The course intends to provide the basics of theory and technique of restoration and a more complete picture of the main themes of protection and conservation, illustrating the basic concepts of safeguarding the cultural heritage.

In addition, specific, theoretical and practical insights will be carried out on topics concerning both the Italian legal framework of protection and the technical aspects such as those related to the programmed maintenance procedures of the cultural heritage. Exemplary restoration cases will be illustrated to stimulate critical reflection in students.

During the course will be illustrated the complex case studies of restoration, with the implications of historical, legislative and character (restoration papers, international conventions, issues related to the organization of inventories and cataloguing, etc..), will be discussed the technical aspects that initiate the more specifically design practices of restoration interventions and the general criteria and current trends for the design and implementation of restoration through exemplary Italian and foreign cases.

1. Notes on the history of the restoration.

• The restoration in Florence in the early twentieth century.
• The Lombard school in the twentieth century: L. Cavenaghi and M. Pellicioli.
• Alois Riegl: the modern cult of monuments and thinking about restoration.
• The birth of the Restoration Laboratory in Florence.
• The Protection Act of 1939 and the founding of the Central Institute for Restoration in Rome.
• The second post-war period and the Florence flood of 1966.
• The cleaning controversy.
• The Restoration Charter of 1972.
• Giovanni Urbani and preventive conservation.
• Paul Philippot's thought.
• Umberto Baldini's theory of restoration between theory and practice.

2. Issues of principle and method

• The issues of conservation and valorisation.
• The vulnerability and critical situations of cultural heritage.
•  Prevention and maintenance.
• The influence of management choices on conservation.
• The international scene and the main criticisms of "traditional theories".
• The conservation of intangible culture and contemporary art.
• Conservation and restoration of the design

3. Revisions of the historical-critical analysis of the works chosen by the students as themes of exercise.

Restoration Theory and Techniques 1

The student will be evaluated:

1) on the ability to be able to express a critical independent judgment based on sound scientific bases on the choices to be made in the restoration;

2) the ability to learn and understand the notions of the discipline of the history of restoration in order to make them part of their cultural baggage;  

3) the ability to collect, synthesize and interpret scientifically the collected data relating to the study of a work of art;

4) the communicative ability to express their thoughts with appropriate terminology;

5 ) the ability to be able to return a critical and direct reading of the work of art.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

During the course, the teaching material will be distributed electronically.

In addition, bibliographical references will be provided on the specific topics discussed for further details.

The teaching material and the teacher's specific communications can be found, together with other support activities, within the

Moodle platform > blended.uniurb.it

Teaching

The course takes place through frontal lessons.

In order to improve critical analysis skills, students are asked to write a paper on the historical-critical analysis of a work of art whose date is between the 20th century and today; the choice of the latter will be agreed with the professor. At the end of the lessons the professor will dedicate a few hours to revise the exam papers currently being written.

In order to pass the exam, it is mandatory for each student to prepare a term paper that will cover the critical historical analysis of a work of art,  the choice of the latter will be agreed with the professor. The term paper must be delivered in digital format at least 10 days before the exam.

Innovative teaching methods

The course includes:

• lectures by the teacher;
• group or individual work with the production of written papers;
• oral presentations of the works;
• participated lessons in which the presented works will be discussed.

Attendance

Class attendance is appreciated.

Delivery of the thesis at least 10 days before the exam date.

Course books

Reference text:

M.CIATTI (2009), Appunti per un manuale di storia e di teoria del restauro, Edifir, Firenze, pp. 263 - 314; 330 - 392; 440 - 446.

Deepening texts:

L. MARTINI (2008), Storia e teoria del restauro delle opere d'arte, N. Santopuoli (a cura di), Felici Editore, Pisa, pp. 237 - 286.

G. CARBONARA (1997), Avvicinamento al restauro. Teoria, storia, monumenti, Liguori, Napoli, pp. 325 - 353.

U. BALDINI (2003), Teoria del restauro e unità metodologica, v. 1, Nardini Editore, Firenze.

U. BALDINI (2003), Teoria del restauro e unità metodologica, v. 2, Nardini Editore, Firenze.

G. CASSESE (a cura di) (2016) Il futuro del Contemporaneo. Conservazione e restauro del design, Roma, Gangemi, pp. 18 - 29; 68 - 73; 98 - 101; 124 - 127.

S. MUNOZ VINAS (2017), Teoria contemporanea del restauro, Castelvecchi, Roma.

G. CARBONARA (2018), E' proprio necessaria una "nuova teoria" del restauro? Considerazioni sul volume di Salvador Munoz Vinas. In: "Opus", 2, pp. 163 - 180.

C. BRANDI (1977), Teoria del restauro, Einaudi, Torino.

G. CARBONARA (1976), La reintegrazione dell'immagine, Bulzoni, Roma.

L. BARATIN, S. BERTOZZI, A. CATTANEO, A. DEVECCHI, F. GASPARETTO, Sperimentazione di un approccio partecipativo alla conservazione. Gli ambienti interni e gli arredi dei Collegi Universitari di Urbino (2017). In: (a cura di) G. Drusiani, G. Biscontin, Le nuove frontiere del restauro.Trasferimenti, Contaminazioni, Ibridazioni. Scienza e Beni Culturali, vol. 2017, pp. 143 - 155, Edizioni Arcadia Ricerche, Venezia.

A. CATTANEO (2015), La tutela dell'architettura moderna e contemporanea: un problema emergente. In: (a cura di) L. Baratin, P. Bonvini,  D. Di Fabio M. Pietropaolo, R.E.S.E.T. Upgrading College 1.0 - Idee e progetti per la riqualificazione architettonica, energetica e ambientale del collegio del Tridente, Urbino. pp. 12 - 17, Aras Edizioni, Fano.

A. CATTANEO (2014),  Il progetto di restauro: metodologia e prassi. In: (a cura di) M. Acierno, L. Baratin, O. Muratore, Il Portico della Chiesa di San Francesco a Urbino: cronaca di un'esperienza didattica, pp. 92 – 101, Gabbiano s.r.l., Ancona.

During the lessons will be provided bibliographical information on the specific topics covered for possible in-depth study.

Assessment

The verification of the results achieved by the students will be conducted at the end of the semester through individual examination. After the illustration of the thesis, which will concern the historical-critical analysis of a work of art chosen by the student in agreement with the professor, we will move on to an interview on the topics covered in the lessons and in the basic bibliography.

The evaluation criteria for the thesis are: the ability to know how to apply a method for the study of the work of art; the ability to be able to express a critical judgment. Two thirds of the evaluation out of thirty will be attributed to the thesis.

The evaluation criteria for the oral discussion are: the level of mastery of the topics covered; the degree of articulation of the responses. One third of the evaluation out of thirty will be attributed to the oral discussion.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

In order to improve critical analysis skills, students are asked to write a paper on the historical-critical analysis of a work of art whose date is between the 20th century and today; the choice of the latter will be agreed with the professor. At the end of the lessons the professor will dedicate a few hours to revise the exam papers currently being written.

In order to pass the exam, it is mandatory for each student to prepare a term paper that will cover the critical historical analysis of a work of art,  the choice of the latter will be agreed with the professor. The term paper must be delivered in digital format at least 10 days before the exam.

Attendance

Delivery of the thesis at least 10 days before the exam date.

Course books

Reference text:

M.CIATTI (2009), Appunti per un manuale di storia e di teoria del restauro, Edifir, Firenze, pp. 263 - 314; 330 - 392; 440 - 446.

G. CASSESE (a cura di) (2016) Il futuro del Contemporaneo. Conservazione e restauro del design, Roma, Gangemi, pp. 18 - 29; 68 - 73; 98 - 101; 124 - 127.

S. MUNOZ VINAS (2017), Teoria contemporanea del restauro, Castelvecchi, Roma.

G. CARBONARA (2018), E' proprio necessaria una "nuova teoria" del restauro? Considerazioni sul volume di Salvador Munoz Vinas. In: "Opus", 2, pp. 163 - 180.

Deepening texts:

U. BALDINI (2003), Teoria del restauro e unità metodologica, v. 1, Nardini Editore, Firenze.

U. BALDINI (2003), Teoria del restauro e unità metodologica, v. 2, Nardini Editore, Firenze.

C. BRANDI (1977), Teoria del restauro, Einaudi, Torino.

G. CARBONARA (1976), La reintegrazione dell'immagine, Bulzoni, Roma.

L. BARATIN, S. BERTOZZI, A. CATTANEO, A. DEVECCHI, F. GASPARETTO, Sperimentazione di un approccio partecipativo alla conservazione. Gli ambienti interni e gli arredi dei Collegi Universitari di Urbino (2017). In: (a cura di) G. Drusiani, G. Biscontin, Le nuove frontiere del restauro.Trasferimenti, Contaminazioni, Ibridazioni. Scienza e Beni Culturali, vol. 2017, pp. 143 - 155, Edizioni Arcadia Ricerche, Venezia.

A. CATTANEO (2015), La tutela dell'architettura moderna e contemporanea: un problema emergente. In: (a cura di) L. Baratin, P. Bonvini,  D. Di Fabio M. Pietropaolo, R.E.S.E.T. Upgrading College 1.0 - Idee e progetti per la riqualificazione architettonica, energetica e ambientale del collegio del Tridente, Urbino. pp. 12 - 17, Aras Edizioni, Fano.

A. CATTANEO (2014),  Il progetto di restauro: metodologia e prassi. In: (a cura di) M. Acierno, L. Baratin, O. Muratore, Il Portico della Chiesa di San Francesco a Urbino: cronaca di un'esperienza didattica, pp. 92 – 101, Gabbiano s.r.l., Ancona.

During the lessons will be provided bibliographical information on the specific topics covered for possible in-depth study.

Assessment

The verification of the results achieved by the students will be conducted at the end of the semester through individual examination. After the illustration of the thesis, which will concern the historical-critical analysis of a work of art chosen by the student in agreement with the professor, we will move on to an interview on the topics covered in the lessons and in the basic bibliography.

The evaluation criteria for the thesis are: the ability to know how to apply a method for the study of the work of art; the ability to be able to express a critical judgment. Two thirds of the evaluation out of thirty will be attributed to the thesis.

The evaluation criteria for the oral discussion are: the level of mastery of the topics covered; the degree of articulation of the responses. One third of the evaluation out of thirty will be attributed to the oral discussion.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.