro Grande della Certosa di Firenze. Piero di Matteo di Ser Martello e una possibile committenza di Giovanni Maria Canigiani abate di Vallombrosa by Danilo Sanchini reconsiders the figure of Piero di Matteo in relation to the context of the Florentine Charterhouse: drawing is an undercurrent, an essential tool for the construction of the complex iconographies of sacred images envisaged by the monastic structure; An iconological approach to Giotto’s allegory of prudence and her mirror by Martina Calì makes an iconological reading of Giotto’s Prudenza Scrovegni; the issue is concluded by Experiencing Medieval Art by Herbert L. Kessler, reviewed by Sara Salvadori, a review of the monograph on Botticelli’s Calunnia by Sara Agnoletto and Monica Centanni, by Alessandro Cecchi and Marcello Ciccuto, and the presentation of Emociones. Imágenes y gestos del pasado y del presente’s exhibition by Victoria Cirlot, now on at Museu Frederic Marès in Barcelona.