Anastylosis

This paper is focused on the virtual reconstruction of a portion of the naos of Temple G of Selinunte, as a case study for the definition of a method of virtual anastylosis and reconstruction of collapsed colonnades in archaeological contexts. Reconstruction is based on the combination of historical research, archaeological analysis, digital surveying, image-based modeling and laser scanning methods. The complexity of the ruins of the temple suggested a thorough archaeological analysis of the fragments of the inner colonnade of the naos. This analysis made it possible to identify reference surfaces and protective or sacrificial surfaces. The study of these surfaces, together with the dimensional data surveyed, provided the information necessary to reposition the fragments in their supposed original position, and thus develop a virtual anastylosis of the colonnade based on reliable data. This experience has shown how virtual reconstruction can be a valid alternative to real re-erection, and can contribute to the advancement of studies of an archaeological monument whilst also ensuring the conservation of the landscape of ruins.

Nikolaos Balanos, the First Modernist Restorer

1. HISTORICAL FRAMEWORK
Already in the late 19th and beginning of the 20th centuries, modernism, as a radical movement against tradition, was influencing, in addition to the fine arts and philosophy, both architecture and construction. It promoted new materials, including metal, glass and reinforced concrete (béton armé), as well as their potential in architecture and general science of building. These new ideas are found in the views of Eugene Violet-le-Duc, when, in his 1872 book Entretiens sur L'Architecture, he supported the use of the media and new materials of our time to produce a sincere new architecture, wherein (Violet-le-Duc 1875) any material could be used, as long as it reflected a proper form and decoration, without imitation of forms and imitation of materials.
2. NIKOLAOS BALANOS AND THEIR INTERESTS IN MONUMENTS
Nikolaos Balanos was a controversial figure of early 20th-century Athens. His restoration interventions on the Acropolis monuments initially brought him to the fore as a savior and herald of the national ideal, as a perpetuator of Leo von Klenze's visions and of 19th century neoclassical concepts. Very soon, however, opposing views – first arising against the ideological approach of his interventions and later on challenging the materials he used and his non-archaeological methods – led to a post-First-World-War devaluation of his interventions and overall contribution. Such reactions to the extent of his drastic interventions, visible from the very beginning of the Acropolis interventions, culminated during the inter-war period. The dissent mainly came from within local archaeological circles, advanced above all by Anastasios Orlandos.
2.1 Balanos and the new materials of rehabilitation interventions
During th 1920s and 30s, Balanos introduced a new material to the restoration of the Acropolis – cement – and advocated the use of reinforced concrete and its innovated method, which enabled him to carry out highly ambitious restoration interventions. The opposition to his choice of materials and methods increased during post-war decades, due to the damage they caused to the monuments’ original material, but also through an ideological reaction to modernism and its materials that was characteristic of intellectual architectural circles of the period. This negative response, coupled with the timing of national, post-conflict restoration efforts, led to the now-well-known decisions concerning Balanos’ previous interventions and the restoration of the Acropolis monuments after 1975.
2.2 Balanos, the “Modernist”
The term “modernist” is used here to describe Balanos not only because of his introduction of the new material of cement for restorations during the interwar period, specifically for his second restoration program on the Acropolis. The term is also used because of Balanos' absolute belief in cement’s capabilities and the compatibility of this material with the original material of the ancient stone monuments, resulting in the widening of its use to any restoration work that he proposed or influenced during this period. Balanos acquired his knowledge of the properties of cement and reinforced concrete through his training as a civil engineer in France, at the renowned École des Ponts et Chaussées, in the years 1878-1883. He was also influenced by his circle of fellow engineers in Athens – among them his first cousin Aristeidis Balanos, trained in architecture in Germany, and his Parisian colleague civil engineer Elias Aggelopoulos, who had already introduced to Greece the Hennebique system of reinforced concrete in 1903.
The lecture examines this aspect of Nicolaos Balanos – the first modernist engineer of restoration, a pioneering figure of the 20th century, responsible for creating and shaping restoration practices in the rehabilitation of ancient Greek monuments.

The discovery of Pompeii, even more than that of Herculaneum, presented the Neapolitan antiquarians and the Bourbon Court, already engaged in financing the first exploits in archaeology of the young Kingdom of Naples, with an entirely new set of problems, new even compared to an Italian tradition of the excavation of antiquities by now several centuries old, particularly in Rome and its neighborhood, as at Hadrian’s villa at Tivoli. There is no doubt, in the light of its history that the conservation of Pompeii is a problem of such a size and from such ancient roots as to require, beside such specific interventions, long-term structural solutions.

ABSTRACT

The Romanesque “tribune” of the abbey church of Cuxa was probably dismantled in the sixteenth century. No description or representation of this work of art, at the time of its existence, is to be found. It is known today thanks to more than one hundred and seventy pink marble sculptures scattered across France and the United States. The making of its virtual three-dimensional reconstruction has given us the opportunity to demonstrate that the slab representing Abbot Gregory belonged to this structure, raising questions about its commission and dating. This 3D reconstruction raises methodological issues about the qualification and evaluation of uncertainty in patrimonial models, which are discussed in this paper.

Keywords : tribune, Cuxa, survey, commission, dating, anastylosis, 3D, reconstruction, uncertainty, patrimonial model

RÉSUMÉ

L'ancienne « tribune » romane de l'église abbatiale de Cuxa a vraisemblablement été démontée au XVIe siècle. Elle n’est documentée par aucune description ou représentation contemporaine à son existence. Elle est aujourd’hui connue par plus de cent soixante-dix sculptures en marbre rose, disséminées en France et aux États-Unis. La réalisation d’une proposition de reconstitution en 3D a été l’occasion de prouver l’appartenance de la plaque représentant l’abbé Grégoire à cette structure. Cette attribution ouvre des pistes de réflexion sur la commande et la datation de la tribune. Les questions méthodologiques soulevées par cette proposition, en particulier celles de la qualification et de l’évaluation de l'incertitude dans une maquette numérique patrimoniale, sont abordées dans le détail.

Mots-clés : tribune, Cuxa, inventaire, commande, datation, anastylose, 3D, reconstitution, restitution, incertitude, maquette numérique, maquette patrimoniale

The present work is the result of a research started with Studio Glowarp (www.glowarp.com) in partnership with Academy of fine arts in Naples. To achieve and prove such result, in this project it was used a particular technique of augmented reality called video mapping with the aim of reevaluating the replica in scale of the world famous " David " by Michelangelo, sculpture present in the same building. The installation (projected the 27th february 2015), entitled " Michelangelo's David " , is the demonstration of how new technologies can play a fine role for the enhancement of cultural heritage of a nation it got the patronage of UNESCO that has entitled the 2015, International Year of Light and of the technologies based on light (IYL). Thanks to the art of video mapping the rediscovery of this sculpture has achieved a great result, success based not only on the reevaluation of the work of art but also because such performance touched the soul of the audience leaving them in an ecstatic state. Thanks to the live event a large number of the audience for the first time came to know the existence of this replica work present in the building of the Academy of which they totally ignored the presence. Another aim of the project is that of showing the artistic potentiality of the mix among analogical and digital media and how video mapping could be also considered as an extension of the painting. A reevaluation of cultural heritage through video mapping that is perfect for the standards expected by the law in matter of cultural properties in Italy. The action of reevaluation is not to be considered as an attempt to substitute the peculiar value of the work itself. Part of this project will be show in a website.

Το παρόν κείμενο, αφού τεκμηριώσει την αναγκαιότητα αναδρομής στην αρχαία αισθητική θεώρηση, στην συνέχεια ερευνά κριτικά αισθητικές και εννοιολογικές ομοιότητες και διαφορές, καθώς και καταγωγικές σχέσεις μεταξύ αρχαιότητας και νεωτερικότητας. Εξετάζει ουσιώδεις έννοιες όπως η μίμηση και η κάθαρση, το ευσύνοπτο, η αναλογία, η συλλογικότητα της αρχαίας αισθητικής εμπειρίας, η αισθητική διάσταση της κοσμολογίας, η ισχυρή σύνδεση ανθρώπου και σύμπαντος, η ευρύχωρη αμφισημία του κάλλους, η διαρκής σχέση του ωραίου με το υψηλό, σε αντίθεση με την δυτική τους πόλωση, ο δυναμικός και συνθετικός ρόλος της αρμονίας, ο αισθητικός σχετικισμός, η απαίτηση για σύνδεση αισθητικής και ηθικής, η καλλιτεχνική αυθεντικότητα, η ανοδική πλατωνική μετάβαση σε υπέρτατες σφαίρες και η ταύτιση με το ιδεατό κάλλος, η μεσολάβηση της τέχνης μεταξύ ανθρώπινου και θείου, η ποιότητα και τα όρια της αναπαράστασης και ο ρόλος του τραγικού δέους. Η διερεύνηση αυτή γίνεται με έμφαση στις συμβολές των Πυθαγορείων, του Πλάτωνα και του Αριστοτέλη. Οι προκύπτουσες προτάσεις εξετάζονται στο πλαίσιο της δυνητικής αξιοποίησής τους σε μεγάλης αισθητικής σημασίας εφαρμογές, όπως οι εικαστικές, οι αναπαραστατικές και οι αναστηλωτικές τέχνες.

The choregic monument of Thrasyllos on the southern slope of the Acropolis was erected in 320-19 BC and it was designed to fit in a large modified cave. Later transformed into a façade of a church it had become a popular subject of the historical iconography of the Athenian monuments until its collapse from cannon bombardments in 1827. The first presentation of the study and the restoration work under construction took place in 2006, at the 1st Conference of ETEPAM. At the 5th Conference, references were made to the modifications of the initial study, to the effective handling of the difficulties of the transportation of stones through the installation of a specially designed bridge crane and, selectively, to some special applications which could be considered interesting and useful.
From the comparative study of unpublished plans by E. Dodwel and L. Fauvel new information was collected about the individual stones composing the vertical posts, the configuration of the narrow side faces of the monument, and the jointing of the capitals with the uppermost backers of each anta.
In certain parts of the monument, the restoration proposal was based on the detailed plans by J. Stuart and N. Revett (1751-53) published in their book “The Antiquities of Athens”. Among the misconceptions of the British artists that have been documented is the wrong presentation of the antae with bilateral reduction. Another obscure point of their plans was the rendering of intense inclination, inward and upward, in the fronts of the architrave and the frieze, without specifying that this detail only concerned the fronts in the narrow faces.
Among the dispersed architectural members that were gathered in the wider area of the monument, a large fragment of the west doorframe’s lintel was the most important result of the survey. In conjunction with the fragments of the doorjambs, the information was gathered to elucidate all the details of the monument's doorframes. The thresholds of the Thrasylleion doorframes consisted of two elements, the moulding and the "main threshold". During antiquity they were both positioned at the same time as the lateral stones of the vertical supports (antae and central pillar), however, during the restoration, they had to be inserted among them.
In 2008, with the courtesy of the J. F. Costopoulos Foundation, a stone with four olive wreaths was shaped, destined to be the first east frieze member. Over the west part of this stone a protective mantle was left to be removed in the procedure of carving the block to its final shape, so that it could be possible to correct any minor deviations of the restoration during the transfer from plan to reality. The stone took its final form shortly before being placed in its final position in 2016.
The structural restoration of the two ancient fragments of the architrave with their supplements took place in two main phases: first titanium rods were placed in the ancient fragments, with the help of a narthex in order to avoid any risk of deviation from the predicted joining lines. After the cement ageing process, the ancient fragments with their titanium rods were rotated 180º and placed vertically, and then connected to their supplements. The west members of the architrave were positioned in a way that they rest solely on the capitals of the vertical supports with no touch with the lintel, following the ancient practice. Simultaneously, in the eastern opening, the distribution of the weights of the frieze members was made in a way to avoid serious loading of the ancient fragment of the architrave underneath.
The aim of the project was to carry out a technically sound and archaeologically documented anastylosis of the Thrasyllos monument for didactic purposes, its protection against natural wear, the provision of safer conditions for public accessibility and the safeguarding of its surviving ancient members by incorporating them in their original positions. During the project, experimental methods and worksite techniques were implemented to effectively solve a variety of problems in the fields related to the technical part of the restorations and the structural rehabilitation of the ancient material.

This 3D attempt at reconstruction of a bathing place – balneum – is based on the in situ preserved architectural elements in the north-west part of Building 2 in the village of Mošnje near Radovljica, Slovenia. Judging by the mixed debris, as well as missing parts of the decoration and architectural elements, certain pieces had been removed in the past, thus making the reconstruction of floor and wall decorations a difficult task. The three bathing rooms in Building 2 are arranged in a row (Room 1 – apodyterium; Room 2 – tepidarium/frigidarium; Room 3 – caldarium/sudatorium) with two-way communication. The caldarium is a part of the hypocaust system, which includes Room 4/kitchen, with which it shares the furnace - praefurnium and the hot water tank. Caldarium also features a bathing pool in the apse. The interior decoration has been reconstructed on the basis of the discovered fragments of wall decoration and pieces of floor and wall mosaics. Some of the decoration in Room 2 was preserved in situ, while all other pieces were scattered in the mixed debris. The 3D reconstruction has shed light upon the nature of Roman construction, improved our understanding of Roman measurement proportions, and contributed to the chronological determination of the interior decoration, all of which will undoubtedly help with the understanding of other contexts.

The restoration and fastening projects of the remains of the Theatre of Dionysus on the south slope of the Athenian Acropolis, that is recognized as a monument of special importance and high symbolism, have contributed since the 1980s to the intensive and systematic study of its remains and thereafter to the improvement of our knowledge of it. The first major restoration works were carried out progressively on the most vulnerable parts of the monument, the retaining walls of the eastern and western parodoi, emblematic sloping walls for retaining the artificial earth banks of the auditorium at its southern front.
Along with the implementation of the restoration programs, small-scale excavations were conducted, and important new data and observations emerged, which in many cases altered the hitherto established scientific opinion on various construction issues of the theatre’s retaining walls. This article presents the new observations obtained on the passages’ retaining walls, the interventions on which ensured the static and aesthetic improvement of the auditorium’s southern front and rendered its two main entrances more understandable. Those concern the issues of the walls’ width and foundations, the morphology, the way of adjusting and connecting several structural elements of them, the recording and justification of the existing deformations and displacements of stones, etc. The new data have enriched our knowledge on the monument and rendered safe the rehabilitation and recovery of architectural forms in its southern part.

L'attuale dibattito sull'ipotesi di ricostruzione del Tempio G s'inquadra nella storia dell'anastilosi a Selinunte. Che ha i suoi esempi piu ec/atanti nell'innalzamento dei Templi C ed E, rispettivamente negli anni Venti e Cinquanta del secolo scorso. In realta, essa si pUG fare risalire almeno al 7789. Ne ripercorriamo proposte e scontri, cautele e arditezze, provocazioni e parziali inter venti N artire dalla costituzione dei moderni organismi di tutela in icilia, quasi ogni nuova generazione 51 e trovata a confrontare, in

This 3D attempt at reconstruction of a bathing place – balneum – is based on the in situ preserved architectural elements in the north-west part of Building 2 in the village of Mošnje near Radovljica, Slovenia. Judging by the mixed debris, as well as missing parts of the decoration and architectural elements, certain pieces had been removed in the past, thus making the reconstruction of floor and wall decorations a difficult task. The three bathing rooms in Building 2 are arranged in a row (Room 1 – apodyterium; Room 2 – tepidarium/frigidarium; Room 3 – caldarium/sudatorium) with two-way communication. The caldarium is a part of the hypocaust system, which includes Room 4/kitchen, with which it shares the furnace - praefurnium and the hot water tank. Caldarium also features a bathing pool in the apse. The interior decoration has been reconstructed on the basis of the discovered fragments of wall decoration and pieces of floor and wall mosaics. Some of the decoration in Room 2 was preserved in situ, while all other pieces were scattered in the mixed debris. The 3D reconstruction has shed light upon the nature of Roman construction, improved our understanding of Roman measurement proportions, and contributed to the chronological determination of the interior decoration, all of which will undoubtedly help with the understanding of other contexts.

This project is presented as a line of research that analyzes an anastylosis of some figurative friezes of hunting themes held at La Piazza d'Oro Villa Adriana (Tivoli, Rome, Italy) in the 70's. However, this anastylosis was done with an arbitrary position in some cases. Shortly after it was decided that it is wrong and it is disassembled. With this background, it creates a line of research using new technologies. This line of research, as a result of a collaboration between the "Soprintendenza Archeologica per il Lazio" and "Instituto Universitario de Restauración del Patrimonio” de la Universidad Politécnica de Valencia, is intended to integrate with other research on the building. It is proposed to use new technologies to conduct a review of the anastylosis already done in the 70s by using the 3D surveys and some models with high level of detail, and by designing a more accurate anastylosis. It is intended to apply the same methodology to the friezes of hun...

Based on Nicholas Stanley-Price's observation of a divergence between principles and practice in reconstruction, this article examines a key moment in the development of heritage doctrine in the 20 th century: the Venice Congress. Through an examination of the sessions of the congress, the accompanying exhibition and the drafting of the charter that was one of its outcomes, it questions the views of experts of the time on the reconstruction of archaeological sites. The result is a contrasted landscape in terms of projects and principles and the observation of a certain unresolved uneasiness in the face of a practice which, after World War II reconstruction, is justified, to the great regret of a part of the profession, by the development of the tourism economy.

The site of Behbeit (Pr-hebite(t)) is a field of ruins whose granite blocks are the remains of a temple  named Hebjt (‘the temple of the feast’) dedicated to Isis cult and the renewal of Osiris thanks to its annual clay statue representing the body of the dead king and which benefits in many festive rites that Isis and Horus carry out, in the « Place-where-offerings-are-set- down », other name of Behbeit el-Hagar.
It is often considered as the Iseum of classical authors but the supposed early destruction of the temple by the author questions this identity after the earthquake had destroyed the very heavy construction built by Nectanebo II, Ptolemee II and III.
The author proposes a reconstitution of the temple, with the help of a computer, based upon old editions of plans, texts and photographs, the archives of the Mission Montet that unearthed some blocks from the S.E. corner of the site in the late forties early fifties and on the documentation gathered in 1977 during a week mission when many photographs were taken and texts copied. The database created, as no architectural approach was possible, only took into account iconography and inscriptions, the offering scene being the basic reference. This approach has allowed to propose the reconstitution of two main facades, the sanctuary of Isis and osirian chapels such as the Hwt Hemag, the Hwt Sr, the Hout rs-wdja, the Pr qa were identified.
Finally, another name of sacred space Netjeri, is associated to the site and some studies have demonstrated that it could possibly be its first name but the equation Behbeit-Netjeri is only sure in the late temple and it could be only a chapel on the roof of the temple which suggests another rituality.

This 3D attempt at reconstruction of a bathing place – balneum – is based on the in situ preserved architectural elements in the north-west part of Building 2 in the village of Mošnje near Radovljica, Slovenia. Judging by the mixed debris, as well as missing parts of the decoration and architectural elements, certain pieces had been removed in the past, thus making the reconstruction of floor and wall decorations a difficult task. The three bathing rooms in Building 2 are arranged in a row (Room 1 – apodyterium; Room 2 – tepidarium/frigidarium; Room 3 – caldarium/sudatorium) with two-way communication. The caldarium is a part of the hypocaust system, which includes Room 4/kitchen, with which it shares the furnace - praefurnium and the hot water tank. Caldarium also features a bathing pool in the apse. The interior decoration has been reconstructed on the basis of the discovered fragments of wall decoration and pieces of floor and wall mosaics. Some of the decoration in Room 2 was preserved in situ, while all other pieces were scattered in the mixed debris. The 3D reconstruction has shed light upon the nature of Roman construction, improved our understanding of Roman measurement proportions, and contributed to the chronological determination of the interior decoration, all of which will undoubtedly help with the understanding of other contexts.

Con base en la observación de Nicholas Stanley-Price de una divergencia entre principios y práctica en la reconstrucción, el presente artículo analiza un momento clave en el desarrollo de la doctrina del patrimonio en el siglo XX: el Congreso de Venecia. Mediante un análisis de las sesiones del congreso, la exhibición que lo acompañó y la redacción de la carta que fue uno de sus resultados, se cuestionan las visiones de los expertos de ese tiempo acerca de la reconstrucción de sitios arqueológicos. El resultado es un paisaje contrastado en términos de proyectos y principios, y la observación de una cierta incomodidad ante la práctica que, después de las reconstrucciones de la Segunda Guerra Mundial, se justifica, para gran pesar de una parte de la profesión, por el desarrollo de la economía turística.

This project is presented as a line of research that analyzes an anastylosis of some figurative friezes of hunting themes held at La Piazza d'Oro Villa Adriana (Tivoli, Rome, Italy) in the 70's. However, this anastylosis was done with an arbitrary position in some cases. Shortly after it was decided that it is wrong and it is disassembled. With this background, it creates a line of research using new technologies. This line of research, as a result of a collaboration between the "Soprintendenza Archeologica per il Lazio" and "Instituto Universitario de Restauración del Patrimonio” de la Universidad Politécnica de Valencia, is intended to integrate with other research on the building. It is proposed to use new technologies to conduct a review of the anastylosis already done in the 70s by using the 3D surveys and some models with high level of detail, and by designing a more accurate anastylosis. It is intended to apply the same methodology to the friezes of hun...

Keywords: Laser Scanner Survey, Data intregration, Virtual anastylosis, Imperial Roman Architecture, Villa Adriana.
Objectives: This project is presented as a line of research that analyzes an anastylosis of some figurative friezes of hunting themes held at La Piazza d'Oro Villa Adriana (Tivoli, Rome, Italy) in the 70's. However, this anastylosis was done with an arbitrary position in some cases. Shortly after it was decided that it is wrong and it is disassembled. With this background, it creates a line of research using new technologies. This line of research, as a result of a collaboration between the "Soprintendenza Archeologica per il Lazio" and "Instituto Universitario de Restauración del Patrimonio” de la Universidad Politécnica de Valencia, is intended to integrate with other research on the building. It is proposed to use new technologies to conduct a review of the anastylosis already done in the 70s by using the 3D surveys and some models with high level of detail, and by designing a more accurate anastylosis.
Methodology: It is intended to apply the same methodology to the friezes of hunting that is already being used in the same Piazza d'Oro and the Teatro Marittimo. In this case, however, not only two types of different scanning laser surveys (architectural and detailed) are going to be used, but also solutions to share the partial results in a common database for several universities are going to be developed. Besides the typical methodological contribution of archaeological field research (Research Archivist, confrontational style of the pieces ...), in this case, it will add a series of typical morphological metrics and linkages of research in the architectural field.
New Perspectives: We try to clarify some issues are still open about the nature and construction of the two halls with hunting friezes. Getting optimized models of the friezes that can be used in a common research perspective. Adding the friezes of hunting to the database of digital models of the Piazza d'Oro

... The participation of stakeholders in the process of value identification is considered fundamen-tal by heritage management experts. ... professionals, with reference to case studies on a number of monuments subjected to anastylosis in Greece and Turkey, highlighting the ...

Giornate internazionali di Studio organizzate dalla Soprintendenza Speciale di Pompei, in collaborazione con il MIBACT e il Dipartimento di Architettura (DIARC) dell’Università di Napoli Federico II.
Giovedì 6 aprile 2017 – Parco Archeologico di Pompei, Auditorium
Venerdì 7 aprile 2017 – Napoli, Centro Congressi Partenope

Η μέθοδος της αποτύπωσης ήταν εκείνη της επίστρωσης πλαστικών διαφανών μουσαμάδων στην επιφάνεια των θεμελίων δόμων. Κάθε σχήμα στον μουσαμά, που αντιστοιχούσε σε συγκεκριμένο λίθο, αριθμήθηκε. Ο ίδιος, όμως, αριθμός σημειώθηκε, με μαρκαδόρο, και σε ομαλή επιφάνεια της πέτρας που αντιστοιχούσε σε σχέδιο.

"Keywords: Laser Scanner Survey, Data intregration, Virtual anastylosis, Spanish Medieval Architecture. Purpose: The Desamparados’Church of Les Coves de Viromá (Castellón, Spain) belonging to the Order Monchs of the Calatrava was built during the XII century. The Church was constantly changing, and in the XV and XVI centuries was when the ribbed vaults were built. Nowadays it appears as small church characterized by the typical gothic vaults despite its former Romanic shape. For many centuries it was the only church of Coves de Vinromá, but during XVIII century it was built a bigger church (Iglesia de la Asunción) that became the new religious center of the town; anyway the excellent stereotomic solution adopted for it construction still appears as one of the main heritage of the Comunidad Valenciana. During the Spanish Civil War the main chapel of the church was used as a pit for a machine gun and it was intentionally destroyed using dynamite: the consequence was that the nine...

The paper discusses the methodological approach and the conservation techniques proposed to be applied in the restoration of the ancient theatre at Delphi.
Situated at the north-western edge of the sanctuary of Apollo, the theatre is the most impressive monument of the archaeological site at Delphi. The current form of the koilon corresponds to the ancient Hellenistic construction, while the stage building remains and the orchestra have undergone repair work, restorations, and additions during the Roman period. The theatre was by local limestone. From the middle-ages until its excavation (1897), it lay hidden beneath the houses of the village Kastri. Today’s configuration of the monument was determined by its remarkable history through the centuries, and by its topographic location beside the deepest level of a gorge, which is exposed to rock fallings and water flow.
The restoration project had, therefore, to take different factors into account: natural decay and geometrical deformations, as well as alterations of the ruins imposed during the excavation, or during the earlier looting of the koilon.
The paper focuses on the restoration choices and techniques involving the interventions to the koilon, the retaining walls, and the orchestra. The techniques applied were those used at the restoration projects of ancient Greek, dry ashlar architecture. The project aimed at applying two different types of intervention: a) to consolidate the koilon and the retaining walls, preserve the stone seats and impede further deterioration of the monument b) to remove and re-position of displaced seats and to implement anastylosis of scattered blocks and seats by placing them back to their original position, following their documentation and identification. Securing and promoting the integration of the ruined theatre to the Delphic landscape was a prime concern.

The ruins of Tiwanaku (A.D. 500–950), in the modern republic of Bolivia, present an archaeological challenge owing to intense looting during the colonial period that effectively demolished the site. One building in particular, known as the Pumapunku, was described by Spanish conquistadors and travelers of the sixteenth and seventeenth centuries, as a wondrous, though unfinished, building with gateways and windows carved from single blocks. Unparalleled in the pre-Colombian New World, the craftsmanship of this masonry has long been considered the architectural apogee of Andean pre-Colombian lithic technology. Unfortunately, during the last 500 years, treasure hunters have ransacked this building to the point that none of approximately shattered remains of 150 blocks of the standing architecture are to be found in their original place. Over the last century and a half, several different scholars have carefully measured the shattered architecture and even managed to join several fragments to form complete pieces. This research revisited these historic field notes with a view to transforming this century and a half of documentation into solid 3D form. These measurements were entered by hand into an architectural modeling program; the virtual form was subsequently printed in 3D form at 4% reduced scale. Unlike large architectural pieces — or notes or models on a computer screen — 3D-printed pieces can be manipulated quickly and intuitively, allowing researchers to try combinations and seek connections rapidly, turning over pieces and testing possible fits. This tactile engagement, along with the ability to quickly try out combinations of the 3D-printed pieces, led to fresh and often unexpected insights. Once refined and simplified, this methodology, was demonstrated to the indigenous site managers who were provided with a full copy of the printed architectural fragments with a view to continuing research and to present the work to visitors, stakeholders and other scholars.

This project is presented as a line of research that analyzes an anastylosis of some figurative friezes of hunting themes held at La Piazza d'Oro Villa Adriana (Tivoli, Rome, Italy) in the 70's. However, this anastylosis was done with an arbitrary position in some cases. Shortly after it was decided that it is wrong and it is disassembled. With this background, it creates a line of research using new technologies. This line of research, as a result of a collaboration between the "Soprintendenza Archeologica per il Lazio" and "Instituto Universitario de Restauración del Patrimonio” de la Universidad Politécnica de Valencia, is intended to integrate with other research on the building. It is proposed to use new technologies to conduct a review of the anastylosis already done in the 70s by using the 3D surveys and some models with high level of detail, and by designing a more accurate anastylosis. It is intended to apply the same methodology to the friezes of hun...

Use of new technologies in the study of ancient architectural heritage is sometimes hampered by an alleged incompatibility of high-precision instruments dealing with old drawings and buildings. The present chapter aims to prove the premise wrong. A case study, involving the keystone and some wedges from a collapsed medieval vault, allowed to reformulate the previous hypotheses about its layout and geometry. It must be however emphasized that, each on its own, neither the use of new technologies nor the study of old drawings, can handle every aspect of the investigation. It must be clear that, in order to achieve optimal results both complement each other, because reconstruction works involve preliminary studies to understand the historical period, drawings, methods used at that time... In a second phase, these data will allow for the use of new technologies to make a hypothesis and a consistent virtual reconstruction.

... The participation of stakeholders in the process of value identification is considered fundamen-tal by heritage management experts. ... professionals, with reference to case studies on a number of monuments subjected to anastylosis in Greece and Turkey, highlighting the ...

in A. Fino, C. Lamanna et alii, Restoring the restoration: the Palaestra of the West Gymnasium of Kos, in ICAUD 2014 – 2nd International Conference on Architecture and Urban Design: Archeology and Museology (Conference Proceedings, Tirana 8-10 May 2014),Proceedings, Epoka University, vol. Book 1, Tirana 2014, pp. 207-7 – 207-8.
ISBN/ISSN 978-9928-135-12-4

The anastylosis project for the scaenae frons of the Roman theatre of Italica has been proposed as an open research process to deal with the question of conserving the numerous fragments by museumising them in the most coherent place closest to where they were exhumed. This process is based on the current very advanced state of our knowledge of the ruin and proposes a methodology that attempts to unite archaeological and architectural analysis in the application of new technological resources to metric capture and graphic construction.

"Keywords: Laser Scanner Survey, Data intregration, Virtual anastylosis, Spanish Medieval Architecture. Purpose: The Desamparados’Church of Les Coves de Viromá (Castellón, Spain) belonging to the Order Monchs of the Calatrava was built during the XII century. The Church was constantly changing, and in the XV and XVI centuries was when the ribbed vaults were built. Nowadays it appears as small church characterized by the typical gothic vaults despite its former Romanic shape. For many centuries it was the only church of Coves de Vinromá, but during XVIII century it was built a bigger church (Iglesia de la Asunción) that became the new religious center of the town; anyway the excellent stereotomic solution adopted for it construction still appears as one of the main heritage of the Comunidad Valenciana. During the Spanish Civil War the main chapel of the church was used as a pit for a machine gun and it was intentionally destroyed using dynamite: the consequence was that the nine...

Atti delle V Giornate Gregoriane, Agrigento, 23-24 novembre 2012, a cura di M. Livadiotti e M.C. Parello.

Si presentano in questa sede gli Atti delle V Giornate Gregoriane, svoltesi presso il Parco Archeologico della Valle dei Templi di Agrigento nelle giornate del 23 e 24 novembre 2012. Le giornate, il cui titolo è stato “Il restauro dei monumenti antichi. Problemi strutturali: esperienze e prospettive”, hanno visto la partecipazione di esperti di livello internazionale che hanno discusso di metodologie e tecniche di restauro, presentando importanti casi studio relativi a contesti monumentali che presentano strette affinità con l’area archeologica dell’antica Akragas. La seconda delle due giornate è stata interamente dedicata al caso di studio costituito dal cosiddetto Santuario Rupestre di Agrigento, dove di recente sono stati effettuati lavori di messa in sicurezza e per il quale è previsto un intervento di restauro e ricostruzione del monumento.

We present here the Acts of the Fifth edition of the “Gregorian Days”, held at the Archaeological Park of the Temples Valley of Agrigento on 23 - 24 November 2012. The conference, whose title was "The restoration of ancient monuments. Structural problems: experiences and perspectives", were attended by international experts who discussed methods and techniques of restoration, submitting relevant case studies related to monumental contexts that have close affinity with the archaeological area of the ancient Akragas. The second day of the conference was devoted to so-called Cave Sanctuary and “archaic fountain” of Akragas, where recent works have been made for the safety and for which a restoration project will be proposed.

Sommario

G. Parello, Presentazione, pp. I-VII

L’esperienza italiana
R. Martines, Gli interventi degli anni ’90 del xx secolo. Il restauro dei templi di Paestum. Un caso di restauro interdisciplinare: i restauri finanziati con i fondi F.I.O., pp. 3-20.
S. D’Agostino, Archeologia e rischio sismico, pp. 21-30.

L’esperienza ateniese
V. Eleftheriou, The recent intervention programs on the monuments of the Athenian Acropolis, pp. 31-42.
K. Karanassos, Criteri di reintegrazione strutturale nel restauro dei monumenti dell’Acropoli di Atene. Problemi metodologici e scelte progettuali, pp. 43-54.
A. Vrouva, Calculating reinforcement for fragmented architectural members. A three dimensional approach, pp. 55-66.

Un caso studio: la fontana arcaica del Santuario Rupestre ad Agrigento
A. Fino, La Fontana Arcaica di S. Biagio, pp. 67-92.
V. Santoro, La conservazione dei monumenti antichi in Sicilia. Il caso del de-restauro della fontana arcaica di Agrigento, pp. 93-117.