This research project on the graphic documentation used in restoration grew out of a collaboratio... more This research project on the graphic documentation used in restoration grew out of a collaboration between ICCROM and the ICR. Among the objectives of the group were the formation of a documentation technique and the development of a useful, light and user friendly information instrument for the registration of graphic and documentary data. The principle goal was to reach a situation in which the restorer/conservator or the draughtsman could record, in a definitive way and directly on site, all the data related to the mapping techniques, distinct for each category and class, which characterise the graphic documentation of a restoration operation, without having to give up their personal happiness. This should be accomplished without altering in a drastic way the intrinsic complexity of the software used, while avoiding any prior hyper-specialist technical preparation. It is on site that it is necessary, to maximise tbc enormous potential offered by data elaboration systems that can ...
The study concerns Italian masonries and focuses on historical, medieval and modern mortars. With... more The study concerns Italian masonries and focuses on historical, medieval and modern mortars. Within the context of the different regions under examination (Piedmont, the Po Valley area, Latium, the Umbria-Marche region, and Apulia and Sardinia) a wide variety of materials with different chemical-physical characteristics were used in masonry work, determining different structural behaviors. The project aims at improving our knowledge about historical mortars in order to further the conservation of Italian built heritage, especially in zones with seismic risk. To achieve these results, we took samples and carried out analyses to investigate the different mechanical and cohesion properties that influence the vulnerability of ruined or collapsed structures. This information has enabled advances to be made in the prevention, maintenance, protection and preservation of historical buildings. Further details will concern the history of construction techniques, with particular regard to the ...
This article describes work and experience in the computer documentation of restoration work. The... more This article describes work and experience in the computer documentation of restoration work. The final aim of this project is to develop a new standardized methodology for manipulating data relating to the process of conservation and restoration. The authors are members of an ICCROM/ICR special research group on graphic documentation and a NORMAL Commission sub-group for graphic documentation of mural paintings. The concept of standards is paramount. Standardization, information transfer and communication are stressed, especially in the area of training. Indeed, this approach unifies the description of documentation of restoration treatments performed by professional restorers and trainees from the two partner institutions. In view of the escalating use of computers in the field of conservation, it seems that little has been done to evaluate their impact and appropriate fields of application: the new converts have photographed themselves sitting at the computer keyboard much as our...
Mortars from the walls of S. Maria di Cerrate Abbey (South Italy) ranging in age from the 12th to... more Mortars from the walls of S. Maria di Cerrate Abbey (South Italy) ranging in age from the 12th to the 20th century, were studied using a multidisciplinary approach designed to produce a guideline of investigation that can be applied to the knowledge and preservation of archaeological sites. The analyses highlighted the differences between medieval and post-medieval mortars; the former showed a dominantly carbonate aggregate, the latter a mostly siliciclastic aggregate. Among these, mortars dated from the XVI–XVII centuries display a mixed siliciclastic-carbonate binder whereas mortars from the XIX–XX centuries exhibit a predominantly carbonate binder with the Al-silicates mostly gathered as lumps.
This research project on the graphic documentation used in restoration grew out of a collaboratio... more This research project on the graphic documentation used in restoration grew out of a collaboration between ICCROM and the ICR. Among the objectives of the group were the formation of a documentation technique and the development of a useful, light and user friendly information instrument for the registration of graphic and documentary data. The principle goal was to reach a situation in which the restorer/conservator or the draughtsman could record, in a definitive way and directly on site, all the data related to the mapping techniques, distinct for each category and class, which characterise the graphic documentation of a restoration operation, without having to give up their personal happiness. This should be accomplished without altering in a drastic way the intrinsic complexity of the software used, while avoiding any prior hyper-specialist technical preparation. It is on site that it is necessary, to maximise tbc enormous potential offered by data elaboration systems that can ...
This article describes work and experience in the computer documentation of restoration work. The... more This article describes work and experience in the computer documentation of restoration work. The final aim of this project is to develop a new standardized methodology for manipulating data relating to the process of conservation and restoration. The authors were members of an ICCROM/ICR special research group on graphic documentation and a NORMAL Commission sub-group for graphic documentation of mural paintings. The concept of standards is paramount. Standardization, information transfer and communication are stressed, especially in the area of training. Indeed, this approach unifies the description of documentation of restoration treatments performed by professional restorers and trainees from the two partner institutions. In view of the escalating use of computers in the field of conservation, it seems that little has been done to evaluate their impact and appropriate fields of application: the new converts have photographed themselves sitting at the computer keyboard much as our forebears were depicted with a prize buck. The attempt here is to plan for practical use by suggesting a method and specific operating techniques. Our aim is to supply user-friendly procedures (which help run more complex applications) to those who, with good reason, are neither expert in graphics software nor interested in becoming so. The quality of a computer system is not measured by spectacular rainbow effects but by the quantity of information available, its quality and retrievability. The diverse operating environments are defined - the open system and the closed system - analogous to the restoration worksite and the laboratory for chemico-physical analyses. On the one hand is the restoration worksite, the open system, where data are obtained; on the other is the laboratory, or closed system, where one collects and studies the data. What, then, is represented, and how? What is the structure of the information in relation to the model of the information and the model of the object? How should the graphic material be imported into the computer? How can one navigate through the various types of information while protecting the specific nature of each type? Information on hardware is scarce; there is not enough on software; there is a great deal on abstruse theoretical implications. In essence, hardware should allow software to run - no more than that. The principal idea is that the organization of information is the value-added factor produced in the process of registering data in a computer. These notes also describe some attempts at personalizing menus (icons, hatching, etc.) in AutoCAD (and other related software) and multimedia experiments using ToolsBook on a cycle of mural paintings in the Roman Forum.
Between 1912 and 1916 the Superintendence of Monuments, under the direction of Antonio Muñoz, car... more Between 1912 and 1916 the Superintendence of Monuments, under the direction of Antonio Muñoz, carried out restoration work on the Cosmatesque cloister of Ss. Quattro Coronati, which dates back to the thirteenth century. The objective was that of returning the cloister as closely as possible to its original third century state, and yet still maintain the principal structural modifications that transformed it in the sixteenth century with the addition of an upper floor loggia. In order to achieve this, the small arches of the cloister that had collapsed in the past were rebuilt, and the pictorial decoration on the undersides of the arches was completely reproduced based on two surviving strips of original fresco. The intonaco surfaces belonging to the transformation phases of the modern era were replaced and the present colour scheme was applied to all the surfaces, and then covered by a light wash to tone down the contrast between modern and ancient. It was not Muñoz's intention to adopt a dogmatic approach to restoration, but rather to create a new architectural balance that adhered to the principles of restoration being formulated in those years. This is, for example, evident from the treatment of the perimeter walls, making them a dark colour that was not original, but justified by the necessity of enhancing the decorative archaeological fragments positioned on them. The restoration works carried out by Muñoz still today represent the last works capable of providing an integral and organic vision of the cloister, as well as constituting an important document for the history and theory of restoration. Consequently, the restoration in progress since 2002, proposes to maintain and enhance the cloister in the general appearance bestowed on it by Muñoz's intervention, treating the changes made during the recently concluded century with due respect and consideration. Cloister Restoration Roma Tra il 1912 e il 1916 Antonio Muñoz, prima in qualità di ispettore della Regia Soprintendenza per la Conservazione dei Monumenti delle provincie di Roma e Aquila, poi di sovrintendente, restaurò il chiostro cosmatesco del complesso dei Ss. Quattro Coronati conferendogli quell'immagine riferita in gran parte all'originaria facies duecentesca, che tuttora lo caratterizza. Il chiostro era stato costruito con una pianta rettangolare formata da quattro corridori ad un solo piano coperto a tetto, che una parete traforata da arcatelle su colonnine binate e pilastri di marmo separava da un giardino centrale; l'attacco con il tetto era impreziosito da una cornice a denti di sega e mensole marmoree alternate a formelle di mosaico cosmatesco. Quando Muñoz iniziò i lavori di restauro, il chiostro si presentava sopraelevato da un piano loggiato sostenuto da volte a botte e la uniforme successione delle arcatelle era stata sostituita da un diverso ritmo di ampie arcate su pilastri ottenuti murando a intervalli lo spazio tra due coppie di colonnine, trasformazioni queste risalenti al tardo XVI secolo. Usi degradanti, inoltre, nel corso del XVIII secolo avevano determinato la realizzazione di una serie di ambienti negli ambulacri del piano terra ottenuti con tramezzi posticci e la tamponatura parziale delle arcatelle. I lavori di restauro di Muñoz si concretizzarono in un ripristino ragionato, per quanto storicamente possibile, della configurazione medievale del chiostro. I corridori furono liberati dalle tramezzature e il ritmo delle arcatelle su colonnine binate fu ricostituito: alcuni elementi lapidei furono ritrovati intatti all'interno dei pilastri, quelli mancanti furono integrati con elementi simili di nuova fattura. Le decorazioni ad intonaco dipinto dei sottarchi furono realizzate a imitazione di due frammenti rinvenuti in situ; gli intonaci e la tinteggiatura di epoca moderna delle pareti e delle volte furono
This research project on the graphic documentation used in restoration grew out of a collaboratio... more This research project on the graphic documentation used in restoration grew out of a collaboration between ICCROM and the ICR. Among the objectives of the group were the formation of a documentation technique and the development of a useful, light and user friendly information instrument for the registration of graphic and documentary data. The principle goal was to reach a situation in which the restorer/conservator or the draughtsman could record, in a definitive way and directly on site, all the data related to the mapping techniques, distinct for each category and class, which characterise the graphic documentation of a restoration operation, without having to give up their personal happiness. This should be accomplished without altering in a drastic way the intrinsic complexity of the software used, while avoiding any prior hyper-specialist technical preparation. It is on site that it is necessary, to maximise tbc enormous potential offered by data elaboration systems that can ...
The study concerns Italian masonries and focuses on historical, medieval and modern mortars. With... more The study concerns Italian masonries and focuses on historical, medieval and modern mortars. Within the context of the different regions under examination (Piedmont, the Po Valley area, Latium, the Umbria-Marche region, and Apulia and Sardinia) a wide variety of materials with different chemical-physical characteristics were used in masonry work, determining different structural behaviors. The project aims at improving our knowledge about historical mortars in order to further the conservation of Italian built heritage, especially in zones with seismic risk. To achieve these results, we took samples and carried out analyses to investigate the different mechanical and cohesion properties that influence the vulnerability of ruined or collapsed structures. This information has enabled advances to be made in the prevention, maintenance, protection and preservation of historical buildings. Further details will concern the history of construction techniques, with particular regard to the ...
This article describes work and experience in the computer documentation of restoration work. The... more This article describes work and experience in the computer documentation of restoration work. The final aim of this project is to develop a new standardized methodology for manipulating data relating to the process of conservation and restoration. The authors are members of an ICCROM/ICR special research group on graphic documentation and a NORMAL Commission sub-group for graphic documentation of mural paintings. The concept of standards is paramount. Standardization, information transfer and communication are stressed, especially in the area of training. Indeed, this approach unifies the description of documentation of restoration treatments performed by professional restorers and trainees from the two partner institutions. In view of the escalating use of computers in the field of conservation, it seems that little has been done to evaluate their impact and appropriate fields of application: the new converts have photographed themselves sitting at the computer keyboard much as our...
Mortars from the walls of S. Maria di Cerrate Abbey (South Italy) ranging in age from the 12th to... more Mortars from the walls of S. Maria di Cerrate Abbey (South Italy) ranging in age from the 12th to the 20th century, were studied using a multidisciplinary approach designed to produce a guideline of investigation that can be applied to the knowledge and preservation of archaeological sites. The analyses highlighted the differences between medieval and post-medieval mortars; the former showed a dominantly carbonate aggregate, the latter a mostly siliciclastic aggregate. Among these, mortars dated from the XVI–XVII centuries display a mixed siliciclastic-carbonate binder whereas mortars from the XIX–XX centuries exhibit a predominantly carbonate binder with the Al-silicates mostly gathered as lumps.
This research project on the graphic documentation used in restoration grew out of a collaboratio... more This research project on the graphic documentation used in restoration grew out of a collaboration between ICCROM and the ICR. Among the objectives of the group were the formation of a documentation technique and the development of a useful, light and user friendly information instrument for the registration of graphic and documentary data. The principle goal was to reach a situation in which the restorer/conservator or the draughtsman could record, in a definitive way and directly on site, all the data related to the mapping techniques, distinct for each category and class, which characterise the graphic documentation of a restoration operation, without having to give up their personal happiness. This should be accomplished without altering in a drastic way the intrinsic complexity of the software used, while avoiding any prior hyper-specialist technical preparation. It is on site that it is necessary, to maximise tbc enormous potential offered by data elaboration systems that can ...
This article describes work and experience in the computer documentation of restoration work. The... more This article describes work and experience in the computer documentation of restoration work. The final aim of this project is to develop a new standardized methodology for manipulating data relating to the process of conservation and restoration. The authors were members of an ICCROM/ICR special research group on graphic documentation and a NORMAL Commission sub-group for graphic documentation of mural paintings. The concept of standards is paramount. Standardization, information transfer and communication are stressed, especially in the area of training. Indeed, this approach unifies the description of documentation of restoration treatments performed by professional restorers and trainees from the two partner institutions. In view of the escalating use of computers in the field of conservation, it seems that little has been done to evaluate their impact and appropriate fields of application: the new converts have photographed themselves sitting at the computer keyboard much as our forebears were depicted with a prize buck. The attempt here is to plan for practical use by suggesting a method and specific operating techniques. Our aim is to supply user-friendly procedures (which help run more complex applications) to those who, with good reason, are neither expert in graphics software nor interested in becoming so. The quality of a computer system is not measured by spectacular rainbow effects but by the quantity of information available, its quality and retrievability. The diverse operating environments are defined - the open system and the closed system - analogous to the restoration worksite and the laboratory for chemico-physical analyses. On the one hand is the restoration worksite, the open system, where data are obtained; on the other is the laboratory, or closed system, where one collects and studies the data. What, then, is represented, and how? What is the structure of the information in relation to the model of the information and the model of the object? How should the graphic material be imported into the computer? How can one navigate through the various types of information while protecting the specific nature of each type? Information on hardware is scarce; there is not enough on software; there is a great deal on abstruse theoretical implications. In essence, hardware should allow software to run - no more than that. The principal idea is that the organization of information is the value-added factor produced in the process of registering data in a computer. These notes also describe some attempts at personalizing menus (icons, hatching, etc.) in AutoCAD (and other related software) and multimedia experiments using ToolsBook on a cycle of mural paintings in the Roman Forum.
Between 1912 and 1916 the Superintendence of Monuments, under the direction of Antonio Muñoz, car... more Between 1912 and 1916 the Superintendence of Monuments, under the direction of Antonio Muñoz, carried out restoration work on the Cosmatesque cloister of Ss. Quattro Coronati, which dates back to the thirteenth century. The objective was that of returning the cloister as closely as possible to its original third century state, and yet still maintain the principal structural modifications that transformed it in the sixteenth century with the addition of an upper floor loggia. In order to achieve this, the small arches of the cloister that had collapsed in the past were rebuilt, and the pictorial decoration on the undersides of the arches was completely reproduced based on two surviving strips of original fresco. The intonaco surfaces belonging to the transformation phases of the modern era were replaced and the present colour scheme was applied to all the surfaces, and then covered by a light wash to tone down the contrast between modern and ancient. It was not Muñoz's intention to adopt a dogmatic approach to restoration, but rather to create a new architectural balance that adhered to the principles of restoration being formulated in those years. This is, for example, evident from the treatment of the perimeter walls, making them a dark colour that was not original, but justified by the necessity of enhancing the decorative archaeological fragments positioned on them. The restoration works carried out by Muñoz still today represent the last works capable of providing an integral and organic vision of the cloister, as well as constituting an important document for the history and theory of restoration. Consequently, the restoration in progress since 2002, proposes to maintain and enhance the cloister in the general appearance bestowed on it by Muñoz's intervention, treating the changes made during the recently concluded century with due respect and consideration. Cloister Restoration Roma Tra il 1912 e il 1916 Antonio Muñoz, prima in qualità di ispettore della Regia Soprintendenza per la Conservazione dei Monumenti delle provincie di Roma e Aquila, poi di sovrintendente, restaurò il chiostro cosmatesco del complesso dei Ss. Quattro Coronati conferendogli quell'immagine riferita in gran parte all'originaria facies duecentesca, che tuttora lo caratterizza. Il chiostro era stato costruito con una pianta rettangolare formata da quattro corridori ad un solo piano coperto a tetto, che una parete traforata da arcatelle su colonnine binate e pilastri di marmo separava da un giardino centrale; l'attacco con il tetto era impreziosito da una cornice a denti di sega e mensole marmoree alternate a formelle di mosaico cosmatesco. Quando Muñoz iniziò i lavori di restauro, il chiostro si presentava sopraelevato da un piano loggiato sostenuto da volte a botte e la uniforme successione delle arcatelle era stata sostituita da un diverso ritmo di ampie arcate su pilastri ottenuti murando a intervalli lo spazio tra due coppie di colonnine, trasformazioni queste risalenti al tardo XVI secolo. Usi degradanti, inoltre, nel corso del XVIII secolo avevano determinato la realizzazione di una serie di ambienti negli ambulacri del piano terra ottenuti con tramezzi posticci e la tamponatura parziale delle arcatelle. I lavori di restauro di Muñoz si concretizzarono in un ripristino ragionato, per quanto storicamente possibile, della configurazione medievale del chiostro. I corridori furono liberati dalle tramezzature e il ritmo delle arcatelle su colonnine binate fu ricostituito: alcuni elementi lapidei furono ritrovati intatti all'interno dei pilastri, quelli mancanti furono integrati con elementi simili di nuova fattura. Le decorazioni ad intonaco dipinto dei sottarchi furono realizzate a imitazione di due frammenti rinvenuti in situ; gli intonaci e la tinteggiatura di epoca moderna delle pareti e delle volte furono
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