The Sicilian Baroque: Reconciling Postquake Tensions

Puleo, Thomas J.

doi:10.1068/a46295

Cited by 2 publications

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“…Baroque architecture can be identified with a common set of rules and elements that compose it. However, as seen with the Sicilian Baroque and Earthquake baroque in the Philippines, the formal changes in their constituent elements provided both social (Puleo, 2014) and structural resilience (Soliman, 2019). The buttresses of Paoay chruch in the Philippines, for example, still denote the function of support while bearing significant difference in shape and proportion to other buttresses that are found in the European continent.…”

Section: Introductionmentioning

confidence: 99%

Elemental Sabotage: Diffusing Functional Morphologies

Kim¹,

Lee²,

Kim³

2023

CAADRIA Proceedings

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What modernism has failed discuss is the sheer diversity of forms that can come with a singular function. Their order led to the systematisation of standardised architectural elements that are now widely used around the world. However, functions of architecture have manifested into a multitude of forms across different cultures. For instance, the roof of the Korean traditional architectural type, Hanok, can be easily differentiated from the Victorian gable roof. The functionform relationship in architecture has long been investigated, but there is a lack of objective tool or technique that directly contributes to categorisation or diversification of existing architectural forms. With the advent of novel Machine Learning techniques, especially Generative Adversarial Networks (GANs), architectural forms can now be traced with objective methodologies such as a probabilistic-based model. This paper seeks to increase architectural diversity, borrowing the objectivity of state-of-the-art machine learning techniques in three dimensions such as 3D GAN.

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Section: Introductionmentioning

confidence: 99%

Elemental Sabotage: Diffusing Functional Morphologies

Kim¹,

Lee²,

Kim³

2023

CAADRIA Proceedings

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“…In addition to striking a new balance between respect for and ridicule of religious and state institutions, however, the decorative elements of the Sicilian baroque, in the aftermath of the 1693 earthquake, were also to encapsulate the fraught relationship between populace and the earth beneath them. This is a baroque that rises from torn landscapes produced by the intrusion of the wild earth into built spaces (Puleo, 2014) and is manifest, for example, in an intensified and repetitive use of diamond and spiral motifs, each registering as "forme rassicuranti di maniera" (forms of a reassuring manner) (Restuccia, 1997, page 80). For Puleo, the crumbling edges of the Sicilian baroque facade have much to say in regard to the experience of trauma, certainly, as well as to the mixture and reconciliation of the human and the inhuman.…”

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confidence: 99%

Baroque Geographies: Marginal Preoccupations

Dixon

2014

Environ Plan A

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Baroque geographies: marginal preoccupations" The baroque signifier proliferates beyond everything signified, placing language in excess of corporality. At the risk of appearing still more paradoxical, we might say that baroque reason brings into play the infinite materiality of images and bodies." Christine Buci-Glucksmann (1994, page 139, emphasis in original)The baroque is a term that has hovered on the margins of geographic inquiry, barely mentioned in the vast swathes of geographic literature. Our intent in this theme issue is not to respond to this by bringing the baroque into the centre of our field, such that it becomes yet another correction to our spatial imagination (though, like the 'postmodern', the baroque is said to reappear at the end of every major stylistic transition). Nor do we wish to pin down the meaning of the baroque by scoping its key characteristics and posing these against other ideas, such as the topological (Allen, 2011;Dixon and Jones, 2015), even though one of the thematics proffered by the baroque is a twisting and turning of centres and margins, interiors and exteriors, insides and outsides. We hold, instead, that there is productive value in placing sustained attention upon the baroque's occupation of, and preoccupation with, the marginalia: that is, those sites where embellishments, flourishes, doodles, and side-notes bear a sometimes critical, sometimes tenuous relationship with the main text, but nonetheless an illuminating one. Our intent, then, is not so much to ask what a baroque geography is, or should be, but what a baroque geography can do.In the following we first provide a brief exegesis of the baroque that, whilst noting its emergence within particular times and spaces, yet emphasizes the fraught and questioning relationship between event and time, context and content, and reality and representationall of which the baroque has come to indicate. It is with this fraught lineage in mind that the subsequent papers that make up this themed section, from diverse areas of geographic inquiry, can be read. Certainly, there is a great deal written in the arts and humanities on the emergence and development of the baroque as both a form wherein, for example, nature exceeds formal conventions-as with the malshaped pearls (les perles baroques) of 16th-century France, or the bizzarerie of 17th-century Italian architecture-and as an attitude denoting an unrestrained eccentricity and a perverse quest for novelty. Whilst in the 18th century such an attitude was understood as pertaining to the strange and the unusual, by the 19th century the baroque taste came to be allied with decadence and decline as religion collapsed into politics, and the superabundant detail of the Counter-Reformation, which both pleasured and stupefied the senses, became a tool of policy (Hills,

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The Sicilian Baroque: Reconciling Postquake Tensions

Cited by 2 publications

References 15 publications

Elemental Sabotage: Diffusing Functional Morphologies

Elemental Sabotage: Diffusing Functional Morphologies

Baroque Geographies: Marginal Preoccupations

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