Silvia Massari | Ministero della cultura (original) (raw)
Papers by Silvia Massari
Since the first interventions finalised to the preservation of the 20th century architectural her... more Since the first interventions finalised to the preservation of the 20th century architectural heritage, the recognition of the testimonial value inherent in these buildings was gradually consolidated. Simultaneously, different approaches and conservative methods were followed. But what was the aim of these operations? Were strategies oriented to the conservation of the material substance of these buildings to guide the intervention or, rather, was the “cleaning of the observer’s gaze” to constitute the purpose of the planning choices? This paper focuses on the interventions carried out on the surfaces of some significant buildings of the 20th century heritage. It will be the analysis of the
operations realised on plasters, floorings, stone coatings and fresco surfaces that will allow the tracing of a path useful to highlight orientations, tendencies and perspectives of the intervention on the surfaces of the 20th century architectural heritage. The aim is to underline the long way to go. At the same time, the purpose is to bring out the possibility of a gradual maturation in the field of the preservation of the 20th century heritage. Indeed, recognising the values of these architectures means understanding the testimonial relevance of their physicality. Moreover, hoping that the intervention on surfaces is guided by the requests of conservation means glimpsing the possibility of a progressive improvement in the approach for the transmission to the future of the 20th century architectural heritage.
It is commonly believed that the treatment of the surfaces in the restoration of an historical bu... more It is commonly believed that the treatment of the surfaces in the restoration of an historical building is an exclusive competence of the restorer. To him are also postponed, even normatively, all the choices, both relating to the diagnosis phases and to the intervention, with the assistance of the one under whose responsibility these choices remain. The surface vice versa, and above all with reference to the use that architecture will be made of - either old or new - must instead be seen as the interface between different areas of expertise: the competence of structuralists (since it represents the physical limit of the supporting elements of the building), the one of the architects (since that same physical limit is also the limit of separation between interior and exterior), the one of the physicist (the membrane bounded by the surfaces carries out clear functions of energetic delimitation) and, certainly, the one of the restorer. If we accept the following definition of "surface" ("interface element between different scientific universes, all referring to architecture, with specific and recognizable functions that register all the potential effects that overlap it" , this is a definition elaborated for the occasion), it is clear that its examination and specific design assume not only a fundamental role in the more general definition of the restoration project but also that they must be seen as the meeting point of different competences, and the interventions that concern them as the result of complex interactions between different and articulated fields of study. In this case too, it is a matter of taking a "ridge path" on a path that is on the border between different and often incomunicant fields of study. The intervention will illustrate the complexity of this path starting from specific application cases.
in Scienza e beni culturali. "Intervenire sulle superfici dell'architettura tra bilanci e prospettive", 2018
The contribution presents an examination of programs of enhancement and regeneration of the histo... more The contribution presents an examination of programs of enhancement and regeneration of the historical urban landscape, realized through the design of architectural surfaces, aiming at modifying in a sensitive way the perception of the communities, realizing new meanings or revealing latent ones. These interventions could born spontaneously, or on commission (as the well-known work of the street artist Blu in Bologna, born and removed by the initiative of the author himself; or the work of Hitnes, realized in Rome on behalf of the University "La Sapienza"); whether they could be permanent or ephemeral (an example could be the interventions in Salerno during the festival Muri d'Autore, or all those initiatives that involve light design for the enhancement of heritage, as in Lyon with the festival of lights Fête des Lumières-or in Rome, referring to the lighting experience of the Forum Augustus during the Archeoshow of last summer), all these interventions are linked each other through a common objective, which is to favor the process of re-appropriation of the cultural heritage by the community that lives it, as stated by Faro Convention (2005). In the face of this analysis, the contribution questions from the technical point of view on the appropriateness of implementing strategies of a permanent or temporary nature, reflecting on their respective consequences and the limits of their scope.
In "Sironi Svelato. Il restauro del murale della Sapienza" Campisano Editore, catalogo della most... more In "Sironi Svelato. Il restauro del murale della Sapienza" Campisano Editore, catalogo della mostra svoltasi a Roma, Città Universitaria, MLAC, 23 Novembre 2017- 21 Gennaio 2018.
in CONSERVATION ISSUES IN MODERN AND CONTEMPORARY MURALS, Cambridge Scholars Publishing, 2015
There are several aspects that characterize graffiti and make it difficult to place it into a spe... more There are several aspects that characterize graffiti and make it difficult to place it into a specific category. Graphic vandalism, artistic expression, fashion, design...These are just some of the definitions used to describe this cultural phenomenon and to avoid any rigorous labeling.Over the years, projects such as exhibitions, publications and public commissions have contributed to the development of the graffiti movement. These projects have become more and more frequent and their conservation needs are equally common. However, the processes carried out during these interventions often remain disconnected to the traditional concept of conservation.On the other hand, the literature on the conservation of street art is scarce. The purpose of this study is to examine a specific painting and its condition and to elaborate a conservation plan.
Since the first interventions finalised to the preservation of the 20th century architectural her... more Since the first interventions finalised to the preservation of the 20th century architectural heritage, the recognition of the testimonial value inherent in these buildings was gradually consolidated. Simultaneously, different approaches and conservative methods were followed. But what was the aim of these operations? Were strategies oriented to the conservation of the material substance of these buildings to guide the intervention or, rather, was the “cleaning of the observer’s gaze” to constitute the purpose of the planning choices? This paper focuses on the interventions carried out on the surfaces of some significant buildings of the 20th century heritage. It will be the analysis of the
operations realised on plasters, floorings, stone coatings and fresco surfaces that will allow the tracing of a path useful to highlight orientations, tendencies and perspectives of the intervention on the surfaces of the 20th century architectural heritage. The aim is to underline the long way to go. At the same time, the purpose is to bring out the possibility of a gradual maturation in the field of the preservation of the 20th century heritage. Indeed, recognising the values of these architectures means understanding the testimonial relevance of their physicality. Moreover, hoping that the intervention on surfaces is guided by the requests of conservation means glimpsing the possibility of a progressive improvement in the approach for the transmission to the future of the 20th century architectural heritage.
It is commonly believed that the treatment of the surfaces in the restoration of an historical bu... more It is commonly believed that the treatment of the surfaces in the restoration of an historical building is an exclusive competence of the restorer. To him are also postponed, even normatively, all the choices, both relating to the diagnosis phases and to the intervention, with the assistance of the one under whose responsibility these choices remain. The surface vice versa, and above all with reference to the use that architecture will be made of - either old or new - must instead be seen as the interface between different areas of expertise: the competence of structuralists (since it represents the physical limit of the supporting elements of the building), the one of the architects (since that same physical limit is also the limit of separation between interior and exterior), the one of the physicist (the membrane bounded by the surfaces carries out clear functions of energetic delimitation) and, certainly, the one of the restorer. If we accept the following definition of "surface" ("interface element between different scientific universes, all referring to architecture, with specific and recognizable functions that register all the potential effects that overlap it" , this is a definition elaborated for the occasion), it is clear that its examination and specific design assume not only a fundamental role in the more general definition of the restoration project but also that they must be seen as the meeting point of different competences, and the interventions that concern them as the result of complex interactions between different and articulated fields of study. In this case too, it is a matter of taking a "ridge path" on a path that is on the border between different and often incomunicant fields of study. The intervention will illustrate the complexity of this path starting from specific application cases.
in Scienza e beni culturali. "Intervenire sulle superfici dell'architettura tra bilanci e prospettive", 2018
The contribution presents an examination of programs of enhancement and regeneration of the histo... more The contribution presents an examination of programs of enhancement and regeneration of the historical urban landscape, realized through the design of architectural surfaces, aiming at modifying in a sensitive way the perception of the communities, realizing new meanings or revealing latent ones. These interventions could born spontaneously, or on commission (as the well-known work of the street artist Blu in Bologna, born and removed by the initiative of the author himself; or the work of Hitnes, realized in Rome on behalf of the University "La Sapienza"); whether they could be permanent or ephemeral (an example could be the interventions in Salerno during the festival Muri d'Autore, or all those initiatives that involve light design for the enhancement of heritage, as in Lyon with the festival of lights Fête des Lumières-or in Rome, referring to the lighting experience of the Forum Augustus during the Archeoshow of last summer), all these interventions are linked each other through a common objective, which is to favor the process of re-appropriation of the cultural heritage by the community that lives it, as stated by Faro Convention (2005). In the face of this analysis, the contribution questions from the technical point of view on the appropriateness of implementing strategies of a permanent or temporary nature, reflecting on their respective consequences and the limits of their scope.
In "Sironi Svelato. Il restauro del murale della Sapienza" Campisano Editore, catalogo della most... more In "Sironi Svelato. Il restauro del murale della Sapienza" Campisano Editore, catalogo della mostra svoltasi a Roma, Città Universitaria, MLAC, 23 Novembre 2017- 21 Gennaio 2018.
in CONSERVATION ISSUES IN MODERN AND CONTEMPORARY MURALS, Cambridge Scholars Publishing, 2015
There are several aspects that characterize graffiti and make it difficult to place it into a spe... more There are several aspects that characterize graffiti and make it difficult to place it into a specific category. Graphic vandalism, artistic expression, fashion, design...These are just some of the definitions used to describe this cultural phenomenon and to avoid any rigorous labeling.Over the years, projects such as exhibitions, publications and public commissions have contributed to the development of the graffiti movement. These projects have become more and more frequent and their conservation needs are equally common. However, the processes carried out during these interventions often remain disconnected to the traditional concept of conservation.On the other hand, the literature on the conservation of street art is scarce. The purpose of this study is to examine a specific painting and its condition and to elaborate a conservation plan.