Around the middle of the nineteenth century, in the context of an extensive project to reform opera, German composer Richard Wagner began to envision a new kind of theater building that finally saw the light in 1876 i...Around the middle of the nineteenth century, in the context of an extensive project to reform opera, German composer Richard Wagner began to envision a new kind of theater building that finally saw the light in 1876 in Bayreuth as the Festspielhaus. In the following century, Italian architect Aldo Rossi evoked its characteristic features in his reconstruction project of the Carlo Felice Opera House in Genoa, a building that had been partially destroyed during World War II and was reopened to the public in 1991. At the same time, he restored the relationship between architecture and the city that Wagnerian precepts had more or less consciously eliminated. By revisiting the time that separates the two buildings, and specifically the changes that the most important playhouses underwent, this essay attempts to capture the distinctive elements of the Wagnerian playhouse in order to evaluate what remains of them, what was omitted, and what was subtracted from later buildings that either exist only as projects or that were in fact actualized.展开更多
Since 1865, the scholars from different countries have been studying the Genoese Massari＇s ledger of 1340. The authors have used a fundamentally new approach when studying this famous register. The authors have also ...Since 1865, the scholars from different countries have been studying the Genoese Massari＇s ledger of 1340. The authors have used a fundamentally new approach when studying this famous register. The authors have also analyzed the full-scale financial processes （from registering the expenses of the commune to their coverage by revenue） instead of analyzing some separate transactions which could prove the presence of the double-entry when registering each economic fact. This becomes possible as a result of the reconstruction of medieval entries and registers in the form of a modem account and the construction of the computer model of the whole ledger of 1340. The model of the system is formed according to seven summits of the revenue of the commune, which are distributed upon many factors of registered expenses and united into 17 reporting points. The special attention is paid to the date of the transaction. The authors have found many answers to some questions which were mysteries before. The explanation is given to the sales of goods below the purchasing price and to the exchange of money with significant losses.展开更多
Increasingly,cities have turned to mega-events as part of strategies to secure much desired global recognition and attract future economic investment.These events have a broad range of physical effects on the city and...Increasingly,cities have turned to mega-events as part of strategies to secure much desired global recognition and attract future economic investment.These events have a broad range of physical effects on the city and can also introduce new concepts of the city.For historic cities,mega-events can potentially have a profound influence on the city’s urban heritage,both physically and how heritage comes to be understood and defined.Recent changing trends in mega-events could come to see them more closely integrated into the existing city fabric,making the potential impact of mega-events on built heritage more pronounced.One long-standing event embedded within the city fabric that serves as a noteworthy example is the European Capital of Culture(ECoC),operating for 30 years and travelling between more than 50 cities.The paper presents the European Capital of Cultures of Genoa 2004,Liverpool 2008 and Istanbul 2010 as three diverse cases with differing themes and roles for heritage in order to review the potential synergy or friction between events and heritage and calls for heritage actors to become more involved in these processes.展开更多
文摘Around the middle of the nineteenth century, in the context of an extensive project to reform opera, German composer Richard Wagner began to envision a new kind of theater building that finally saw the light in 1876 in Bayreuth as the Festspielhaus. In the following century, Italian architect Aldo Rossi evoked its characteristic features in his reconstruction project of the Carlo Felice Opera House in Genoa, a building that had been partially destroyed during World War II and was reopened to the public in 1991. At the same time, he restored the relationship between architecture and the city that Wagnerian precepts had more or less consciously eliminated. By revisiting the time that separates the two buildings, and specifically the changes that the most important playhouses underwent, this essay attempts to capture the distinctive elements of the Wagnerian playhouse in order to evaluate what remains of them, what was omitted, and what was subtracted from later buildings that either exist only as projects or that were in fact actualized.
文摘Since 1865, the scholars from different countries have been studying the Genoese Massari＇s ledger of 1340. The authors have used a fundamentally new approach when studying this famous register. The authors have also analyzed the full-scale financial processes （from registering the expenses of the commune to their coverage by revenue） instead of analyzing some separate transactions which could prove the presence of the double-entry when registering each economic fact. This becomes possible as a result of the reconstruction of medieval entries and registers in the form of a modem account and the construction of the computer model of the whole ledger of 1340. The model of the system is formed according to seven summits of the revenue of the commune, which are distributed upon many factors of registered expenses and united into 17 reporting points. The special attention is paid to the date of the transaction. The authors have found many answers to some questions which were mysteries before. The explanation is given to the sales of goods below the purchasing price and to the exchange of money with significant losses.
文摘Increasingly,cities have turned to mega-events as part of strategies to secure much desired global recognition and attract future economic investment.These events have a broad range of physical effects on the city and can also introduce new concepts of the city.For historic cities,mega-events can potentially have a profound influence on the city’s urban heritage,both physically and how heritage comes to be understood and defined.Recent changing trends in mega-events could come to see them more closely integrated into the existing city fabric,making the potential impact of mega-events on built heritage more pronounced.One long-standing event embedded within the city fabric that serves as a noteworthy example is the European Capital of Culture(ECoC),operating for 30 years and travelling between more than 50 cities.The paper presents the European Capital of Cultures of Genoa 2004,Liverpool 2008 and Istanbul 2010 as three diverse cases with differing themes and roles for heritage in order to review the potential synergy or friction between events and heritage and calls for heritage actors to become more involved in these processes.
