QA YEAR 09 N.1 03.2020

quaderni di assorestauro

YEAR09NR01 MARCH 2020

THE INDUSTRY OF RESTORATION

MARCH, 18TH-20TH 2020 ITALIAN PAVILION AT

Via Londonio 15 - 20154 Milano - Italy | Tel/Fax +39 02-3493.0653 | segreteria@assorestauro.org

quaderni di assorestauro

YEAR09NR01 MARCH 2020

THE INDUSTRY OF RESTORATION

MARCH, 18TH-20TH 2020 ITALIAN PAVILION AT

Quaderni di Assorestauro

Years 09 | Number 01 MARCH 2020

edited by Andrea Grilletto Sonia Vallese Saini Mayank

Graphic Project

Blumorgana | Viviana Maria Lucia Volpini info@blumorgana.it

© copyright 2015 Assorestauro Servizi Srl ISSN 2499-1864 (Print) - ISSN 2499-1503 (Online)

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INDEX

WWW.ASSORESTAURO.ORG sponsor presentation _ Presentation of “ICE AGENZIA” 4 _ Presentation of “Assorestauro” 5 _ Presentation of “OICE” 6 _ Presentation of “CNA” 6

Technical Session

The Madonna of Anconetta, diagnostics, project and restoration. CMR Center Materials Research

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The restoration of the Chiaravalle Cross. Restare Restauratori Italiani 12

3D SURVEY OF THE RUINS: TWO CASE HISTORY IN SOUTH OF ITALY. Società di Topografia 16

A NEW LIFE FOR THE RUIN OF THE FATIH MOSQUE IN ENEZ. Studio Berlucchi 20

DESIGN THE RESTORATION: 3 CASE STUDIES BETWEEN ITALY AND MALTA Leonardo 28

PEELABLE PRODUCTS FOR SURFACE CLEANING. Bresciani 34

CONSOLIDATION AND CONSERVATION WORK AT THE ARCHEOLOGICAL SITE OF TILMEN HÖYÜK IN TURKEY. Mapei 36

CATEGORIES

THE CLEANING PROCESS. Ibix 40

PIANA DI SAN MARTINO: RESTORATION, 3D SCAN AND BACKFILLING

HENIB WALL PAINTING CONSERVATION PROJECT: LASER AND GELS FOR

FROM THE EXCAVATION TO THE VIRTUAL RECONSTRUCTION. Casaril Restauri 52

VENERANDA FABBRICA DEL DUOMO DI MILANO.

MATERIALS AND TECHNOLOGIES

THE RESTORATION OF HISTORICAL FLOORS. F.lli Feltracco 60

ARCHAEOLOGICAL RESTORATION

DIGITAL ANASTYLOSIS. THREE-DIMENSIONAL MODELS AS

A SUPPORT TO DESIGN. Tryeco 2.0 62

THE PRESERVATION WORKSITE

HOW VIRTUAL REALITY, GAMIFICATION AND 3D VISUALIZATION HAS BEEN USED

MIX - MUSEUM INTERACTION EXPERIENCE: A NEW WAY TO PROMOTE

SPONSOR PRESENTATION WORKSHOP SESSION PRELIMINARY ANALYSIS AND DIAGNOSTIC DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING

VALORIZATION OF CULTURAL HERITAGE

OF THE CHURCH AND TOWER OF S. MARTINO. Malena 44 SUPERFICIAL CLEANING. Centro Conservazione e Restauro La Venaria Reale 48

RESTORATION OF THE SPIRE GUGLIOTTO AMADEO. Cores4n 56

IN CULTURAL HERITAGE APPLICATIONS. Sjm Tech 68 CULTURAL HERITAGE. Mix Museum 76

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SPONSOR PRESENTATION

ITA - Italian Trade Agency is the Governmental agency that supports the business development of our companies abroad and promotes the attraction of foreign investment in Italy.

With a motivated and modern organization and a widespread network of overseas offices, ITA provides information, assistance, consulting, promotion and training to Italian small and medium-sized businesses. Using the most modern multi-channel promotion and communication tools, it acts to assert the excellence of Made in Italy in the world.

Industrial Cooperation and International Organizations Rome, Via Liszt 21 - 00144 T. +39 06 5992.9807 - coll.industriale@ice.it - www.ice.it

per ne italiana associaziosociation for ar italian as

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ASSORESTc es

Via Franc

SPONSOR PRESENTATION

Project coordinator: Andrea Griletto

WHO IS ASSORESTAURO ?

Established in 2005 as the first Italian association of manufacturers of materials, equipment and technology, suppliers of services and specialized companies, Assorestauro represents the Italian sector of restoration and conservation of material heritage. To date, it is the sole association and a reference in the domestic and international market for anyone willing to start working in the conservation sector in Italy, to be intended in its broadest sense, that is, as a synthesis of the various disciplines involved, of the professional specialists, of the available technology and of the growing business community. If examined as a whole, the sector accounts for a large market share and has a meaningful impact on tourism, industry and bioconstruction.

WHAT ARE ASSORESTAURO’S GOALS ?

Assorestauro is the National Trade Association for the Restoration Sector, representing manufacturers of materials, equipment, technology, specialist companies, designers and suppliers of services for analyses, surveys and diffusion. The Association offers its members information, assistance, advice and training both directly and through its partners, with a view to building a consistent and unitary orientation to the different sectors of the restoration industry at national and international level.

As a national association, Assorestauro is aimed at coordinating, protecting and promoting the interests of the restoration sector and it represents before the outer market, in Italy and abroad, the common positions for technical and economic issues, as well as image, by carrying out targeted activities in such relevant fields of the sector as information and communication, protection of common interests (economy, image, standards), research and development, promotion.

o co, urban ico, artisti tion n o tt e it h arc tora il restauro, art and urban res re tu c e it h rc

elencoci dei so MEMBERS LIST

WHAT DOES ASSORESTAURO DO ?

Several activities aimed at promoting the professional skills in the restoration sector fall in the scopes of the Association. They include diagnostic analysis, design and on site execution, producing technology and materials, as well as contributing technological innovation, with the support of Institutions, Universities, Agencies for the protection of cultural heritage and ICE, the Agency for the internationalization and the promotion abroad of Italian businesses. This type of action includes both promotion in Italy (conferences and training seminars, trade exhibitions, courses and similar initiatives) and abroad (foreign missions, training, b2b encounters, restoration sites), where member companies are involved and offered the chance to study and penetrate foreign markets through projects co-sponsored by national and international bodies.

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-3493.065

+39 02 | Tel/Fax o - Italy 154 Milan tauro.org io 15 - 20 res co London ro.org | www.asso sorestau

TAURO

ÂŽ

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SPONSOR PRESENTATION

President: Gabriele Scicolone International Project: Marco Ragusa

info@oice.it www.oice.it

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OICE is the employers’ Association, belonging to Confindustria (the Confederation of ltalian lndustry), which represents ltalian engineering, architectural and technical economic consulting organizations. Founded in 1965 OICE unites all the major Italian engineering and architecture companies and most of the best qualified small and medium firms in the sector. OICE operates in 4 major areas: representing and safeguarding category interests, promoting the culture of organized engineering, providing services for members and promoting internationalization of ltalian Engineering. OICE is member of FIDIC - lnternational Federation of Consulting Engineers and EFCA - European Federation of Engineering Consultancy Associations. OICE participates to the international activities and ltalian lnstitutional missions, promotes special partnerships with the engineering Associations, sustains the participation of the ltalian Consulting companies to the tenders organized by the lnternational Financial lnstitutions (WB, EBRD, AfDB, ADB, IDB etc‌). Areas of specialization are urban and territorial planning, architecture, civil engineering, transports, environmental engineering, energy, agriculture and rural development.

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SPONSOR PRESENTATION

National Chairman: Mr. Andrea Santolini Responsible: Mr. Gabriele Rotini Spokesman Restoration of CH: Mr Giacomo Casaril

cna@cna.it www.cna.it

ART CNA

Artists skilled in artisanal production and artisans who produce in an artistic way The CNA Artistic and Traditional Union includes companies in the sectors of metal and precious stone processing, ceramics, restoration and archaeology, wrought iron, traditional musical instruments and related activities.

As an instance of aggregation of the National Confederation of Crafts and Small and Medium Enterprises, the Artistic and Traditional Union is active in all Italian regions and operates in close collaboration with the territorial Associations of the Confederation.

The most significant productive activities, range from the processing of precious metals to jewelry, from violin making to ceramic art and tradition, from the craftsmanship that is expressed through the material elements identifying the different local cultures, to the trades of heritage conservation and restoration.

The active association policy is carried out with initiatives and projects aimed to enhancing the potential of the various production sectors. The overall objective is to achieve the institutional and market functions, the attention due to what needs to evolve and to what risks disappearing, considering that these productive sectors are expressed in an artistic balance of function and use, and with high economic value.

CNA also plays an important and significant role in the Cultural Heritage sector.

In particular in the last decade it has made a strong contribution to the enhancement of the professional figures that operate in the protection and conservation of the heritage, such as for example conservators-restorers and archaeologists.

Today in Italy the professions of Cultural Heritage are reserved and regulated. The Law of the Italian State assigns exclusively to these figures the competences concerning Cultural Heritage and define the requirements that this professional must have in terms of training and experience.

CNA largely contributed to set that effectiveness framework up.

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PRELIMINARY ANALYSIS AND DIAGNOSTIC F. Rizzi R.Giorio B. D’Incau S. Franceschi A. Lazzari A. Sella S. Pozzacchio C. Rigoni F. Romano C. Scardellato

CMR Center Materials R E S E A R C H

beniculturali@cmr-lab.it www.cmr-lab.it

Fig 1.

Visible light painting with mapping of the sampling points 8.

Thermography 9.

Digitally superimposed thermography on the image of the visible light painting

THE MADONNA OF ANCONETTA, DIAGNOSTICS, PROJECT AND RESTORATION DIAGNOSTIC IMAGING: RADIOGRAPHIC IMAGING; IR REFLECTOGRAPHY, UV FLUORESCENCE INVESTIGATIONS, IR THERMOGRAPHIC IMAGES Diagnostic imaging techniques, such as IR reflectographic observation, X-ray radiographic technique and IR thermographic mapping of the artwork, have allowed to identify areas with different electromagnetic response and different radiopacity in the icon. This distinction was useful for the collection of the micro samples that were distributed in the various identified sectors in order to characterize the different stratigraphic packages (Fig. 1).

The combination of imaging techniques with chemical - stratigraphic characterization has made it possible to perform a digital mapping of the different types of stucco reintegration interventions, differentiating the various interventions from the original ground preparatory layer. The following types of stucco painting preparation were therefore identified:

Type 1: original preparation with plaster and animal glue, spread in two layers, the first with larger grain size plaster.

Type 2: refers to a subsequent restoration intervention, consisting of a primer based on calcium carbonate, drying oil added with barium white. The characteristic radiopacity of the latter made it possible to recognize its limits on the plate, identifying both the filling of the original ground layer and paint layer gaps (lacuna) and the overflowing additions.

Type 3: referable to a second intervention after the original, based on calcite, plaster and drying oil. Also, in this case it was possible, thanks to the radiographic investigation, to map graphically on digital support to report the area.

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Fig 2. Image of the painting after removing the repaintings. X-ray painting image .X-ray painting image with mapping of ground layers and nails

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Fig 3. IR infrared painting image. Image of the real painting digitally superimposed in infrared. X-ray painting image digitally superimposed in infrared

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Fig 4. Ultraviolet image with the mapping of the different identified repaintings. Visible light painting image after the removal of warnish with mapping of the identified repaintings distinguished by removal and conservation

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PRELIMINARY ANALYSIS AND DIAGNOSTIC Fig 5.

Visible light Painting with the sampling point 8th. Image of Crosssection with reflected light optical microscope 9. Scanning by electron microscope (SEM backscattered electron image)

X-ray analysis and thermographic images also showed the presence of metal elements as a support for the positioning of the ex-voto. These elements are not visible to the naked eyes as, being historicized, they are masked by layers of stucco and pictorial film.

After removing the layers of varnish, other useful information was obtained through observation in UV fluorescence and grazing light. The non-coplanarity and the different fluorescence, -as a result of ultraviolet stimulation, -of pictorial materials, led to identify the coexistence of at least seven pictorial integration interventions carried out on the artwork.

MICRODESTRUCTIVE DIAGNOSTICS: STRATIGRAPHIC SECTIONS AND CHEMICAL – PHYSICAL ANALYSIS OF MICRO SAMPLES

Stratigraphic investigations and microanalysis represent traditional techniques which, even with the limitation of taking samples from the artwork, provide certain references and fundamental chemical data that cannot always be extrapolated with certainty from diagnostic image techniques only, such as the composition of single overlapping layers.

The chemical investigations on stratigraphic sections were performed by scanning electron microscope analysis accompanied by energy dispersed microscopy and Fourier transformed infrared.

There were characterized three different types of ground layers that testify to the repeated retouching to which the artwork was subjected. The pigment analyzes also helped to provide indications regarding the possible dating of the repainting. In fact, above the oldest ground layer we have pigments certainly prior to 1700 while in subsequent retouching we also find pigments of eighteenth-century or later origin, such as barium white, zinc white and bice blue.

The histological analysis of a sample taken from the wooden support (back of the slab), classified the essence of the wood as belonging to the species Picea excelsa Link (Spruce).

CONCLUSIONS The partnership between training bodies, protection bodies and specialists in the sector has made it possible to bring together professional figures who have different skills, who use different but at the same time complementary technologies.

This has revealed numerous data on the construction techniques of the artwork and on past restoration methods.

The subsequent digital processing allowed the operators to carry out the restoration in a conscious way, allowing, for example, to remove the overflowing parts of the non-original grouting with the scientific awareness that the oldest pictorial layer was present under it, thus managing to find the original portions of pictorial film.

Finally, digitalization has allowed the comparison of the various diagnostic techniques, allowing an immediate reading of the analytical data even in a highly complex artwork from a stratigraphic and material point of view.

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PRELIMINARY ANALYSIS AND DIAGNOSTIC

Fig 1.

Detail of a fragment of the golden filigree adorning the Chiaravalle Cross

The restoration of the Chiaravalle Cross The Chiaravalle Cross, a jewelry masterpiece dating to the 13th century, is a processional cross being restored during “Restituzioni 2016” (1).

The approach to the Chiaravalle Cross and its restoration has involved a number of critical issues due mainly to the different types of materials and techniques used for the manufacturing of this masterpiece of Venetian jewelry art, embracing the excellence of one or more workshops where sculpture, chisel, jewelry and glyptics merge in unison to offer something universal.

info@restare.eu www.restare.eu

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The Cross is made up of a wooden structure covered on the front by 12 plates in red jasper, on which were applied the main figures of the crucified Christ, the Virgin and St. John the Evangelist, all made of molten silver in lost wax, finely chiselled, gilded with mercury amalgam and polished with burnished (the typical signs, resulting from the rubbing of the tool, are still visible). A golden filigree (see a detail in fig. 1) frames the entire shape and is adorned with several gemstones. The perimeter thickness of the Cross is entirely covered by a smooth and shiny silver foil made in a unique segment, fixed with nails and folded on the front and back sides. On the rear, there are embossed, chiselled and gilded silver foils, placed inside the carved wooden structure and then covered with slabs made of “rock crystal” (see fig. 2). The crystal slabs are framed and held by silver plates, probably added in the 17th century restoration, adorned with simple relief motifs obtained only chiselling.

Similar gem settings are placed also on the front. Finally, the multifaceted knot, with six lozenges, represents as a whole the synthesis of the two sides of the Cross, with the presence of filigrees, gem settings, red jaspers, embossed, chiselled, gilded foils and the rock crystal covering them.

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Fig 2. A particular of the rear of the Cross, with manufacturing details (the wooden part, the silver plates, the gem settings and the rock crystal)

The peculiarity of this masterpiece, owned by the Oblate Fathers, but exhibited at the Museo del Duomo’s collection, is that several stylistic features seem to have been produced after the 13th century.

The restoration work is documented in the restoration report published by Restituzioni [1].

The University of Milan-Bicocca, in collaboration with the Veneranda Fabbrica del Duomo, coordinated the scientific investigations during the restoration of the Cross, addressing different materials [2]. The analyses were intended to provide useful indications to the dating of the work or its subsequent alterations, both using established techniques (such as C14 dating, Raman spectroscopy, X-Ray Fluorescence and Scanning Electron Microscope investigations), as well as nuclear techniques, dedicated to the study of metals. Main results were gathered in a recent publication [3].

The primary objective of the project was to share, both with an audience of specialists and with the general public, the results of scientific analyses and their repercussions on historical and artistic interpretations in an organic way, thanks to the collaboration that has been established between public and private entities, and between scientists and historians for the study of such a complex cultural good.

Acknowledgments We thank Emanuela Daffra for her collaboration and for very valuable discussions

Our team of experts is still collaborating in order to deepen the knowledge about the Chiaravalle Cross, but also for the development and implementation of a “real multisciplinary practice” in the cultural heritage field, to be applied also in future projects.

REFERENCES [1] http://www.restituzioni.com/opere/croce-di-chiaravalle/ (2017) [2] “La Croce di Chiaravalle. Approfondimenti storico-scientifici in occasione del restauro” by Giulia Benati and Daniela Di Martino, BookTime, Milan (2017) ISBN code: 978-88-6218-293-5 [3] D. Di Martino et al., “The Chiaravalle Cross: Results of a Multidisciplinary Study”, Heritage (2019), 2, 2555-2572; doi:10.3390/heritage2030157

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PRELIMINARY ANALYSIS AND DIAGNOSTIC

Daniela Di Martino, Roberta Cattaneo, Giuseppe Gorini, Dipartimento di Fisica “G. Occhialini”, Università degli Studi di Milano-Bicocca Giulia Benati, Veneranda Fabbrica del Duomo di Milano Roberto Alberti, Tommaso Frizzi, Michele Gironda, XGLab S.R.L. - Bruker Nano Analytic

Sandro Baroni, Fondazione Maimeri

Carlo Bertelli, University of Lausanne

Franco Blumer, Franco Blumer Restauro Metalli Letizia Caselli, Ateneo Veneto di Scienze, Lettere e Arti, Classe di Lettere e Arti Costanza Cucini, Laboratoire “Métallurgies et Cultures”, CNRS, IRAMAT Université de Technologie Belfort Montbéliard Fabio D’Amico, Lisa Greggio, Maya Musa, Gulf Institute of Gemology

Lorenzo Lazzarini, LAMA, Università IUAV

Elisabetta Gagetti Enrico Perelli Cippo, Istituto per la Scienza e Tecnologia dei Plasmi, CNR

Maria Pia Riccardi, Arvedi Laboratorio, Università degli Studi di Pavia, Dipartimento di Scienze della Terra e dell’Ambiente, Università degli Studi di Pavia

AUTHORS

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PRELIMINARY ANALYSIS AND DIAGNOSTIC Società di Topografia

info@stf-survey.com www.stf-survey.com

3d survey of the ruins: Two case history in south of Italy FORNACE PENNA DI SAMPIERI, RAGUSA

For the realization of the three-dimensional models of the Penna furnace, it was decided to apply UAV technology by acquiring oblique images.

This technique overcomes the “poor visibility” of the walls on the nadiral photos, offering new potential for the photogrammetric survey of the building, introducing variations in photographic scale and occlusions that can be significant for acquisitions at a short distance. The case study is representative of the situation in which a damaged building is not accessible and is detectable only through images acquired with a drone, even with “unconventional” gripping geometry.

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PRELIMINARY ANALYSIS AND DIAGNOSTIC

Activities: _ 3D relief with Focus Faro 3d x330 laser scanner _ Aerial photogrammetric surveys with U.AV. (FlyNovex) and execution of flights for the creation of orthophotos and models _ Mission planning: - Quote 50 m (52 images) - 8 nadiral strips - 5 longitudinal and 3 transversal - Quote 50 m (41 images) - 10 inclined strips at 45° - 6 longitudinal and 4 transversal _ Image calibration - 8 calibrations, coordinate point control - Clouds dense of points:37 clouds dense from images

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PRELIMINARY ANALYSIS AND DIAGNOSTIC CROTONE ARCHEOLOGICAL PARK

The analyzes carried out in this area fall within that strand of non-invasive archaeological research, specified with the term Remote Sensing or Remote Sensing, which deals with techniques and methodologies for acquiring, processing and interpreting phenomena without entering into direct contact with them. The methods and tools of remote sensing applied to archeology are numerous. In this specific case, the maximum degree of visibility of the buried archaeological deposit is obtained, it was decided to integrate various investigation tools: aerial survey, photogrammetry and laser scanner survey.

The contribution of knowledge offered by this strategy of integrated imagination, both in qualitative and quantitative terms, is remarkable and currently includes an indispensable tool and all the avant-garde to acquire “direct” information on the metric and geometric characteristics of the buried evidence.

Activities:

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Topographical framework with GPS equipment (Leica);

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Aerial photogrammetric surveys with U.AV. (FlyNovex);

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Three-dimensional reliefs with Laser scanner Focus Faro 3d x330

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING Ali Hürata Nicola Berlucchi Olcay Aydemir Murat Sav Muradiye Şimşek Alessandro Bozzetti Osman Guneren

A new life for the ruin of the Fatih Mosque in Enez [ This article was taken from: “Conservation approaches on restoration and reconstruction of Fatih mosque in Enez” ] The Fatih Mosque, is located at west end of Turkey in Ainos/Enez, a port city which was founded beyond the Saros Gulf. Since Enez used to be occupied with overseas commerce since 6th century BC, the city was used to be conquered for this reason. The city is on the axle that connects Philippopolis and Hadrianopolis.

restauro@studioberlucchi.it www.studioberlucchi.it

The Mosque is one of the important buildings of Byzantine-Ottoman common cultural heritage. The building was first revealed as a church during Byzantine Era. as an example of Greek-cross plan of 12th century, then it was converted into a mosque after being repaired

Fig 1.

Southwest view of the building from exterior narthex side (photo by S. Eyice 1961-62) Fig 2.

Before the workiste.

View towards the interior south wall from the door on north facade.

Fig 3.

Before the workiste.

View of the Nartex facade

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING 01

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING and building of its minaret in 1456 and was included under the management of a foundation just after the takeover of the Ottoman (fig. 1). The building had several damages because of earthquakes throughout the time and was closed down after seismic damages in 1965. Afterwards, the building was damaged a lot more depending on both being ignored and vandalism. The roof of the building collapsed, the minaret was destructed and had major damage on structural elements and on facades. In order to reuse of the building, a restoration project was prepared in 2007 however the project could not be carried out depending on structural concerns. (fig. 2-3) A revised conservation project was prepared between 2014-2016 with the aim of making the building survive, detailed examination, documentation, analyses and project studies have been made by Turkish and Italian conservation experts having different professions.

The existing features show that the Fatih Mosque has general architectural features of Byzantine Middle Era. The plan scheme is in Greek-cross style while the west part is slightly longer. This form makes it similar to the domed basilicas. The Hagia Sophia of Enez has similarities with some other buildings in terms of details. The building has exterior and interior narthexes. The interior narthex is divided in three parts while the side parts are covered with crossed vaults, the middle part is covered with barrel vault (fig. 4). Then comes the naos which has a dome with a diameter of 7 m.

The 1965 earthquake caused the dome of the building collapse and east walls destruct partially. The damage in the building increased by time due to strong wind and rain, lack of maintenance and following earthquakes. Collapsing of stones, bricks and plasters from the walls of the building unfortunately continued especially in stormy weather till the restoration works begin in 2015.

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING In order to enable the Fatih Mosque survive, project studies of survey, restitution and restoration were initiated by the Directorate General of Foundations. During all those studies; detailed ground analyses, archaeological examinations and material tests were done and reported.

Starting from an international cooperation with a project committee consisting of Turkish and Italian architects, engineers, archaeologists and other conservation specialists, under the direction of engineer-architect Nicola Berlucchi, were prepared all the analyses reports, projects and other reports relating to conservation works. The tender package works and inspection of the site process is being directed by Edirne Regional Foundation Directorate.

Fig 5.

Analysis of the decision about facades and roof strcuture on 3D model (model, Studio Berlucchi, 2015)

During the process, apart from the on-site inspections; as for project and site works, an effective communication has been coordinated with the Italian specialists via internet for the control of the implementations. This method has vital importance for the implementations in terms of quality of the works, continuity of the work schedule regularly, interpretation of the revealed data quickly and thus prevents the ordinary long decision periods.

The main principle on conservation of the partially collapsed building has been “preserving the healthy parts” and “restoring the rest of the building without spoiling authentic space perception”.

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Fig 6.

Project of the interior

Taking account of the old photos it was possible to define the condition before the collapse, the changes and additions through its history, evaluated with the photographical examination, laser scanning, stratigraphical examination and structural surface analyses with computerized modelling (fig. 5-6).

Since the existing ruin stands as a huge and unclear emptiness, the project states a concept of repairing the surviving authentic parts without losing or damaging historical period traces, plaster details and without causing the reconstructed part overwhelms the rest of the building. We intended to leave neither a signature nor a bold sign of the architect on the building. However, the remaining authentic plaster layers were repaired by minimum conservation techniques in order to exhibit the years from Byzantine to Ottoman The choice would be to use the traditional materials (brick, stone, timber, mortar) with traditional methods and techniques. For this reason, the reconstruction works were planned to be under control of ordinary construction laborers while the Byzantine based part was under the control of expert restoration workers after reinforcement of the walls by injection method (fig. 7).

The new plaster layers aimed at protecting the surface and the frescoes on them, were chosen as neutral as possible (fig. 8). Our aim was achieving an objective reconstruction in order to restore the spaces and letting the visitors experience the monument entirely without any obstacle or interpretation. For this reason, a wide range of modern materials and imitation choice were avoided especially.

A notable discussion has been raised about the collapsed plasters of the exterior walls. The proposal of the project was to cover them with a semi-transparent lime paint. Thus, the visitors could see directly both the Byzantine wall texture and Ottoman Era interventions on walls side by side.

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING The ceiling, where it was quite difficult to know about the original shape because of the missing traces, was reconstructed by a false ceiling with wooden strips that reminds the original shape, similar to the traditional Ottoman interior structure system called BaÄ&#x;dadi.

Traditional techniques were used to do the reinforcement as following: widening the foundations, injection into the Byzantine Era walls which have pretty large holes, stitches between the new and old walls, reconstruction of the vaults and in some cases, reconstruction of them with plaster layers on metal mesh not to cause load to the building, wooden laminated roof that is supported with steel connection elements (fig. 9), replacing the old weakened timber beams inside the walls with several metal bars. However, modern tech-

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING niques were preferred for completion of the minaret, for this reason stones with holes to fit vertical steel sticks were used against earthquake load. Even though traditional methods are mostly preferred for structural interventions on restoration works, choosing modern methods for comfortable use of the buildings is a must. In this context, after dismounting the marble tiles in order to strengthen the foundation, floor heating system could be installed. Lighting context was designed by led fixtures with basic scenarios.

We can say that after all the monument has almost waited for the end, tired but proud, such as a hermit, far from the crowd, for almost 50 years, to the days it can welcome the visitors with its new wellness and shape (fig. 10).

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING

Design the restoration: 3 case studies between Italy and Malta segreteria@leonardoprogetti.com www.leonardoprogetti.com

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FORT ST. ELMO (MALTA).

RESTORATION AND REHABILITATION OF AN HISTORICAL SITE Fort St. Elmo is one of the most significant historic landmarks in Malta (Map 1). It occupies a strategic position at the tip of the Sceberr as peninsula upon which the Order of St. John founded the city of Valletta. From a military point of view it was crucial in safeguarding access to the Marsamxet and Grand Harbours, on both sides of Valletta. The original Fort was constructed by the Knights in the mid-sixteenth century and it played an important role not only during the Great Siege of 1565 but even in the twentieth century during World War II. The scope of work are to restore, regenerate and rehabilitate Fort St. Elmo and its environs into a cultural and tourist attraction with supporting amenities to attract visitors and economic activity to the lower end of Valletta. The restoration project cost around â‚Ź15.3 million, 85% of which came from EU funds, and was carried out by the Grand Harbour Regeneration Corporation. The revamped Fort St. Elmo have included a military museum and a new passageway around the bastions. In the restoration and rehabilitation of existing historical structures of this ancient site, have been utilized the traditional building material of local globigerina limestone. In this intervention any traditional construction systems have been retained and the use of reinforced concrete is been in general restricted. The architect Salvatore Re with his Maltese Company Leonardo Projects Ltd together with its maltese consultants provided the services of Project and Construction Management. The works were carried out between 2012 and 2104.

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING CASALE MONFERRATO FORTRESS (ITALY).

RECOVERY, REUSE AND FUNCTIONAL REDEVELOPMENT. A NEW POLE OF MULTI CULTURAL DEVELOPMENT AND REVITALIZATION OF THE URBAN PLACE The fortress of Casale Monferrato is located in the historical center of the homonymous city. It dates back to 1352. From the Middle Ages to the present day it has undergone numerous modernizations, modifications and demolitions. Within the restoration works of the entire fortress divided into several lots, the integrated contract was acquired including the works and the executive design relating to lots 5 and 8. Lot 5 concerned the recovery project of the former Medici chapel intended as a multipurpose room and literary cafĂŠ and of the north-east and south-east casemates intended for tasting rooms and finally of the stands for the belvedere area. Lot 8 concerned the recovery of the south-west Channel and the south-west Casemate intended to house the expansion of the library with reading rooms and storage areas and the newspaper library respectively. The area of the intervention area is 1700 square meters. The project set itself the goal of expanding the offer of social and cultural services of the territory in order to encourage the reduction of inequalities and promote both multicultural exchange and cooperation and reception education activities. So as to encourage the processes of non-discrimination and knowledge and promotion of local resources .In response to the needs of preserving and enhancing such a historical heritage, the project intervened on the Fortress with the desire to proceed with its recovery and reuse for the creation of a Library system as a reference and meeting place for all citizens. The project responds effectively to the needs of the area and carries out a contextual and calibrated intervention that is able, at the same time, to respect and enhance the historical values of the building. The project was made in 2013 by the Leonardo company of the arch. Salvatore Re in team with other professionals for the structural and plant engineering part. The works were carried out between 2014 and 2105.The total amount of the works is â‚Ź 3,714,580.

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING FROSINI PALACE IN PISA (ITALY) CONSERVATIVE RESTORATION AND REFUNCTIONALIZATION PROJECT With the “conservative restoration and refunctionalization� project, the client and the designer wanted to recover they pology and distribution of the historic building, enhancing the size of the spaces and the particular ancient features, while at the same time adapting it to contemporary high comfort housing needs. The palace is part of the category of buildings and artefacts of historical interest subject to restrictions pursuant to Law 42/2004.

The restoration project was developed in close collaboration with the Super intendency for the Architectural, Artistic and Historical Environmental Heritage of Pisa. A total of 17 apartments and 18 parking spaces have been created. The dimensions of the housing units vary from the studio apartment of about 50 square meter to the eight-room apartment of about 280square meter. The car parks are partly contained in a newly built basement in the courtyard; the overlying uncovered parking level has been camouflaged by creating a pergola covering the uncovered parking spaces and man euvering spaces. Each apartment has 1 or 2 parking spaces. Seven apartments have an individual outdoor space such as a balcony, terrace, loggia or cloister. The service spaces in each apartment have been studied in depth, each with a closet, laundry room and two bathrooms; many closets have been created in ceiling spaces, accessible through a retractable staircase.The Recovery Plan was drawn up with a view to enhancing the architectural aspects of significant formal character which were amply documented by the historical-archival relationship and by the relief of the stratigraphic essays. The installed systems are state-of-the-art: centralized heating management with consequent reduction of consumption, radiant floor panels, air conditioning prepared for the apartments on the top attic and in the tower house, centralized lift, centralized vacuum cleaner for each apartment. The inspectable parts of the systems, such as meters, collectors, accountants etc. have been hidden in closets or concealed nich-

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DESIGN THE RECONSTRUCTION OF HISTORIC BUILDING es. The original distribution scheme of the condominium atriums, connected to the stairwell, was recovered by restoring the large rooms used to distribute the accommodation to the first and second floors; this operation took place through the elimination of some partitions. The large atria of access to the various levels, connected to the stairwell, have been restored. The external spaces of the courtyard have been re-evaluated as a communal garden, with a large secular planetree in the center. Each apartment is unique and different from the others, both for the layout of the rooms and for the choice of finishes and the re-evaluation of pre-existing characteristics such as the frescoes, the vaults and the corbels, the reopened porch on the courtyard, the entrance door, the staircase sandstone.

As for the interiors, in the common areas, sandstone floors were proposed on the ground floor, in continuity with the flooring in the same material as the recovered porch that overlooks the courtyard. The stairs are in Serena stone, recovered where possible, otherwise integrated. In the atriums the ancient marble plaques that tell the story of the building have been restored. The stone jambs of some doors have been preserved, especially on the side overlooking Mazzini Street. In the atrium on the ground floor, connected to the main entrance on Mazzini Street, the large steel chandelier with a contemporary design stands out(produced by Bega). As a general approach, the finishing elements that could not be recovered were chosen according to a current linear taste, so as not to give the intervention too “classic” image: the various types of continuous flooring made with artisan technique, the window handles (produced by Sigma), retractable doors (produced by L’Invisibile),bathroom furniture (produced by Agape, Flaminia and Pozzi Ginori). In particular, original solutions have been adopted for internal stairs and mezzanines with the combined use of glass and steel. The exteriors have facades with plaster finishes with painting applied with the “fresh on fresh” technique. The sandstone frames of the openings on the main prospect on Mazzini Street have been restored. On the internal courtyard and on Delle Belle Donne Street, portions of valuable walls have been exposed. The wooden window frames are of newcraftsman ship.

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MATERIALS AND TECHNOLOGIES Vittorio Bresciani

Peelable products for surface cleaning New line of water-based compounds for the cleaning of works of Art in the field of Restoration and Conservation of Monumental, Cultural and Architectural Heritage.

Current cleaning systems for surface in the field of cultural heritage: _ Mechanical: Sandblaster, manual or pneumatic hand tools

info@brescianisrl.it www.brescianisrl.it

_ Chemical: Water, Poultice with different chemical compounds _ Physical: Photoablation with LASER, heating with hot air or infrared radiation Peelable cleaners is a new line of medium viscosity water-based compounds, fluid during application and ready to use. The based substances capable of polymerizing, forming a film that once removed performs a mechanical cleaning (peeling) used is PVA (Polivynil Alchool).

Fig 1.

Fresco cleaning: POLITECT with ammonium citrate 4% Fig 2.

Sculpture cleaning: POLITECT with benzalkonium chloride 10%

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Other compounds are added to the PVA to obtain the basic composition, to solve the various cleaning problems and other surfaces to be treated, other specific chemical products are added. Removal of organic deposits, dirt on frescoes, chalks, plasters, metals, etc. The simultaneous presence of film forming polymers and chemical additives performs a mechanical and chemical cleaning on a wide range of surfaces. Once dry, the transparent film is easily peelable as a single sheet, without leaving any residue and guaranteeing an homogeneous removal of dirt. All products are environmentally friendly and not harmful for the end user.

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Fig 3.

Plaster cleaning Vatican Museum: POLITECT with ammonium carbonate 8% Fig 4.

Gold cleaning Vatican church: POLITECT Fig 5.

Sculpture: ERMOLD

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PRODUCT FOR SALTS EXTRACTION A very complex problem is the elimination of soluble salts inside the plaster and walls. The hygroscopic salts migrate on the surface crystallizing in the presence of humidity due to the evaporation of the water vapor. These salts have harmful effects and must be eliminated to guarantee the preservation of historical monument. The products is based of special absorbent clay and cellulose fiber. The action exerted by the ERMOLD it is mainly of type physical but also has a chemical action and, in particular: _ physical action is linked to the ability to recall to the outside, by the adsorbent material, soluble salts; _ the chemical action is, however, linked to solvent water capacity towards of many salts (sulphates and nitrates).

The cellulose fiber gives the ability to make the product easily removable (peelable) after drying.

Ermold extracts and absorbs every type of soluble salts from the surface of monuments Favors the elimination of the dirt of the facades.

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MATERIALS AND TECHNOLOGIES Nicolò Marchetti University of Bologna, Department of Archaeology Stefano Musso University of Genoa, Department of Sciences for Architecture

mapei@mapei.it www.mapei.com

Fig 1.

One of the excavation areas where restoration work was carried out using Mapei products

Consolidation and conservation work at the archeological site of Tilmen Höyük in Turkey [ This article was taken from Realtà Mapei International, issue 28 ] Tilmen Höyük is located in southeastern Turkey in the Islahiye valley (region of Gaziantep) and dates back to 2nd millennium BC. It represents one of the most important archaeological sites to study the links between Anatolia and Syria, and to investigate an ancient capital city of the 2nd millennium BC, a contemporary of the splendors of Ebla and Ugarit.

In the 1960’s, a Turkish team led by B. Alkim initiated a number of archaeological digs in the area including Tilmen. The more recent discoveries were made thanks to a joint research excavation project promoted by the Department of Archaeology of the University of Bologna (Italy) together with Istanbul University and Gaziantep Museum.

Under the direction of Prof. Nicolò Marchetti, what had originally started as an ambitious excavation project in the region of Gaziantep, evolved into a large scale Euro-Mediterranean cooperation project, with the aim of safeguarding and enhancing the landscape, not only from an archaeological point of view, but also from an environmental one.

In fact, the project availed itself of the collaboration with the University of Bologna Faculty of Agrarian and Engineering Studies, Genoa University Faculty of Architecture, Adana Uni-

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Fig 2.

An aerial view of the southern side of the acropolis and the eastern lower town (the throne room in the royal palace is highlighted)

versity Faculty of Science, Marmara University Faculty of Fine Arts and Istanbul University Faculty of Arts.

The collaboration between Italian and Turkish faculties marked the go-ahead of a multidisciplinary, far-reaching project: the creation of an archaeological and environmental park to preserve and manage the site, officially inaugurated in October, 2007.

Since 2003, Marchetti has been directing the dig at Tilmen HĂśyĂźk, and in just five excavation campaigns a number of important monuments and remains from 1700 BC have been unearthed, including temples, fortresses and the Royal Palace, in addition to splendid works of art such as a votive stele with a relief of the Storm God or a seal impression mentioning the king of Babylon.

All the works on the site were carried out with the highest respect for the ancient structures, with small-scale interventions being preferred so as not to alter the aspect of the site, while guaranteeing its conservation over the years.

After a preliminary phase for identifying the main problems of the archaeological remains, the most efficient, and at the same time least invasive, intervention techniques to solve the problems were singled out: weed control, cleaning and consolidation using materials which were extremely compatible with the original substrates, and a limited number of integrative interventions just to guarantee the stability of the structures, carefully avoiding any significant rebuilding operation.

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Fig 3.

Cleaning and consolidation operations of the 1700 BC mudbricks by means of ethyl silicate.

Fig 4.

Grouting the cracks in the orthostats (i.e. uprights) and fixing the loose parts in place with resin.

Fig 5-6.

Consolidation of the mud plaster binder in the masonry work and protection of the tops of the walls in the K-3 postern (photo 7 shows a lead sheet inserted in order to indicate the renovation work).

Fig 7.

Consolidation of the floors from 1700 BC with PRIMER 3296, applied with a manual spray gun.

Fig 8.

The archaeological and restoration team in 2006 Fig 9.

The monuments from 1700 BC on the acropolis at Tilmen Höyuk site as in 2006

The remains at the site had a series of problems due to the spread of infesting vegetation, and the lack both of protection against the rain and of an efficient system to channel off rainwater (water was free to flow over the surface, eroding the ground and ancient masonry as well).

The structures most at risk were in the area designated K-5 where the archaeological dig had unearthed mudbrick masonry work, which was crumbly and powdery.

The orthostats – large squared stone uprights placed at the base of walls for construction and decoration purposes – of the walls of the residency in K-5 and of the royal palace were in a poor state of preservation, being full of cracks and missing pieces in various places.

Their restoration and conservation project included grouting irregularities and fixing detached fragments or those in danger of becoming so.

They were consolidated using PRIMER 3296 consolidating primer mixed with water at a ratio of 1:2. PRIMER 3296 is an acrylic polymer-based water-dispersion primer, made up of very fine particles of acrylic polymers which have a good capacity of penetrating into the building materials on which it is applied, including those with low porosity. This property makes it the ideal primer for consolidating weak, crumbly substrates, such as plasters, masonry work made from solid bricks or tuff.

To consolidate the edges of the floors in the same area, a layer of MAPE-ANTIQUE RINZAFFO salt resistant mortar was initially applied, a product specially tested for renovating old stone, tuff and brickwork buildings.After this operation, a layer of MAPE-ANTIQUE MC light-coloured dehumidifying mortar was applied on the area concerned.

In K-3 and K-2 some portions of the walls, including the posterns were partially rebuilt after they had collapsed, probably after the first excavations carried out in the 1960’s.

To fix on the spot the portions in danger of detachment (the edges of the corner stones in the K-3 postern, and grouting of some of the stones in the same area) the Mapei Technical Service Department recommended the use of ADESILEX PG2 thixotropic adhesive, a two-component, epoxy resin based product with selected, fine aggregates and special additives. ADESILEX PG2 has an extended workability, which makes it particularly suitable at temperatures above 20°C, a characteristic which was important for operations carried out on this archeological site.

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MATERIALS AND TECHNOLOGIES Caterina Giovannini

THE CLEANING PROCESS [ This article was taken from QA_A05N04 ]

info@ibix.it www.ibix.it

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The cleaning is a delicate process, which is achieved balancing the needed effectiveness with the potential damage. This means identifying an operating method to safeguard the specificity of each intervention.

The cleaning consists in the removal of unwanted material from the surface of an architectural object. This is done for its preservation or in order to improve its appearance.

Being irreversible, this is a particularly difficult phase. An improper operation might cause an irreparable damage to the artifact, compromising the integrity of important materials for the determination of its historical significance and even causing an acceleration of the degradation already in progress.

The deposits which are usually cleaned are mainly: the products of the alteration of building materials, atmospheric particulate matter, vandalistic writings and graffiti, dust, salt efflorescence, partially or totally soluble encrustations, layers of intentionally applied materials which are no longer appropriate nor functional, infestations of plants, dropping of animals, etc.

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Because of these features and because of the particular nature and the heterogeneity of the substances to be removed, every valuable architecture and every cultural asset represents a unique case. Therefore, if an intervention of conservation is decided, the least invasive procedure is needed, in order to preserve the object in the best possible way.

Fundamental to ensure the correct approach is therefore an accurate determination of the methods to be used to carry on the cleaning intervention. The criteria to be considered in order to identify the best method are: selectivity, efficiency, controllability, gradualness and accuracy.

As far as the most usual cleaning methods, we can mention: chemical, mechanical, water cleaning (by pressure, misting, etc) and aero-mechanical.

The technique of the selective micro-aero-abrasion allows to gently remove from stone artifacts of historic and artistic value the residuals and deposits caused by air pollution, preserving the noble patina and the historical films. In view of all the above, this kind of cleaning is characterized as particularly suitable for conservative interventions on historically and architecturally valuable artifacts.

In particular, IBIX aero-cleaning machines are characterized by their selectivity and delicacy, because with them it is possible to act on different adjustment parameters: working pressure - adjustable from very low values (0,2 bar) - the media flow and the type of inci-

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MATERIALS AND TECHNOLOGIES dence on the surface, other than the chemical composition of the aggregate and its grain size. Furthermore, IBIX makes available a special tool, specifically designed for restoration: HELIX, the gun featuring the helicoidal vortex. This tool allows, with the nozzle being equal, to increase the tangential contact area while maintaining a uniform and calibrated action of the aggregate on the surface affected.

This means increasing the distance of the operator from the surface; minimizing the invasiveness of the intervention without losing the regularity and the homogeneity of the cleaning; avoiding that the operator turns to interventions of continuous corrections, which could lead to a permanent loss of layers to be retained.

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MATERIALS AND TECHNOLOGIES The IBIX method can be applied to various materials of historical constructions. Claybricks, bricks, modanati architettonici, tiles, terracotta tiles, natural stones thus ensuring a great operational versatility. Another strength of the IBIX method is the use of chemically inert and non-toxic materials, such as carbonates - sodium bicarbonate and calcium carbonate - and the almandine mineral, a very hard and lowly friable stone which can increase the effectiveness of the cleaning while maintaining maximum selectivity.

For these reasons, the IBIX method has already found use in the conservation works of some of the most important monuments of the world: the Eiffel Tower, the Louvre museum, the Catherine Palace in St. Petersburg, the historic walls of Malta, the Trajan’s Forums in Rome, a few buildings on the Capitol Hill in Washington and many others.

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ARCHAEOLOGICAL RESTORATION Roberta Conversi Archaeologist, Superintendence for Archaeology, Fine Arts and Landscape for Parma and Piacenza Territories Cristina Mezzadri Archaeologist, private company Malena s.n.c.

Piacenza

Piana di San Martino: Restoration, 3D scan and backfilling of the Church and Tower of S. Martino In 1990, remains of a multi-layered site were found on Mount San Martino, located in a side valley south of the Po river; the site seems to have been inhabited since proto-historical times up until the modern era. The best evidences come from a late antique settlement, which was founded in a strategic position on a syncline in the Emilan Apennines and remained inhabited throughout the Middle Ages; the site is actually protected as a Geo-site and archaeological heritage site as well.

Archaeological excavations carried out between 2000 and 2017, evidenced structures, stratifications and finds that make possible a reconstruction of the settlement’s evolution.

roberta.conversi@beniculturali.it www.malenasnc.com

The fortified site was founded as a castrum in the Late Antiquity and was inhabited by Goths, Byzantines and Lombards until the late Middle Ages, when it became a place of Christian worship. The castrum was part of a defensive network operating between the Late Antiquity and the Early Middle Ages. Remarkable are two vaulted underground cisterns, with floor and wall coverings made from cocciopesto.

Considering its importance, the site was included in an international study project, and since 2018, the Italian Ministry of Cultural Heritage has been funding the conservation, restoration, 3D scanning and backfilling of the foundation walls under the castrum’s tower and the Church of San Martino, which was actually built on the tower by carving the rocky ridge.

The aim of this research project was to acquire decisive data about the construction of a rectangular building, probably a large hall with a tower which was later converted into a Christian place of worship during the Middle Ages. This church, dedicated to the Saints George and Martin, had only one hall and an apse on the eastern side, which was partially

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made of blocks of stones and partially carved in the rock. On the façade wall, near the entrance, four tombs were found, each with a trench carved in the rock. The structures, excavated years ago, were partially colonised by vegetation, and have been cleaned up manually.

During an analysis of the conservation conditions, were identified many critical points with stones detached or flaked, especially due to the mortar almost completely worn Open-air conservation and showing is currently not possible due to the conditions of the structures; however, their presence characterize the environment of a clearing in a chestnut wood, very popular with tourists and hikers.

For securing the permanent structures, it has been necessary look out for methods which need no supplying and transportation of heavy materials, since the area is only accessible through hiking trails. For this same reason, heavy machinery use have been excluded during covering activities, also considering the easy reversibility of the procedure.

Partial backfill was possible through the creation of “wall sacrifice-surfaces” manufactured by local expert artisans. The field and its structures have been protected with breathable geotextile, and hollow parts have been filled with blocks of polystyrene, then covered with soil from the excavations and gravel.

The archaeological relief has been carried out through 3D modelling with real texture of all stratigraphic units and excavation phases, which allows to keep scientific accuracy in short operating times and is the basis for further elaborations aimed at valorisation.

This system is characterised primarily by its preciseness: it requires an operative structure with specific interdisciplinary competences and property technologies.

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ARCHAEOLOGICAL RESTORATION In short, the process develops through the following operative phases: _ Photographic report of the panorama and some details through drone flights _ Georeferencing through GPS _ In-field topography _ Filming both from a drone and on the ground through a measuring camera _ Creation of the 3D model _ Orthophoto in the desired scale _ AutoCAD drawing file _ Delivery of the 3D model of the site The three-dimensional model serves then as a long-lasting searchable database; logging into it, it is possible to extract archaeological and geometrical information (such as planimetries, sections, prospects, areas and volumes).

These three-dimensional models can also be converted into .PDF format, which is accessible to all and allows to rotate and measure the models and to insert them in text files for publications/publishing or slideshows.

The 3D texturized model allows a further “story-telling� of the excavation through a navigable 3D model.

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ARCHAEOLOGICAL RESTORATION M. Cardinali A. Piccirillo A.V. Scarcella F.Zenucchini Centro Conservazione e Restauro “La Venaria Reale”, Venaria Reale C. Greco B. Moiso Museo Egizio, Turin

info@centrorestaurovenaria.it www.centrorestaurovenaria.it

Henib wall painting conservation project: laser and gels for superficial cleaning The Centro Conservazione e Restauro “La Venaria Reale” is an advanced training and research Centre for the Conservation of Cultural Heritage, located near Turin, Piemonte, North-West Italy as a strategic hub.

Founded in 2005 by public and private institutions, acting as private company, it is a no-profit Foundation.

Covering the complete supply chain of Conservation: from training to monitoring, prevention, maintenance, restoration, management. It comprises the following departments: Conservation Laboratories, Scientific Laboratories, Advanced Training Study School and Educational Services, Programming and Development, Technical Services.

Conservation and restoration are based on a clear definition of the heritage resource and its relationship to its setting. This definition is part of the critical process aimed at cultivating an appreciation of the heritage as an integral part of present-day society by developing a framework for assessing resource values and establishing management objectives.

The CCR approach takes care of cultural heritage values related more specifically to the intrinsic aspects of the monument/site/collection/ar twork — its design, techniques, material, and workmanship — and to the values associated with its location, cultural context and its relationship to the setting.

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ARCHAEOLOGICAL RESTORATION This process has four distinct steps: _ Survey: methodical inspection, survey and documentation of the resource, its historical setting and its physical environment; _ Definition: critical-historical definition and assessment of the object and its setting, telling the conservative history; _ Analysis: scientific analysis and diagnosis of the material substance and associated structural system with a view towards its conservation; _ Strategy: long-term and short-term programmes for preventive conservation and management of change, including regular inspections, scheduled maintenance and environmental control.

HENIB WALL PAINTING CONSERVATION PROJECT: represents an interesting study case in the archeological restoration field carried out at the Center by the interdisciplinary team.

The conservation project of the six wall painting fragments from Henib chapel-tomb (1), in Qaw el-Kebir, has been carried out with a scientific and interdisciplinary approach, by a team of different professionals from the Centro Conservazione e Restauro “La Venaria Reale�, the Turin Museo Egizio and the Piedmont Archeological Soprintendenza [1], including conservators, curators, archaeologists and conservation scientists. In this perspective, conservative issues have been merged with archeological researches, in order to give back to the scientific community, but also to the general public, the six painting fragments, enhancing the knowledge of Egyptian tangible cultural heritage.

(1) In the person of Dr. Matilde Borla, archeologist, official in the local board of Italian Ministry of Culture

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After preliminary bibliographic researches, a non invasive analytical plan (including UV fluorescence, IR reflectography, false color elaboration and visible light induced luminescence ) has been addressed to the study of the superficial distribution of different materials, in order to focus the topic area to analyze with further analytic technique, such as X-ray fluorescence spectroscopy (for pigments characterization) and Fourier transform infrared spectroscopy (for organic substances identification). Moreover, samples have been analyzed with optical and scanning electronic microscopy, with EDX, to obtain additional information about execution technique and materials used for different remedial treatments.

Following analytical campaign, superficial cleaning represented one of the main issue for fragments conservation because of the presence of a number of overlaid layers. An altered acrylic resin (Paraloid B72) has been documented all over the paintings surfaces, in addition to a dark substance, identified as the animal glue used in painting detachment and now responsible for superficial layers chipping and micro peeling. Considering the peculiar needs of every fragments a comparison on effectiveness of the cleaning was tested with different methods using: physic methods, solvents and water gels. Preliminary laser tests were done with three different Nd:YAG lasers EOS 1000 (Long Q-Switch) at 1064 nm, Smart Clean II (Short Free Running) at 1064 nm and Thunder Art (Q-Switch) at two different wavelength 1064 nm and 532 nm. The action carried out with the laser technology turned out to be fundamental for some fragments (n. 3, 4 and 6) which has been cleaned in two different steps; first the removal of the superficial deposit by laser and then a further step with chemical solvents.

The swelling of the animal glue has been obtained with the application of water gels with different water retention properties (Gellano®, AGAR and Nevek®).

After the replacement of the previous support with a multilayer panel, composed of a PET layer, propped up with a glass fiber grid and backed by an honeycomb panel, unsuitable plasters have been removed and all the lacunas have been filled with a sand and light stucco mortar [2].

REFERENCES [1] E.M. Ciampini, La sepoltura di Henib (Camera funeraria CGT 7001; pareti di sarcofago CGT 10201-10202), CGT Serie Prima Monumenti e testi, vol. XI, Torino 2003; A. Roccati, Testi religiosi e funerari del II millennio a.C., in Museo Egizio di Torino, Civiltà degli Egizi. Le credenze religiose, Torino 1988, pp. 128-145; B.Moiso, M.Borla, Pitture murali della tomba di Henib in Restituzioni 2018. Tesori d’arte restaurati, a cura di C. Bertelli, G. Bonsanti, Venezia 2018, pp.32-37.

[2] M. Cardinali, Relazione di restauro, in Restituzioni 2018. Tesori d’arte restaurati, a cura di C. Bertelli, G. Bonsanti, Venezia 2018, pp.38-43.

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Giacomo Casaril giacomo@casaril.it

From the excavation to the virtual reconstruction Preserving frescoes and stuccoes of a II Century roman villa In 2005 during the modernization works of the San Giovanni Hospital, the remains of a Roman Villa were discovered on the Celio hill: a corridor with windows overlooking a green garden with walls decorated with paintings and stuccos whose upper part had collapsed, layer by layer, like a house of cards.

Agreements between Rome Cultural Heritage Superintendence and St. Giovanni Addolorata Hospital made possible these complex operations of excavation, restoration and conservation, leading to a museum project for these extraordinary discoveries.

Since then, the archaeological excavation, the study and the conservation interventions have progressed at the same pace: the frescoes and stuccos of the walls (over 3.50 meters high) and large portions of the coffered ceiling (almost 4 meters wide) were discovered and recovered.

Finally, the mosaic floor also appeared.

Since it was not possible to make the site accessible, we were commissioned to remove all the decorative equipment and then transpose it on synthetic supports.

Archaeologists and restorers worked in synergy and so, as the excavation continued, we recovered large portions of the collapsed frescoed wall, using various techniques to preserve the connection between the fragments, while thousands of small finds were collected and catalogued. At a further stage we have detached the frescoes still adhering to the walls.

All materials have been transferred to the laboratory where thanks to a long and delicate work of research and conservation we have been able to recompose on Aluminum honeycomb panels most of the decorative coatings that will give a complete image of the whole environment.

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ARCHAEOLOGICAL RESTORATION A re-composition intervention of this kind requires a complex series of variable operations depending on the type of material and how it was recovered.

To allow installation on panels, the thickness of the plaster must be reduced to a minimum, especially with regard to ceilings. This requires the protection of the surfaces and their preventive consolidation. Of course, the cleaning was also done and, after the mounting on panels, the reintegration and the pictorial retouching. The current result are panels of such dimensions that they can be moved and assembled according to the final objective which is the reconstruction of the entire context in a museum environment.

Much time has been devoted to the study of materials and execution techniques. Through comparison and matching it was possible to combine a considerable amount of smaller dispersed fragments with the large portions already contextualized. Restoration is always an important opportunity to deepen knowledge. In fact, the paintings have been the subject of many studies, for example on the presence of organic binders in ancient colors and laser cleaning tests of polychromies. The pigments were previously analyzed with Raman spectroscopy.

A team of professionals, archaeologists, restorers, conservation scientists, designers and researchers work on this project under the direction of the Superintendence of Archaeology of Rome.

While the work continues and the restoration of the stuccoes and paintings from the ceiling and the pavement mosaics is still in progress, a virtual reconstruction has been elaborated on the basis of the large amount of data collected.

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THE PRESERVATION WORKSITE Anne Shari Napoli

4 anneshari.napoli@cores4n.com www.cores4n.com

Veneranda Fabbrica del Duomo di Milano.

Restoration of the spire Gugliotto Amadeo The “Gugliotto Amadeo” (Amadeo Spire), built (1507 – 1518) during the Sforza period by the architect Giovanni Antonio Amadeo is in correspondence of the “Guglia del tiburio”, one of the pylons of the lantern that supports the “Guglia Maggiore” (Greater Spire). The spikes were born as counterforts but over the years they were transformed and got enriched by many decorations, especially statues. The “Gugliotto Amadeo” in particular, executed in the greater part in Candoglia marble, shows many decorations and geometrical patterns in Verona red marble and slate and has a passage that links it directly to the lantern.

Its state of conservation was mediocre: the typical colour of the Candoglia marble was completely covered by a layer of dark substances caused by the deposit of particulate and pollution and has been influenced by the exposure to atmospheric agents. Especially in correspondence with the ornaments, the statues, the pinnacles and the projecting decorations the spire has been affected by cracks. This led to a total or partial loss of the volumetric plasticity of the artefacts.

The remaining part of the deterioration encountered is to be assigned to the aging of previous interventions dated back to the 60’s: in fact, the mortar used to fill the joints of the marble blocks appeared yellowed and detached from its support.

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THE PRESERVATION WORKSITE The whole restoration intervention was realised with the collaboration of the craftsmen of the Veneranda Fabbrica del Duomo di Milano. In general, the main restoration operations performed were pre-consolidation, cleaning, biocide treatment, consolidation, grouting and they affected the whole Gugliotto. The last part of the intervention is still in the making and consists in the final protection of the marble surfaces.

Before starting with the cleaning operations, a superficial pre-consolidation has been made; it made the protection of the decorated architectural surfaces possible, which had been weakened by the pollution. Otherwise these surfaces would have been majorly affected by the mechanical cleaning.

After the pre-consolidation there was the cleaning phase, one of the most challenging of the entire intervention: its goal was to remove the layer of polluted substances without negatively affecting the structural and volumetrically integrity of the marble.

To avoid the decohesion of the marble another consolidation was done through nanosilica particles. At the end of this preparatory phase a biocide treatment was carried out.

Once those interventions were concluded, it was necessary to reintegrate the concrete joints of the marble blocks previously left below the level by the Duomo craftsmen. In the meanwhile a different treatment was studied and designed for the grouting of the marble block joints which were replaced with new ones.

Due to the fact that the restoration process is still ongoing, at the moment we can only preview the final results of the intervention: we are now proceeding with the final protection of the marbles and, after that, the “Gugliotto Amadeo� will be ready to get back to its original splendour.

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The restoration of a historical floors info@feltraccorestauri.com www.fratellifeltracco.com

Each floor has its own characteristics and history. The study, the analysis, the use of natural materials and the passion for restoration allow us to obtain unique restorations of any ancient floor By studying the past and the history of a floor, the evolution of the historical floor has been guided without loosing sight of the respect of man and the environment. Every stage of the creation of our floors is still proudly realized with ancient materials and cutting edge systems. The true value of our works lies in the hands and in the heart of our artisans and their extraordinary experience and knowledge allowing us to create precious and unlimited productions for the floorings.

The pictures shown above are an example of a floor restoration that was carried out in Venetian Villa of 1700. The photo, in the upper left, shows the presence of a particular bicomponent adhesive on the surface of the 18th century floor, this one was normally used to paste the moquette on top of the floor. In fact, the goal of this work, as seen in the photo in the upper right, was to cut the adhesive without water and without smoothing the historic inert in order to maintain the relief on the surface of the floor that is typical of the original one. The mixture for the floor is composed by: natural lime, shattered terracotta selected in grading curve, marble inserts and natural coloured earths, the whole is well beaten and polished and provide the floor an excellent mechanical resistance and high elasticity. In the example of the restoration work above, the floor does not present technical joints, as the commissioning work took place in one continuous pour. The final phase of the grouting, as shown in the picture on the left, is very important and it is carry out manually by mixing cooked linen oil, hydrated calcium sulphate and coloured hearths with the aim of coming closer to the original cromia of the floor.

In this work, moreover, the dry polishing technique with immediate dust suction was also fundamental to keep the colours of the historic floor unchanged, to avoid damages to the surrounding walls and to optimize the processing times. Finally, to obtain a particular shine of the eighteenth-century historical floor, linen oil and natural waxes were used without any cementitious and resinous material. A scientific research at the Kyoto Institute of tech-

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nology was also carried out on this work and analyzes were performed using spectroscopic techniques such as Raman spectroscopy, allowing to study the chemical-physical characteristics of the sample under examination. The restoration of a historical floor allows to obtain a surface of unlimited extension and completely free of technical joints and it can also be enriched by various decorations with the most elegant shapes, some examples are shown in the pictures below.

Furthermore, thanks to the use of a wide range of coloured natural lands, infinite chromatic possibilities can be obtained. Soils and natural stones, coming from all over the world, combine with natural lime creating an elastic mixture. With our restoration system we can preserve any historic floor, reproducing the original one and creating new floors more natural and warm, also suitable for heating floor systems, allowing an important energy saving and making homes much more welcoming. “Your satisfaction, attention to detail, the passion to make You feel emotions are our daily aspirations, always, You are at the centre of our work�

Fratelli Feltracco

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VALORIZATION OF CULTURAL HERITAGE Matteo Fabbri Veronica Campani Roberto Meschini

info@tryeco.com www.tryeco.com

DIGITAL ANASTYLOSIS. THREE-DIMENSIONAL MODELS AS A SUPPORT TO DESIGN In the history of architecture, the model has played an important role representing a first spatial verification, a way to manage three-dimensional complexity studying the relationship between the parts.

Models have been instruments of creativity and were an important step in the process of artistic ideation. Models are defined as the representative element of the idea, by which the project and all its hypothetical modifications are materialized. In accordance with this

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VALORIZATION OF CULTURAL HERITAGE Fig 1.

Design of Leonardo da Vinci fortress as represented on the Atlantic Code, sheet 117, with underlined geometric relationships

principle, other specific models were also made, focused on the most significant details, actual prototypes where the proportions of the building had to be clearly expressed.

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3D model of reconstructive hypothesis

The multiple aspects that could determine the execution techniques and the final result were strictly related to their specific function. Following these criteria they were divided into categories: technical models, built to make the design idea and the execution clear for the workers, with poor material and without decorative details, and the representative models, built to be evaluated by the commission, which had to be magnificent, elaborately decorated and with pictorial finishes.

Fig 3. Wooden model Fig 4.

Wooden model in the exhibition

The multi-material that characterized these artefacts is related to the complexity of the spaces and the specific decorations. Different kind of materials were used according to the purposes the parts had, wood, clay and wax were preferred for some important details.

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Milling phase with CNC machine Fig 7-8.

Finishing phase

The importance of architectural models is also confirmed by the numerous writings in which we focus on their representative meaning and in which is described the methodology for building a “workmanlike� model, but these models are also represented in frescoes, paintings, drawings or inlays, that document the actual built architecture but also unprecedented projects.

The potential of digital representations has its origin in these tools, which - thanks to its multiple forms - has produced over time a large amount of images, representing the reality and the different theories of the architectural project.

A specific scope of the scientific research is focused on studying the elements of architecture through the digital modeling. The model represents the actual built artifact and dy-

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VALORIZATION OF CULTURAL HERITAGE Fig 9.

Detail of the fresco in Vatican papal rooms

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3D model of the papal fortress in Ferrara Fig 11.

Physical model Fig 12.

Physical model in exhibition

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Assembly phase

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namically explores its forms but allows also to monitor the state of conservation becoming a valid assistance for the cultural heritage protection and intervention planning.

In all those cases where the geometric and technological origin of an architectural work is not known, the mathematical study of the surfaces makes the reproduction of the object by a computer possible, so that the most convincing theory about the construction methods can be formulated, and this is done by comparing different hypotheses.

The illustrated cases show the method for transforming a two-dimensional design into a three-dimensional model, virtual at first and then physical, using new digital technologies.

The first case study is about the reconstructive hypothesis and the realization of a wooden three-dimensional model based on a drawing by Leonardo da Vinci for the study of a quadrangular bastioned fortress with towers, represented in the Atlantic Code, sheet 117. We got an assignment for building the model, whose destination was the Leonardo da Vinci exhibition “The Genius at War during the age of Leonardo, Michelangelo, Dürer” at the National art gallery in Bologna.

The design of this fortress from the Atlantic Code was a one-off, it only appears on sheet 117 and it is a foreshortened representation of what a complete fortress looks like. We have relied on this unique design to make a reconstructive hypothesis.

To ensure a strictly philological rigorousness, the wooden model was created through an articulated sequence of operating phases. To create the virtual model, we digitized the paper material to transform it into a two-dimensional vector drawing from which derive a three-dimensional model, respecting the geometries and proportions. The 3D printing

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Finishing phase

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of some elements has allowed us to better understand the various components and their mutual relationships. We compared our hypothesis with contemporary designs and with existing structures from the same period to verify the reliability of the digital model. In the next step we split the model into multiple sub-elements each of them characterized by different wood essences according to the characteristics of the detail, and the final assembly and milling of the components has been made by CNC machines (Fig. 1-8).

The second case study is about the construction of a model of the Papal Fortress of Ferrara and its fixtures, commissioned for the City Walls Documentation Center, located in Porta Paola in Ferrara.

For the realization of the papal fortress model we started from a detail of a fresco that decorates the papal rooms in the Vatican. This design gave us the geometries and proportions needed for creating the three-dimensional model of the fortress whose building started in 1598 under the papacy of Clement VIII and finished between 1618 and 1631 under the papacy of Paul V. The virtual model was printed with a mixed technique, combining the milling with CNC machine of less detailed and larger elements and photopolymer technology for the more detailed ones. Once printed, all the components were assembled and painted to make the surface uniform (Fig. 9-16).

The gathering, storage and reconstruction of the projects through new digital technologies would make it easier to study and share its heritage. Specifically, in the event of subsequent analysis, interpretations or additions, the generated database and the physical models are an indispensable support for the future works.

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VALORIZATION OF CULTURAL HERITAGE Jorma Ferino

How Virtual Reality, Gamification and 3D Visualization has been used in cultural heritage applications Some teenage passions are so engaging to turn into a real job in adulthood.

info@sjmtech3d.com www.sjmtech.net

The consequence of falling in love with video-games might be a spiritual addiction that is quite difficult to cure, which is why lots of “console” boys and girls feel obliged to choose a forced path towards self-production first and to the business world next. Eventually, some of them agreed on the fact that “turning” reality into a playable 3D world was actually possible, and that this could be done with goals “higher” than the game as an end in itself; a 3D modeling process of both the present and the past that allows players to personally live history, narrating the universe of our own cultural heritage in an original, innovative way.

In Sardinia, this intuition has taken root and is currently undergoing a great moment of development and success, with one of the most diversified offers of projects and working groups.

Among those, our team is actively engaged in the promotion of the archaeological heritage of the Island, promoting the cooperation with managers of the main Sardinian cultural sites.

We have set up a group that works on three completely different mission statements: while one deals with Virtual Reality Technology, the other two take care of the marketing and design sectors, as well as the spatial planning and development. Three entities united by the same love for video-games.

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Our team is active in the region, and proposes to cultural heritage managers a business model that consists in producing 3D historical reconstruction of the most important Sardinian monuments in order to increase their attractiveness, to the advantage of the surrounding area, too.

These reconstructions based on the integration with laser-scanner and photogrammetric surveys technologies, 3D modeling, and Virtual Reality, are processed according to the gamification rules, offering a playable prehistory and history, suitable for everyone.

Our strategy consists of a process of co-designing the Cultural Heritage, thanks to the cooperation between our team, local stakeholders and specialists such as archaeologists, art historians, and experts in museum management. The goal is to obtain a detailed vision of all the distinctive features of the artifacts taken into account, granting the scientificity and, consequently, the eligibility for reconstruction. The descriptive accuracy of the environment in which the artifact is inserted is just as important for the success of the technological processing.

Represented in their maximum splendor, the sites create a new relationship between the management and use of the archaeological site or of the artifact: the user becomes the main actor, and gets totally involved in the exploration of the area, interacting and “playing� in first person not only with a simple object, but with the era that produced it. The result is the total involvement of the player.

The possibility to apply this system to countless fields derives from the fact that it can be used for entertainment, for educational, or promotional purposes, as well as for accessibility reasons.

The case studies that benefit from these applications are growing in number: first of all, there has been an increase in the number of visits, generated by the viral spread of con-

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tents and by enthusiastic visitors’ referrals, people who become spontaneous popularizers of apps and softwares. Furthermore, thanks to the Virtual Reality System, the increased attendance involves people with disabilities, too.

In the end, this technology, applied to cultural assets, is a new form of communication that can help and do good to different territories, just like our beloved Sardinia, that keeps on fighting to show an out-of-season tourist image not necessarily related to its beaches and that would offer new stories for a public that few other medias could afford, giving life to an enormous growth for the local economy.

MEGALITHIC WALL

This is one of the most iconic projects. With techniques and graphic quality typical of video-games, this work offers archaeological exploration an extraordinary educational and commercial strength, which allows a greater and larger audience to discover our cultural heritage. The archaeological site represented spreads over about 350 m in length, overlooking a cliff extended towards the inner region of the Island, at the end of an area called “Sa Mandra”.

It could belong to a time span that goes from the Neolithic until the Byzantine Age. This work combines scientific research with survey techniques typical of video-games and Virtual Reality.

The 3D software faithfully reproduces the Megalithic Wall and the surrounding natural environment, made of areas of thick, dense vegetation, and areas of sparse vegetation.

Situated on a basaltic plateau, it allows a real time, first-person immersive exploration of the surface.

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VALORIZATION OF CULTURAL HERITAGE Thanks to a series of information labels (that can be activated by the player) placed on the relevant sectors of the reconstructed “monument�, you can collect information about the history and the archaeological details of the site.

The application also offers a map that helps Users orient themselves in space.

The 3D product can be used through a touch screen or a computer with gamepad controller and has also been published in two mobile versions: the first uses an interactive visualization with aerial view; the second uses a first-person immersive visualization thanks to a VR headset.

FURTHER PROJECTS

The further projects we are currently involved in are carrying out a reconstruction and 3D interactive experience of ancient Sardinian monuments, such as the Nuraghe in Barumini rebuilt as it was in the Nuragic era, 3D reconstructions of elements that no longer exist as a Punic dwelling and merchant vessel, as well as an educational video-game set in the Imperial era of the ancient Roman city of Nora, entirely rebuilt in 3D. These projects have been developed to be interactively used through Virtual Reality installations, 3D apps for smartphones and tablets, multimedia systems as touch screen tables or surfaces, or in permanent or temporary multimedia exhibitions.

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VALORIZATION OF CULTURAL HERITAGE Federico Balboni Matteo Fabbri

info@museum-mix.com www.museum-mix.com

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MIX - Museum Interaction experience: a new way to promote Cultural Heritage MIX is an interactive app for the promotion and communication of cultural heritage.

It is the ability to view and interact with different types of information in an immersive environment, but without losing the link with reality. It allows museum curators to enter diversified information without resorting to third parties and a visitor to access content thanks to new forms of communication(AR, VR, MR) in an easy and innovative way before, during and after the physical visit. It consists of a webtool to upload the contents in a simple way, without knowing programming languages, and a series of mobile applications for smartphones and tablets, which exploit augmented reality. Thanks to this innovative form of digital communication, the end user can interact with different types of information, in real scenarios and mixed within museum structures or archaeological sites. Currently in the Cultural Heritage market these contents are inserted externally to the museum (ex: from a software farm) with large costs, with MIX all this can be done independently internally with lowering of these costs. On the same museum itinerary, more information paths can be developed for different audiences. The app allows visitors to enjoy innovative guides available on their smartphones / tablets through augmented reality. After opening it, you will enter a code that will be provided at the museum entrance or at the time of booking the ticket on the internet. You will find a screen with all the museums that have joined the MIX project. Once you have chosen the museum and the path, framing the work with your device, which will use the camera to recognize it, you will be able to see enhanced contents around it. Clicking on each one you can interact: reading additional descriptions; listening

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to explanations on the context in which the artist worked, on the realization or other curiosities directly through his own headphones, with out having to use an audio guide; seeing videos with the curator who gives information or about the pictorial / sculptural techniques used so that you can interact even after the visit is over and be able to take the museum experience at home. The museum will has an e-mail access to the CMS toup load the contents and a code to communicate to visitors to be able to use once the app is downloaded.

It will be possible to “increase” targets (explanatory panels, photos, pictures)by associating photos, videos, texts, pdf cards, links to internet sytes and360 ° videos (with external link to YouTube) according to the specifications and the user manual which will be provided to you. You will be given two quarterly reports on app usage data and visitor permanence statistics on each target / content. MIX already has some museums on its app, one of them is a museum in Parma, Italian Capital of Culture 2020.

The Museum of Chinese and Ethnographic Art in Parma has chosen to propose MIX to its visitors. “A new form of communication, that makes the collection usable also in digital format”, says the curator Chiara Allegri. “MIX is the digital platform that best met our needs, right in its being an app that promotes art in a simple and intuitive way.

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VALORIZATION OF CULTURAL HERITAGE It is characterized by a webtool on which we have easily loaded about thirty of works enriched in the presentation by the use of texts in pdf format, images, links to websites, videos and videos at 360°. Thanks to the convenience of the app and the clarity of the content, our visitors have been able to interact with the exhibits in a new and fun way, recognising the added value of this application�.

So, our purpose are: 1. More exciting visit, for a different audience 2. Tickets sales improvement 3. More content for diversified audience (gamification, academic research) 4. Post visit interaction (e-shop, social networks) The project involves two companies: TryeCo 2.0 srl and weAR srl. TryeCo 2.0 srl works on 3D prototypes through laser scanners and 3D printing and weAR srl develops software for augmented reality.

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