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Exposing the sacred monumentality in Ugarit: Remodelling the temple of Baal
Published in Koen Van Balen, Els Verstrynge, Structural Analysis of Historical Constructions: Anamnesis, Diagnosis, Therapy, Controls, 2016
T. Teba, D. Theodossopoulos, J. Crow
It also highlighted the great architectural and planning experience Ugaritic people had during the Middle and Late Bronze Age. The use of critical conservation approaches is fundamental to free the architectural expression and allow the reconstruction of the main architectural principles of the temple and its evolution, achieving reversibility and compatibility. These approaches use the concepts of Burra Charter and the notion of authenticity in order to guarantee high regard for the original fabric. Consequently, interventions will involve conceptual design approaches that protect the fragmented fabric and release the temple's intangible aspects in volumetric expressions, after carrying out proper anastylosis works on the ruins. The present paper is divided into two main parts which will respectively discuss the analysis of the temple, its architectural, structural and urban settings, and the conservation proposal including architectural conservation principles and choices. The following part presents archaeological and architectural reading of the Temple of Baal in more detail.
What are the goals of HBIM?
Published in Yusuf Arayici, John Counsell, Lamine Mahdjoubi, Gehan Nagy, Soheir Hawas, Khaled Dewidar, Heritage Building Information Modelling, 2017
Yet it becomes valuable to model when: the actual building/artefact is not accessible in the present – whether covered up, demolished or destroyed, dangerous to access or subsequently changed;for virtual access, providing an overview or comprehension is not achievable on the ground; that is for simplification of complexity (e.g. the UK National Trust applied unsuccessfully for millennium lottery funding to create interpretative visitor centres at the entrance to a number of their buildings, in order to provide the visitors with a comprehendible overview before immersion in the maze of rooms and levels thereafter);for visual pattern matching, “both kinds of sources, original input and enhanced imagery, can be draped onto the 3D models to analyse thoroughly the whole object in three dimensions” (Lerma et al. 2011);for analysis of historic construction processes (e.g. Guedelon 2015, Reeves & Paardekooper 2014);for analysis of performance, for example, thermal/energy, structural, pathological;for determining methods of reassembly, for example, following earthquake destruction, or anastylosis (Canciani et al. 2013b);for predicting the future reconstruction, repurposing or, for example, predicting the future effects of climate change.
The mask of the classical theater for a Tactile Museum, through artisanal approaches and digital protocols
Published in Pedro António Janeiro, Drawing (…) City (…) Body, Dwelling on Earth, 2019
Nowadays the use of modern digital instruments seems to be an indispensable practice for the knowledge, documentation and dissemination of the Cultural Heritage. Therefore, once we defined the preliminary and necessary theoretical state of the art about the theatrical masks of the Magno-Greek coroplastica, we thought about the possibility to draw up some methodologies, first of all, for the direct survey of artifacts, then, for their subsequent phases of digital reconstruction and reintegration. The Lipari’s theatrical masks may be schematized, from a morphological point of view, in three distinct degrees: entire masks, fragments of entire and simple fragments or ‘mute’. The workflow of reconstruction and digital anastylosis, therefore, respects the decomposition of these three degrees of status. During all the pipeline of work, we also tried to underline that constant relationship, almost instantaneous, between the identification of the problem and its immediate resolution, which is bedrock of the ‘doing’s’ methodology. A continuous ‘flow of planning circularity’, that is able to combine manual and digital practices. It is, in other words, to suggest what R. Sennett defined as ‘the eternal rhythm that is created when the artisanal experimentation remodels the matter’. The continuous advancing and returning during the various phases of work, has always been the sacred fire that nourishes the relationship among the project, the ‘transformative material activity’ and the final product. Undoubtedly the alternation between thinking and doing was very important for the material activity of the coroplasticos, the master-craftsmen who produced our theatrical masks. Therefore, during the digital workflow of reconstruction of the artifact’s fragments, we tried to reiterate the manual nature, own of those ancient processes: a modern methodology but, conceptually, very ancient. The leitmotiv of the protocol was, therefore, to ‘think as artisans’, making a strategic use of the innovative digital techniques. The protocol has a reverse pyramidal structure which from the general, goes until the detail, gradually tightening the focal to an ever more specific part.
Consolidation of a Bath Ruin in an Archaeological Site
Published in International Journal of Architectural Heritage, 2022
Feyza Durmuşlar, Mine Hamamcıoğlu-Turan, Kutay Yücetürk, Engin Aktaş
The management of rubble stone ruins in archaeological and natural sites should take into consideration its understanding, the actors and budget of conservation, and the process of restoration and monitoring, just like in any other monument management plan. Nevertheless, it is important to keep in mind that anastylosis is not a suitable restoration approach for rubble stone masonry ruins, but structural consolidation process should be detailed in the action plan. The planning of consolidation should take into consideration the safety factor of wall portions, which are grouped according to their heights and thicknesses, and re-establishment of the integrity of portions of superstructure elements. The urgency of interventions to wall and superstructure portions should be determined. First, emergency interventions such as supporting vulnerable superstructure and wall portions should be realized with compatible material, e.g. timber. Then, comprehensive planning of the restoration process should be made. This includes understanding the history and values of the ruin, as well as its conservation problems. It is important to preserve contributions of different historic periods, but risks of the incompatible material additions should be carefully evaluated. The restoration scope should include a sustainable consolidation strategy, as well as presentation of the ruin considering the safety necessities, viewpoints of the locals, and expectations of the visitors. Reintegration and reconstruction, as a restoration scope, may have a negative impact on the authenticity of the archaeologic and natural setting.
Reconstruction of a 19th Century Masonry Bridge Taking Advantage of Literature-Based Ancient Techniques and Current Technologies
Published in International Journal of Architectural Heritage, 2022
Benedetta Orfeo, Javier León, Isabel Lorenzo, Leonardo Todisco
This reconstruction and overall rehabilitation represented a technical challenge for the working team, which had to face the total disassembly and anastylosis-based reconstruction of two partially collapsed vaults of a bridge with special protection qualification. In this context, the knowledge of the techniques and constructive methods used in the past and documented in ancient treatises was fundamental to reach the intended results. During the removal of bridge backing and the vault disassembling, many key aspects of the original construction process emerged, enriching and improving the following reconstruction phase. Long-standing details, such as the presence of wooden wedges between consecutive voussoirs, were replicated for providing a proper injection of the grout into the vault joints. Also, the existence of a lime strip on the lower part of voussoirs internal face, to avoid the grout leaking during its pouring was inspiring and useful during the vaults’ restoration. In this regard it is to be considered that the mortars used (in classical construction) for horizontal blocks (in piles, walls or spandrel walls) was indeed of different real quality compared to the joints of vaults, due to the inclination of voussoirs. This is one of the reasons explaining, according to the authors’ opinion, the registered settlements (several centimetres or even more) in old treatises. Therefore, the use of an additive to the hydraulic lime leading to a low viscosity grout, with good mechanical properties, proved to be essential. Additionally, the importance of an effective classification criterion for an anastylosis process was illustrated and proved to be possible with no especial difficulties. The vaults reconstruction was done following step-by-step the original process and stereotomy techniques described in the ancient treatises on masonry bridges, but also adapting them the employment of modern auxiliary means. The use of an MSS and overhead cranes instead of wooden centrings and clamps is a representative example. Moreover, as it was common practice in the past, an on-site full-scale mock-up of a stone arch was built outside of the bridge, to assess the correct building procedure and estimate possible deformations and movements. Finally, based on these findings, the bridge was restored to its initial configuration.