Massimo Limoncelli | Università degli Studi di Palermo (original) (raw)

Papers by Massimo Limoncelli

posed of architects, archaeologists and computer scientists. 3 Recent studies have proposed a new... more posed of architects, archaeologists and computer scientists. 3 Recent studies have proposed a new chronology for the building phases; for an updated outline [MASINO; SOBRÀ 2010]. 4 DE LABORDE 1838, p. 83, pl. XXXIV; ALLOM, WALSH 1838, pl. 87; TEXIER 1839, pl. 53, 55. 5 De Laborde, for example, is very accurate in representing the marble blocks on the ground, but the cavea shows some approximations, including the elimination of the arched gates in the diazoma; more correct instead, despite the „romantic“ taste, the drawing by Thomas Allom, also in the depiction of the stonework of the stage building. Even the photographs made some years later by Trémaux show some errors: the excessive handmade retouching made before the publication led the author to trace normal courses of blocks above the lateral door of the scaenae frons, instead of the relieving arch. See below. 1 The Politecnico di Torino founded the Italian Archaeological Mission at Hierapolis in 1957, thanks to the interest of Paolo Verzone, which has also been the first Director of the Mission [RONCHETTA 2005]. Since that date, this university has continuously worked in the architectural study of the monuments, dealing with the historical aspects, as well as with the building techniques, geomatic and architectural surveys, restoration and enhancement. The team working in the Theatre is composed by architects, Ph.D. students and Ph.D. graduates. 2 IBAM (CNR Institute for the Archaeological and Monumental Heritage) is an interdisciplinary scientific structure with competences in the fields of knowledge, documentation, diagnosis, preservation, enhancement and fruition of the cultural and monumental heritage. It collaborates with several public and private instituitions both in Italy and abroad. The team involved in the 3D modelling of the Theatre is comSince 2004 the Theatre at Hierapolis in Phrygia has been the centre of a new research programme, led by Prof. Dr. Francesco D’Andria of Università del Salento, that incorporates architectural study, restorations and the monument’s presentation to the public. The programme has been conducted by the architectural historians from Politecnico di Torino1 and experts in 3D modelling and graphical restoration from IBAMLecce2.

Atlas of Soknopaiou Nesos: project of knowledge and digital preservation The article concerns the... more Atlas of Soknopaiou Nesos: project of knowledge and digital preservation The article concerns the topography research project of the city of Soknopaiou Nesos in Fayyum. In particular, the goal of the project is the realization of a digital knowledge and conservation plan of the entire archaeological site using innovative digital survey techniques and then the creation of a topographic atlas necessary for the realization of a ceramic intrasite survey of the site.

This contribution deals with virtual restoration of pictorial and mosaic surfaces, through some s... more This contribution deals with virtual restoration of pictorial
and mosaic surfaces, through some study cases, from Pompeii
to Egypt, from Sicily to Apulia and Basilicata, representative
of specific problems: relief intended as a tool for knowledge,
monitoring and digital conservation; the representation of surfaces;
degradation mappings; the treatment of gaps, between
monochrome retouching, total retouching (or mimetic), and
chromatic lowering. An overview of the possibilities of Information
and Communication Technologies (ICT) for the study
of ancient painting was followed by the proposal of method
lines for the digital reconstruction of paintings and mosaics,
consistent with the principles of “real” restoration on which the
virtual one is based.

Introduzione La narrazione digitale trasforma la tradizionale rappresentazione dei contesti arch... more Introduzione
La narrazione digitale trasforma la tradizionale rappresentazione dei contesti archeologici mettendo in evidenza l’interazione fra architetture ricostruite e ambiente circostante. La narrazione storica mediata dalla realtà virtuale della città si apre a nuove occasioni di riflessione sulla forma e i materiali del progetto architettonico e urbanistico dell’insediamento, monumentalizzato in età augustea. Il repertorio delle architetture dell’insediamento romano è pressoché completo, il foro, la basilica, l’area sacra con il capitolium, il teatro, le terme, l’anfiteatro.
Protagonisti in assoluto sono i colori dei marmi decorativi di Augusta Bagiennorum, oggetto di studio degli autori in collaborazione con il Politecnico di Torino.
Grazie all’uso di texture di altissima definizione, ricavate dai materiali originali conservati nel museo archeologico di Bene Vagienna, è stato possibile ottenere un elevato livello di realismo degli edifici. Lo stile della decorazione architettonica attentamente ricavato dai reperti rinvenuti dagli scavi ne qualifica la cronologia tra I e II sec.