New on old: to what exend should interventions be done on surfaces? Maintenance works and restoration on an existing project

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(2) 34° convegno internazionale Scienza e Beni Culturali Collana Scienza e Beni Culturali Volume.2018 ISSN 2039-9790 ISBN 978-88-95409-22-1. INTERVENIRE SULLE SUPERFICI DELL’ARCHITETTURA TRA BILANCI E PROSPETTIVE. Bressanone, 3 - 6 luglio 2018. In questo volume vengono pubblicati i contributi estesi (Full-paper) che sono stati sottoposti a peer review da parte di referees qualificati.. ACTING ON ARCHITECTURAL SURFACE BETWEEN BUDGETS AND PERSPECTIVES. Bressanone, 3 - 6 july 2018. This volume includes extensive contributions (Full-paper) that have been subject to peer review by qualified referees.. Tutti i diritti riservati 2018, EDIZIONE ARCADIA RICERCHE Srl. Parco Scientifico Tecnologico di Venezia Via delle Industrie 25/11 – Marghera Venezia Tel.:041-5093048 E-mail: arcadia@vegapark.ve.it www.arcadiaricerche.eu È vietata la riproduzione, anche parziale o ad uso interno o didattico, con qualsiasi mezzo, non autorizzata. Le riproduzioni a uso differente da quello personale potranno avvenire, per un numero di pagine non superiore al 15% del presente volume, solo a seguito di specifica autorizzazione rilasciata dall'editore. Finito di stampare nel mese di giugno 2018 presso Imoco Industrie Grafiche - Treviso - Italy.

(3) SCIENZA E BENI CULTURALI. INTERVENIRE SULLE SUPERFICI DELL’ARCHITETTURA TRA BILANCI E PROSPETTIVE. 34° convegno di studi internazionale Bressanone 3 – 6 luglio 2018 a cura di Guido Biscontin e Guido Driussi.

(4) INDICE. SUPERFICI ARCHITETTONICHE E PULITURE ECCESSIVE. S. Gizzi .......................................................................................................1 CONTRO IL COMUNE SENSO DEL DECORO: INTERVENTI SULLE SUPERFICI DELL'EDILIZIA STORICA E MUTAMENTI FISICI E DI IMMAGINE. A. Squassina ................................................................................................13 LA CONSERVAZIONE DELLE FACCIATE NEI CENTRI STORICI: PERCHÈ, COME E PER CHI. R. Moioli .....................................................................................................23 CARATTERIZZAZIONE MECCANICA E TERMO-FISICA DI INTONACI TRADIZIONALI VENEZIANI. I. Aldreghetti, G. Berto, P. Bison, G. Boscato, M. De Bei, L. Massaria, F. Peron, L. Scappin ....................................................................33 LA TUTELA DELLA SUPERFICI ARCHITETTONICHE DEL PAESAGGIO STORICO ITALIANO. OSSERVAZIONI SUL RUOLO DELLE NORMATIVE DI SETTORE DOPO IL D.P.R. 31 DEL 2017 F. Trovò .......................................................................................................43 SURFACE PERCEPTION AND INTERPRETATION IN ARCHITECTURAL CONSERVATION. E. Macchioni ...............................................................................................55 IL RESTAURO NELL’EPOCA DELL’APPARENZA: QUANDO INTERVENIRE DIVENTA RINNOVARE. C. Bartolomucci...........................................................................................65 INTERVENIRE SULLE SUPERFICI TRA CONSERVAZIONE E LEGGIBILITÀ DELL’IMMAGINE ARCHITETTONICA: IL CASO DELLE PROCURATIE NUOVE A VENEZIA. I. Cavaggioni, A. Turri................................................................................75 ORIENTAMENTI, TENDENZE, PROSPETTIVE. L’INTERVENTO SULLE SUPERFICI DEL PATRIMONIO ARCHITETTONICO DEL NOVECENTO. G. Favaretto, S. Massari, M. Pretelli, ..........................................................85 FROM TRADITION TO TECHNOLOGICAL INNOVATION: METHODOLOGIES, MORTAR DESIGN AND NANOTECHNOLOGIES IN THE RESTORATION OF S. MARIA DI SPINERANO (TURIN) L. Accurti, A. Giacomelli A.M. Gillio, S. Bocchio Vega, C.M. Tibaldeschi. ........................................................................................97 IL RESTAURO DELLE SUPERFICI DI PALAZZO MADAMA A TORINO: METODI ED ESITI. F. Fratini, M. Mattone, S. Rescic ................................................................109.

(5) …CON LA CURA DOVUTA. IL NEGOZIO GAVINA DI CARLO SCARPA A BOLOGNA: SUPERFICI, MATERIALI, RESTAURI. A. Ugolini G.M. Costantini ........................................................................ 121 LEARNING FROM LOUIS KAHN’S SALK INSTITUTE PRESERVATION PROGRAM? SPUNTI PER LA CONSERVAZIONE DELLE SUPERFICI LIGNEE DEL XX SECOLO. S. Di Resta .................................................................................................. 133 LA MAPPA DEI GRAFFITI A MESSINA DISEGNATA DA GINO COPPEDÈ. RESTAURI E DE-RESTAURI NEL RISPETTO DI UNA CIFRA PECULIARE DELL’ARCHITETTO. A. Cernaro, O. Fiandaca ............................................................................ 143 PRESERVATION AND RESTORATION. THE CONSTRUCTION SITE OF THE CASTLE OF CASTELLALTO IN TELVE, TRENTINO. G. Gentilini ................................................................................................. 153 LA CAVALLERIZZA DEL PALAZZO DUCALE DI MANTOVA: UN BILANCIO DEGLI INTERVENTI SULLE SUPERFICI. A. Adami, S. Della Torre, L. Fregonese, A. Mazzeri, B. Scala, ..................................................................................................... 165 SUSTAINABLE SILICA SOL-GEL BASED CLEANING SYSTEMS FOR GRAFFITI REMOVAL. M. Mussolino, F. Aricò, E. Griguol, P. Tundo ........................................... 183 STUDIO DELL’EFFICACIA DI CONSOLIDANTI A BASE DI DIAMMONIO FOSFATO PER LA CONSERVAZIONE DI DECORAZIONI E FINITURE A BASE DI LEGANTI IDRAULICI E CEMENTIZI.. L. Falchi, E. Balliana, L. Zecchin, E. Zendri.............................................. 193 NEW GREEN POLYMERS FOR APPLICATIONS IN CLEANING GRAFFITI VANDALISM ON CULTURAL HERITAGE STONES. L. Pietrobon, A. Vavasori, C. Tortato, L. Ronchin..................................... 203 LE SUPERFICI DELL'ARCHITETTURA: IL CASO DELLA BASILICA DI SANTA CROCE DI LECCE E L’UTILIZZO DELL'OSSALATO E DEL FOSFATO DI AMMONIO. CONFRONTI CON ALTRI ANALOGHI MONUMENTI SIMILMENTE TRATTATI. G. Cacudi, A. Di Marzo, M. Matteini, D. Melica, F. Vescera ................... 213 PHOSPHATE-BASED TREATEMENT FOR STONE CONSOLIDATION IN TEMPERATE AND COOL CLIMATIC CONDITIONS. A CASE STUDY OF RÖDBO GAMLA KYRKOGÅRD HISTORIC SITE IN SWEDEN. S. Holickova, A. Defus ............................................................................... 225.

(6) TRATTAMENTI DE-SOLFATANTI UNA QUESTIONE SEMPRE APERTA. IL CANTIERE PILOTA PER IL RECUPERO DEI DIPINTI DI GINO GRIMALDI. D. Pittaluga,P. Bensi, M:L: Carlini, F: Fratini, D. Magrini, A. Mairani, M. Matteini, S. Vassallo, S: Vicini ..........................................237 LE SUPERFICI ORIZZONTALI E L’ACCESSIBILITÀ DEI BENI CULTURALI. MATERIALI E TECNICHE PER LA REALIZZAZIONE DI PERCORSI INCLUSIVI IN CONTESTI STORICI. C. Conti, L. Petriccione ...............................................................................249 VALORIZZARE ATTRAVERSO LA SUPERFICIE TRA CREATIVITÀ E CONSERVAZIONE. S. Massari, E. Pozzi, L. Signorelli...............................................................259 MORTARS AND PLASTERS MIXES FOR ANCIENT BUILDINGS AND THEIR MECHANICAL CHARACTERISTICS. FIRST RESULTS OF A RESEARCH PROJECT (IN PROGRESS). S. Fasana, A. Grazzini, M. Zerbinatti ..........................................................271 MIGLIORAMENTO ANTISISMICO E SUPERFICI ARCHITETTONICHE: UN COMPLESSO RAPPORTO FRA SICUREZZA E CONSERVAZIONE. A. Donatelli .................................................................................................283 POST-SEISMIC RECONSTRUCTION AND PRESERVATION OF ARCHITECTURAL SURFACES. THE GUIDELINES FOR BUILDING FACADES AND EXTERNAL FINISHES IN THE RECONSTRUCTION PLAN OF FOSSA (AQ).. M.R. Vitale ..................................................................................................295 PROBLEMATICHE E INDIRIZZI OPERATIVI PER LA CONSERVAZIONE DELLE FINITURE ANTICHE DEL CENTRO STORICO DELL’AQUILA. A. Placidi .....................................................................................................307 LA BASILICA DI SANT’ANDREA APOSTOLO A MANTOVA: RESTAURO DELLE SUPERFICI E MIGLIORAMENTO FACCIATA PRINCIPALE E DEL PRONAO.. STRUTTURALE. DELLA. D. Lattanzi, E. Romoli, L. Sala, A. Moretti, E. Boglione ...........................317 ORIZZONTI DI METODO PER L’INTEGRAZIONE DI SISTEMI FOTOVOLTAICI SUL PATRIMONIO ARCHITETTONICO. A. Giuliani, M. Rossetti...............................................................................329 ENERGY CONSERVATION IN HISTORICAL BUILDINGS. A METHODOLOGY FOCUSED ON BUILDING OPERATION AND USERS’ ENGAGEMENT. G. Spigliantini, V. Fabi, M. Schweiker, C. Aghemo ...................................339.

(7) LA TERMOGRAFIA COME STRUMENTO DI INDAGINE CONOSCITIVA DELLE SUPERFICI ARCHITETTONICHE. INTERVENTI E PROSPETTIVE DI RICERCA. C. Crova F. Miraglia ................................................................................... 351 CONCRETE SURFACES CONSERVATION: REFLECTIONS ON THE MAIN OPEN CHALLENGES AND PROPOSAL FOR A NEW ILLUSTRATED GLOSSARY OF DETERIORATION PHENOMENA.. S. Landi ...................................................................................................... 361 VILLA MARINA A SORI: LA CONSERVAZIONE E IL RESTAURO DELLE SUPERFICI TRA CONOSCENZA E INNOVAZIONE.DALLE INDAGINI STRUMENTALI SUGLI INTONACI ALL’ANALISI CROMATICA. G. Stagno, L. Blanc, L. Secondini, A. Tesfay, R. Forte, R. Morbiducci ............................................................................................ 371 SISTEMI DI MONITORAGGIO E CONTROLLO, APPROFONDIMENTI DIAGNOSTICI E INTERVENTI DI MANUTENZIONE PER LA CONSERVAZIONE PREVENTIVA DELLE SUPERFICI DECORATE DELLA CAPPELLA DI S. UBERTO A VENARIA REALE.. L. Appolonia, M.C. Canepa, M.Cardinali, M.Girotto, A. Piccirillo, V.Scarano, V.Tasso, M. Volinia ........................................... 381 NUOVI DATABASE PER IL PIANO DEL COLORE DI SIENA: INTONACI DECORATI E TROMPE L'OEIL DI PORTE E FINESTRE. M. Gennari, E. Matteuzzi ........................................................................... 393 FORMAZIONE DI TERZO LIVELLO E OPERATORI LOCALI: UN’ESPERIENZA SUGLI INTONACI DEL CENTRO STORICO DI SANREMO. G. Franco, D. Pittaluga, P. Bensi, A. Rava, C. Terzi.................................. 405 CONSERVAZIONE DELLE SUPERFICI ARCHITETTONICHE DEL XX SECOLO. INTERVENTI RECENTI DI ÁLVARO SIZA A PORTO. T. Cunha Ferreira, E. Fantini ...................................................................... 415 IMMAGINE. IDENTITÀ. L’ESTETICA DELL’ARTE CONTEMPORANEA NELLA CONSERVAZIONE DELLE SUPERFICI. E. Sorbo, M. Chiuso ................................................................................... 425 LA SUPERFICIE ARCHITETTONICA NELL’ARTE CONTEMPORANEA: ARCHITETTURE COME TELE. G. Danesi .................................................................................................... 435 LE SUPERFICI STORICHE NELLA CITTÀ CONTEMPORANEA: IL CASO DEL RESTAURO DELLE FACCIATE DEL PALAZZO DELLE SCINTILLE (EX PADIGLIONE 3) NEL QUARTIERE STORICO FIERA DI MILANO. N. Berlucchi, A. Artioli, F. Mainardi, F. Cogliati ...................................... 445.

(8) SUPERFICI VETRATE E LIMITI DELLA CONSERVAZIONE NELLE ARCHITETTURE DEL MODERNO. R. Maspoli ...................................................................................................455 RESTAURI DEI DIPINTI MURALI IN VENETO DOPO LA SECONDA GUERRA MONDIALE, DAGLI ANNI CINQUANTA AGLI ANNI OTTANTA. P. Bensi, A. D’Ottavi, M. Serafini ..............................................................467 SUPERFICI DIPINTE DI TRAVETTI E TAVOLE DA SOLAIO PROVENIENTI DA PALAZZO GRILLO (GENOVA): UN’ESPERIENZA DIDATTICA TRA INDAGINI CONOSCITIVE E PROVE DI INTERVENTO. A. Boato, G. Arena, M. Rocca, S. Vassallo ................................................479 SOFFITTI LIGNEI DIPINTI: UNA PRIMA RICOGNIZIONE SU SCALA NAZIONALE. A. Boato, G. Arena, E. Ceccaroni, G. Colotto, L. Davite, F. Ferrari, G. Nani, S. Patrizi, M.S. Pirisino, L. Puglisi ..............................487 I MURI DIPINTI DI DOZZA TRA STRATEGIE DI INTERVENTO E PROGETTO GLOBALE DI MANUTENZIONE. L. Vanghi, S. Penoni, A. Giuffredi ..............................................................497 A (OVVIAMENTE CONGETTURALI) “PROSPETTIVE”, CENNI PROFESSIONALI E PRODUTTIVE, PIÙ PROBABILI ANCHE PER I PROGETTI DELLE VARIE SUPERFICIE DELL’ARCHITETTURA, IN UN FUTURO NON PIÙ LONTANO, ANZI DIVENUTO ORMAI ATTUALE. V. Borasi......................................................................................................509 HYDRA R.O. CO2: UNA STRUMENTAZIONE INNOVATIVA PER LA PULITURA CON ACQUA NEBULIZZATA. S. Borghini, S. Di Silvestre .........................................................................509 NOTE PER LA CONSERVAZIONE E LA MANUTENZIONE DELLE SUPERFICI STORICHE NELL’EDILIZIA CALABRESE. LA VIA PADOLISI NEL CENTRO ANTICO DI COSENZA. B. Canonaco ................................................................................................529 IN ASSENZA DI METODO: IL RESTAURO DELLA BASILICA DI SAN GIOVANNI A FINALE LIGURE. A. Canziani, A. Decri ..................................................................................539 IL TRATTAMENTO DELLE SUPERFICI DELLE HEART WALLS DI KYOTO: TECNOLOGIE COSTRUTTIVE, STILI E DECORAZIONI. F. Ribera, P. Cucco......................................................................................551 ACCORDARE LE SUPERFICI ARCHITETTONICHE RESTAURATE AL CONTESTO: IL CASO DI PALAZZO CAMAJORI A CASTIGLIONE DELLA PESCAIA (GR). M. Eichberg .................................................................................................561.

(9) RESTORATION AND RE-USE OF COLONNA-BARBERINI PALACE IN PALESTRINA, ROME. R. Iacono, A. Fiasco, F. Pinci ..................................................................... 561 LA CHIESA DI SANTA MARIA ANNUNCIATA ALL’OSPEDALE SAN CARLO BORROMEO A MILANO: INTERVENTI CONSERVATIVI SULLE SUPERFICI DI UN’OPERA DI GIO PONTI E SULL’ANNUNCIAZIONE DELLA FACCIATA SETTENTRIONALE.. R. Baratti Rava, M. Cappellina, M. Cecchin, D. Lattanzi, M. Mapelli .................................................................................................. 581 IL RECUPERO DELLA PAVIMENTAZIONE NELLA CONCATTEDRALE DI TODI. RISOLUZIONE PROBLEMI DI CONDENSA. A. Mannaioli, M. Pucci, P. Sammartino ..................................................... 591 LA BASILICA DEI SS. GIOVANNI E PAOLO A VENEZIA: INTERVENTI OTTOCENTESCHI SULLE SUPERFICI ARCHITETTONICHE PER UNA NUOVA IMMAGINE DEL MONUMENTO VENEZIANO. V. Peron ...................................................................................................... 603 TECNICA ESECUTIVA E RESTAURO DI SUPERFICI “LUSTRE” ED AFFINI. F. Amendolagine, L. Petriccione ................................................................ 613 CONTRO L’ADOZIONE DEL CAPPOTTO ESTERNO NEGLI INTERVENTI SULL’ESISTENTE. IL POLICLINICO DI PADOVA DI GIULIO BRUNETTA COME CASO DI STUDIO. E. Pietrogrande, A. Dalla Caneva, C. Rampazzo ....................................... 623 LE FACCIATE DEL QUARTIERE DI PICCAPIETRA A GENOVA: TUTELA E VALORIZZAZIONE DI UN PATRIMONIO DEL SECONDO NOVECENTO. C. Repetti .................................................................................................... 633 LE SUPERFICI MURARIE A VISTA: RESTAURI A PALERMO E A RODI (FINE SEC. XIX-PRIMA METÀ XX). R. Scaduto................................................................................................... 645 LA CUPOLA DELLA CHIESA DI N. S. DELLA CONSOLAZIONE E S. VINCENZO A GENOVA. METODOLOGIE SPERIMENTALI PER LA CONOSCENZA E LA CONSERVAZIONE DELLE SUPERFICI DIPINTE. G. Stagno, L. Secondini, A. Tesfay, G. Varese .......................................... 655 FAR VECCHIO IL NUOVO” E “NUOVO IL VECCHIO”: VERITÀ E FINZIONE NEL 'COLORITO' DELLE SUPERFICI IN PIETRA. A. Turri ....................................................................................................... 663 DOPO IL TERREMOTO. RISULTATI E QUESTIONI APERTE NEL RESTAURO DELLE SUPERFICI ARCHITETTONICHE. C. Verazzo, C. Varagnoli ........................................................................... 675.

(10) TREVISO URBS PICTA: UN PROGETTO INTEGRATO DI RICERCA E CATALOGAZIONE PER LA CONOSCENZA DELLE FACCIATE DECORATE PROPEDEUTICA ALLA VALORIZZAZIONE E SALVAGUARDIA. R. Riscica, C. Voltarel, P. Boschiero ..........................................................685 SCRITTE SUI MURI: I GRAFFITI ANTICHI TRA INDIFFERENZA E CONSIDERAZIONE. D. Oreni, G. Pertot, V. Pracchi, R. Valente .................................................697 BUNKER TEDESCHI DELLA SECONDA GUERRA MONDIALE. ESITI E PROSPETTIVE PER LA CONSERVAZIONE CALCESTRUZZO ARMATO.. DELLE. SUPERFICI. IN. C. Mariotti, S. Pulga, A. Zampini................................................................709 NEW ON OLD: TO WHAT EXTENT SHOULD INTERVENTIONS BE DONE ON SURFACES? MAINTENANCE WORKS AND RESTORATION ON AN EXISTING PROJECT. L. Serafini, S. Cecamore .............................................................................719 THE RESTORATION OF ARCHITECTURAL SURFACES IN JAPANESE TEMPLES: REFLECTIONS. F. Gotta ........................................................................................................729 A MEDITERRANEAN HISTORY: THE RESTORATION OF SHEIK SOULEIMAN MESCIDE IN ISTANBUL. A. Griletto, S.Vallese, O. Aydemir, M. Simsek ..........................................743 COMPLESSITÀ E CONTRADDIZIONI NEL RESTAURO DELLE FACCIATE IN "STILE" REALIZZATE FRA LA FINE DELL'OTTOCENTO E L'INIZIO DEL NOVECENTO IN ROMA. A. Pergoli Campanelli .................................................................................753 COLORE DELL’ARCHITETTURA STORICA E RESTAURO NEL MERIDIONE D’ITALIA. IL CASO DI BISCEGLIE (PUGLIA). A. La Notte ..................................................................................................765 SANTA CHIARA DI BERNARDO ANTONIO VITTONE A TORINO: “BUONE PRATICHE” IN UN SECOLO DI RESTAURI DELLE SUPERFICI. F. Novelli .....................................................................................................777 GOOD PRACTICES FOR CONSERVATION HISTORICAL ARCHITECTURAL FACADES:PIANO DI MANUTENZIONE DELLE SUPERFICI DI FACCIATA DEL CENTRO STORICO DI SALUZZO. S. Beltramo, P. Bovo. ..................................................................................787.

(11) GRAFFITI E VANDALISMO GRAFICO: PULITURA E TRATTAMENTI PROTETTIVI SU SUPERFICI LAPIDEE DELL’ARCHITETTURA C. Ricci, F. Gambino, M. Nervo, A. Piccirillo, F. Zenucchini, A. Scarcella, A. De Stefanis, J. Santiago PozoAntonio, A. Borghi .. .................................................................................. 797 MATERIALS AND INTERVENTIONS FOR THE CLEANING AND PROTECTION WORKS OF THE ARCHITECTURAL SURFACES OF THE HISTORICAL RECTORSHIP BUILDING, IN THE HISTORICAL COMPLEX OF NATIONAL TECHNICAL UNIVERSITY OF ATHENS, GREECE E.T. Delegou, P. Moundoulas, M. Mertzani, A. Moropoulou.. ......................................................................................... 809 PAVIMENTAZIONI URBANE DI PIETRA: COME CONNETTERE DUREVOLMENTE MATERIA E TRADIZIONE TENENDO CONTO DELLE ESIGENZE DELLA MODERNITÀ? IL CASO VIRTUOSO DI PIAZZA DEL MERCATO A SPOLETO (PG).. G. Signori.. ................................................................................................. 819.

(12) Scienza e Beni Culturali Intervenire sulle superfici dell’architettura tra bilanci e prospettive.

(13) SCIENZA E BENI CULTURALI.2018. NEW ON OLD: TO WHAT EXTENT SHOULD INTERVENTIONS BE DONE ON SURFACES? MAINTENANCE WORKS AND RESTORATION ON AN EXISTING PROJECT. LUCIA SERAFINI1, STEFANO CECAMORE2 1. Dipartimento di Architettura – Università “G. d’Annunzio” Chieti-Pescara, serafinilu@gmail.com; lserafini@unich.it 2 Dipartimento di Architettura – Università “G. d’Annunzio” Chieti-Pescara, stefanocecamore@gmail.com; stefano.cecamore@unich.it. ABSTRACT The question regarding surfaces and the destiny of the existing one has been for some time now a central debate in architecture. One of the most challenging points concerns the semantic period of the term ‘surface’ and the possibility of establishing an interface compared to what a surface is not, although it actively participates in its exhibition. If a surface, as the etymology of the word specifies, is indeed the outer layer, the final layer intended to cover, to act like a skin, and for such reason to have the role of protection and the aesthetic ambitions that underlie its finish, it is true that it widens its perception to time in which it sediments and to the material it supports. In architecture, the spectrum of reference is wide making it difficult to establish categories, unless there are at stake, to differentiate, topics referring to the values of the heritage and to the necessity to safeguard it. If there is a patrimony involved it is clear indeed that the intervention on the surfaces is part of the operations involving maintenance, redevelopment, settlement; this affects the historical architecture as a whole, even with the specificities connected to their consistency, be it related to technical and material order, or to imaginative and formal one. The aim of the paper is to take stock of the situation on the most recent debate, attempting to give responses to questions still until today unanswered. The review of the interventions that have marked the restoration on an international level in recent years will be, herewith, the red thread to give pause for thought on the theme ‘surfaces’ and suggest the way to their conservation. Key-words: Surfaces, Maintenance, Restoration.

(14) 720. SCIENZA E BENI CULTURALI.2018. Questions of aesthetics The interest shown by the Italian restoration culture in conserving architectural surfaces in recent decades is eloquent proof of the complexity of the issue and of the absence of clear solutions. The awareness that by their very nature, surfaces are the most exposed to atmospheric agents, and all too often, to cavalier operations by the trades and contractors, has led to an extensive bibliography being written on the subject. There is unanimous agreement on the need to make knowledge the basis for interventions and to recognise past failures1. The insistence with which the Scienza e Beni Culturali conference returns regularly to the topic of architectural surfaces, both plastered and exposed, demonstrates the interest in the argument and the need to continuously update it in both technical and methodological terms2. Current legislation also lacks elements of clarity. The concept of "decorated surfaces" introduced in 2004 by the Cultural Heritage and Landscape Code is too generic to have concrete implications in terms of preservation. As a result, the skills required are unclear and the theoretical framework is imprecise. Despite being updated with respect to the old codes 1/88, even the rules for identifying and remedying degradation have not freed us from a solely technical approach to the issue, since they automatically link the problem with its resolution, often without any rigorous critical and cognitive verification. In the same way, the conservative categories of cleaning, consolidation and protection often consider only the "chemical" problems of compatibility, and not all the principles that have made the history of restoration, starting with the different types of actions and therefore the possibility of being included in an ongoing process. The most hotly debated issues have always included the difficulty of establishing an interface between what constitutes a surface and what does not, especially in the case of exposed facings, since they coincide with support structures even when affected by "finishes". This is probably one of the reasons why the debate on surfaces has focused primarily on plaster and its derivatives, since they can more easily be considered a “separate” physical entity from the construction in a strict sense, especially when there are several layers and therefore a finish, that is actually only the one closest to view and to the action of atmospheric agents. The element of exposure to the eyes and time has been key to understanding primarily "external” surfaces, assigning internal surfaces the role of simply covering masonry, especially if they lack aesthetic and decorative value. So, the term " primarily lime-based external architectural surfaces" seems to be the common thread running through a long history, certainly aware of the many meanings of the word “finish” but always aiming to establish intervention protocols with the variations in terminology and techniques related to individual local situations3..

(15) SCIENZA E BENI CULTURALI.2018. 721. The urgency of these protocols is a relatively recent issue, since at least until the 1950s, the materials and techniques of the past had been used continuously, were considered good and right, and were based by tradition and never questioned. It was only in the 1960s that the arrival of new, primarily organic-based materials created an alarming situation due to the conflict between these and ancient materials; with the new ones being tested, while the old ones were well known and well established with regard to the principle of compatibility, which was considered decisive in the debate of those years. The whole passionate debate between schools of thought was fought on the back of historic buildings. The debate is attributed to Paul Marconi and Marco Dezzi Bardeschi. One of these sought to make maintenance the true "infantry of restoration", especially on surfaces because of their vulnerability in the construction context, and therefore necessarily most needing renewal. The other was determined to assign a value to surfaces that was no longer cyclical but continuous and stratified, therefore to be integrated if necessary but using nontraditional materials, and never to be replaced even if damaged and crumbling. It does not seem reductive to say that the debate between using restoration as maintenance/recovery and using conservation as a platform on which to innovate developed after the 1960s in Rome and Milan, on the surfaces of Trajan’s column in Rome and of the Palazzo della Ragione in Milan. The first involved one of the finest sculptures of antiquity, and the other was on the addition to a medieval building that had never been fully assimilated by the city and was quite badly damaged4. The purpose of this contribution is not to delve into the debate on these sites, but just to mention the possibility that their story may have permanently allowed surfaces to express a very specific aesthetic, different in the two cases because it depends on the design choices backed by a vision of restoration and conservation. "Pure conservation" demanded by Marco Dezzi Bardeschi on the façades of the Palazzo della Ragione, is anything but "pure", because it refers to the aesthetic of degradation and wear that is artfully exhibited and welcomed, precisely by addressing and compensating deficiencies and damaged parts. The distinction in this case of consolidation and protection of facings and coverings that exist but are not visible is the use of organic-based products that are chosen for "wear” surfaces, to the consolation of architects and supporters. In the same way, the coatings for the wear layer dictated by the tradition of Trajan’s column in Rome, like all the other examples undergoing the same type of intervention with or without Paul Marconi’s approval, are based on an aesthetic of completeness that permits no visible gaps on surfaces. This basically means that, in both cases, the wear surfaces are, except for the perceptual detail, linked to an aesthetic desire that uses different materials and techniques to arrive at a result that is only apparently different..

(16) 722. SCIENZA E BENI CULTURALI.2018. Riccardo dalla Negra recently returned to the topic of surfaces5. Following in the wake of considerations advanced by other scholars such as Claudio Varagnoli and the Spaniard Hernandez Martinez, numerous examples of restoration of the last few years express the stated desire to assign an unusual and much more romantic, unfinished and fragmented aesthetic role to the ancient surfaces, that is much more useful to deal with the new and enhance it6. One such case is the intervention by Guido Channels in the convent of S. Maria della Scala in Siena. His conservative choices clearly emphasized the breaks, overlaps and diastases, that can also be found in the work done on the Cathedral museum in Milan with the 2013 design. Here, the same type of surface treatment is used, characterized by a forcing of the signs of time obtained with a striking emphasis of the rough surfaces, used to contrast with new installations. The second aesthetic is appropriate for restoring façades and recreating "imaginative" colouring. It finds its necessary condition and purpose in completeness, generally pursued by eliminating old plasterwork and applying new ones. There are many examples, ranging from monumental buildings, with numerous examples in Italy and throughout Europe, to much more widespread and dangerous ones applied to the urban fabric of historic centres. Here, the objectives are generally not so much to protect the surfaces, but to re-establish a value of newness and wholeness dictated by tourist demands far removed from historical and conservative concerns. This is what dalla Negra calls "stereometric reduction", because it erases the original colours and/or the ones marked by time and circumstances, to be replaced by a white that spectacularly exalts new additions7. The so-called “Imbianchini di bellezza” (painters of beauty) in Pisticci, Basilicata, are a simple example because they are rooted in the local community. Repainting the white façades in the historic centre of the cliffside town of Dirupo, almost weekly, is the inhabitants’ grass-roots response to tackling the cleanliness issue, paired with an idea of beauty that shuns any suggestion of time that passes and the traces it leaves. It washes away the specific colour connotations on individual and/or different buildings in the context or villages like Pisticci. Standardisation becomes paradoxical in highly stratified urban contexts, where they risk erasing the city’s nuances that have emerged in degrees, undergoing maintenance operations at different times and in different ways, where degradation is often paired with added value. Independently of the aesthetic effect obtained, it is clear that standardisation smooths out the surfaces, cancelling out plays of light, especially when deprived of volumetric articulations. So, if that which we have called the aesthetic of incompleteness and wear risks treating surfaces only as material documents, especially when it forces data, the other type of aesthetic prioritises the figurative aspect and risks cancelling out past work, the very essence of the history of architecture and its values..

(17) SCIENZA E BENI CULTURALI.2018. 723. There seems to be a basic prejudice in both cases: refusing to consider alternative solutions, namely those with different registers and that succeed—when they succeed—in applying the new even on the old, i.e. working on and with the surfaces without needing to make them something separate. This is an essential condition because these are restoration projects and not just a sum of actions— whether big or small—rather syntheses that can be managed only through formative architectural actions. It is in cases like these that we see that the questions posed at the beginning of the contribution have no clear or definite answer but rely on the design’s intelligence and ability to consider each architecture in a specific way, always keeping the restoration method and its guarantees in mind. LS Ancient surfaces new figures Paradoxically, we find proof that the new and old meld on surfaces not when we work physically on them in terms of applying a new layer to an ancient one, using modern or traditional materials, but when the old forms a counterpoint to the new and vice versa, in a play of references and suggestions that appears to be the key feature of the finest restoration projects of recent years. The new surface covering the old one on the Cathedral of Parma bell tower has nothing to do with plaster and the like but is copper plate replacing the 16th-century coverings that were lost in the fire of 2009. The designers experiment successfully with horizontal plates, lined up with the underlying two-toned brick stripes8. With respect to the quality of the result, there is no answer to the question about which surface is the true one: the new one, the lost old one, or the brick forming the wear surface. It would be senseless and banal to insist on it. It is said that when we consider interventions on surfaces, it is impossible not to refer to the context. The new technological wooden tower of the Saliceto castle, in the province of Cuneo, is based on a design by architects Armellino and Poggio. Added to the three existing towers in mixed stone and brick, the aim is to create a balance with the ancient curtain walls and their horizontal slats, in a captivating interplay of old and new surfaces. Additional interest is also created by the counterpoint with the colours and resources of the surrounding landscape. Would it be a stretch to speak of surface restoration in this case? Not, perhaps, if it is true— and it is—that the old building was restored, but that its surface serves as a gobetween for its perception and experience by creating a dignified relationship between the old and the new. The restoration of Norwich Cathedral in England features surfaces that generate other surfaces, in a game of cross-references and citations9. The wooden sunscreen selected for the Gothic cloister is reminiscent of the dense network of ancient stones eroded by weather. This is also the common thread running through the.

(18) 724. SCIENZA E BENI CULTURALI.2018. work of Andrea Bruno and Ivane Gremelashvili at Bagrati Cathedral in Georgia10. In this case, the surface covering chosen for the connecting element next to the entrance vestibule on the north side of the old building, is suggested by the geometry and the weave of the surrounding wall facings, that were recast and reinterpreted using contemporary materials and technologies like laminated glass and steel cladding. The use of modern materials like glass as coverings for ancient surfaces, even when decidedly different from them, is another area of intervention, that is too great to consider in this contribution. Here, we will simply mention one of the most successful projects in recent years by Sergio Sebástian Franco in the Daroca archaeological area in Zaragoza, Spain. The new covering over the Roman archaeological dig is made entirely of glass, as are the vertical walls, and it is structured to act as a town square, with elements in painted steel, Corten steel sheets and exposed reinforced concrete pillars that clearly separate the new surfaces from the old, but exalt them by creating a new and impactful relationship between the ruins and the modern urban space of which they become an integral part. New surfaces enveloping and hiding ancient ones were tested at the Thalia Theatre in Lisbon, which was closed following a fire in the early 1960s, not even 20 years after its inauguration. Restoration began in 2002, maintaining the existing structures but strengthening them by covering them on the outside with a concrete and terracotta shell. This sort of counter façade is very similar to certain 19thcentury consolidation practices, especially in Italy, that serve as a counterpoint to the interior that is left in a rough state and that contributes to the theatre’s staging and of the modern inserts necessary for its enjoyment11. But when we talk about new-on-old designs, including for surfaces, it has been said that there is no need to add more or less consistent functional parts. The Teatro Sociale in Bergamo was built in the early 19th century according to a design by Leopold Polla. Restoration work started in 2006 with an articulated strategy for the surfaces. The designers freed themselves of any restoration temptation—so dear to well-known Italian theatres in recent decades. While fine, the painted plasterwork, stucco and fake stone decorations in the foyer, stages and cavea were in precarious condition, and were treated as veritable paintings. A strong point was the reintegration of missing parts, performed in a recognizable but never conflicting manner, skilfully selecting among geometric and figurative motifs and deciding to confirm the 19th-century chromatic configuration for the Sanquirico paintings in the boxes, without which any stylistic code would have been lost12. The recent renovation of the princes’ rooms at the Hohensalzburg Castle are also far from stereometric reductions and artfully created decorative palimpsests13. Rather they are absolutely exquisite and highly technological interventions by.

(19) SCIENZA E BENI CULTURALI.2018. 725. architects Standl and Rathner, who skilfully restored gaps based on a principle of distinctness that is anything but ostentatious. Though minimal, we still see a play of contrast between old and new surfaces in Tadao Ando's intervention at Punta della Dogana in Venice. He chose to uncover the building’s rough brick surfaces and to create exposed and polished concrete boxes and flooring. In this way, he confirms the façade’s suggestion of values that enhances and exalts the building’s beauty. We find confirmation that even the choice of plaster, for reintegration or not, is an exquisitely creative operation. It is all the more legitimate if based on a critical exercise, as in the Opus signinum facing that partially encloses the eastern side of the four-sided market portico in Ortigia. Designed by Emanuele Fidone, it enhances the relationship with the adjacent archaeological area. The same can be said for the mixture of white cement and pink sand, applied manually using brushes and water chosen by the architects Durish and Nolli for interventions on the façades of the Monastery of S. Mary in Claro in the canton of Ticino. They create a clever and enchanting counterpoint using lime-based internal plasters with added sand, worked with a spatula and finished chromatically with glazing. The surface choices for the painted wear surfaces are also of great interest for their result. We find another example worthy of note in Reggio Emila, in Capannone 19 at Tecnopolo, created from the Officine Meccaniche Reggiane building according to a design by Andrea Oliva. It involved not only inserting new independent volumes made of laminated timber as a home for interdisciplinary activities and laboratories, but also a new metal roof with skylights. It is also perhaps one of the first cases in Italy to care for and maintain the murals on the north and south sides painted by the artist known as Blu, one of the most famous street artists in Italy and around the world14. The Blu murals were already present and were considered worthy parts of the building’s heritage. Another story altogether is what we see in city peripheries and abandoned buildings throughout Italy and around the world. Can surfaces be found in these industrial areas that are worth saving and highlighting? Certainly, these are not cases of restoration. If we consider that restoration is intended for historical and artistic products, industrial buildings and especially peripheral city areas are still struggling to be found worth of protection and conservation. In this contribution, it seems appropriate to at least mention the phenomenon of street art and, through it, interventions on poor and forgotten surfaces, where a touch of colour and imagination, paired with social and environmental issues seems to be one of many possibilities for stimulating use and recovery that might otherwise be difficult to realise (Fig. 1). Through street art, urban neglect, degradation and abandonment have been paired in recent times with unexpected creativity, on the walls of our streets, especially if poor. They find heir most eloquent expression here, almost as if fighting back.

(20) 726. SCIENZA E BENI CULTURALI.2018. against the "great ugliness" of the most forgotten places and contrasting with the glossy images of the city centres. And speaking of new and old, even on surfaces, what are the murals inspired by Roman history and mythology created by Venezuelan artist Koz Doz, along the Grande Raccordo Anulare ring road of Rome, if not the graphic synthesis of ancient and contemporary Rome attempting to repair the break with the city by recovering areas in disuse and urban spaces? And, if we push this consideration even further, what is the work done by Axel Void in Piazza Saliceto in Mosciano Sant'Angelo, Abruzzo, to try to heal the wounds caused by the dastardly destruction of a 17th-century church, if not a desperate attempt to repair a fracture and restore an interrupted historical narration? Of the many techniques of street art in every corner of the world—from spray cans to stencils, to torn billboards, to torn fabric, to peeling and scratched walls, to the coloured bricks of so-called Lego street used to fill the holes in the walls—perhaps the incision, the excavation of worn surfaces by Portuguese artist Alexander Farto, a.k.a. VHILS, is most striking for its approach to the material and the value of the old. Naturally, we are far from restoration of surfaces. Still, this is, to all effects, a creative process that we can no longer ignore, given the pervasiveness of the phenomenon and its entanglement with architecture and the city. The process innovates old and damaged surfaces by inventing new figurations, obtained not through overlapping but by removing material. It’s almost as if, Michelangelo-like, the work were contained within it and the artist simply draws it out. SC Conclusions The issue of surfaces in architecture is extremely complex. Traditional approaches, with the restoration or maintenance of the status quo using modern or traditional materials, have remained practically unchanged. However, they are being combined more and more, especially in recent debates and interventions, with the possibility of directly involving architectural surfaces, or even making them protagonists, in a relationship between old and new that is less and less evident and didactic. The cases of restoration of historical surfaces show that the best results are obtained when different registers are chosen that do not allow definitive solutions but are open to dialogue with the building and its past. Among the many examples, the ones that stand out most are those that have made the historical surfaces a counterpoint to new functional additions that have taken from and refer to the old through formal references and beautiful materials. In a landscape where there continues to be a lack of certainty on the fate of existing structures, the theme of architectural surfaces also includes surfaces waiting to be considered "historic" and that, in the meantime offer themselves, through a.

(21) SCIENZA E BENI CULTURALI.2018. 727. predominantly grass-roots movement, to be included in the definition of a universal aesthetic that finds its most effective vehicle in street art.. Fig. 1 Civitacampomarano, examples of street art in the historic center (photographs by the authors). 1. F. Doglioni, L. Scappin, A Squarzina, F. Trovò, Conoscenza e restauro degli intonaci e delle superfici murarie esterne di Venezia, Saonara (Pd) 2017. A. Quendolo, Il rapporto con gli oggetti del passato. La traccia e l’aura: alcune riflessioni sul restauro delle superfici dell’architettura, Udine 2002. Un ampio inquadramento del tema e in G. Carbonara, Avvicinamento al restauro, Teoria, storia, monumenti, Napoli 1997, in particolare ai cap. Il trattamento delle superfici come problema di restauro, e Restauro e colore della città, cui si rimanda per l’ampia bibliografia..

(22) 728. 2. SCIENZA E BENI CULTURALI.2018. G. Biscontin (a cura di), L’intonaco: storia, cultura e tecnologia, Atti del convegno di studi (Bressanone 24-27 giugno 1990), Padova 1985; G. Biscontin, S. Volpin (a cura di), Superfici dell’architettura: le finiture, Atti del convegno di studi (Bressanone 26-29 giugno 1990), Padova 1990; G. Biscontin, D. Mietto (a cura di), Le superfici dell’architettura: il cotto. Caratterizzazioni e trattamenti, Atti del convegno di studi (Bressanone 3/6-3/7 1992), Padova 1992. G. Biscontin (a cura di), Manutenzione e conservazione del costruito fra conservazione e innovazione, Atti del convegno di studi (Bressanone 24/27 giugno 1986, Padova 1986. 3 P. Marconi, Arte e cultura della manutenzione dei monumenti, Roma-Bari 1984; Id., Dal piccolo al grande restauro, Venezia 1988. 4 A. Bellini, La superficie registra il mutamento quindi deve essere conservata, in G. Biscontin, S. Volpin (a cura di), Superfici dell’architettura: le finiture, cit. pp. 1-11. 5 R. Dalla Negra, Architettura e preesistenze: quale centralità?, in M. Balzani, R. Dalla Negra, Architettura e preesistenze. Premio Internazionale Domus Restauro e Conservazione Fassa Bortolo, Skira, Milano 2017, pp. 35-65. 6 V. Varagnoli, Antichi edifici nuovi progetti. Realizzazioni e posizioni teoriche dagli anni Novanta ad oggi, in A. Ferlenga, E. Vassallo, F. Schellino (a cura di), Antico e Nuovo. Architettura e architetture, Atti del Convegno Internazionale (Venezia, 31 Marzo/3 aprile 2004), Venezia 2007, pp. 841-860. Id., Uso e consumo del patrimonio architettonico in Italia, prospettive per il secolo XXI, in A. Hernandez Martinez (coordinación), Conservando el pasado proyectando el futuro, Zaragoza 2016; A. Hernandez Martinez, L’estetica del deterioramento e dell’imperfezione: una tendenza in crescita nel restauro architettonico, in “Palladio”, 51, 2013, pp. 83-106. S. Parisi, Superfici imperfette, in “MD Jurnal”, n. 1, 2016, pp. 78-91. 7 R. Dalla Negra, Architettura, cit., p. 57. 8 Il progetto è firmato dallo studio Bordi, Rossi, Zarotti. Cfr. S. Pacheco, Cuspide del campanario de la Basilica Catedral de Parma, in “Habitat”, XVII, n. 66, 2011, pp. 120126. 9 L. Rossato, Memorie e tecnologie rievocano un antico chiostro, in “Paesaggio Urbano”, n. 3, 2011, pp. 16-23. 10 A. Bruno, La riappropriazione del monumento attraverso il restauro e la progettazione di nuovi in m. Balzani (a cura di), Restauro, Recupero Riqualificazione. Il progetto contemporaneo nel contesto storico, Skira, Milano 2011, pp. 199-205. 11 P. Barbas, G. Byrne, D. Seixas Lopez, The restoration project of the Thalia Theater in Lisbon, in “Paesaggio Urbano, n. 2, 2016, pp. 52-55. 12 F. Fornoni (a cura di), Il teatro sociale di Bergamo, Cinisello Balsamo 2009. 13 L. Rocchi, Conservazione e musealizzazione di ambienti storici fortificati, in “Paesaggio Urbano, n. 2, 2016, pp. 32-35. 14 F. Chiorino, Andrea Oliva – dai bombardieri alle start-up in scatola, in “Casabella”, 858, 2016, pp. 38-43..

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(24) TESTI DI. Accurti L. Adami A. Aghemo C. Aldreghetti I. Amendolagine F. Appolonia L. Arena G. Aricò F. Artioli A. Aydemir O. Balliana E. Baratti Rava R. Bartolomucci C. Beltramo S. Bensi P. Berlucchi N. Berto G. Bison P. Blanc L. Boato A. Bocchio Vega S. Boglione E. Borasi V. Borghi A. Borghini S. Boscato G. Boschiero P. Bovo P. Cacudi G. Canepa M.C. Canonaco B. Canziani A.. Cappellina M. Cardinali M. Carlini M.L. Cavaggioni I. Cecamore S. Ceccaroni E. Cecchin M. Cernaro A. Chiuso M. Cogliati F.. 97 165 339 33 613 381 479 183 445 743 193 581 65 787 237,405,467 445 33 33 371 479,487 97 317 509 797 519 33 685 787 213 381 529 539 581 381 237 75 719 487,719 581 143 425 445. Colotto G. Conti C. Corgnati S. P. Costantini G. M. Crova C. Cucco P. Cunha Ferreira T. Dalla Caneva A. Danesi G. Davite L. De Bei M. De Stefanis A. Decri A. Defus A. Della Torre S. Delegou E.T. Di Marzo A. Di Resta S. Di Silvestre S. Donatelli A. D'Ottavi A. Eichberg M. Fabi V. Falchi L. Fantini E. Fasana S. Favaretto G. Ferrari F. Fiandaca O. Fiasco A Forte R. Franco G. Fratini F. Fregonese L. Gambino F. Gennari M. Gentilini G. Giacomelli A. Gillio A. M. Girotto M. Giuffredi A. Giuliani A.. 487 249 339 121 351 551 415 623 435 487 33 797 539 225 165 809 213 133 519 283 467 561 339 193 415 271 85 487 143 571 371 405 109,237 165 797 393 153 97 97 381 497 329.

(25) TESTI DI. Gizzi S. Gotta F. Grazzini A. Griguol E. Griletto A. Holickova S.. Iacono R. La Notte A. Landi S. Lattanzi D. Macchioni E. Magrini D. Mainardi F. Mairani A. Mannaioli A. Mapelli M. Mariotti C. Maspoli R. Massari S. Massaria L. Matteini M. Matteuzzi E. Mattone M. Mazzeri A. Melica D. Mertzani M. Miraglia F. Moioli R. Morbiducci R. Moretti A. Moropoulou A. Moundoulas P. Musolino M. Nani G. Nervo M. Novelli F. Oreni D. Patrizi S. Penoni S. Pergoli Campanelli A. Peron F. Peron V.. 1 729 271 183 743 225 571 765 361 317,581 55 237 445 237 591 581 709 455 85,259 33 213,237 393 109 165 213 809 351 23 371 317 809 809 183 487 797 777 697 487 497 753 33 603. Pertot G. Petriccione L. Piccirillo A. Pietrobon L. Pietrogrande E. Pinci F. Pirisino M. S. Pittaluga D. Placidi A. Pozzi E. Pracchi V. Pretelli M. Pucci M. Puglisi L. Pulga S. Rampazzo C. Rava A. Repetti C. Rescic S. Ribera F. Ricci C. Riscica R. Rocca M. Romoli E. Ronchin L. Rossetti M. Sala L. Sammartino P. Santiago PozoA. J. Scaduto R. Scala B. Scappin L. Scarano V. Scarcella A. Schweiker M. Secondini L. Serafin M. Serafini L. Signorelli L. Signori G. Simsek M. Sorbo E.. 697 249,613 381 203 623 571 487 237,405 307 259 695 85 591 487 709 623 405 633 109 551 797 685 479 317 203 329 317 591 797 645 165 33 381 339 371,655 467 719 259 819 743 425.

(26) TESTI DI. Spigliantini G. Squassina A. Stagno G. Tasso V. Terzi C. Tesfay A. TibaldeschiC.M.A. Tortato C. Trovò F. Tundo P. Turri A. Ugolini A. Valente R. Vallese S. Vanghi L. Varagnoli C. Varese G. Vassallo S. Vavasori A. Verazzo C. Vescera F. Vicini S. Vitale M.R. Volinia. M. Voltarel C. Zampini A. Zecchini L. Zendri E. Zenucchini F. Zerbinatti M.. 339 13 371,655 381 405 371,655 97 203 43 183 75,663 121 697 743 497 675 655 237,479 203 675 213 237 295 381 685 709 193 193 797 271.

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