Integrated knowledge on a three-dimensional basis: The foundation of the conservation project and possible implications in the bim area the case of the portrait room of palazzo borea d'olmo in sanremo

This involved a sort of preventive diagnostics based on the historical knowledge of the building, on the construction techniques and on the compositional style, on the other hand on diagnostic imaging using photographic techniques developed from the early 1800s. The preliminary cognitive approach, the stylistic identification, the classification of method, the historical reading, the critical analysis of the historical and compositional genesis of the building, the careful reading of the pathogenesis in progress, mark, from the mid-800 in then, the evolution of the concept of restoration that will take shape from time to time from what was "before" and only secondarily from what "is now". This perhaps unconscious diagnostic reading of the artifact (first artistic, then monumental and finally as a cultural testimony) has, in fact, involved generations of restorers painting the landscape of the restoration sometimes in different way, with results that well we know. In fact, almost never the fathers of restoration (or anti-restoration) explicitly touch the issues of preventive diagnosis, but certainly base their theories and their "restoration" on the observation of the factory, on the knowledge of construction techniques and historical period of belonging.