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Fabbrica della Conoscenza Carmine Gambardella XIV Forum Internazionale di Studi La Scuola di Pitagora editrice Le Mercanti Vie dei WORLD HERITAGE and DEGRADATION Smart Design, Planning and Technologies

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Fabbrica della Conoscenza

Carmine Gambardella

XIV Forum Internazionale di Studi

La Scuola di Pitagora editrice

Le

MercantiVie dei

WORLD HERITAGE and DEGRADATIONSm a r t D e s i g n , P l a n n i n g a n d Te c h n o l o g i e s

Fabbrica della Conoscenza numero 61Collana fondata e diretta da Carmine Gambardella

Fabbrica della Conoscenza Collana fondata e diretta da Carmine Gambardella

Scientific Committee:

Carmine Gambardella, President and CEO Benecon, UNESCO Chair in Cultural Heritage, Landscape and Territorial Governance

Federico Casalegno, Professor, Massachusetts Institute of Technology,USA

Massimo Giovannini, Professor and Rector, University “Mediterranea” of Reggio Calabria, Italy

Bernard Haumont, Professor, Ecole Nationale Supérieure d’Architec-ture Paris Val de Seine, France

Mathias Kondolf, Professor and Chair, Landscape Architecture andEnvironmental Planning, University California Ber-keley, USA

David Listokin, Professor, Edward J. Bloustein School of Planningand Public Policy, Rutgers University, USA

Paola Sartorio, Executive Director, US- Italy Fulbright Commission

Elena Shlienkova, Professor, Director of the Project Support Centerof Regional and International Programs of the Rus-sian Presidential Academy of National Economyand Public Administration, Russia

Editorial Committee:

Pasquale Argenziano Alessandra Avella Alessandro Ciambrone Nicola Pisacane Manuela Piscitelli

Carmine Gambardella

La scuola di Pitagora editrice

WORLD HERITAGE and DEGRADATIONSmart Design, Planning and Technologies

Carmine Gambardella

WORLD HERITAGE and DEGRADATIONSmart Design, Planning and TechnologiesLe Vie dei Mercanti XIV Forum Internazionale di Studi

© copyright 2016 La scuola di Pitagora s.r.l.Via Monte di Dio, 5480132 NapoliTelefono e fax +39 081 [email protected]

ISBN: 978-88-6542-257-1

È assolutamente vietata la riproduzione totale oparziale di questa pubblicazione, così come lasua trasmissione sotto qualsiasi forma e conqualunque mezzo, anche attraverso fotocopie,senza l’autorizzazione scritta dell’editore.

Il volume è stato inserito nella collana Fabbrica della Conoscenza, fondata e diretta da Carmine Gam-bardella, in seguito a peer review anonimo da parte di due membri del Comitato Scientifico.

The volume has been included in the series Fabbrica della Conoscenza, founded and directed by CarmineGambardella, after an anonymous peer-review by two members of the Scientific Committee.

editing: Luigi Corniello

Conference topics:

HeritageTangible and intangible dimensionsHistoryCultureCollective IdentityMemoryDocumentationManagementCommunication for Cultural HeritageArchitectureSurveyingRepresentationModellingData IntegrationTechnology PlatformsAnalysisDiagnosis and Monitoring TechniquesConservationRestorationProtectionSafetyResilience Transformation ProjectsTechnologiesMaterials Cultural landscapesTerritorial SurveyingLandscape ProjectsEnvironmental MonitoringGovernment of the TerritorySustainable Development

WORLD HERITAGE and DEGRADATIONSmart Design, Planning and TechnologiesLe Vie dei Mercanti XIV Forum Internazionale di Studi

Napoli | Capri16 - 17 - 18 June 2016

President of the Forum

Carmine GambardellaPresident and CEO Benecon, UNESCO Chair in Cultural Heritage, Landscape and Territorial Governance

International scientific committee

Ahmed Abu Al HaijaProfessor and Head, Environmental Design, Urban and Architectural Heritage, Faculty of Engineering, Philadelphia University, Jordan

Ali AbughanimehDirector of the Department of Architecture, University of Jordan

Pilar Garcia AlmirallProfessor, UPC Ecole Tecnica Superior d’Arquitectura Barcelona, Spain

Harun BatirbaygilProfessor and Head, Department of Architectural, Okan University, Istanbul, Turkey

Cevza CandanProfessor, Istanbul Technical University

Federico CasalegnoProfessor, Massachusetts Institute of Technology, USA

Joaquín DíazDean and Professor, Technische Hochschule Mittelhessen-University of Applied Sciences, Department of Architecture and Civil Engineering

Yankel FijalkowProfessor, Ecole Nationale Supérieure d'Architecture Paris Val de Seine, France

Carmine GambardellaPresident and CEO Benecon, UNESCO Chair in Cultural Heritage, Landscape and Territorial Governance

Massimo GiovanniniProfessor, University “Mediterranea” of Reggio Calabria, Italy

Xavier GreffeProfessor and Director, Centre d’Economie de la SorbonneParis, France

Manuel Roberto GuidoDirector Enhancement of Cultural Heritage, Planning and Budget Department, Italian Ministry of Heritage and Culture

Bernard HaumontProfessor, Ecole Nationale Supérieure d'Architecture Paris Val de Seine, France

Alaattin KanogluHead of Department of Architecture, Istanbul Technical University

Tatiana KirovaProfessor, Polytechnic of Turin

Mathias KondolfProfessor and Chair, Landscape Architecture and Environmental Planning, University California Berkeley, USA

Mehmet KaracaRector, Istanbul Technical University

David ListokinProfessor, Edward J. Bloustein School of Planning and Public Policy, Rutgers University, USA

Andrea MaliqariDean of the Faculty of Architecture, Polytechnic University of Tirana

Maria Dolores MunozProfessor, UNECO Chair, EULA Environmental Centre,University of Conception, Chile.

Raymond O’ ConnorPresident and CEO TOPCON Positioning Systems

Jorge Peña DíazProfessor, Head of the Urban Research group (INVACURB) atthe Facultad de Arquitectura, Instituto Superior Politécnico JoséAntonio Echeverría, Cuba

Giovanni PuglisiProfessore, Rettore IULM, e Presidente, Commissione Na-zionale Italiana per l’UNESCO

Michelangelo RussoProfessor, Università Federico II di Napoli, Italy

Paola SartorioPh.D., Executive Director, The U.S.- Italy Fulbright Commission

Lucio Alberto SavoiaAmbasciatore, Segretario generale, Commissione NazionaleItaliana per l’UNESCO

Elena ShlienkovaProfessor, Director of the Project Support Center of Regional and International Programs of the Russian Presidential Academy of National Economy and Public Administration, Rus-sia

Eusebio Leal SpenglerProfessor, honorary president of the Cuban ICOMOS Committee, Cuba.

Isabel TortProfessor, Director of the Forum UNESCO University and Heritage (FUUH) Programme, Universitat Politècnica de València UPV, Spain.

Andrey V. VasilyevProfessor, Head of Departments of Chemical Technology andIndustrial Ecology at the Samara State Technical University, Head of Department of Enginering Ecology and of Ecological Monitoring of Samara Scientific Cen-ter of Russian Academy of Science.

Aygul AgirProfessor, Department of Architecture, Istanbul TechnicalUniversity

Kutgun EyupgillerProfessor, Department of Architecture, Istanbul TechnicalUniversity

Scientific and Organizing Local Committee

Alessandro CiambroneCoordinator of the scientific program and relationships with theInternational Scientific Committee

Luigi CornielloGraphics and layout

Giuseppe GianniniWeb master

Pasquale Argenziano, Alessandra Avella, Carmine Maffei, Nicola Pisacane, Manuela Piscitelli

Peer review

Conference report 300 abstracts received from:

Albania, Benin, Belgium, Bosnia and Herzegovina, California,Chile, China, Cipro, Cuba, Egypt, France, Germany, Italy, Japan,Jordan, Kosovo, Malta, Massachusetts, Michigan, New Jersey,New York, New Zealand, Poland, Portugal, Russia, Slovakia,Spain, Tunisia, Texas, Turkey.

More than 550 authors involved.212 papers published.

Scholars has been invited to submit researches on theoretical andmethodological aspects related to Smart Design, Planning and Te-chnologies, and show real applications and experiences carriedout on this themes.Based on blind peer review, abstracts has been accepted, condi-tionally accepted, or rejected.Authors of accepted and conditionally accepted papers has beeninvited to submit full papers. These has been again peer-reviewedand selected for the oral session and publication, or only for thepublication in the conference proceedings.

The theme of the XIV Forum “Le Vie dei Mercanti” isan international discussion on the disciplines of archi-tecture, design and landscape through the presenta-tion of research and operational projects on theconservation and valorisation of World Heritage and“smart” regeneration of degradation, with analyses andproposals ranging from the design at all scales, to ar-chitectural assets, the territory, infrastructures and thelandscape. Academics, along with professionals whohave a role in the governing, managing and controllingof public agencies, institutions and the business worldare invited to submit papers related to design objects,architecture and landscapes. This is with the aim ofconserving and recovering, valorising and regenera-ting, managing and designing (or re-designing), for themore general improvement of the quality of life, in aninnovative and contemporary relationship betweenman and the environment, through “beauty”, while re-specting the history, traditions, identity and principlesof sustainable development, as well as being attentiveto the needs of our and future generations. Internet ofEverything, smart design, planning and technologies,building information modelling, in this age of globaliza-tion, have become operational tools – that alongsidethe traditional ones of the profession – for the protec-tion and promotion of the World Heritage, are conside-red as well as shared by the whole of Humanity, andthe regeneration of the degradation and the “Minor He-ritage”, in all aspects, and as contemplated by theUNESCO Conventions on tangible and intangible as-sets and the European Landscape Convention. Theevent aims to create a critical transversal dialogue,open to cultural and “unlimited” influences, in a logicof integration between the skills that extends, and isnot limited, to the following disciplines: anthropology,architecture, archaeology, history art, cultural geogra-phy, design, ethnology and folklore, economy, history,landscape, museum management, philosophy and po-litical science, urban history and sociology, cultural tou-rism, planning and integrated management. Thelocation is exceptional. Campania, with six sites inclu-ded in the World Heritage List, two UNESCO Man andBiospheres, two sites on the List of Intangible Heritage,is one of the richest regions in the world for culturaland landscape heritage.

Carmine Gambardella

Preface

3D modeling of Pompeii amphitheater. Preliminary critical considerations

Carmine GAMBARDELLA,1 Nicola PISACANE,2 Pasquale ARGENZIANO,2 Alessandra AVELLA2 (1) Università Telematica Pegaso, Italy. [email protected] (2) Dipartimento di Architettura e Disegno Industriale ‘L. Vanvitelli’, Seconda Università di Napoli, Italy. [email protected], [email protected], [email protected] Abstract This abstract continues the discussion of the research presented at the last year's Forum about some important activities carried out within the archaeological site of Pompeii. In particular, the study introduces survey, analysis and modeling activities performed for the amphitheatre, combining the themes of knowledge of a cultural site of great value with the aspects of the conservation and safeguarding of degraded heritage. The Spectacula of Pompeii, erected shortly after 80 B.C., is one of the most homogeneous buildings and better dating of Pompeii through the inscription that commemorates the construction (C.I.L., x, 852). The amphitheater of Pompeii, suitable for performances held there but not monumental, is the evolution of the architectural type of the amphitheater from false wooden construction to stable stone structure. Not changed nor extended by the consolidation restorations made after the earthquake of 62 A.D., the Pompeian amphitheater for its age is the oldest amphitheater architecture building. The complex spatial configuration of both elevation elements and underground spaces has allowed some significant geometrical and critical considerations that frame the construction techniques, as well as the following consolidation and restoration works. Specifically, the geometric analysis involved the identification of the planimetric shape, the slope of the stands and tiers, as well as assessments on the three-dimensional configuration of the auditorium space.

Keywords: amphitheater, Pompeii, survey, analysis, 3D modeling

1. Introduction (Carmine Gambardella) This monographic study continues the research presented at the previous Forum focused on a critical comparison between the various technical and scientific integrated digital survey steps applied to three case studies within the boundary of the archaeological site of Pompeii - the Amphitheatre, the Villa dei Misteri and the Torre di Mercurio - which are emblematic for construction and excavation dating, for historical and artistic importance, for material composition, for architectural morphology.

Fig. 1: Pompeii amphitheatre: panoramic view.

Fig. 2: Three case studies within the boundary of the archaeological site of Pompeii.

Fig. 3: Pompeii amphitheatre: underground ambulatory, main entrance, auditorium during 3D laser scanning activities and topographical survey by total station. In particular, attention is directed exclusively to the amphitheater for which critical remarks were made in order to its configurative geometry on surveyed points with a considerable accuracy. This building was the subject of the integrated digital survey by applying 3D laser scanning sensors, GNSS topographic and close-range photogrammetric terrestrial and by drone aimed at the geometric and morphological characterization of each architecture. In particular, whereas the Amphitheatre is a large concave building, walkable along concentric paths on three significant levels at least, the survey was structured: to divide the building into homogeneous architectural sectors, corresponding to the same macro-scanning projects; to use two laser scanners Faro CAM2 and one total station. From the 3d model, following the phase of post processing of the data acquired as described above, useful information to intercept significant points of the amphitheater were extracted in order to understand, to learn and to investigate the complex geometry of the auditorium, the direction of the stairs crossing and reaching the different parts of the theatre space, such as the shape of the corridor below the auditorium itself; and also it is important to study the auditorium’s slope in relation to the visibility inside the different parts of the theatre, or to study the trend of the tiers according to the problems of cutting of stones and other materials used for the construction. As it regards the planimetric shape of the amphitheater built from the outer wall from which then starts the construction of the internal parts of the auditorium, layout tracking of the external shape was dependent on the tracing of the geometry of successive internal parts. In fact, the tracking of the ellipse is much more laborious although operationally, especially for large curves, presents problems similar to those of the oval. The oval has however the advantage to be simply described by concentric curves (substantial problem for the bleachers) as well as a simplification in the preparation of stone that constitute the structure. The above mentioned steps of analysis and knowledge of the amphitheater, from the 3d model surveyed through the extraction and analysis of significant horizontal and vertical sections, differ from experiences in other contexts and described by the scientific literature. This method does not limit the

study to interior and exterior stereometry of the building, to the simple form derived from projections on a plane, but deepening the study of the formal complexity of an architectural product declined in a multidimensional system for knowledge, protection, structural behavior and forecasting scenarios for recovery and modification of cultural heritage.

Fig. 4: 3D laser scanner model sectioned with horizontal plans (left) and vertical ones (right). 2. The Spectacula from wooden rectangle of stone ellipse (Nicola Pisacane) The amphitheatre of Pompeii was built in the period immediately following the dictatorship of Sulla (82-79 b.C.), which put an end to the social upheaval due to civil wars, and in particular in conjunction with the foundation of numerous colonies of veterans. The architectural style of the amphitheatre, unknown to the Hellenic world, was introduced in the Roman Empire in order to give to colonies a permanent space for gladiator fights that, as events celebrated in the occasion of funerals, had become usual performances. The exponential development of gladiatorial games was recorded in Campania earlier than in other regions. From Campania, in fact, come the first evidence of stable masonry amphitheatres in Cuma, Capua, Pozzuoli and Pompeii dating from the middle of the second century b.C. and built directly on the ground and lying on the side of a slope, according to the logic of the Greek theaters. In Campania, where, as mentioned, the ludi gladiatorii (gladiatorial games) were perfected, there was the evolution of the architectural type of the amphitheatre from a mobile wooden construction to a stable structure in stone, of which the Pompeii Spectacula is for its age the oldest amphitheatre built in masonry. If in Campania are built amphitheaters stable in stone, in other regions, depending on availability of materials which offered the territory, the availability of money and the importance and solemnity of the gladiatorial games, they continued to make wooden and/or masonry amphitheatres. There are socio-economic causes that favoured the experimental building of the amphitheatre type in the Campania more than elsewhere, particularly in some of the military colonies and Romanized city, as Capua, Cuma, Pozzuoli and Pompeii which enjoy a strong cultural identity and of historical importance that has its roots in the Greek period and until the end of the fifth century. The commercial momentum and economic recovery of these cities by the end of the second century b.C. depended in part by the activity of "negotiatores", merchants belonging to the Roman ruling class that in the wake of Roman rule in these territories, based flourishing commercial activity in the eastern Mediterranean succeeding in some cases to monopolize trade with Italy; in part by the strategic geographical location of these centers crossed by all the main networks, such as the Via Appia linking Rome to Brindisi (the most important port of the whole of Greek and eastern area) passing through Capua, the Via Latina that was grafted to Casilinum, the Via Popilia that was inserted just through East direction from Capua, and the Via consularis Puteolis-Capuam, which linked Capua to Puteoli, the Via Puteolis-Neapolim. Among these, Pompei, Cuma and Sinuessa stand out among the other Campanian centers also important ports for harbor and commercial activities. The flourishing economic and commercial recovery of these centers favored the resumption of cultural activity. It is through cultural activities that Rome, which is faced with the difficulty of managing the strong historical identity of these military colonies and cities Romanized, manages to maintain control using for political purposes gladiator games and allowing the creation of an appropriate space , the amphitheater, for their implementation. The term ‘amphitheater’, appears for the first time in imperial times, long after the appearance of the building that was built for the games gladiatorial defined Spectacula, as stated in the famous inscription that commemorates the construction. With amphitheater define those buildings to the Roman creation oval/elliptical plant that develop from the end of the second century b.C., reaching a monumental appearance during the imperial age and hosting gladiator fights (munera) and animals (venationes). Define the genesis of the amphitheater shape is not easy, mainly because of the lack of documentation on the transition from temporary What to do in the Forum Romanum wood, the oval/elliptical canonical stable of masonry buildings. Therefore, the Forum Romanum is the geometric prototype which should emanate the amphitheater form that seems to originate from a progressive

adaptation of rectangular areas, in the context of civic holes, for strictly functional nature motifs. The corners in the rectangular spaces away the action that takes place inside the amphitheater by the spectators; cutting or smoothing out the corners comes naturally to softer shape of the ellipse/oval, which might be defined as an elongated circle, or a circle with a tendency to linearity that best suits the diverse nature of events performed in the amphitheater, the shows for which it prefers a centric arena, and processions that require, however, a linear development of space. In general, in the amphitheater of Pompeii, you can seize the start of the operation mode of the arenas: the lack of an external porch; the stairs to the summa cavea resting outside and not set in the thick of the auditorium; the upper gallery limited to a series of boxes and of small doors arched; the lack of underground arena reserved more gladiatorial duels that hunts fairs and, finally, the ellipse of the auditorium built as a duplication of the auditorium of a theater. The verification of the elliptical amphitheater floor plan, already partly exposed in last year's paper, continued and extended to multiple horizontal plane sections of the amphitheater and exposed in this essay. The changes and the transformations that the building had over the centuries, suggested the research on the determination of the amphitheater’s shape in several points. Specifically, the planimetric shape was analyzed from sections at different heights, so that from these sections the investigation could continue on vertical structures. The geometric investigations on vertical walls was possible because most of them, is original within specific architectural details that were lost due the eruption, or were looted in the years after AD 79 because the summit parts of 'Amphitheatre were the only ones to remain exposed after the catastrophe. These assessments are also confirmed in many historical iconographies. Among the first images of the Amphitheatre after the archaeological excavation, there are some gouaches representing the building, from "Via Castricio" (at the corner of The Palaestra). The graphical technique used and image purposes (they were marketed as souvenirs for visitors to the excavations) allow to have a true representation of the scene at the time, less than marginal details that were used to give a picturesque feel to the ruins. In gouaches reference, in fact, we see the double staircase, and the system of perimeter arches, partly ruined. The upper part of the cavea is largely non-existent precisely because those structures were the most slender, and were not fully covered by the eruption. This summit area and perimeter arches were restored in the second half of the twentieth century. The most suitable method for the elliptical shape’s verification was Blaise Pascal's theorem, applied to five horizontal cross-sections of the auditorium at 14.0m, 18.9m, 23.0m and 28.0m and of hypogeum level at 17.0m over the WGS 84 model, and obtained crossing the mesh model of the amphitheatre, made from point clouds data. The theorem was published in 1640 by Blasie Pascal into the "Essay pour les coniques" dedicated to the principles and graphical results of any parabola, ellipse or hyperbole "d'une manière plus universelle qu'à l'ordinaire". In particular, this theorem defines the mystical properties of any hexagon inscribed in a conic. Both the stands’ planimetric system, and the four branches’ shape of the underground corridor were analysed by choosing six random points not too close together, along the cross-section profile. Compared to these points a hexagon was built for each horizontal section. These hexagons should not necessarily be convex, as Leibniz pointed out in 1676 in his note to the theorem (De Exagrammo mystico et conico), but the sides joining its vertices will also intersect each other. For all the above five sections occurred the alignment of the three intersection points of the hexagon sides, which join two by two. The sections therefore are elliptical. Subsequent investigation steps allowed the determination of the points, and significant elements of the ellipses. In particular, the use of geometrical homology, and the application of the principles of planar polarity allowed the determination of the center of the ellipses. The same projective rules also allowed the identification of major and minor axes of the ellipse, and from these the foci (focal points) were determined for each of the elliptical sections.

Fig. 5: Application of the Pascal’s theorem and main elements of auditorium (left) and underground spaces (right).is important for our growth.

3. An integrated analysis of the amphitheater from the underground spaces to the auditorium (Alessandra Avella) The amphitheater of Pompeii was built laying off center at the south-eastern boundary of the archaeological site near the fortified walls, specifically in an area of the ancient city outlying and still not occupied by buildings in the years when was erected. The building, therefore, uses the eastern corner of the city walls, reinforced inside by the agger (embankment), and is obtained by half in the embankment. The principles of the ancient method of consolidation by the agger, are in a way adapted to the needs of the construction of the amphitheater and to the rational use of what the environment provides. The construction on the embankment of the amphitheatres is not typologically earlier than masonry construction. In relation to the topographical situation and it means that you could have for the realization of amphitheater architecture was chosen one form or the other. It is for this reason that there are amphitheaters on the embankment belonging to the second century AD and masonry amphitheatres belonging to the same age. In general, the amphitheaters that belong to military contexts were built in most cases on the embankment, while those that belong to urban contexts were built mainly of stone. The location off center of the amphitheater of Pompeii in the corner of the fortified walls, on one side facilitated the inflow and outflow of spectators on performance days, through the nearby ‘Nocera’ gate, on the other enabled a considerable saving in building costs, exploiting for the substructure of the auditorium a large tract consists of the embankment. At the same time, the construction on the embankment means that, of the two access archways to the arena, located at the end of the major axis, only the one to North side can follow in a straight line the same axis, while the other one to South side must, because of the fortified walls, bending at a right angle to the West. These access archways, 5 m wide, are made in opus incertum and in the typical reticulated dating back to Silla, paved and with a considerable slope in order to bridge the height difference between the ground level and the arena, realized through the removal of a large amount of terrain. The arena and the exterior of the building are connected by a narrow passage, which is accessed from the Libitinense gate on the western side at the minor axis of the ellipse. This gate was used to transport the dead out of the arena. When the arena is excavated to a much lower level than the surrounding level, the exterior of the monument is of course more modest. This does not occur in Pompeii where the embankment is supported for half by the city wall, and for the other half by a circular wall reinforced by masonry supports, connected to one another by 62 stone blind arcades, with walls made of opus incertum and in the typical reticulated dating back to Silla that give the monument a monumentality and a dynamic movement that is not always located within the static and triumphant magnificence of the amphitheatres of the imperial age. On the free half of the ellipse two double flight stairs and two simple stairs, leaning against the circular wall at the south-west and north-east side of the amphitheater, leading to a terrace placed at the same height of the city walls, from which by 40 gates you can reach the inside of the amphitheater. The seats reserved for spectators were divided into many horizontal sections called maeniana. Between the first maenianum and the arena ran all the way around, like a huge ring, the podium or terrace intended to support the seats reserved to the authorities; the front wall of the podium went up and in an arena perpendicularly to a height of about two meters and was decorated with frescoes, today lost, depicting fights between gladiators. The different maeniana are separated from each other in a horizontal direction through open passages, called praecinctiones, in the vertical direction through walls, called baltei, that have a similar appearance to that of the front wall of the podium. Between the first and second maenianum you could be accessed through the external stairs that divide the amphitheater into wedges. The ima cavea is divided into 18 wedges and includes 5 steps files; these steps are interrupted, in the middle of the longer sides of the ellipse, by two large terraces with 4 shallow and wide steps for the authorities chairs; on the east side (the corresponding place on the other side is destroyed), the second of the four steps is interrupted in the middle by a space of 3 meters reserved for magistrates who presided over the games and those that offered the show; the media cavea is divided into 20 wedges and twelve files of steps; the summa cavea was divided into 40 wedges with 18 steps to the top of which are recognizable remains of a wall in opus incertum, perhaps a remnant of accommodation in this part of the cavea. The bleachers currently visible, made by original stone material, had a decreasing slope from ima cavea, reserved for important people of the city, to the media cavea reserved to the people and the summa cavea reserved for women. Finally, above the upper outer ring remains are recognizable in opera vittata of an ambulatory which must be recognized maenianum summum reserved for slaves (servants), with only standing room. In order to define the surface that best describes the shape of the auditorium, an analysis was conducted oriented towards the determination of the geometric rule that presides over the auditorium’s partition in “wedges”, through the system of the flights’ stands. This study was developed on the point cloud model of the northeastern sector, because it is the only original and fully preserved by the ima-cavea summa-cavea. This is documented fortunately in some prints and photographs of the nineteenth century, because most the draftsmen and photographers, choosing the frame with the cavea in the foreground and Mount Vesuvius in the background, had to be

placed on the southern stands. In this way, the sector of the northeast appeared framed in all the images. The comparison between the point cloud model and historical images (especially those by Sommer and Alinari) shows that this sector is intact from the early nineteenth century. The conservation of the Amphitheatre of Pompeii, enabled the investigation on the ellipsis’s axes direction, which identify the wedges of the parterre limited to the northern quarter. This original auditorium’s system allowed the verification of the flights’ direction, projected on the horizontal plane. These lines, traced for the average points of the ramps in best condition, off on them segments of similar length which radiate from the center of the archway on the elliptical wall at the top of the building until they reach the minor axis common to all the ellipses that define the stands, so for all forty equidistant passage. The rule that these lines follow, refers to the cycloid’s construction, but it also refers to the positions that the writing arm follow while moving the elliptical compasses, described by Guidobaldo del Monte. This tool is described into text in two volumes "Planisphaerium universalium Theorica" (1579), which illustrates the problem of the projection of the celestial sphere on the plane. In the discussion, Guidubaldo also describes some drawing tools for tracking some curves: circumference of large radius, hyperbole, conchoidal and ellipse. For this last curve, the author refers to the most common construction, called "Gardener's Ellipse". It is possible with a fixed-length rope, bound in its extremes. The construction takes place through the use of a tool known as 'elliptical compass'. The instrument consists of a set square, and a grooved slide ruler, in which two sliders slide bound to the same square. At the end of the ruler, it is placed a tracer stylus. Aligning squaring the ellipse’s axes, it is possible to trace the conical for separate quarters, and in the same way is possible to trace concentric and equidistant ellipses. The movement made by the ruler tracing refers as said to the graphic construction of the cycloid. This curve was studied by Pascal, who in his essay "Histoire de la Roulette" (1658) describes the cycloid’s geometrical properties, that for the simplicity of its construction could also be applied in large construction sites. Recalling the title of the book, it is necessary to point out that "roulette" is the French term which indicates the cycloid, already known to the Romans who called it "cycloidis" or "trochoidis". The properties of the axes of the above geometric construction allows to orient the position of the vertical section planes, according to these directions. This in order to evaluate and calculate the slope of the three cavee, starting from the inclination of the flights that cross them. Against those plans, it was sectioned the mesh model, and it was verified the gradient of ramps crossing the ima-cavea, the media-cavea and summa-cavea. The plans - not through the vertical axis joining the centres of the ellipses - determine not symmetrical sections. Therefore, the analysis of the sections was performed only on the portion that affects the northern quadrant of the amphitheater. The slope is calculated between the horizontal direction and the direction determined by the intersection between the section of the rises and treads. It verified the constant inclinations for ima, media and summa cavea. Further geometric analysis involved the determination of planimetric profile of the ambulatory that runs below media cavea. This masonry archway communicates with the outside world through the two main entrances of the arena, and through two corridors that pierced the western side. The construction of barrel vaulted ambulatory as well as the masonry stairways, superimposed planes and above the buttresses with blind arches is made possible thanks to the use of the opus caementicium and, in particular, for structures with vaulted roof, also by the use of the structure arched. The realization of large public buildings, such as amphitheaters, was possible through improvement in technology of the vaults during the second century b.C. by the Romans, as well as the replacement of the unstable wooden structure with stable masonry construction. It should be noted that, since the third century b.C., the use of the masonry arch was one of the most important flywheels of Roman architecture development, which reaches its peak with the construction of one of the largest amphitheaters of the imperial age, the Colosseum, where you can still see three tiers of arches supporting the auditorium.

Fig. 6: Geometrical test and evaluation about slope on plan and vertical sections.

This is because the arch, present in many ancient cultures (Egyptian, Babylonian, the Mycenaean, Etruscan) was used by the Romans with consistency and awareness, compared to the ancient contexts in which he was born; roofing systems that utilized both the Egyptians that the Babylonians, are not based on the authentic arches, but on the "pseudo-arches" or "pseudo-vaults" for the nature of the thrusts which arise through the type of roof used. Only the Roman engineers were able to solve the problem of "pushing system", making it a recognizable and essential part of their architecture so much to get to build large vaulted structures like the vault of the Pantheon and the Temple of Diana in Baia. If we consider that the use of brick arch joins the use of opus caementicium, that is a mortar made up of sand and lime, known since the time of the Egyptians and Babylonians but introduced to Europe by the Romans, it is possible understand how the Roman architects were able to take advantage of all types of stone and materials, experiencing endless ways to cut the ashlars and build them, in order to perfect the construction of the vaults. These vaults were built, especially in monumental buildings such as the amphitheater, through the centering, that is a sturdy wooden support tracing exactly the profile of the vertical section of the vaulted roof of the ambulatory. The ambulatory curve that runs below the media cavea has been verified by a similar process described in the previous paragraph. In fact, the application of Pascal's theorem to six randomly chosen points on the profile of the outer wall of the underground corridor, have drawn a hexagon with the opposite sides which intersect with respect to three points aligned in a straight line.

4. The amphitheater shape from the iconography to identification of its geometric surface (Pasquale Argenziano) The “Spectacula" is the largest public building in this city, and for its majesty exceeded in importance compared to the role of an average provincial town, which was Pompeii. The building, in fact, was designed for about 20,000 spectators, of course, considering the inflow of visitors from neighbouring towns, for example among these were the veterans of Sulla, residents in the surrounding area (Avellino or Nola). The current appearance of the amphitheater is the result of various natural and man-made actions, that occurred in the course of approximately 2000 years, from 70 BC (construction date) until the 70s of the Twentieth century, during which the most significant restoration works were completed. During this large period, the amphitheater was severely damaged in the earthquake of 62 A.D. - that strongly hit Pompeii and the Vesuvian region - and the eruption of AD 79. Some of the damage caused by the earthquake had not yet been repaired at the eruption time. Among the three buildings used for public performances, only the amphitheater was usable again few years from the earthquake, thanks to a consolidation program. The majority of seismic damages of public and private buildings in Pompeii, were repaired using the clay brick, widely available for cheapness and speed of production, besides for the combining flexibility with the blocks of tuff or limestone. In the amphitheater, the clay brick was used mainly for the buttresses and the reinforcing arches of the entrance ambulatory to the arena. The size of the bricks in fact very well matched to model the reinforcement structures of the bowed architectural elements. The interventions conducted by C. Cuspius Pansa (father and son) - after the earthquake - modified the original appearance of the amphitheater, as it is possible see in comparison with the famous fresco representing the fight between Nocerians and Pompeians. This fresco - dated to 59 A.D. - was found in the garden of the house I.3.23. The obvious differences concern the arena parapet, and the series of arches of the summit the cavea sector, besides the brick buttresses already mentioned. In the fresco, the arena parapet, appears decorated with faux marble painting, while at the time of the excavation were found some paintings with gladiatorial scenes, which are now kept in copy at the Archaeological Museum of Naples. In the fresco of the "fight", again, the wall summit amphitheater is intended to support the “maenianum summum in ligneis”. The reconstruction of this wooden elements is visible in the iconographic sequence of the most important buildings of Pompeii, arranged as a frame of the cartography, edited on 1832. This drawing - also enhanced by a panoramic view of the city - was draft by W.B. Clarke, and engraved by T.E. Nicholson for the “Society for the Diffusion of Useful Knowledge Atlas” (1844). This mapping is particularly interesting because it documents the planimetric shape Amphitheatre in detail, with the layout of the four vehicular and pedestrian entrances to the cavea, and to the Western underground areas. Following the consolidation work, the Amphitheatre reached its maximum capacity. After the eruption, the building remained visible in its upper part, which was the object of continuous looting, especially as regards the decorative elements and most of the stands. The damaged architectural elements and their restoration work are documented in most of the iconographic archival repertoire, selected for this research. As already mentioned, the damaged architectural areas are documented in the gouaches, prints and photographs in the nineteenth century. The restoration of the perimeter arches, and the summit walls of the cavea are documented in a photographs’ collection, dating back to the 60s of last century, preserved in private collections or in the archive of the Superintendent. These images are particularly interesting because they show the

various stages of restoration, from the ruined structures, to the building site (scaffolds were made of wood and non-metallic), till to the building as well as the visitors can still see today. Considering the seismic and eruptive damages and the destructive action of man in the period after the eruption, the best preserved amphitheater area is the north-eastern quarter, as well as documented through various iconographic documents. The first considerations about the spatial geometry of the stands have been focused precisely in this area of the summa-cavea. It was verified that the ramps’ axes lean on the elliptical sections at the top and at the base of each cavea, maintaining constant their inclination, respect to the horizontal plane. These arrays of straight lines do not converge (in this case it would be of a conical surface) but they lean on a straight line parallel, belonging to the plane containing the major axes, and parallel to them. The surface generated can be ascribed to the “ruled surfaces” family, being defined by the movement of a generating line leaning on three directrixes: two ellipses and the line, just described. In particular, the surface thus defined is classifiable between the ruled surfaces "non-developable", because two directrixes (in a close neighbourhood) are skewed, and therefore the surface can not be lying on a plane. The ruled surfaces (ie the surfaces generated by the motion of a straight line) were so named by Jean Nicolas Pierre Hachette, who attributed to them the nickname of “surfaces réglées”, replacing “gauche” (or “deformed”) already used with a derogatory meaning. The variation of the title was used to emphasise the aesthetic value of these particular surfaces. Ruled surfaces were already known to Aristotle that in "De Anima" (I, 4) states, "the motion of a line produces a surface". But we have to wait more than twenty centuries to the publication of a scientific study of these surfaces. In the 60s of the eighteenth century, Gaspard Monge began to study the properties of ruled surface. The study of Monge was published in "Memoire sur les homesteads de plusieurs genres de surfaces courbes, particulièrement sur des cell surfaces développables avec une application a la theorie des ombres et des pénombres”. In the text he distinguishes between "developable surface" and “hump ribbed surface", defines their apparent contour in perspective representation, and describes the genesis of the ruled surfaces as a "set of straight lines”, that lean three fixed lines. The realisation of the Amphitheatre’s 3D model, as a rational geometric extraction from point cloud, will allow the development of digital comparison among the scanned shape, the modelled shape, and the theoretical reconstruction according the classic treatises.

Fig. 7: Pompeii, map and panoramic view of the city - drawing by W.B. Clarke (1832); engraving by T.E. Nicholson for the “Society for the Diffusion of Useful Knowledge Atlas” (1844).

5. Conclusions (Carmine Gambardella, Nicola Pisacane, Alessandra Avella, Pasquale Argenziano) The geometric investigations described in this paper allowed to reach the determination of the form, which best approximates the amphitheater’s cavea. The assumptions of projective geometry and its application’s outcomes in descriptive geometry, initially allowed to investigate significant plane sections (horizontal and vertical ones according directions suitably chosen) in order to verify: the planimetric shape of the stands and the Hypogea; the geometric rule that guides the direction of the flights towards the different cavea’s areas; the calculation of the slope of ima-cavea, media-cavea and summa-cavea From analysis of the plane sections of the mesh model, it was possible to build 3D models, and define the rules that generate the ruled surfaces enveloping the three areas of the cavea. The so performed geometrical analysis, through selective interrogations of point cloud model, are based on the methodological assumption, that the discrete model is the crystallization of the building to the instrumental capturing date. Given the particularities of the building, and its articulated the architectural and restorative events before and after the eruption of Vesuvius, the research group considered it important to support the geometric analysis with a large iconographic range (gouaches, prints, archival photographs) from whom deducing, in superposition on the reference bibliography, the authenticity or not of the architectural sectors, and therefore the reliability of the position and of the morphology of the various elements. If on one hand this methodological path was valid decision support to the 3D modeling, on the other one it opened up a new investigation item - to develop in future - inherent in the analysis of the various projective iconography in connection to the building. For example, the pictures - dating from the mid-nineteenth century - will be re-screened in 3D digital scene of the Amphitheatre, in order to calculate the position of the trigger point, and the focal camera used at the time, and therefore it will be possible texturize the point cloud model (and the solid model derived) with the historical images. This process will allow to display the scene observed by the photographer, and then to implement an accurate dating of the architectural parts, compared to the images’ timeline and archaeological events, which affected the building in the last century.

Fig. 8: Integrated data from LIDAR sensors and terrestrial technology.

Fig. 9: Pompeii amphitheatre: external, internal and underground simultaneous view from 3D points cloud model. Bibliography [1] J.P. Adam, L’arte di costruire presso i Romani, Longanesi, Milano 2008. [2] G. Alisio, P.A. De Rosa, P.E. Trastulli. Napoli com’era nelle gouaches del Sette e Ottocento.

Newton & Compton Editori, Roma, 1990. [3] L. Cresci. Le curve celebri. Invito alla storia della matematica attraverso le curve piane più

affascinanti. Mondolibri, Milano, 1998. [4] M. Dell’Aquila. Il luogo della geometria. Arte Tipografica, Napoli, 1999. [5] R. de Rubertis. Un enigma avvincente. Il tracciato planimetrico ellittico del Colosseo. Disegnare.

Idee Immagini, 1999.18/19:99-105. [6] S. Duvernoy and P. L. Rosin. The Compass, the Ruler and the Computer: An Analysis of the

Design of the Amphitheatre of Pompeii. In K. Williams and M. J. Ostwald (ed.) Architecture and Mathematics from Antiquity to the Future. Volume II: The 1500s to the Future, pages 525-540. Birkhäuser-Springer, Heidelberg, 2015.

[7] C. Gambardella, N. Pisacane, A. Avella, P. Argenziano. Multisensor and multiscale surveying into Pompeii’s archeological site. Three case studies. In C. Gambardella Le Vie dei Mercanti. Heritage anf Technology. Mind Knowledge Experience, pp. 2429-2468. La Scuola di Pitagora, Napoli, 2015.

[8] C. Gambardella, N. Pisacane, P. Argenziano, A. Avella. Rilievo digitale integrato dell’anfiteatro nel sito archeologico di Pompei. Integrated digital survey of the amphitheatre in the archaeological site of Pompeii. In Abitare la Terra. Dwelling on Earth, 2015.38:32-37.

[9] A. Giordano. Cupole volte e alter superfici. La genesi e la forma. UTET, Torino, 1999. [10] P. Gros, L’architettura romana dagli inizi del III secolo a.C. alla fine dell’alto impero: i monumenti

pubblici, Longanesi, Milano 1996. [11] D. Jacazzi, ‘Pompei e la “valle diruta”. Tracce e memorie della città antica nelle fonti medioevali e

moderne’. In C. Gambardella (ed.) Atlante di Pompei, pp. 65–80. La Scuola di Pitagora, Napoli, 2012.

[12] R. Migliari. Ellissi e ovali. Epilogo di un conflitto. Palladio. Rivista di Storia dell’Architettura e Restauro, 1995.16:93-102.

[13] F. Pesando, M.P. Guidobaldi, Pompei, Oplontis, Ercolano; Stabiae. Guide Archeologiche Laterza, Roma 2006.

[14] P. Rosin and E. Trucco. The Amphitheatre Construction Problem. In Incontro Internazionale di Studi Rileggere l’Antico, pages 1-10, Roma 2005.

[15] R. Salati. La geometria degli anfiteatri romani. Verifica delle ipotesi di tracciamento applicate ai più antichi esempi presenti in area campana. Verlag Editore, Saarbrücken, 2014.

[16] G. Tosi, Gli edifici per spettacoli nell’Italia romana, I, Quasar, Roma 2003. [17] V. Valerio. Sul disegno e sulla forma degli anfiteatri. Disegnare. Idee Immagini, 1993.6:25-34. [18] P. Zanker, POMPEI, Einaudi, Torino 1993. [19] O. Zerlenga. La <<forma ovata>> in architettura. Rappresentazione geometrica. CUEN, Napoli,

1997.

Table of content

PrefaceCarmine GAMBARDELLA

ID 003 Painted tombstones of the Lucania era in Paestum Representation ofcustoms and traditions, divulgation of the cultural heritageAntonio MOLLICONE

ID 006 Collected and Collecting in Christchurch, New ZealandJulian RENNIE

ID 007 Wayfinding and environmental communication in museums for the pro-motion of cultural heritage and sustainability.Teresa VILLANI, Aldina SILVESTRI

ID 008 Thermal comfort in a historic building: the case of the Museum of Historyof Valencia. Isabel TORT AUSINA, Antonio MARTÍNEZ MOLINA, José Luis VIVAN-COS BONO

ID 009 Surveying, Restoration and Enhancement of S. Francis Convent in Bo-ville Ernica (FR) Mario CENTOFANTI, Stefano BRUSAPORCI, Lucio BOCCIA

ID 010 Industrial heritage’s role within the future of Portuguese territorial plan-ningMarta DUARTE OLIVEIRA, Jorge TAVARES RIBEIRO

ID 011 Visualising the research on visual landscapes. Graph representationand network analysis of international bibliography on landscape Amedeo GANCIU, Mara BALESTRIERI, Enrico CICALÒ

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ID 012 The transitional semi-open spaces in British colonial architecture of Cy-prus: an environmental and social approachEleni MALAKTOU, Maria PHILOKYPROU

ID 013 THE SUBURB WILL SAVE BEAUTY From unvolumetric architecture toundervolumetric architecturePaolo BELARDI, Valeria MENCHETELLI

ID 015 Complex system of estimation of public health risks from combined in-fluence of different negative factorsAndrey V. VASILYEV, Vlada ZABOLOTSKIKH, Julia TERESHCHENKO,Ivan TERESHCHENKO

ID 016 Classification and reduction of negative impact of waste of oil-gas indu-stry Andrey V. VASILYEV

ID 017 Approaches to estimation of resources potential of waste of chemicaland oil-gas industry Andrey V. VASILYEV, Andrey A. PIMENOV

ID 018 A Synchronous Architectural Project Contemporary intervention in theGovernor's Palace in Lisbon Jorge CRUZ PINTO

ID 019 The future of caravanserais along the Silk Road in IranAlessandra DE CESARIS, Laura Valeria FERRETTI

ID 020 The Ager Calenus occupation during Roman times: the cisterns of Ca-migliano (CE) in the “Colonne Spezzate” localityMargherita DI NIOLA

ID 021 New techniques for land surveying, monitoring and environmental dia-gnosis: a comparative analysis.Francesco ZULLO, Alessandro MARUCCI, Bernardino ROMANO, Lo-rena FIORINI, Serena CIABO’

ID 022 SPOLETO PAINT OF VIEW From the point to the pixel Luca MARTINI, Giovanna RAMACCINI

ID 023 Manifesto #SOScopy sustainability [Panel Discussion | Ecozine Festi-val]José Javier GALLARDO ORTEGA

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ID 024 Portuguese architecture past and present: small architectures as largecontainers.Stefania DI DONATO

ID 025 Bristol travellers in the Italy of the eighteenth century: landscape, art andcultureVincenzo BARRA

ID 026 Intervention on the building of Red Cross Society of B&H in Sarajevo,as the beginning of critical restoration approach in Bosnia and Herze-govina Adi COROVIC, Predrag KOZULJ

ID 029 Digitalization as prevention of degradation and contribution for the kno-wledge of the libraries’ cultural heritage.Mara GIORDANO

ID 030 Developing an Multi-scale Approach for Rehabilitating the TraditionalResidential Buildings within the Old City of Aleppo (Syria)Hadya SALKINI, Bashar SWAID, Roberta LUCENTE, Laura GRECO

ID 031 The Fatimid palace complex of Ajdabiya, Lybia, drawn by the Frenchexplorer, Jean Raymond PachoLamia HADDA

ID 033 Renewal of Piazza Sant’ Anna di PalazzoAnna MANDIA

ID 034 A revival project for the cultural heritage of GinosaNicola PARISI

ID 035 Historic Building Information Modeling: from historical database platformto fully suitable and multidisciplinary design instrumentsMassimiliano LO TURCO, Edoardo BRUNO

ID 038 Strategies for the sustainable renovation of existing residential buildings:a case study of an industrialized public building in FlorenceFrida BAZZOCCHI, Vincenzo DI NASO, Sara TICCI

ID 039 Point clouds from different photographic sensors for Cultural Heritagesurveying Mauro CAPRIOLI, Domenica COSTANTINO, Francesco MAZZONE,Rosamaria TRIZZINO

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ID 041 Brick staircases at the heart of ancient Naples Building restoration Renato IOVINO, Flavia FASCIA, Emanuele LA MANTIA, Aldo ROSATO

ID 043 Evolution of the historical use and degradation of the Reales Atarazanasof Seville (XIII-XX century). Daniela LALLONE, Domenico DE BENEDICTIS

ID 044 San Leucio and Solomeo: Two successful towns. Valentina SAPIO

ID 046 Cultural Heritage Conservation: referential relationships between signand signifier of minor architecture Rita VALENTI, Simona GATTO, Sebastiano GIULIANO

ID 047 Archaeological material seized in the territory of Santa Croce di Magliano(Campobasso, Molise)Andrea CAPOZZI, Diletta COLOMBO, Pasquale MARINO

ID 049 Cultural-historical value of traditional agricultural landscape in Slovakia Jana SPULEROVA, Marta DOBROVODSKÁ, Dagmar ŠTEFUNKOVÁ,Barbora ŠATALOVÁ, Pavol KENDERESSY

ID 050 Enhancing beauty. A projecy to rediscover the landscapes of an ancientroute. Valentina SPATARO, Maria Bruna PISCIOTTA

ID 052 Artistic remains in an ancient Christian place of worship in Termoli Piero BARLOZZINI

ID 054 Sustainable Design of Natural Cooling Systems based on Traditional Ar-chitecture of Iran Roza Sabir MAAROOF, Bahar Başer KALYONCUOĞLU

ID 056 Francesco Mazzei architect (1806-1869). Restorations and medieval in-ventions: from the Pretorio palace of Volterra to the Bargello of Florence. Denise ULIVIERI

ID 057 Methodology for Rehabilitation of the Water Supply System of a HeritageBuilding Maria Helena FERNANDES DE CARVALHO SILVA , Maria MadalenaMOREIRA, Soheyl SAZEDJ, António José MORAIS

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ID 059 Medieval Archaeology in Montella: traces of ninth century settlement inRasola 7Assunta CAMPI

ID 061From Carlo to Ettore Bugatti: The language of movement Antonella MARCIANO

ID 062 Environmental protection in western Balkans: compared analysis of en-forcement problems after democratic transition Michele RUSSO

ID 063 Restoring the emotions: the religious buildings between memory andvalue enhancement. Valentina BURGASSI

ID 065 Heritage promotion through food design Mariacarla PANARIELLO

ID 067 The Landscape Suitability as a sustainable aspect of Architectural Cul-tural Heritage. Case study of Ria Formosa Natural Park. Isabel ROSA, Ricardo RIBEIRO, Joana LOPES

ID 069 Parametric analysis on first mode failure mechanisms of masonry buil-ding compounds: application to case studies Antonio FORMISANO, Nicola CHIEFFO, Francesco FABBROCINO

ID 070 Seismic analysis of masonry building aggregates of the historical centreof Bacoli (Naples) Antonio FORMISANO, Nicola CHIEFFO, Francesco FABBROCINO

ID 071 To preserve them? Yes, but how? An heritage and degradation casestudy in Rio Maior, Portugal. Pedro António JANEIRO

ID 074 Invisible neglect. Federica CAPRIOLO

ID 075 Capri’s Charterhouse: an unforgettable site Federica MARSANO, Giulia PANDIMIGLIO, Stefano PODESTÀ, ChiaraROMANO

ID 077 Design for Furnishing to Enhance the Routes in the Spina Verde Parkin Como Roberto DE PAOLIS

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ID 079 Building materials and “spontaneous” building methods. The seismic re-sponse of the technical elements in L’Aquila city centre Brunella CANONACO, Federica CASTIGLIONE

ID 080 Smart Heritage. Technology for marking ArchitectureLaura NARDI

ID 081 Approaches to Evaluation of Landscape Scenery A Conceptual Contri-bution Ingrid BELĆÁKOVÁ

ID 082 Masseria (Manor farms), rural systems, farm houses in southern Italy.Formal typological and constructive characters of some significant typesin Calabria. Brunella CANONACO, Francesca BILOTTA

ID 083 Regenerating the echo monster through ephemeral and sustainable ar-chitecture: how to recover the identity of a place Rita VALENTI, Antonio CASCIARO, Simona GATTO, Emanuela PA-TERNÒ

ID 084 The choice of the intervention on post-war housing. Giulia LARIZZA, Giovanni ZANNONI

ID 085 Symbiotic architecture in suburbs Emanuele ZAMPERINI, Simone LUCENTI

ID 086 World Heritage in Hue Vietnam. Its degradation and preventive measu-res. Marek BARAŃSKI

ID 087 An advanced diagnostic plan applied to a significant national monument:the Royal Palace in Naples Caterina GATTUSO, Philomène GATTUSO, Jolanda MASTROIANNI,Valentina ROVIELLO

ID 088A diagnostic project for the enhancing of the cloisters belonging to theFranciscan Proto Friary in Castrovillari (CS)Caterina GATTUSO, Philomène GATTUSO, Valentina CARAMAZZA,Rosanna MINSOTOLO

ID 089Scientific investigation on Pompei’s plaster to characterize the paintingtechnique, the remaking and the protection or restoration layersCaterina GATTUSO, Philomène GATTUSO, Ciro PICCIOLI

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ID 091Best Practice to realize applications for the virtual and interactive fruitionof architectural and archeological structural B.I.M. models and designobjectsIngrid TITOMANLIO, Giuseppe GIANNINI

ID 092The marine holiday resort in the lucano landscape. The case of Mara-teaEnza TOLLA, Giuseppe DAMONE

ID 093Bim application for the reuse of the Modern Heritage: The Galfa TowerPaola RONCA, Pietro CRESPI, Marco ZUCCA, Nicola LONGARINI,Alessandro ZICHI

ID 094Planning the safeguard of hidden heritage: Standards and compromisesfor the physical preservation of “minor” archives of Contemporary Archi-tectureFrancesca PALUAN

ID 095Study of historical grouts through microscopic analysis SEM/EDX: thecase studyof the former Jesuit college of Amantea (Cs).Alessandro TEDESCO, Caterina GATTUSO, Valentina ROVIELLO, Sil-via VALENTE

ID 096Identifying the Sustainable Development by Fuzzy Set Theory: Evidencefrom Italy Massimiliano AGOVINO, Antonio CENNAMO, Antonio GAROFALO

ID 097Architects and Slums in Recife (Brazil): a forgotten agenda?Enio LAPROVITERA DA MOTTA

ID 098Three-dimensional integrated survey and BIM/GIS management plat-form in the case study of House for War Wounded in Forlì.Federico FERRARI, Daniele Felice SASSO

ID 099Recovering an urban centre: the case of Enna from scars to openwoundsMariangela LIUZZO, Egidio DI MAGGIO, Roberto FEO, Laura FLO-RIANO, Sebastiano GIULIANO, Salvatore SAVARINO

ID 100City Industry Museum: local identity cognition in ShanghaiXianya XU

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ID 102Dynamic identification of an innovative technology buildingMariano MODANO, Antonio GESUALDO, Giovanni MATRONE, Fran-cesco FABBROCINO

ID 104The portuguese milling heritage and outrage over its destruction: from aproductive space to a mutilated form.Raffaella MADDALUNO, Ana CARDOSO de MATOS

ID 105Assisted analysis on works interferences on restoration construction pro-jectsMarco L. TRANI, Manuele CASSANO, Davide TODARO

ID 106Seismic collapse analysis of stone arch bridgesAntonio GESUALDO, Antonino IANNUZZO, Mariano MODANO, Fran-cesco FABBROCINO, Michela MONACO

ID 109An Experimental Facility for the on Site Characterization of Smart WindowsGiuseppina IULIANO, Antonio ROSATO, Sergio SIBILIO, MichelangeloSCORPIO, Giuseppe Peter VANOLI, Filippo de ROSSI

ID 110The Villa del Casale, representation and geometry triclinio trefoilGiuseppe DI GREGORIO

ID 111Materials and garbage architecture: emergency or potentiality?Marina FUMO, Domenico CAPUTO, Mariangela BUANNE

ID 113Archaeological Landscape of Death. From Sutri to Tuscania. Proposalsfor development and use of Etruscan Rock-cut Tombs? Necropolis inthe Viterbo regionDavide MASTROIANNI, Francesca CECI

ID 114The sound of the sea: Sagres, an european heritage in search of iden-tity.Maria João PEREIRA NETO, Jorge FIRMINO NUNES, Mário S. M.KONG

ID 115Claudio and Marcio-Felice aqueducts: archaeological traces and conti-nue signs in the residual spaces of the contemporary cityMaria Grazia CIANCI, Sara COLACECI

ID 118The Augustan Bridge at Narni: 3D Modelling and FEM Analysis for Con-servation e RestorationAlberto CUSTODI

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ID 119Static and numerical analysis of the ancient portal of the church of the“Riforma” in Bisignano (CS).Renato S. OLIVITO, Rosamaria CODISPOTI, Carmelo SURO, CinziaANGOTTI

ID 120Warsaw and Cracow, World Heritage sites and history presentationissueMałgorzata DOROZ-TUREK

ID 1223D modeling of Pompeii amphitheater. Preliminary critical considera-tionsCarmine GAMBARDELLA, Nicola PISACANE, Alessandra AVELLA, Pa-squale ARGENZIANO

ID 123Strategic Enhancement of the Public Wealth: the S.M.O.M. case in Poz-zuoli (Naples)Francesco VERDE, Bruno DISCEPOLO

ID 125Energy and economic performance of single-family wood-frame housein Italy by varying climatic conditionGiovanni CIAMPI, Michelangelo SCORPIO, Antonio ROSATO, SergioSIBILIO

ID 126The perception’s drawing. The Ruvo di Puglia’s project of occupation ofpublic landCesare VERDOSCIA, Mario DI PUPPO, Riccardo TAVOLARE

ID 129The survey of Rotunda: documentation, representation and data inte-gration of San Lorenzo in Mantua and Santa Maria delle Grazie in Forlìfor the interpretation of Renaissance architecturesMarcello BALZANI, Federica MAIETTI

ID 131The sense of place. Ildiri: the bond between the urban fabric and its hi-storyCalogero MONTALBANO

ID 133Local building stones used in Calabrian architecture: calcarenite andsandstone of the Thyrrenian Coastal Range of Cosenza Province (Italy)Giulia FORESTIERI Alessandro TEDESCO, Maurizio PONTE, RenatoSante OLIVITO

ID 134Architecture on Subaqueous Soils as a new chance for the environmen-tal restoration of problematic seashores: the “Sea_ty garden”Aurelia Federica AMATUCCI, Maria Giuseppina CIARMA, GiuseppeD’ANGELO, Andrea BUONDONNO, Eleonora GRILLI, Renata C. VI-GLIOTTI

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ID 135Blue Infrastructures_ (Re)thinking urban space.Valentina VITTIGLIO

ID 136Valorization of the Neapolitan forestal landscape: the Camaldoli woodsClelia CIRILLO, Luigi SCARPA, Barbara BERTOLI, Marina RUSSO,Giovanna ACAMPORA

ID 138“Lanificio Gruber” in Terni: an ancient artifact of the industrial archeology,across timeof abandon and the new incentives of sustainable regenerationGiulia CUSTODI, Alberto CUSTODI

ID 139Inaccurate Geometric Design of the Guarda Cathedral: vaults as thecause of its defficient structural behaviorAntónio José MORAIS, Alexandra AI QUINTAS

ID 140Ethics of Form and principles of structural design: the path of the forcesAntónio José MORAIS, Alexandrino B. DIOGO

ID 141Alcobaça: innovation and continuity in the erection of a Cistercian mo-nasteryAntónio José MORAIS, Alexandra AI QUINTAS, Pedro G. JANUÁRIO

ID 143Effect of degradation of constituents on global performance of historicalmasonryClaudio D’AMBRA, Francesco FABBROCINO, Gian Piero LIGNOLA,Andrea PROTA

ID 145 Structural survey for the seismic vulnerability mitigationMario CENTOFANTI, Pamela MAIEZZA

ID 147The recovery of the Italian industrial heritage: the case of the SolvaySilos by Pier Luigi Nervi in San Vincenzo (Tuscany, Italy)Marco Giorgio BEVILACQUA, Lorenzo BIANCHI, Massimo ROVAI

ID 148Villages at that age of the agrarian reform: The Village Schisina in Fran-cavilla di SiciliaFrancesca FATTA, Manuela BASSETTA, Andrea MANTI

ID 149Effects of Corrosion on Reinforced Concrete StructuresAntonio BOSSIO, Francesco FABBROCINO, Gian Piero LIGNOLA, Tul-lio MONETTA, Francesco BELLUCCI, Gaetano MANFREDI, AndreaPROTA

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ID 150Overland routes through Egypt: transit points, cities and geographicalprojectsSilvia BOCA, Manar ALGAMMAL

ID 151The re-use of windmills within the scope of sustainability and interior de-signMergul SARAF

ID 152Historical garden – possibilities of its „revitalisation“ and interpretationIvan STANKOCI, Tamara REHÁČKOVÁ

ID 155The analysis and design. The classification in the writings of AugustoCavallari MuratGiada MAZZONE

ID 165Smart buildings and connections, a case study for IndiaAlessandro BIANCHI

ID 166Between Pompeii and the sea. The project of an art district in Ex Italtubiof Torre Annunziata.Giovanni BELLO, Enrico DE CENZO

ID 167Innovative Solutions to the Urban Contex Degradation: the case studyof Pompei and the Telemetric Control Center projectGiuliana CHIERCHIELLO

ID 168Study on the Geometrical Instability of the Building of the Church ofSanta Maria La Mayor y Real de SarAntónio José MORAIS, Alexandra AI QUINTAS

ID 171Reflect! Visual communication for a new social "third space".Anna MAROTTA

ID 173Criticism and Theoretical in Innovation & Creativity of ArchitecturalAmong Emergence and Education.Wafeek Mohamed IBRAHIM MOHAMED

ID 174The rebirth of the urban life made by emptinessRosalba DE FELICE

ID 175Albaicìn: from degradation to inclusion in the UNESCO heritage.Assunta NATALE

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ID 176Securing traditional techniques and materials in conservation on Archi-tectural Heritage in JapanYohei KIYONAGA

ID 178Structures of IX century in rasola 1 of Castello del Monte in MontellaIolanda DONNARUMMA

ID 179From House of the Mother and Child ONMI to Youth HousAntonio BIXIO, Adriana TROIANO

ID 180The Structural Redundancy in the Pombalino SystemAntónio José MORAIS, Soheyl SAZEDJ

ID 182Cultural landscape, industrial heritage and architecture. Energie-Park.Reading a former mining identity and rediscovering the “energy landsca-pes” of Emilia Romagna.Monica BRUZZONE, Alessandro MASSERA, Matteo CASANOVI

ID 183Sintra: Ruins and Sustainability twenty years afterAlexandra AI QUINTAS, António José MORAIS

ID 184Officiamuseum Sicily and its Aidone headquarter: architectural experi-ments and strategies for the productive landscape's regeneration.Claudio GAMBARDELLA, Fabio NASELLI, Carmine SAVINELLI

ID 185Architecture, Degradation, Conservation. The Sanctuary of Saint Luciato Villanova Mondovì. A study case.Maria Paola MARABOTTO

ID 187Restoration of the underwater cultural heritage in Campania: The Greek-Roman dock in San Marco di CastellabateMarco RUSSO

ID 191Smart Heritage. Cultural Heritage Experiences Project trough Mobile Te-chnology, Augmented Reality, Cultural Tourism and Digital Storytelling.Iolanda DI NATALE, Antonio GENTILE

ID 194The revalorization of industrial heritage: Agu Sumer Campus inKayseri,TurkeyBurak ASİLİSKENDER, Nilüfer BATURAYOĞLU YÖNEY

ID 196Wooden churches in Lithuania. Analysis of failures and degradations,guidelines for restorationLiucija BEREŽANSKYTĖ, Tiziana CAMPISI

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ID 199Galli Bibiena family in Naples: new contributions to the history of Euro-pean architectureIlaria PONTILLO

ID 200New technologies and methodologies for the planned conservation ofcultural heritageAntonella VERSACI, Alessio CARDACI

ID 202Architecture based on natural materials Natural materials with great te-chnological propertiesMarina FUMO, Luisa DI NARDO

ID 203The reconstruction of the city of Naples in the aftermath of the WorldWar IIMarco CARUSONE

ID 204The urban space of the ephemeral heritage. Celebrations of big shoul-der-borne processional structures.Antonella SALUCCI

ID 205Urban Transitional Spaces in the Region of the Eastern Mediterranean.The Arcades of the Historic Centre of Nicosia as an Expression of a Su-stainable Design ApproachEleni MALAKTOU, Maria PHILOKYPROU

ID 207 (a)For World Heritage and Degradation: International Competition LANDe-sign® per la cura della casa comuneSabina MARTUSCIELLO

ID 207 (b)Smart week design: International Competition “LANDesign® on carefor our common home1” Maria Dolores MORELLI

ID 208Naples 1884. Urban transformations and debate about the cityMichela RUSSO

ID 212Plans of communication for cultural and landscapes assetsLudovico MASCIA

ID 213Structural failures due to anthropogenic sinkholes in the urban area ofNaplesConcetta CUSANO

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ID 217The drawing of the architecture, of the vegetation and the water.Paolo GIORDANO

ID 218The drawing of the territory. The Bay of Kotor in Montenegro.Luigi CORNIELLO, Vito Maria Benito VOZZA

ID 219David Chipperfield: an idea of shared architecture for an ideal sharedcityLorenzo GIORDANO

ID 220The representation of the area and the drawing of the limit.Carla MOTTOLA

ID 221New Monuments in Renovated Urban Areas. Roma: Science City, Va-rese: New TheatreEfisio PITZALIS

ID 224The rebirth of man through the regeneration of spacesAlice PALMIERI, Marta COSENZA

ID 225The Restoration of the Notre Dame du Rosaire Chapel in IstanbulCeylin KARBEYAZ, Kemal KUTGUN EYUPGILLER, Cenk USTUNDAG,Nur UMAR

ID 227Eco-smart technologies for the new relationship’s spacesLorenzo CAPOBIANCO, Francesco CORVINO, Rossella FRANCHINO

ID 229Smart cultural regeneration of degradation Rossella BICCO

ID 230Knowledge and preservation of the Chiostro Piccolo in Certosa di Pavia,an example of integration between construction and decoration in Sfor-zas artistic culture.Maria Pompeiana IAROSSI, Lorenzo DE STEFANI, Letizia LODI, Ma-tilde ROSSINI

ID 231Neapolitan Modernism as a heritage to preserve and regenerateChiara INGROSSO

ID 232New methods for the representation of landscape’s design: open sourceand ancillary data in GIS database.Luciana ABATE

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ID 233Surveying and mapping architecture and landscape’s design, based onhyperspectral and true color remote sensing imagingRosaria PARENTE

ID 234The old Cardito’s garden drawing remaining tracesVincenzo CIRILLO

ID 235Survey multiscala for the examine and architectural/environmental re-presentation of the area in the South of Naples.Luciana ABATE, Rosaria PARENTE

ID 236Roman ancient Appia road in Irpinia Region: a cultural and structuralheritage to be safeguardedIngrid TITOMANLIO

ID 237Roofing interventions in the Pompeii tragic poet houseImmacolata BERGAMASCO, Antonio GESUALDO, Antonio GUER-RIERO, Antonino IANNUZZO, Michela MONACO

ID 238Fragile upland environments: the need for preservation, valorization andinnovation of natural and built elementsMaria Paola GATTI, Giorgio CACCIAGUERRA

ID 239Pre-industrial built heritage: mills of LomellinaEmanuele ZAMPERINI, Valentina CINIERI

ID 241Deleting of rising damp in the archaeological site of Piazza Armerinathrough the application of the technology by neutralising electricalcharge T.N.C.Roberto CASTELLUCCIO, Veronica VITIELLO

ID 247The application of the integrated M.E.T.A system in the study of the Mas-seria Ferrara in San Leucio.Concetta GIULIANO, Camilla DI FALCO

ID 248Evaluating impacts of Cultural Heritage valorization (or historic preser-vation): a comparative overview Italy – USA.David LISTOKIN, Fabiana FORTE

ID 249Visiting simulation by immersive virtual reality tools with installation ofsonic architectures.Luigi MAFFEI, Massimiliano MASULLO, Aniello PASCALE, FrancescoSORRENTINO

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ID 250Architecture of Conversion Space and power in the early Christian Ba-silicasMaria Carolina CAMPONE

ID 251Technological design for the energy efficiency of the minor architecturalheritageAntonella VIOLANO, Monica CANNAVIELLO, Antonella DELLA CIOPPA

ID 252Developments Italian regulations on additional servicesDaniele NAPOLITANO

ID 253The land tenure of family Minister Camillo Benso Conte di CavourNadia FABRIS

ID 254Medina Traditional Roshan the Effected RoleAhmed ABU AL HAIJA

ID 255The Domitia coast between Volturno and Garigliano: requalification op-portunies of a violeted landscape through valorization of the historical-archaeological heritageGerardo Maria CENNAMO

ID 256 (a)Reflections of pluralized accessibility in Cimitile. Geometry, Light, Matter, Conservation, and Enhancement of the Cultural Heritage. Geometric Layer, as ‘dimension’ of deep knowledge. Pasquale ARGENZIANO, Ilaria MININI

ID 256 (b)Reflections of pluralized accessibility in Cimitile.Geometry, Light, Matter, Conservation, and Enhancement

of the Cultural Heritage. The role of sun light inside an early Christian church. Sergio SIBILIO, Antonio ROSATO, Michelangelo SCORPIO, Giusep-pina IULIANO, Ilaria MININI

ID 256 (c)Reflections of pluralized accessibility in Cimitile.Geometry, Light, Matter, Conservation, and Enhancement of the Cultural Heritage. Saverio CARILLO, Manlio MONTUORI

ID 257The restoration of historic towns and interventions in agricultural areasMario PISANI

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ID 258Togliatti Research Institute Project. Human Practices in the System ofIndustrial Cities DevelopmentElena SHLIENKOVA, Svetlana MALYSHEVA

ID 259Wooden fortresses of the 16th-18th centuries. The Concept of historicalrenovation of the center of Samara and its media mythologySvetlana MALYSHEVA, Elena SHLIENKOVA

ID 260Theory and praxis in the design of Naples "capital" in the second half ofthe eighteenth centuryDanila JACAZZI

ID 261Piazza Municipio subway station: Archeological Discoveries condizio-nato Architectural DesignFrancesca MUZZILLO, Fosca TORTORELLI

ID 262The hidden villa. Virtual modeling in survey of Villa Farnesina in Rome.Cesare CUNDARI, Giovanni Maria BAGORDO, Gian Carlo CUNDARI,Maria Rosaria CUNDARI, Giuseppe ANTUONO

ID 263Nisida and its architecturesGianluca GUIDA, Claudia CENNAMO, Ornella ZERLENGA, MicheleLETTIERO, Daniele PETAGNA, Francesco VASTA

ID 264Philosophical houseGianluca CIOFFI

ID 265Digital design developmentGilda EMANUELE

ID 266Planning the palimpsest. A workshop about the Pompeii areaGiuseppe GUIDA

ID 267Urban Revitalizazion: Amphitheatre Campano Area and CastellumAquae, Santa Maria Capua VetereFrancesco Pio ARCELLA

ID 2693D Data and Augmented Reality in Heritage Fruition. A Case History.Donato MANIELLO, Alessandra CIRAFICI, Valeria AMORETTI

ID 271Similarities and differences between the Turkish and Italian architecturalmuseum design approach.Claudio GAMBARDELLA, Kunter MANISA, Umberto CHIACCHIO

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ID 273The thermal heritage of Vesuvius area. Splendor, decline, hypothesis forvalorizationManuela PISCITELLI

ID 274Virtual architecture: 3D representation in archeologyCiro FERRANDES

ID 275A "stream of culture": an integrated approach between urban develop-ments and historical water infrastructuresDavide MEZZINO, Giovanni CASTALDO, James ARTEAGA, Tatiana KI-ROVA

ID 276Churches, nature and culture in Chiloe’s landscapeMaría Dolores MUÑOZ, Ignacio BISBAL

ID 278Landscape and criticality: a model to describe a territoryMaria Cristina MIGLIONICO, Giuseppe D’ANGELO, Aurelia FedericaAMATUCCI

ID 279The Unesco site of Berat in Albania: the protection and the enhancementof the heritage.Andrea MALIQARI, Luigi CORNIELLO

ID 280Landscape Districts along the “Via Francigena in the South”: the MontiLepini areaCarlo VALORANI, Elisa MARCOZZI

ID 281Social housing: Scandinavian New Empiricism and Italian Neorealism.Relationships and influencesElena MANZO, Ilaria PONTILLO, Michela RUSSO

ID 282The Università of Aversa celebration of the wedding procession of Char-les of Bourbon and Maria Amalia of SaxonyRiccardo SERRAGLIO

ID 284Confined Impinging Jets in Porous MediaNunzio MANSI

ID 285Evalution of earthquake damage scenario of churches at regionalscale_experiences in Abruzzi and perspectives in CampaniaValentina CORLITO, Emanuela CRIBER, Mariateresa GUADA-GNUOLO, Gianfranco DE MATTEIS

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ID 286Campania, Unesco Sites and illegal building. The assessment of thesanction.Shana AMOROSO

ID 287The paradigm of eternal presentMosè RICCI

ID 289Crossing + sustainability. Innovation in urban mobility to increase thequality of lifeFederica DAMASCO, Raffaela DE MARTINO, Caterina FRETTOLOSO

ID 290Diagnostic plan on the Monastery of St. Mary of the Virgins in Cosenza(Italy)Caterina GATTUSO, Philomène GATTUSO, Maria Rita BASILE, Valen-tina ROVIELLO

ID 292Creative Education: the case of an experimental project in the schoolsof Salerno Enrica PAGANO

ID 293Community and public cultural heritage: a chance to satisfy needs ofprotection, development and social cohesion Maria Rita PINTO, Stefania DE MEDICI, Alfonso Maria CECERE

ID 299Istanbul World Heritage property: representing the complexity of its Ma-nagement PlanAlessandro CIAMBRONE

ID 300Representing cultural heritage: a communication plan for the World He-ritage properties of Tunis, Carthage and Sidi Bou SaidAlessandro CIAMBRONE

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