Una delle indicazioni più innovative ed interessanti del recente Nuovo PRG di Roma; è certamente quel modello policentrico della città composto da diverse Centralità urbane che si inseriscono sulla rete infrastrutturale; la ricerca progettuale vuole fornire quindi quella base operativa necessaria all’esplicitazione delle indicazioni generali del Piano.In questo senso il tema affrontato della Centralità di carattere metropolitano “Lunghezza-Ponte di Nonaâ€; vuole essere un tentativo di entrare nel merito della questione proponendo; oltre alla lettura del modello policentrico generale; anche una verifica alla piccola scala di esiti e problematiche; attuali e future. Andrea Moneta si laurea in Architettura con Lode a La Sapienza - Università di Roma; consegue il titolo di Dottore di Ricerca in Progetto Urbano Sostenibile presso la Facoltà di Architettura dell’Università di Roma Tre. In questa sede partecipa al Master Pism-Progettazione Interattiva Sostenibile e Multimedialità .Dal 2005 al 2011 è docente a contratto presso la Facoltà di Architettura de La Sapienza - Università di Roma. Oltre all’attività professionale nel campo dell’edilizia residenziale; ha partecipato a numerosi concorsi nazionali e internazionali; ha curato l’allestimento di mostre di architettura a Roma; Berlino; Weimar; Avignone.È membro fondatore di Archabout - Laboratorio mediterraneo europeo di studi e produzione transnazionale e transdisciplinare; col quale si occupa di produzione culturale; ricerca e formazione in differenti campi della cultura artistica contemporanea; con particolare riguardo al teatro ed alle arti performative; all’architettura ed alle arti visive.Sito web: www.andreamoneta.it
#4481074 in eBooks 2013-01-08 2013-01-08File Name: B00ATTBD7Q
Review
1 of 1 people found the following review helpful. The book is wonderful. Keep in mind Marshs Renaissance biasBy bobbalouieMarsh was a serious student of Renaissance and Baroque art and one of the most important artists of the 1920s; 30s and 40s in the Ashcan School tradition. The book is wonderful. Keep in mind Marshs Renaissance bias; celebrating and sometimes exaggerating -- slightly -- the human form in the tradition of Rubens and Michelangelo. I love the book; I love Marsh. Highly recommended.0 of 0 people found the following review helpful. Asleep at the wheelBy SnoozebuttonThis is a book of Marsh doing mostly mediocre copies of other artists work. Marsh was a better draftsman than this book would lead you to believe- but its useless as an anatomy book. If you want a thorough anatomy book; the Richer book edited by Hale is good; Peck is good: if you want help with drawing Andrew Loomis is good; and if you want good drawings to copy then the Charles Bargue book is good. Im going to return my copy of this book.7 of 7 people found the following review helpful. Not for the beginning artistBy A. Carter ABConsultingMarshs book is fascinating and as some of the reviews attest; a valuable resource for the serious artist. However its important to know what youre getting for it has limitations and may not be what some people want; particularly the beginning artist.The book contains several hundred copies; drawn by Marsh; of anatomical studies by masters such as Michelangelo; Da Vinci; Duhrer and others. The book is systematic: the copies are grouped by perspective (side; front; back); feature (head; arms; feet) and includes a section on proportion along with a hundred or so of his own sketches.This is not a good book if you are just starting to learn anatomy. Marsh has a loose style and since he is providing a copy of a study (sometimes a copy of a copy; "from Kollmans copy of Michelangelo") the result is an artistic game of telegraph. Portions of some sketches will just not make sense if you are trying to discern specific joints and muscles. In other sketches there will be bulges and curves that I simply cannot line up in a systematic way with specific muscles.For the same reason this is not a good resource for making your own copies. If you are serious about becoming an artist you should certainly follow in Marshs footsteps and make copies of as many masters as you can find. It is excellent practice and a vital way to understand the fundamentals of the human figure. But go to the originals; not this book.The value of Marshs book only becomes apparent; after youve acquired some artistic fundamentals. The book provides a comprehensive view of how one artist viewed the human figure. The "sloppiness" of his sketches is no longer a drawback; but in fact one of their key values; providing examples of how form can emerge from seemingly random marks.