• Non ci sono risultati.

Gli sviluppi della ricerca sull'architettura eremitica: Vallombrosa

N/A
N/A
Protected

Academic year: 2021

Condividi "Gli sviluppi della ricerca sull'architettura eremitica: Vallombrosa"

Copied!
8
0
0

Testo completo

(1)
(2)

Atti  del  Secondo  Convegno  Internazionale  di  Studi   Vallombrosa  24-­25  Settembre  2011

a  cura  di  

Stefano  Bertocci  e  Sandro  Parrinello

Architettura  eremitica

(3)

‹(GL¿U(GL]LRQL)LUHQ]H YLD)LXPH)LUHQ]H 7HO)D[ KWWSZZZHGL¿ULW HGL]LRQL¿UHQ]H#HGL¿ULW ,6%1 5HVSRQVDELOHSURJHWWRHGLWRULDOH 6LPRQH*LVPRQGL 5HVSRQVDELOHHGLWRULDOH (OHQD0DULRWWL 5HGD]LRQH $QGUHD3DJDQR 3URJHWWRJUD¿FR 6DQGUR3DUULQHOOR6HUHQD2UODQGL0DWWHR3DVTXLQL )RWROLWRHVWDPSD ,QGXVWULH*UD¿FKH3DFLQL2VSHGDOHWWR 3LVD )RWRFRSLHSHUXVRSHUVRQDOHGHOOHWWRUHSRVVRQRHVVHUHHIIHWWXDWHQHLOLPLWLGHOGLFLDVFXQ YROXPHIDVFLFRORGLSHULRGLFRGLHWURSDJDPHQWRDOOD6,$(GHOFRPSHQVRSUHYLVWRGDOO¶DUW FRPPDGHOODOHJJHDSULOHQRYYHURGDOO¶DFFRUGRVWLSXODWRWUD6,$( $,(616H&1$&RQI$UWLJLDQDWR&$6$&/$$,&RQI&RPPHUFLR&RQI(VHUFHQWLLO GLFHPEUH/HULSURGX]LRQLSHUXVRGLIIHUHQWHGDTXHOORSHUVRQDOHVRSUDFLWDWRSRWUDQQR DYYHQLUHVRORDVHJXLWRGLVSHFL¿FDDXWRUL]]D]LRQHULODVFLDWDGDJOLDYHQWLGLULWWRGDOO¶HGLWRUH 3KRWRFRSLHVIRUUHDGHU¶VSHUVRQDOXVHDUHOLPLWHGWRRIHYHU\ERRNLVVXHRISHULRGLFDO DQGZLWKSD\PHQWWR6,$(RIWKHFRPSHQVDWLRQIRUHVHHQLQDUWFRGLFLORI/DZ$SULO QRDQGE\WKHDJUHHPHQWRI'HFHPEHUEHWZHHQ6,$($,(616DQG &1$&RQI$UWLJLDQDWR&$6$&/$$,&RQI&RPPHUFLR&RQI(VHUFHQWL5HSURGXFWLRQV IRUSXUSRVHVGLIIHUHQWIURPWKHSUHYLRXVO\PHQWLRQHGRQHPD\EHPDGHRQO\DIWHUVSHFL¿F DXWKRUL]DWLRQE\WKRVHKROGLQJFRS\ULJKWWKH3XEOLVKHU 8QLYHUVLWjGHJOL 6WXGL GL)LUHQ]H 3URYLQFLD GL)LUHQ]H 'LSDUWLPHQWR $UFKLWHWWXUD 'LVHJQR 6WRULD3URJHWWR /DE /DQGVFDSH6XUYH\ 'HVLJQ RINGRAZIAMENTI

Si  ringrazia  la  comunità  dei  vallombrosani  per  l’accoglienza  ed  il  costante  supporto  alle  attività  condotte  dai  ricercatori   e   dagli   studenti   della   Facoltà   di  Architettura   di   Firenze.   Si   ringraziano   inoltre   i   collaboratori   e   gli   studenti   dei   corsi   di  Rilievo  dell’Architettura  per  il  costante  impegno  profuso  nelle  operazioni  di  rilievo  e  documentazione  dei  complessi   eremitici  e  monastici  toscani.

/DSUHVHQWHSXEEOLFD]LRQHGHJOLDWWLGHO6HFRQGR&RQYHJQR,QWHUQD]LRQDOH³$UFKLWHWWXUDHUHPLWLFD6LVWHPL SURJHWWXDOLHSDHVDJJLFXOWXUDOL´qVWDWDUHDOL]]DWDFRQLOFRQWULEXWRHLOSDWURFLQLRGHOOD3URYLQFLDGL)LUHQ]H 8I¿FLRGLJDELQHWWRGHOOD3UHVLGHQ]D$VVHVVRUDWRDOOD3LDQL¿FD]LRQHWHUULWRULDOH3DUFKLH$UHHSURWHWWH 'LUH]LRQH8UEDQLVWLFD3DUFKLH$UHHSURWHWWH HGHO&RPXQHGL5HJJHOOR

COMITATO  ORGANIZZATORE

STEFANO  BERTOCCI  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

SANDRO  PARRINELLO  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H  

PADRE  GIUSEPPE  CASETTA  $EDWH*HQHUDOHGHOOD&RQJUHJD]LRQH%HQHGHWWLQD9DOORPEURVDQD

PADRE  MARCO  MIZZA  3ULRUHGHOOD&RQJUHJD]LRQH%HQHGHWWLQD9DOORPEURVDQD  

ADRIANA  SGOLASTRA  'LUH]LRQH8UEDQLVWLFD3DUFKLH$UHHSURWHWWHGHOOD3URYLQFLDGL)LUHQ]H COMITATO  SCIENTIFICO

MARCO  BINI  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

EMMA  MANDELLI  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

STEFANO  BERTOCCI  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

CIRO  ROBOTTI  8QLYHUVLWjGHJOL6WXGLGL1DSROL    

SANDRO  PARRINELLO  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

FRANCESCO  SALVESTRINI  8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H

LUIS  PALMERO  IGLESIAS    8QLYHUVLGDG3ROLWHFQLFDGH9DOHQFLD SEGRETERIA  ORGANIZZATIVA

SILVIA  BERTACCHI  'RWWRUDQGDGHOOD6FXROD1D]LRQDOHLQ6FLHQ]HGHOOD5DSSUHVHQWD]LRQHHGHO5LOLHYR ANDREA  PAGANO  'RWWRUDQGRGHOOD6FXROD1D]LRQDOHLQ6FLHQ]HGHOOD5DSSUHVHQWD]LRQHHGHO5LOLHYR      

&RPXQHGL 5HJJHOOR

26% 9DOORPEURVD

(4)

PREFAZIONI

ABATE  GIUSEPPE  CASETTA

L’abbazia  di  Vallombrosa   6      

STEFANO  BERTOCCI,  SANDRO  PARRINELLO

Gli  sviluppi  della  ricerca  sull’architettura  eremitica:  Vallombrosa   

PRESENTAZIONI

MARCO  GAMANNOSSI,  $VVHVVRUHDOOD3LDQL¿FD]LRQHWHUULWRULDOH

Parchi  e  Aree  protette  della  Provincia  di  Firenze     11

SERGIO  BENEDETTI,  Sindaco  del  Comune  di  Reggello   12 SAVERIO  MECCA  Preside  della  Facoltà  di  Architettura  di  Firenze     

1.  VALLOMBROSA  

SANDRO  PARRINELLO

L’esperienza  di  rilievo  e  documentazione  dell’abbazia  di  Vallombrosa    FRANCESCO  SALVESTRINI

Eremitismo-­cenobitismo.  La  realtà  di  Santa  Maria  di  Vallombrosa

in  età  medievale   

RIZIERO  TIBERI

La  foresta  vallombrosana  oggi   

CHIARA  ODOLINI  -­  ERICH  R.  TREVISIOL

Vallimbrosa  o  valle  piovosa.  I  manufatti  d’acqua

nell’abbazia  di  Vallombrosa   

FAUZIA  FARNETI  

/¶DUWHGLWUDYHVWLUHOHSDUHWLHLVRI¿WWLQHOFRPSOHVVR

monastico  di  Vallombrosa   

2.  EREMI  E  CASI  DI  STUDIO      

MARIO  MANGANARO

Spazi  di  silenzio  nel  paesaggio  della  Sicilia  orientale   

ANNA  GIANNETTI

Il  giardino  monastico  benedettino  e  quello  cistercense  e  certosino    EMANUELA  CHIAVONI  -­  ANTONELLA  SALUCCI

(VSUHVVLRQHJUD¿FDHGHVSUHVVLRQHFURPDWLFDQHOVLVWHPD

degli  oratori  dell’isola  Bisentina   

(5)

CATERINA  PALESTINI

Contesti  ambientali  e  strutture  architettoniche

 di  insediamenti  eremitici  in  Abruzzo   

MANUELA  INCERTI

Dentro  le  mura:  conoscenza  e  gestione  per  la  Certosa  di  Ferrara    LUIS  PALMERO  IGLESIAS

Ruta  y  entorno  de  los  eremitas  Jerònimos  en  el  antiguo

Reino  de  Valencia   

VINCENZO  LUCCHESI  SALATI

/¶DEED]LDGL6DQWD0DULDLQ)ROOLQDYLFHQGHGDO5RPDQLFRDO

Manierismo  degli  Abati  commendatari  Ludovico  e  Livio  Podacataro   111 ADRIANA  ROSSI

Rilievo  e  documentazione:  i  terminali  delle  torri  come  stendardi  

delle  comunità  eremitiche   

GIAMPIERO  MELE

Tracciati  regolatori  nel  Convento  di  San  Francesco  a  Martignano    LAURA  BLOTTO

Emergenze  architettoniche  nei  percorsi  medievali  del  Var  (Provenza)    NADIA  FABRIS

La  chiesa  di  Santa  Maria  Assunta  a  Celle  e  la  grotta  eremitica

di  San  Giovanni  Vincenzo   

CIRO  ROBOTTI

*OLHUHPLFDPDOGROHVLLQ&DPSDQLD$UFKLWHWWXUD3DHVDJJLR,PPDJLQH 

GIOVANNA  A.  MASSARI  -­  FABIO  BERNARDI  -­  FABIO  LUCE  -­  CRISTIANA  VOLPI

Un  eremo  in  rete   

BEATRICE  MALORGIO

Museo  diffuso  virtuale  dell’eremo  e  della  civiltà  rupestre  pugliese.  

8QHUHPRQRQqXQJXVFLRGLOXPDFDPDSXzULYHODUVLDOWUHWWDQWRIUDJLOH 

ELSA  MARTINELLI

³3DFHSDFHPLR'LR´/¶HUHPRIUDQFHVFDQR

 in  un  melodramma  di  Verdi   

FELICE  AURIEMMA

(6)

3.  CONTRIBUTI

ANDREA  PAGANO

Fuori  dall’abbazia  di  Vallombrosa:  l’eremo  e  i  percorsi  sacri    LUIGI  CORNIELLO

Il  complesso  monastico  di  S.  Maria  de  Olearia  a  Maiori    GIOVANNI  PANCANI

&HUWRPRQGRHGLFRQYHQWLVRSSUHVVLD3RSSLLOULXVRGHOOHDQWLFKH

sedi  monastiche  che  ospitano  oggi  altre  funzioni   

ANNAMARIA  ROBOTTI

Il  Monastero  cistercense  di  Santa  Maria  della  Consolazione

a  Martano  (Lecce)   

CARLO  RAFFAELLI

Metodologie  di  rilievo  integrato  per  lo  studio  

del  monastero  benedettino  di  Bominaco   

GIOVANNI  ANZANI

/RVYLOXSSRGHOOHVXSHU¿FLYROWDWH

dell’oratorio  di  San  Pellegrino  a  Bominaco   

MARCELLO  SCALZO

Un  esempio  di  insediamento  ipogeico  in  Toscana:  l’eremo

di  Calomini  (Lucca)   

SILVIA  BERTACCHI  -­  MATTEO  PASQUINI

Rilievo  e  rappresentazione  delle  chiese  rupestri

di  Palagianello  in  Puglia   

4.WORKSHOP  

Presentazione  del  Seminario  annuale  della  Scuola  Nazionale   GL'RWWRUDWRLQ6FLHQ]HGHOOD5DSSUHVHQWD]LRQHHGHO5LOLHYR

(7)

  

L’ABBAZIA  DI  VALLOMBROSA

4XDQWLXRPLQLHGRQQHOXQJRLVHFROLKDQQRVFHOWRFRPHQRUPDGLYLWDODRegola   GL6DQ%HQHGHWWRKDQQRYDULDPHQWHFRPPHQWDWRLOFDSLWRORGHOODVWHVVDRegola   FKHHOHQFDSHURUGLQHL³VHUYL]LQHFHVVDUL´DOODYLWDHDOODYRURGHLPRQDFL/RFDOLH OXRJKLFKHLQQXFHSUHVHQWDQRXQSLDQRGLVSD]LHGLHGL¿FLYDULDPHQWHUHDOL]]DWR QHO FRQFUHWR H OHJDWR DOOH SRVVLELOLWj GHO WHUULWRULR GHO FOLPD H GHOOH GLVSRQLELOLWj HFRQRPLFKH

7HVWLQRUPDWLYLPROWRSUHFLVLFKHIDQQRHPHUJHUHPRWLYD]LRQLVSLULWXDOLHGDVFHWLFKH GLIRQGRFKHKDQQR³FRVWUXLWR´LOPRQDVWHUREHQHGHWWLQR3HQVRDOOHFDUDWWHULVWLFKHFKH KDQQRGDWRIRUPDDTXHOODFKHQRLFKLDPLDPR³DUWHFLVWHUFHQVH´FRVuIRUWHPHQWHIDWWD HPHUJHUHGDOO¶RSHUDLOOXPLQDQWHHSHUFHUWLYHUVLDQFRUDYDOLGLVVLPDGL*HRUJHV'XE\ ,O VHFRQGR &RQYHJQR GL VWXGL RUJDQL]]DWR GDOO¶8QLYHUVLWj GL )LUHQ]H QHOOD QRVWUD $EED]LDGL9DOORPEURVDXQRGHLFRPSOHVVLPRQDVWLFLSLDQWLFKLHLPSRUWDQWLG¶,WDOLD FRQO¶DSSRUWRGHJOLHVSHUWLSUHVHQWLSURSRQHQGRQXRYLULVXOWDWLGLVWXGLRSURJUDPPL GL ODYRUR JLj LQ DWWR R LQ IDVH GL SURJHWWD]LRQH DUULFFKLUj ± WUD VWRULD H ULFHUFD VXO FDPSR±ODYLFHQGDFKHFRQWLQXDDQFKHRJJLSRUWDQGRODDFRQRVFHQ]DDWXWWLTXHOOL FKHKDQQRIUHTXHQWDWRHIUHTXHQWHUDQQRTXHVWR³VDQWRHPHUDYLJOLRVROXRJR´ $WXWWLLSDUWHFLSDQWLDO&RQYHJQRJLXQJD±DWWUDYHUVRTXHVWHULJKH±LOSLFRUGLDOH EHQYHQXWRPLRHGLWXWWDODFRPXQLWjPRQDVWLFD             *LXVHSSH&DVHWWD26% $EDWH

(8)



GLI  SVILUPPI  DELLA  RICERCA  SULL’ARCHITETTURA  EREMITICA:  VALLOMBROSA

,O SUHVHQWH YROXPH UDFFRJOLH JOL DWWL GHO 6HFRQGR &RQYHJQR ,QWHUQD]LRQDOH VXOO¶$UFKLWHWWXUD (UHPLWLFD XQ WHPD DO FHQWUR GL XQD ULFHUFD FKH GD DOFXQL DQQL LPSHJQDGRFHQWLULFHUFDWRULHVWXGHQWLGHOOD)DFROWjGL$UFKLWHWWXUDGHOO¶8QLYHUVLWj GHJOL6WXGLGL)LUHQ]HROWUHDULFHUFDWRULGLDOWUHXQLYHUVLWjLWDOLDQHHGHVWHUH,OWHPD GHOO¶DUFKLWHWWXUDHUHPLWLFDFKHULVFXRWHDQFRUDXQDYROWDIUDJOLVWXGLRVLQRQVROWDQWR GLDUFKLWHWWXUDXQRVWUDRUGLQDULRLQWHUHVVHDFFRPSDJQD¿QGDO0HGLRHYRORVYLOXSSR GHOODFXOWXUDRFFLGHQWDOHWUDVWRULDHUHOLJLRQHTXHVWRIHQRPHQRKDODVFLDWRQHOWHPSR XQD TXDQWLWj GL LQWHUYHQWL DUFKLWHWWRQLFL FKH KDQQR LQ TXDOFKH PRGR LQÀXHQ]DWR H DFFRPSDJQDWRLQSDUWLFRODUPRGRSHUTXDQWRULJXDUGDOD7RVFDQDVLDORVYLOXSSR GHOOH FLWWj FKH GHO SDHVDJJLR H[WUDXUEDQR FRVWLWXHQGR XQD PDJOLD LQVHGLDWLYD SDUWLFRODUPHQWHLPSRUWDQWHSHUOHDUHHWHUULWRULDOPHQWHSLDSSDUWDWHRSHULIHULFKHD SDUWLUHGDOOHFUHVWHGHOO¶$SSHQQLQRSHUJLXQJHUHDOOH]RQHSLUHPRWHGHOOD0DUHPPD /¶DUFKLWHWWXUDPRQDVWLFDDUWLFRODWD¿QRGDOO¶DOWR0HGLRHYRQHOOHGXHJUDQGLHVSHULHQ]H UHOLJLRVHFKHKDQQRVHJXLWRGDXQODWRODUHJRODFHQRELWLFDHGDOO¶DOWURTXHOODHUHPLWLFD VLqVYLOXSSDWDVHFRQGRPRGHOOLSURSULDGDWWDWLGLYROWDLQYROWDHOOHVLQJROHHVSHULHQ]H HGDOOHFDUDWWHULVWLFKHGHLOXRJKLFRVWLWXHQGRWXWWDYLDVHPSUHQXFOHLGLDJJUHJD]LRQH GLYDORULHGHVSHULHQ]HQRQVRORUHOLJLRVHFKHKDQQRIXQ]LRQDWRGDYHULHSURSULFHQWUL GLDJJUHJD]LRQHHSURGX]LRQHFXOWXUDOH ,QTXHVWRDQQRFKHVHSDUDO¶LQFRQWURGL9DOORPEURVDGDTXHOORSUHFHGHQWHWHQXWRVLD 0RQWH6HQDULRQRQVRQRVWDWLSRFKLJOLVWXGLFKHKDQQRSHUVHJXLWRJOLLQWHQWLSURPRVVL GDO SULPR FRQYHJQR VXOO¶$UFKLWHWWXUD HUHPLWLFD GHO  2OWUH DOOH DWWLYLWj FKH KDQQRFRLQYROWRPHPEULGHOFRPLWDWRRUJDQL]]DWRUHHVFLHQWL¿FRSHUODSUHSDUD]LRQH GHOFRQYHJQRqQHFHVVDULRFLWDUHOHFDPSDJQHGLLQGDJLQHFRQGRWWHD9DOORPEURVD H D &DPDOGROL GDO ODERUDWRULR GL ULFHUFD LQWHUGLSDUWLPHQWDOH ³/DQGVFDSH 6XUYH\  'HVLJQ´ ROWUH DL VHPLQDUL GL VWXGLR VXL VLVWHPL GL ULOHYDPHQWR GHOO¶DUFKLWHWWXUD RUJDQL]]DWLDOO¶LQWHUQRGLDOFXQLGHLFRUVLGL5LOLHYRGHOO¶$UFKLWHWWXUDGHOODIDFROWjGL $UFKLWHWWXUDGHOO¶8QLYHUVLWjGHJOL6WXGLGL)LUHQ]HHGDOworkshop  di  ULOLHYRLQWHJUDWR RUJDQL]]DWRGDOOD6FXROD1D]LRQDOHGL'RWWRUDWRLQ6FLHQ]HGHOOD5DSSUHVHQWD]LRQHH GHO5LOLHYRFRQODFROODERUD]LRQHGHO'RWWRUDWRGLULFHUFDLQ³5LOLHYRHUDSSUHVHQWD]LRQH GHOO¶$UFKLWHWWXUDHGHOO¶$PELHQWH´GHOO¶8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H /DSDUWHFLSD]LRQHVHSXUSDU]LDOHDTXHVWRVHFRQGRDSSXQWDPHQWRGHLFROOHJKLVSDJQROL ULYHODXQRELHWWLYRTXHOORGLSRUWDUHLOGLEDWWLWRDYYLDWRDGXQOLYHOORLQWHUQD]LRQDOH DWWUDYHUVRLOFRLQYROJLPHQWRGHOOHFRPXQLWjVFLHQWL¿FKHFKHFRQGLYLGRQRQHOOHORUR ULFHUFKHHGLQGDJLQLORVWXGLRGHLVLVWHPLGHOOHDUFKLWHWWXUHHUHPLWLFKH 5LVSHWWRDOSULPRFRQYHJQRLOQXPHURGHLUHODWRULHGHLFRQWULEXWLLQYLDWLHSUHVHQWDWL LQTXHVWHSDJLQHqGHFLVDPHQWHDXPHQWDWRFRVuFKHVRQRVWDWHLQWURGRWWHSLVH]LRQL GHOOD FRQIHUHQ]D QHOOH TXDOL SRWHU VYLOXSSDUH GLVFXVVLRQL H WDYROH URWRQGH XWLOL DOOD FUHD]LRQHGLUHWLHLQWHUVFDPELVXOWHUULWRULRQD]LRQDOH

6WHIDQR%HUWRFFL 6DQGUR3DUULQHOOR

Riferimenti

Documenti correlati

[r]

1) sotto quale angolo  (rispetto alla normale al segmento S1-S4) si forma il Secondo zero nella 1 figura di Interferenza [3 punti]. 2) sotto quale angolo  2 si forma

$OORVWHVVRPRGRODFRUUHQWHFKHIOXLVFHLQXQ FLUFXLWRSURGXFHXQIOXVVRGLFDPSRPDJQHWLFR FKHH¶FRQFDWHQDWRFRQXQFLUFXLWRYLFLQR 6HODFRUUHQWH,GHOFLUFXLWRYDULDQHOWHPSR

[r]

GDWD XQD VROX]LRQH FRQFHQWUDWD DO 6DSHQGR FKH DJJLXQJHQGR JUDPPL GL VROXWR OD VROX]LRQH ULVXOWD FRQFHQWUDWD DO FDOFRODUH LO SHVR LQL]LDOH GHOOD VROX]LRQH... ,Q XQ JUDnFR FRQ

 6DSHQGR FKH XQD VROX]LRQH t H FRQFHQWUDWD DO  H FKH DJJLXQJHQGR  JUDPPL GL VROXWR VL RWWLHQH XQD VROX]LRQH FRQFHQWUDWD DO  FDOFRODUH LO SHVR GHOOD VROX]LRQH LQL]LDOH.

caparrarsi il favore del pubblico, e di un’idea particolarmente astuta in rapporto a quanto prima mostrato da Goldoni con un adattamento teatrale, sempre nell’anno fatidico delle

&RQ O¶LQWHUYHQWR VXOO¶DUFKLWHWWXUD PRQWDQD XQ SDWULPRQLR VWRULFR H SDHVDJJLVWLFR FKH FRQVLVWH LQ XQ¶HVSUHVVLRQH RPRJHQHD GL PDWHULDOL LPSLHJDWL H GL