The course aims to provide the basic notions of theory and technique of restoration and a complete overview of the main issues on the protection and conservation, illustrating the basic concepts of safeguarding the cultural heritage from the early 20th century to today.

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 charters, international conventions, 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 is conducted through frontal lectures.

Classroom lectures will be conducted with the aid of Power Point images, available, together with other supporting material, on the Moodle> blended.uniurb.it platform

Innovative teaching methods

The course includes:

• lectures by the professor
• group or individual work with production of written assignments
• oral presentations of work
• participative lectures in which the work presented will be discussed

Attendance

In order to pass the examination, it is obligatory for each student to write a paper (in accordance with the editing rules given by the professor) on the historical-critical analysis of a work of art whose date is between the 20th century and today, the choice of which will be agreed with the professor. In addition, the student must prepare a PowerPoint presentation on the topic of the paper for oral discussion (maximum length of presentation 15 minutes).
The paper and presentation must be submitted to the lecturer in digital format (.pdf and .doc) at least 10 days before the examination.

On the day of the examination, the student must hand in the paper on the day of the examination.

Class attendance is appreciated.

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:

• 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.
• 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.
• C. BRANDI (1977), Teoria del restauro, Einaudi, Torino.
• G. CARBONARA (2018), E' proprio necessaria una "nuova teoria" del restauro? Considerazioni sul volume di Salvador Munoz Vinas. In: "Opus", 2, pp. 163 - 180.
• G. CARBONARA (1997), Avvicinamento al restauro. Teoria, storia, monumenti, Liguori, Napoli, pp. 325 - 353.
• G. CARBONARA (1976), La reintegrazione dell'immagine, Bulzoni, Roma.
• 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.
• 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.
• A. CONTI (1971), Storia del restauro e della conservazione delle opere d'arte, Electa, Milano.
• L. MARTINI (2008), Storia e teoria del restauro delle opere d'arte, N. Santopuoli (a cura di), Felici Editore, Pisa, pp. 237 - 286.
• S. MUNOZ VINAS (2017), Teoria contemporanea del restauro, Castelvecchi, Roma.
• P. PETRAROIA (2006), Architettura ed arti "moderne": per una verifica metodologica intorno al restauro. In: "Parametro", 266, pp. 26 - 31.

Further bibliographical references, related to the various topics discussed, will be suggested in the course of the lectures.

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.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

Self-study

Attendance

Non-attending students must study individually on the reference texts with the addition of an additional text of their choice from those indicated by the professor.

In order to pass the examination, it is obligatory for each student to write a paper (in accordance with the editing rules given by the professor) on the historical-critical analysis of a work of art whose date is between the 20th century and today, the choice of which will be agreed with the professor. In addition, the student must prepare a PowerPoint presentation on the topic of the paper for oral discussion (maximum length of presentation 15 minutes).
The paper and presentation must be submitted to the lecturer in digital format (.pdf and .doc) at least 10 days before the examination.

On the day of the examination, the student must hand in the paper on the day of the examination.

Course books

Reference text:

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

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.

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

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

P. PETRAROIA (2006), Architettura ed arti "moderne": per una verifica metodologica intorno al restauro. In: "Parametro", 266, pp. 26 - 31.

Non-attending students, in addition to the obligatory texts listed above, are also required to study a text of their choice from among those listed below:

• 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.
• 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.
• C. BRANDI (1977), Teoria del restauro, Einaudi, Torino.
• G. CARBONARA (1976), La reintegrazione dell'immagine, Bulzoni, Roma.
• 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.
• A. CONTI (1971), Storia del restauro e della conservazione delle opere d'arte, Electa, Milano.

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.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.