"It is in that golden stain of time that we are to look for the real light, and colour, and preciousness of architecture" (Ruskin, 1849). The material consistency of architecture, marked by the time and man’s activity, becomes more important in John Ruskin; he tries, in his drawings and sketches, a faithful reproduction "of each piece of stone and each stain” (Ruskin, 1845). From hard research of antirestoration movement father’s to the most recently concept "it restores only the matter of the work of art" (Brandi, 1963), it is evident that, in the "restoration", the representation of building’s materials in their real state of conservation becomes the necessary requirement to define a careful, durable and respectful conservation project. Therefore, the material’s survey and the alteration and decay processes are not only an instrument of knowledge but also the base for project choices and yard execution. How building’s materials and decay were represented in the past and how we can describe them today? We would like to learn changes, to get our look used to go beyond the visible appearance of a building and to understand its real consistency? This work analyzes the main stages of this path, starting from the ideal representation of the real carried out by Viollet-le-Duc to John Ruskin’s attempt to record every stone and its decay. A journey that, through the time, leads to many different outcomes, with technique’s improvement and computer tools available. From the “pictorial” survey, a technique of representation which recalls the precious Ruskin’s daguerreotypes, until the recent adoption of G.I.S. as a tool for managing the whole "restoration" project, this work shows a brief history of the decay representation of existing buildings, outlining limits and potentialities.
Rappresentare materia e degrado: il disegno per il progetto di conservazione degli edifici storici
GABAGLIO, ROSSANA;GIAMBRUNO, MARIA CRISTINA;SIMONELLI, RAFFAELLA
2010-01-01
Abstract
"It is in that golden stain of time that we are to look for the real light, and colour, and preciousness of architecture" (Ruskin, 1849). The material consistency of architecture, marked by the time and man’s activity, becomes more important in John Ruskin; he tries, in his drawings and sketches, a faithful reproduction "of each piece of stone and each stain” (Ruskin, 1845). From hard research of antirestoration movement father’s to the most recently concept "it restores only the matter of the work of art" (Brandi, 1963), it is evident that, in the "restoration", the representation of building’s materials in their real state of conservation becomes the necessary requirement to define a careful, durable and respectful conservation project. Therefore, the material’s survey and the alteration and decay processes are not only an instrument of knowledge but also the base for project choices and yard execution. How building’s materials and decay were represented in the past and how we can describe them today? We would like to learn changes, to get our look used to go beyond the visible appearance of a building and to understand its real consistency? This work analyzes the main stages of this path, starting from the ideal representation of the real carried out by Viollet-le-Duc to John Ruskin’s attempt to record every stone and its decay. A journey that, through the time, leads to many different outcomes, with technique’s improvement and computer tools available. From the “pictorial” survey, a technique of representation which recalls the precious Ruskin’s daguerreotypes, until the recent adoption of G.I.S. as a tool for managing the whole "restoration" project, this work shows a brief history of the decay representation of existing buildings, outlining limits and potentialities.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
