Articles, Chapters, Papers by Fabio Colonnese
Roma: Artemide, 2025. 430 pp. ISBN 9788875754969
Animated Architecture. Movement and Mobility in Modern Architecture and Design. Edited by Thomas Moser and Atreju Allahverdy, 271–288. Vienna: Transcript, 2025. ISBN 978-3837677904
Il Teatro del Sole. La rifondazione di Palermo nel Cinquecento e l’idea della città barocca. Edited by M. Fagiolo, M.L. Madonna, 283–293. Roma: Gangemi
Pietro Canonica e Mustafa Kemal Atatürk: la presenza italiana nei primi anni della Repubblica di Turchia. Edited by L. Orlandi & S. Pedone 253-273. Istanbul: Istituto Italiano di Cultura di Istanbul, 2025. ISBN 978-975-7035-14-5
https://iicistanbul.esteri.it/wp-content/uploads/2025/05/PIETROCANONICAdigital_compressed.pdf
Pop-up Structures for Culture. Analysis and Documentation for the Sustainability of the Future. Edited by Gianluca Capurso, Lorenzo Grieco, 40-49. Roma: Gangemi, 2025. ISBN ISBN 9788849251951
Finally, our heartfelt thanks to Francesca Martire for her support during the editing of this boo... more Finally, our heartfelt thanks to Francesca Martire for her support during the editing of this book and to Raissa D'Uffizi for her expertise as a graphic consultant. We would like to thank both Francesca and Raissa for their patience and understanding and for having generously dedicated their time to this project which deprived us from spending precious moments together. Our sincere thanks are extended to all.
Tribelon, 2, 4 (2025): 88-95 [open source] https://riviste.fupress.net/index.php/tribelon/issue/view/207
Full-scale models digitalisation in Christian Kerez's design process The use of full-scale models... more Full-scale models digitalisation in Christian Kerez's design process The use of full-scale models, as well as the impact they have had and may have on the many stakeholders involved in the architectural design process, constitute a little-explored field of inquiry. Unfortunately, these models quickly outlive their usefulness and, due to their size, are invariably destroyed after use. Their fate has inevitably produced a historiographical problem, and it is often difficult not only to assess their role in the design process but even to verify their actual existence, especially in historical architecture. The advent of digital technology seems to offer a different fate to these artifacts. Today, it is possible to record not only their three-dimensional form but also any variations and transformations. These digital doubles can be created both to enrich the documentation of the design process, leaving historians the task of assessing their role, and to enrich the process itself with novel analogue-digital interactions and hybridisations. This is the case of Swiss architect Christian Kerez, who is used to assign models a central role in the creative process. By analysing some of the full-scale models produced by his design team over the last twelve years, this paper not only describes their roles in the design process but also discuss their agency on the office space and the design team.
Città che si adattano? / Adaptive cities? [Proceedings of 10th AISU Congress], Vol. II, Edited by Rosa Tamborrino, Chiara Devoti, Pelin Bolca, 1082–1092. Torino: Aisu International. ISBN 978-88-31277-09-9 [open source]
TOMO / BOOK 1 a cura di / edited by CRISTINA CUNEO.
![Research paper thumbnail of 2024. "Roma al mare." La Colonia marina di Ostia Lido, tra "albergo dei poveri" e hub urbano articoli papers [con Marco Fasolo e Saverio Sturm]](https://attachments.academia-assets.com/125987849/thumbnails/1.jpg)
In_bo 15, n.19 (2024): 290–305 [Verso nuove estati, edited by Sofia Nannini]. ISSN 2036-1602 [open source] https://in-bo.unibo.it/issue/view/1286
La fondazione di Ostia Lido, avvenuta tra il 1909 e il 1915 per iniziativa di Paolo Orlando con l... more La fondazione di Ostia Lido, avvenuta tra il 1909 e il 1915 per iniziativa di Paolo Orlando con la collaborazione dell'Associazione Artistica fra i Cultori di Architettura capeggiata da Gustavo Giovannoni, costituisce un episodio centrale non solo della espansione della Terza Roma verso il mare, ma anche della cultura coloniale italiana. La costruzione dell'Ospizio marino di Marcello Piacentini fornisce il primo tassello del nuovo insediamento, orientato a un linguaggio sospeso tra classicità e vernacolo che sarà ulteriormente declinato da Vincenzo Fasolo nella limitrofa e monumentale Colonia marina Vittorio Emanuele III. Attraverso la lettura documentale e dello stato dei luoghi, questo articolo ricostruisce le principali vicende progettuali e costruttive dei due edifici, intimamente legati fra loro. Ne ripercorre inoltre le fasi di abbandono e degrado, di occupazione e parziale riuso che li hanno segnati nel dopoguerra, fornendo un'istantanea sulle sue attuali condizioni e sulle opportunità che una sua più organica riqualificazione, ispirata al modello storico dell'Albergo dei poveri e le spontanee destinazioni d'uso proposte "dal basso," potrebbe offrire.
Annali del Barocco in Sicilia – Studi e Ricerche di Storia dell’Architettura 10: 39–54 [Apparati festivi e macchine tra Rinascimento e Barocco. Cerimonie, potere e città nell’area del Mediterraneo, edited by Lucia Trigilia]. Rome: Gangemi, 2024.ISBN 9788849250855
![Research paper thumbnail of 2024. Modani e modelli a grandezza naturale nei cantieri barocchi [con Lorenzo Grieco]](https://attachments.academia-assets.com/125987733/thumbnails/1.jpg)
Disegno Barocco. Tecniche, prassi e teorie nell’architettura romana del Seicento. Edited by S. Roberto, A. Roca De Amicis, S. Sturm, 238–251. Roma: Artemide, 2025
Il modello a grandezza naturale costituisce da sempre una fase delle vicende progettuali e costru... more Il modello a grandezza naturale costituisce da sempre una fase delle vicende progettuali e costruttive degli edifici storici assai difficile da inquadrare e valutare, non solo perché destinato ad essere distrutto, ma anche perché il suo uso è raramente documentato e descritto con chiarezza. Eppure, la pratica della modellazione di singoli elementi, generalmente destinati a fungere da modani, o di parti più cospicue dell’edificio in scala naturale o reale si diffonde nel Seicento, anche in virtù del potere economico degli illustri committenti, contribuendo all’esito di alcuni grandi e delicati cantieri urbani di Roma. Divenuto già per Michelangelo una fase fondamentale nell’evoluzione del progetto, il modello a scala naturale è adottato spesso da Gian Lorenzo Bernini, anch’egli scultore oltre che architetto. Soprattutto, è un utile strumento per affrontare il problema della grande dimensione e le questioni percettive legate alla visione da lontano; ma finisce per promuovere un approccio di direct forming ed esplorazioni euristiche della forma e della materia architettonica. Così questo tipo di modello svolge una funzione critica sia rispetto ai canoni proporzionali e agli strumenti matematici della composizione, sia rispetto al corpus normativo architettonico, promuovendo innovativi approcci interdisciplinari e favorendo una generale circolazione di idee, tecniche e forme tra architettura, scultura, e arte dei giardini
![Research paper thumbnail of 2024. The Library and the Labyrinth. Architectural Postils to The Name of the Rose [блиотека И Лабиринт. Архитектурный Комментарий К Роману “Им Розы”]](https://attachments.academia-assets.com/125988265/thumbnails/1.jpg)
ДУХОВНЫЙ ГОРОД - Фантазия и фантастика в архитектурном творчестве / Proceedings of Spiritual City. Fantasy and Fiction in Architectural Process (Moscow, April 26– 28, 2021). Edited by Boris Sokolov, 13–26. Moscow: Tonchu, 2024. ISBN 978-5-6051538-0-1
The association between library and labyrinth is an architectural and literary topos of great cha... more The association between library and labyrinth is an architectural and literary topos of great charm. The library is expected to be a place able to offer an ordered representation of human knowledge, while the labyrinth is a place (or non-place?) designed to prevent and distract spatial knowledge. A labyrinth-library is therefore an oxymoron, a fantastic and impossible place that tests both the archetypes involved. At the end of the seventies, Umberto Eco began to design the setting and characters of his novel The Name of the Rose to be published in 1980. Through his sketches, he assimilated a number of architectural precedents, designed the plan of the whole monastery, and shaped the Aedificium and the large library inside it as cosmological and terrestrial representations, largely grounded on symbols. Likewise, the cinematic translation of the literary architecture is the result of a collage of different places, real and fictitious places, that were built outdoors and in cinematic theatres. The set designer Dante Ferretti revolutionized Eco's original library and built a three-dimensional photogenic library, inspired by the hexagonal cells of Borges' Library of Babel. Though a digital reconstruction of the cinematic library, this paper reconstructs the stages of this story and discusses about the process of creation of literary, fantastic place, the role of description in summoning mental images and their transformation during the translation from one media to another.
Diségno 15 (2024): 133–146 [open source] https://doi.org/10.26375/disegno.15.2024.20
(with M.Giunta) Histories 4, 4 (2024): 418–436 [open source] https://doi.org/10.3390/histories4040021
Ricci, President of the Opera Nazionale Balilla, proposed to move the place of Benito Mussolini's... more Ricci, President of the Opera Nazionale Balilla, proposed to move the place of Benito Mussolini's gatherings from Piazza Venezia to the slopes of Monte Mario, into the Foro Mussolini, a complex mainly dedicated to sport activities. Ricci entrusted Luigi Moretti with the design of the vast esplanade of the Arengo delle Nazioni and a huge bronze statue of the Genius of Fascism upon the hill of Monte Mario, which was to incarnate the physiognomy of Mussolini himself. For the first time, the projects produced by a group of engineers, architects-Mansutti and Miozzo, Paniconi and Pediconi, Del Debbio, and Moretti himself-and Aroldo Bellini, the sculptor chosen to create the new Colossus of Rome, are here systematically reordered, analyzed, and discussed in the historical, political, and artistic scenarios of 1930s Italy to reconstruct a forgotten chapter of the megalomaniacal plans promoted by the fascist regime to turn Rome into the capital of a new empire.
(with M.G. D'Amelio, L. Grieco), Contemporary Heritage Lexicon (Springer Tracts in Civil Engineering), Vol.2, pp. 2023-225
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
(with M.G. D'Amelio, L. Grieco), Contemporary heritage Lexicon (Springer Tracts in Civil Engineering), Vol.2, pp.127-151
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
DMJournal 2 (2024) [open source]
Il cortile della Farnesina ai Baullari in una ideale ricostruzione degli inizi del XVII secolo. L... more Il cortile della Farnesina ai Baullari in una ideale ricostruzione degli inizi del XVII secolo. La figura sulla sinistra, in abiti ottocenteschi, è ridisegnata da una delle tavole che Paul-Marie Letarouilly dedicò a Palazzo Massimo alle Colonne (elaborazione grafica dal modello digitale dell'autore).
(with M. Carpiceci, A. Schiavo and R. Zanone) Imeko 2023 Metrology for Archaeology and Cultural Heritage. Proceedings (Rome, October 19-21, 2023), pp. 246-252. ISBN 9789299009062
27 Digital Technologies and 3D Printing for the Communication of Archaeological Discovery: The ca... more 27 Digital Technologies and 3D Printing for the Communication of Archaeological Discovery: The case of the early-archaic wreck of the strait of Otranto Vincenzo Ria (Soprintendenza Nazionale per il patrimonio culturale subacqueo) and Barbara Davidde (Soprintendenza Nazionale per il patrimonio culturale subacqueo) Session 1.2-Diagnostic for Cultural Heritage: contribution of Raman spectroscopy and other non-destructive techniques to the investigation of art objects-Cultural heritage at synchrotrons Room: Aula B-Department of Mathematics and Physics 33 Analytical investigations on polychrome artworks from the wooden ceiling of "ex
(with M. Carpiceci and R. Libera) Hypogea 2023 Proceedings of 4th International Congress of Speleology in Artificial Cavities (Genoa, Palazzo Ducale, September 29-30, 2023). Edited by S. Saj et al. 325-334. Rimini: Corigraf, 2023. ISBN 9788832241327
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Articles, Chapters, Papers by Fabio Colonnese