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首页> 外文会议>International Conference on Virtual Systems and Multimedia >The Gonzagas' palace: Architecture of time. an interactive application for the discovery of the architectural history of Palazzo Ducale in Mantua
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The Gonzagas' palace: Architecture of time. an interactive application for the discovery of the architectural history of Palazzo Ducale in Mantua

机译：Gonzagas的宫殿：时间的架构。在曼图阿在宫城古景古景架构史上发现的互动申请

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Palazzo Ducale in Mantua is an emblematic case of complex architecture, in which the current configuration is the result of centuries of additions, modifications and substitutions. The understanding of buildings with such a degree of complexity is very difficult and requires, most of the time, a specialized training. Nevertheless, this understanding is also the necessary tool to recognizing the real value, not only architectural but also cultural, historic and documentary of Gonzagas' complex. This research project tries to build new forms of communication that will enable the non-specialist public to grasp the complexity of the Gonzaga palace. So it is necessary to merge the well-established languages with innovative elements that allow a clear and immediate reading. The maquette or plastic is one of the tools that best accomplishes this task. The model speaks an easy to understand language, by entrusting it to the common visual experience. Therefore, there is no need to use special regulations or specialized languages as in the architectural drawing. The plastic is also an interesting surface to represent other themes. In this case, the model allows to acquire two levels of information. At first, it is possible to recognize the shape of the architectural complex through an overall view, that of the observer the plastic, which, in reality, is accessible only by air. It appears impossible to recognize the complex in the same view of the Castle of San Giorgio along with Santa Barbara and the Domus Nova. The second content is given by light-mapping on the surface of the model. The different configurations of the Palazzo during the centuries are projected onto the plastic to let public understand immediately which building belongs to each historical period. The other communication tool that complements the plastic is the imagery. The images play an important role in the project as a form of projection; it enriches the information supplied by the plastic. In this project, we want to emphasize the extraordinary experience of the visitor to the discovery of the historical evolution of the building through a large projection on three walls. The visitor is surrounded in a virtual environment. In the center, there is the plastic and all images-movies are projected on the perimeter walls: they add details to the story of the historical development. The layout of the entire hall, the main entrance to the inside of the environment, wants to emphasize the exceptional nature of the experience and, at the same time, focus on the described elements. The third element that completes the communication project is the story-telling that implies the whole experience. Because the communication is effective, it has abandoned communication style of the documentary, embracing the metaphor of the story in the first person. Each visitor will feel guided in the visit by a well-built character and really identified. The figure chosen to accompany the discovery of the Doge's Palace draws directly to the history of Gonzagas. Rinaldo Bonacolsi, said Passerino, lord of Mantua, was killed in 1328 in a conspiracy organized by Cangrande della Scala and Luigi Corradi from Gonzaga. They latter becomes the lord of Mantua and Gonzaga will start the presence in the city. The Gonzaga have preserved the Passerino mummy in his palace, as a kind of good luck charm. The choice of Passerino as a guide allows you to tell the Palace by those who lived in life and as a “ghost”. It allows to tell Gonzaga not aseptically, but rather to provide those details and anecdotes that make the story livelier. This choice also allows, even at a compositional level, greater freedom being able to move, like a shadow, over and into the palace. This form of communication, divided into plastic, images and video, and narrative, however, requires a historical base and very solid document. The story of Passerino and lived experience by the public is not a simple moment of leisure, but represents
机译：Mantua的Palazzo Ducale是一个复杂架构的标志性案例，其中当前配置是几个世纪的添加，修改和替代。具有如此复杂程度的建筑物的理解是非常困难的，需要，大部分时间都需要一个专门的培训。然而，这种理解也是认识到真实价值的必要工具，不仅是拱泽复杂的建筑而且还有文化，历史和纪录片。该研究项目试图建立新的沟通形式，使非专业人士能够掌握Gonzaga Palace的复杂性。因此，有必要将良好的语言与允许明确和立即阅读的创新元素合并。 Maquette或塑料是最好成功完成此任务的工具之一。该模型通过将其委托给共同的视觉体验，易于理解的语言。因此，无需在建筑图纸中使用特殊规定或专用语言。塑料也是一个有趣的表面来表示其他主题。在这种情况下，该模型允许获取两个级别的信息。首先，可以通过整体视图来识别建筑络合物的形状，塑料观察者的形状，即实际上，该塑料仅通过空气可访问。它似乎不可能识别在圣乔治城堡的同一视图中，以及圣巴巴拉和Domus Nova的同一视图。通过在模型表面上的光映射给出第二内容。几个世纪里，Palazzo的不同配置将投射到塑料上，以便公众立即理解哪个建筑属于每个历史时期。补充塑料的另一个通信工具是图像。图像在项目中发挥着重要作用，作为投影的形式;它丰富了塑料提供的信息。在这个项目中，我们希望通过三墙上的大型预测来强调访客的历史演变。访问者被虚拟环境包围。在中心，有塑料，所有图像电影都会投射在周边墙上：他们为历史发展的故事添加了细节。整个大厅的布局是环境内部的主要入口，希望强调经验的特殊性质，同时专注于所描述的元素。完成通信项目的第三个元素是讲述整个体验的故事。因为沟通是有效的，它已经放弃了纪录片的通信方式，在第一人称中拥抱故事的隐喻。每个访客都会在通过良好的角色访问和真正识别的访问中感到觉得。选择陪同政府府宫的发现的数字直接向戈扎加斯的历史绘制。 Mantua领主的Paserodo议员·罗巴诺·诺坎罗斯（Rinaldo Bonacolsi）于1328年在1328年被杀害，该阴谋由坎格兰特·德拉·斯皮达和Luigi Corradi来自Gonzaga组织。他们后者成为曼图阿的主，Gonzaga将开始在城市的存在。 Gonzaga在他的宫殿里保留了Passerino木乃伊，作为一种良好的运气魅力。 Passerino作为指南的选择允许您通过生活在生活中和“幽灵”的人来告诉宫殿。它允许无菌地告诉Gonzaga，而是提供使故事居住的细节和轶事。这种选择也允许，即使在组成水平上，也能像阴影，在宫殿一样移动。然而，这种形式的通信，分为塑料，图像和视频，以及叙述需要历史基础和非常坚实的文件。公众的路边和生活经历的故事并不是一个简单的休闲时刻，但代表着

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