Ricerc@Sapienza

A strategic infrastructure project in Rome, Italy, and namely the Metro C line, is presented here for scrutinising how institutional frameworks and governance arrangements shape megaproject implementation. On the one side, we look at legal endowments and institutional reforms related to a still incomplete territorial rescaling; on the other side, at routines and practices among actors in project management.

The cartographic representation of Rome is as varied as its history;
however there are several qualitatively significant discontinuities within an
evolutionary process we can consider as linear. The research presented here
focuses on a specific selection of fourteenth- and fifteenth-century maps of the
city of Rome as a way to discuss not only one of these glaring discontinuities,
but also several aspects linked to the perception and communication of the
image of the city in the period preceding the more meticulous representations

Among the richest and most problematic districts in Rome, the Rione Esquilino is marked by very dense historical and archaeological evidence that highlights the city’s grandeur. Here, the complicated overlapping of monuments and late XIXth century urban fabric intertwines with a multi-ethnic social structure. This combines old and new residents, Italians and Europeans, tourists attracted by cheap accommodation, economic operators, mostly Asian and moreover engaged in non-legal activities, and numerous homeless.

L'archivio storico dei disegni architettonici dell'ex dipartimento di,analisi e disegno dell'ambiente e dell'architettura (Radaar) della Facoltà di Architettura, Sapienza Università di Roma, contiene i disegni prodotti durante i seguenti corsi: Rilievo di monumenti, Elementi di Architettura e analisi dei monumenti e Disegno dal Vero tenuto nel periodo tra il 1940 e il1980. Fino ad oggi circa il 70% di questo patrimonio è stato digitalizzato ed è tuttora in corso la restante digitalizzazione.

Any analysis performed to gather data about architectural and urban heritage always begins with the observation of reality and the involvement established between the observer and the space around them. A spectator inevitably interprets what they see in a personal manner so as to give objects a speci c meaning. The ability to understand the data and the relationship between the parts and then assign it a value varies from person to person.

The extraordinary circulation of comic scripts (texts, manuscripts, scenarios and zibaldoni)
in seventeenth-century Rome allows us to observe the profiles of a ‘self-referential theatre’
that involved citizens, amateur actors and authors, and depicts clear images of milieus,
conventions and habits of the city.

The aim of the paper is to outline the influence of the Roman fashion system in the evolution
of the urban pattern between the late 19th and early 20th century, in relation to socio-economic
changes occurred since 1871, when Rome became the Capital of Italy. In the following
years there was a sustained population growth, but above all an increase of the urban bourgeoisie
that influenced the demand for clothing, both quantitatively and qualitatively. The traditional

The essay studies the evolution of men’s tailoring during the 19th century and the first half of the 20th, to arrive at the development of Italian tailoring and its international success after World War II. Starting from the simplification of the bourgeois masculine dress, between the late 18th and early 19th century, we assist at the affirmation of the so-called “three-piece suit”, the first paragraph illustrates the research conducted in the 19th century to improve measurement methods and the tailoring cut, in order to create men’s clothes with perfect fit.

For historical, cultural and religious reasons, Rome has always been one of the most attractive cities for international tourism. During the 18th century, when Rome became one of the more popular city of the Grand Tour travelers, the rich foreign visitors began to discover the products of the Roman luxury handicrafts, including reproductions of paintings and sculptures, small objects and mosaic jewels, cameos and engraved stones.

The paper illustrates the experience of the Design School of Sapienza University of Rome, carried out around the theme of “design communication” from 2001 to 2011. An example of this, was the organization of many events such as the eight editions of “Roma design più” - an event that open the design to the public with a rich program of exhibitions, seminars and workshops. Roma design più took place in symbolic places f the city of Rome, but also invested the network of commerce and Institutes of Foreign Culture in Rome.