Emanuela Ferretti
Emanuela Ferretti (1971), è professore associato di Storia dell'Architettura al DIDA - Università di Firenze. Architetto PhD (Storia dell'Architettura, 2004), ha ottenuto il Diploma di Specializzazione in Storia dell'Arte (1997-2000). Dal 2005 ha insegnato Storia dell’Architettura all’Università di Firenze ed è stata più volte Assegnista di Ricerca (2005-2009, 2014-2015). Nell'ambito delle sue ricerche, privilegia le relazioni fra committenti e architetti nel Rinascimento. Si è dedicata, in particolare, allo studio del cantiere storico, con saggi e articoli sull'organizzazione delle fabbriche e le tecniche costruttive. Un settore specifico delle sue ricerche è dedicato al tema delle acque in Età moderna (acquedotti e lavori idraulici a scala territoriale), e negli ultimi anni ha approfondito tematiche inerenti l’architettura di Michelangelo (2007-2014). Si interessa anche al rapporto fra l'architettura Contemporanea e la cultura artistica e architettonica dei secoli precedenti, con studi sul tema della fortuna di Michelangelo nel Novecento e la presenza della storia nell'architettura del XX secolo. E' stata titolare di un contratto di ricerca annuale presso l'Opificio delle Pietre Dure, settore Pitture murali. Ha partecipato a numerosi congressi internazionali e a comitati scientifici di mostre, collaborando con il Museo Nazionale del Bargello (2005, 2011), Casa Buonarroti (2007, 2010, 2013, 2014), gli Uffizi (2011, 2012). Dal 1.7.2012 al 30.6. 2013 è stata Fellow presso Villa I Tatti-The Harvard University Center for Italian Renaissance Studies.
Emanuela Ferretti received a graduate degree in “Art History and Archaeology” from the University of Siena (2000), and a PhD in Architecture (“History of Architecture”) from the University of Florence (2004). Between 2005 to 2011 she was adjunct professor of History of Architecture at University of Florence and Siena, where she won several research grants. Her interests and publications focus on questions of design, style, building materials, and structures, from the fourteenth to the end of sixteenth century, with other studies on architectural culture of 20th century. A particular research interest is the modes of communication used in architectural projects –e.g. drawings, models, and administrative documents-- from the Renaissance to the present.
Emanuela Ferretti received a graduate degree in “Art History and Archaeology” from the University of Siena (2000), and a PhD in Architecture (“History of Architecture”) from the University of Florence (2004). Between 2005 to 2011 she was adjunct professor of History of Architecture at University of Florence and Siena, where she won several research grants. Her interests and publications focus on questions of design, style, building materials, and structures, from the fourteenth to the end of sixteenth century, with other studies on architectural culture of 20th century. A particular research interest is the modes of communication used in architectural projects –e.g. drawings, models, and administrative documents-- from the Renaissance to the present.
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Papers by Emanuela Ferretti
essay consists of two parts: the first, by Emanuela Ferretti, investigates the context in which the project took shape, with particular regard to the Italian scenario of 1938-1939; the second, by Attilio Terragni, highlights – with the sensibility of the architect-designer – some of the characteristics of the Danteum project and is accompanied by reconstructive drawings of the building, made by the same author on the basis of original drawings by Giuseppe Terragni, preserved in the Terragni Archive in Como.
Marco Zanuso. The whole design history is then reread in the context of a progressive strengthening of the connections between the Tuscan environment and the advanced Milanese context, clearly indicating the connections of Rolando Anzilotti and Lamberto Vitali with the contemporary reality of European and American theme parks. Between the gestation and construction of Pinocchio’s Park (1951-1972), experimental hypotheses for the use of innovative materials and automation systems, have given way to increasingly vernacular requests, due to the local administration and the role played by the different Tuscan personalities who have alternated in the various phases of expansion of the complex. The same architect Marco Zanuso, in an interview in 2000, invited us to go beyond the final result of this park, broadening the vision, to grasp a surprising wealth of ideas at its base «on theevel of imagination and participation».
in Italia, rivelandosi un’importante occasione di confronto tra realtà progettuali caratterizzate da diversi itinerari
prefigurativi sul tema. L’approfondimento sulle procedure organizzative, sui contenuti e sui protagonisti dell’evento
evidenzia, in particolare, relazioni inedite tra Giovanni Michelucci e l’ambiente culturale milanese.