Hidden by several layers of white paint,the almost forgotten polychromy of Nervi’s exhibition halls emerges from historical images,not necessarily intended to document the complex,but rather as a setting for exhibiti...Hidden by several layers of white paint,the almost forgotten polychromy of Nervi’s exhibition halls emerges from historical images,not necessarily intended to document the complex,but rather as a setting for exhibitions,fairs or film and advertising sets.Historical documentation reveals Nervi’s presence on the building site and his desire to supervise the finishing phases.The first stratigraphic investigations also testify to his attention color,as well as the subsequent transformations of use.Specific theoretical and technical issues regarding the conservation of the pictorial layers in relation to the conservation of the reinforced concrete elements are outlined.Furthermore,the use of polychromy in combination with the original employment of natural and artificial light sources introduces new facets into the analysis of Nervi’s work,offering the opportunity for original reflection.This is particularly true if we consider the impact of the interventions carried out so far,even those considered non-invasive,such as routine maintenance operations and some technological upgrades.展开更多
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
文摘Hidden by several layers of white paint,the almost forgotten polychromy of Nervi’s exhibition halls emerges from historical images,not necessarily intended to document the complex,but rather as a setting for exhibitions,fairs or film and advertising sets.Historical documentation reveals Nervi’s presence on the building site and his desire to supervise the finishing phases.The first stratigraphic investigations also testify to his attention color,as well as the subsequent transformations of use.Specific theoretical and technical issues regarding the conservation of the pictorial layers in relation to the conservation of the reinforced concrete elements are outlined.Furthermore,the use of polychromy in combination with the original employment of natural and artificial light sources introduces new facets into the analysis of Nervi’s work,offering the opportunity for original reflection.This is particularly true if we consider the impact of the interventions carried out so far,even those considered non-invasive,such as routine maintenance operations and some technological upgrades.
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.
