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Considerare gli artefatti quali ipertesti composti delle diverse edizioni degli oggetti stessi che negli ipertesti si manifestano, significa identificare una vera e propria Editoria degli oggetti con una sua epistemologia e con le sue regole.","author":[{"@context":"https://schema.org","@type":"Person","name":"Stefano Mavilio"}],"contributor":[],"dateCreated":"2016-06-09","dateModified":"2016-07-01","headline":"EDITORIA DEGLI OGGETTI I LATI EDIZIONI DEGLI OGGETTI-ARTEFATTI","image":"https://attachments.academia-assets.com/46365813/thumbnails/1.jpg","inLanguage":"it","keywords":["Architectural Theory","Concept Design","Conceptual Architecture","Lati Edizioni","Editoria degli oggetti artefatti","Quantistica delle edizioni","Tracce, Tracciati e Traiettorie","Oggetti Quali Ipertesti","Francesco Toldonato","Claudio CIborra","Artifacts 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window.loswp.shouldShowBulkDownload = true; window.loswp.showSignupCaptcha = false window.loswp.willEdgeCache = false; window.loswp.work = {"work":{"id":26024793,"created_at":"2016-06-09T12:42:19.744-07:00","from_world_paper_id":null,"updated_at":"2021-01-16T07:21:18.384-08:00","_data":{"abstract":"Il focus del testo è sulla idea\nche ogni oggetto artefatto, ogni costruzione, ogni paesaggio,\nnon è mai identico a se stesso,\npresentando tante anime quante sono le sue \"edizioni\"\nciascuna avente vita propria.\nConsiderare gli artefatti quali ipertesti\ncomposti delle diverse edizioni degli oggetti stessi\nche negli ipertesti si manifestano,\nsignifica identificare una vera e propria\nEditoria degli oggetti\ncon una sua epistemologia e con le sue regole.\n"},"document_type":"draft","pre_hit_view_count_baseline":null,"quality":"high","language":"it","title":"EDITORIA DEGLI OGGETTI I LATI EDIZIONI DEGLI OGGETTI-ARTEFATTI","broadcastable":true,"draft":true,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [1238462]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":46365813,"attachmentType":"pdf"}"><img alt="First page of “EDITORIA 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ds2-5-body-link" data-author-id="1238462" href="https://independent.academia.edu/smavilio"><img alt="Profile image of Stefano Mavilio" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/1238462/450620/6350516/s65_stefano.mavilio.jpeg" />Stefano Mavilio</a></div><div class="ds-work-card--detail"><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">12 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 26024793; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=26024793"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { const viewCountNumber = Number(viewCount); if (!viewCountNumber) { throw new Error('Failed to parse view count'); } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (viewCountBody) { viewCountBody.textContent = `${commaizedViewCount} views`; } else { throw new Error('Failed to find work views element'); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Il focus del testo è sulla idea che ogni oggetto artefatto, ogni costruzione, ogni paesaggio, non è mai identico a se stesso, presentando tante anime quante sono le sue "edizioni" ciascuna avente vita propria. Considerare gli artefatti quali ipertesti composti delle diverse edizioni degli oggetti stessi che negli ipertesti si manifestano, significa identificare una vera e propria Editoria degli oggetti con una sua epistemologia e con le sue regole. </p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":46365813,"attachmentType":"pdf","workUrl":"https://www.academia.edu/26024793/EDITORIA_DEGLI_OGGETTI_I_LATI_EDIZIONI_DEGLI_OGGETTI_ARTEFATTI"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":46365813,"attachmentType":"pdf","workUrl":"https://www.academia.edu/26024793/EDITORIA_DEGLI_OGGETTI_I_LATI_EDIZIONI_DEGLI_OGGETTI_ARTEFATTI"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="46365813" data-landing_url="https://www.academia.edu/26024793/EDITORIA_DEGLI_OGGETTI_I_LATI_EDIZIONI_DEGLI_OGGETTI_ARTEFATTI" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="25649499" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/25649499/RENDICONTI_DELLA_ACCADEMIA_DI_ARCHEOLOGIA_LETTERE_E_BELLE_ARTI_NUOVA_SERIE_VOLUME_LXXVII_2014_2015_GIANNINI_EDITORE_NAPOLI_MMXVI">RENDICONTI DELLA ACCADEMIA DI ARCHEOLOGIA LETTERE E BELLE ARTI NUOVA SERIE VOLUME LXXVII 2014-2015 GIANNINI EDITORE NAPOLI MMXVI</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="27666934" href="https://independent.academia.edu/knightcarlo">carlo knight</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5667219" href="https://unipegaso.academia.edu/vascofronzoni">vasco fronzoni</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Scoperte archeologiche subacquee nell'isola di Capri</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"RENDICONTI DELLA ACCADEMIA DI ARCHEOLOGIA LETTERE E BELLE ARTI NUOVA SERIE VOLUME LXXVII 2014-2015 GIANNINI EDITORE NAPOLI MMXVI","attachmentId":67723799,"attachmentType":"pdf","work_url":"https://www.academia.edu/25649499/RENDICONTI_DELLA_ACCADEMIA_DI_ARCHEOLOGIA_LETTERE_E_BELLE_ARTI_NUOVA_SERIE_VOLUME_LXXVII_2014_2015_GIANNINI_EDITORE_NAPOLI_MMXVI","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/25649499/RENDICONTI_DELLA_ACCADEMIA_DI_ARCHEOLOGIA_LETTERE_E_BELLE_ARTI_NUOVA_SERIE_VOLUME_LXXVII_2014_2015_GIANNINI_EDITORE_NAPOLI_MMXVI"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="74119323" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/74119323/LE_RAGIONI_DEL_DISEGNO_Comitato_editoriale_staff">LE RAGIONI DEL DISEGNO Comitato editoriale-staff</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="101495807" href="https://unifi.academia.edu/BERTOCCI">STEFANO BERTOCCI</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2017</p><p class="ds-related-work--abstract ds2-5-body-sm">Gli articoli pubblicati sono sottoposti a procedura di doppia revisione anonima (double blind peer review) che prevede la selezione da parte di almeno due esperti internazionali negli specifici argomenti. 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In questo modo si crea un progetto storiografico che supera le limitazioni della semplice visione cronologica, in virtù di una concezione "finalistica", che organizza gli eventi in linee tematiche trasversali (evidente influsso del ragionamento analogico). Evidente legame storia architettura-progetto. Tale rapporto ha origine nella trattatistica rinascimentale dove queste due entità erano legate in una stretta promiscuità, attraverso l'operato degli intellettuali ed eruditi dell'epoca che ricercavano nei classici una fonte di ispirazione ed argomentazione per le loro tesi. Solo a partire dal '700 si genera una divaricazione tra questi due aspetti che sopravvive ad oggi nel mondo anglosassone, mentre in Italia prova ad essere superata grazie a personaggi come Giovannoni e Zevi. Problema: Origine dell'architettura. Individuazione di 4 poli, costituiti a loro volta da due dicotomie, che sono gli estremi all'interno del quale il progetto di architettura si può collocare. Questi vertici costituiscono l'orizzonte massimo oltre il quale il progetto non si può spingere, pena la perdita della sua identità. 1) CLASSICO-"ANTICLASSICO" la classicità ha sempre esercitato sul progetto di architettura una fatale forza attrattiva, a causa della diffusa convinzione che essa costituisca l'atto originale e fondamentale dell'architettura stessa, ma d'altra parte, spesse volte si è manifestata la volontà di emanciparsi e affrancarsi da questi limitanti principi. 2) filone SIMBOLISTA-FUNZIONALISTA • Posizione di Laugier propone come il modello classico come riferimento, possiamo osservare nella litografia una teoria di colonne perimetrale sormontata da una copertura a falde. Questa forma archetipica viene trasfigurata in una dimensione simbolica, divenendo l'immagine iconica dell'ordine naturale delle cose. Questa visione viene adottata dagli architetti utopici francesi. • Posizione di Semper individua un principio tessile come atto generativo dell'architettura, essa ha origine nel momento in cui l'uomo per soddisfare il proprio bisogno esistenziale di protezione, decide di recintare uno spazio creando una maglia che divide un dentro ed un fuori. Il modello archetipico non coincide più con il sistema trilitico del tempio greco ma con la tenda primitiva, la quale sancisce inequivocabilmente uno spazio antropico, il quale si interfaccia con l'esterno attraverso una superficie intessuta (o recinti di rami intrecciati). La posizione funzionalista di Semper ispira le opere di Schinkel ed il Crystal Palace di Paxton. Tra questi due filoni, come del resto tra tutti e quattro i poli sono possibili delle reciproche fecondazioni e contaminazioni, generando in questo fertile terreno condiviso delle esperienze uniche che arricchiscono il patrimonio architettonico.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"ARCHITETTURA 2-LEZIONI E LIBRO","attachmentId":60309329,"attachmentType":"docx","work_url":"https://www.academia.edu/40099299/ARCHITETTURA_2_LEZIONI_E_LIBRO","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40099299/ARCHITETTURA_2_LEZIONI_E_LIBRO"><span class="ds2-5-text-link__content">View 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