The restoration of the former PireUi Tower in Milan, which dates back to the early 1950s, is an example of various issues in approaching the ＂conservation of the new＂. This project was completed with the broad use o...The restoration of the former PireUi Tower in Milan, which dates back to the early 1950s, is an example of various issues in approaching the ＂conservation of the new＂. This project was completed with the broad use of industrial products that evoked different kinds of reflections, if only within the same planning methodology, common to all interventions of architectural restoration. This restoration constitutes an exemplary episode where only a careful and critical evaluation facilitated the understanding of which elements are important in conservation and which can be substituted or updated. This approach uses case-to-case evaluations. The conservation of ＂new＂ architecture is similar to other restoration problems, except for the closeness in time to the original works and, sometimes, with its creator. The main intervention concerns the recovery of the structure with over 10,000 m^2 of continuous aluminum and glass facade in a skyscraper designed by Italian master Gio Ponti and the repair of the damage to the reinforced concrete （RC） structures （designed by another Italian master, Pier Luigi Nervi） caused by a plane crash. The straightening and repair of the RC using entirely innovative methods and the conservation of the structures of the whole fasade also translates into financial savings. Approximately 20% of the savings is derived from the complete substitution of the curtain wall. This idea of authenticity results in a method of restoration in which all single parts may not always be replaced for every functional upgrade. This scenario is important news, especially for modern architecture that usually prefers the value of what appears to be new, showing parts that are always perfect since the time they were built. People also consider the conservation of items that were considered as merely industrial products a few years ago.展开更多
The Italian historiography of the architecture of the second half of the Twentieth century has not given due weight to the dialectic qualities of work of Franco Minissi on ancient structures. He became known for the d...The Italian historiography of the architecture of the second half of the Twentieth century has not given due weight to the dialectic qualities of work of Franco Minissi on ancient structures. He became known for the debate on the use of innovative materials in archaeological sites and not for the extent of his contributions. The world do not know his museums, Italian and not, his many conservation and restoration projects, his archaeological parks, redevelopments of historic centres, new buildings, interior design projects, shops and exhibitions. A reading of his museological works alongside of his experiments on archaeological sites, can help highlight the conceptual congruence with which Minissi tried to meet the needs of the present and the preservation of antiquities, as a dialogue with the past, of refined sensibility and intended to a reversibility respectful of preexistence. This places him among the key figures of the origins of the critical restoration, as an inspiration that continues to offer fruitful ideas to the new generations.展开更多
文摘The restoration of the former PireUi Tower in Milan, which dates back to the early 1950s, is an example of various issues in approaching the ＂conservation of the new＂. This project was completed with the broad use of industrial products that evoked different kinds of reflections, if only within the same planning methodology, common to all interventions of architectural restoration. This restoration constitutes an exemplary episode where only a careful and critical evaluation facilitated the understanding of which elements are important in conservation and which can be substituted or updated. This approach uses case-to-case evaluations. The conservation of ＂new＂ architecture is similar to other restoration problems, except for the closeness in time to the original works and, sometimes, with its creator. The main intervention concerns the recovery of the structure with over 10,000 m^2 of continuous aluminum and glass facade in a skyscraper designed by Italian master Gio Ponti and the repair of the damage to the reinforced concrete （RC） structures （designed by another Italian master, Pier Luigi Nervi） caused by a plane crash. The straightening and repair of the RC using entirely innovative methods and the conservation of the structures of the whole fasade also translates into financial savings. Approximately 20% of the savings is derived from the complete substitution of the curtain wall. This idea of authenticity results in a method of restoration in which all single parts may not always be replaced for every functional upgrade. This scenario is important news, especially for modern architecture that usually prefers the value of what appears to be new, showing parts that are always perfect since the time they were built. People also consider the conservation of items that were considered as merely industrial products a few years ago.
文摘The Italian historiography of the architecture of the second half of the Twentieth century has not given due weight to the dialectic qualities of work of Franco Minissi on ancient structures. He became known for the debate on the use of innovative materials in archaeological sites and not for the extent of his contributions. The world do not know his museums, Italian and not, his many conservation and restoration projects, his archaeological parks, redevelopments of historic centres, new buildings, interior design projects, shops and exhibitions. A reading of his museological works alongside of his experiments on archaeological sites, can help highlight the conceptual congruence with which Minissi tried to meet the needs of the present and the preservation of antiquities, as a dialogue with the past, of refined sensibility and intended to a reversibility respectful of preexistence. This places him among the key figures of the origins of the critical restoration, as an inspiration that continues to offer fruitful ideas to the new generations.
