LUCIO FONTANA AND ARCHITECTURE
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Issue No. 8 (2019)
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„OPEN FOR CONSERVATION”: LIVE EXPERIENCES
Cobau Andreina Costanzi79-88
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THE ETHICAL PROBLEMS OF ARCHITECTURAL RECONSTRUCTION – HUNGARIAN CASE STUDIES
Ádám Arnóth1-8
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ON PRINCIPLES AND OBJECTIVITY
Wolfgang Baatz9-14
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REFLECTION ON CONSERVATION-RESTORATION PRACTICE TODAY. A EUROPEAN PERSPECTIVE
Stefan Belishki, Susan Corr15-28
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AFTER BRANDI – UMBERTO BALDINI AND THE MODERN THEORY OF CONSERVATION-RESTORATION IN ITALY
Giorgio Bonsanti29-36
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PROFESSIONAL INTERDISCIPLINARY POSITION AND ROLE OF ACADEMIC CONSERVATOR-RESTORERS IN THEORY AND PRACTICE Methodical symbiosis and transdisciplinary cooperation using the example of the rebuilding and conservation of two Ottoman palaces in Istanbul
Jörg Breitenfeldt37-42
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INTEGRATION OF BRANDI’S THEORY IN THE CONTEXT OF EASTERN RELIGIONS AND CULTURES
Francesca Capanna43-52
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RETHINKING MAIURI: ENHANCEMENT OF STUCCO FINDINGS FROM THE HERCULANEUM ARCHAEOLOGICAL PARKq
Filippo Edoardo Capasso, Francesca Castiello, Simona Dichiara, Manuel Giandomenico, Natalie Iacopino, Erika Maddalena, Camilla Mauri, Sokol Muca, Mariagiulia Roscigno, Sofia Schiattone53-64
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THE METHODOLOGICAL APPROACH IN THE MANAGEMENT OF CONSERVATION DATA FOR STUCCO ARTIFACTS
Filippo Edoardo Capasso, Francesca Castiello, Simona Dichiara, Manuel Giandomenico, Natalie Iacopino, Erika Maddalena, Camilla Mauri, Sokol Muca, Mariagiulia Roscigno, Sofia Schiattone65-72
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THE STUCCO DECORATION OF THE MONUMENTAL ARCH ON THE DECUMANUS MAXIMUS AT HERCULANEUM
Marina Caso73-78
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“CONSERVATION VERSUS RECONSTRUCTION.” DO WE NEED OTHER OR NEW CRITERIA FOR CONSERVING ARCHITECTURAL SURFACES OF THE 20THCENTURY?
Thomas Danzl89-102
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THE CONSERVATION-RESTORATION OF ARCHITECTURAL STATUARY IN ACCORDANCE WITH THE ETHICAL REQUIREMENTS FOR SCULPTURE AND ARCHITECTURE
Camille De Clercq, Judy De Roy103-112
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LUCIO FONTANA AND ARCHITECTURE
Barbara Ferriani113-122
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AWARENESS OF MATERIALITY IN TIME AND CONDITION. THOUGHTS ON THE RELATION BETWEEN ART HISTORY AND CONSERVATION
Andreas Huth, Katharine Stahlbuhk123-138
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„BEFORE WE UNDERSTAND WHAT WE ARE DOING, WE NEED TO KNOW HOW WE THINK”
Dörthe Jakobs139-150
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THE TEMPLE OF EPICURIOUS APOLLO AT BASSAE: PRESERVE THE STONE OR UNCOVER ITS TRUE NATURE?
Eva Kapadoukaki, Michail Soumas151-158
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GIOTTO’S STIGMATIZATION OF SAINT FRANCIS: AN APPROACH FOR THE RECONSTRUCTION OF THE IMAGE
Maria Rosa Lanfranchi159-174
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ETHICS AND BASIC PRINCIPLES OF RESTORING HISTORICAL STONE MONUMENTS
Jadwiga W. Łukaszewicz175-184
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PUBLIC ENGAGEMENT TOWARDS SUSTAINABLE HERITAGE PRESERVATION
Helia Marcal185-210
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VIRTUAL CONSERVATION-RESTORATION VS. ACTUAL CONSERVATION-RESTORATION IN THE CONSERVATION OF FRAGMENTARY ARTEFACTS: THE CASE STUDY FRESCOES FROM SYBARIS - COPIA (ITALY)
Sokol Muca211-222
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CONSERVATION-RESTORATION AND CONSERVATION SCIENCE - THE CHALLENGE OF TRANSDISCIPLINARITY
Mechthild Noll-Minor223-238
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QUALITY PARAMETERS IN CONSERVATION-RESTORATION CHOICES – THE CASE OF THE TOWER OF THE WINDS IN ATHENS
Maria Papadopoulou, Andromache Gazi239-254
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ETHICAL CHALLENGES IN THE CONSERVATION OF THE WALL PAINTINGS OF CHAPEL 11 AT THE SACRO MONTE DI VARALLO
Francesca Piqué, Giacinta Jean255-268
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UNITÉ DE DOCTRINE – CONTINGENCY OF PRACTICE? TOWARDS A RE-READING OF TWENTIETH CENTURY PRINCIPLES OF BUILDING HERITAGE CONSERVATION
Andreas Putz269-280
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THE VOICE OF CONSERVATION-RESTORATION ON MULTI-DISCIPLINARY RESTORATION PROJECTS
Tanja Røskar281-290
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CONSERVATION ETHICS TODAY: ARE OUR CONSERVATION-RESTORATION THEORIES AND PRACTICE READY FOR THE TWENTY-FIRST CENTURY? INTRODUCTORY NOTES TO SOME CENTRAL ISSUES
Ursula Schädler-Saub291-300
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DEALING WITH AUTHENTICITY IN THE CONSERVATION AND RESTORATION OF WALL PAINTINGS AND ARCHITECTURAL SURFACES
Ursula Schädler-Saub301-324
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THE CONSERVATOR’S RESPONSIBILITY FOR THE DETERIORATION OF MONUMENTS
Bogusław Szmygin325-333
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Abstract
Lucio Fontana’s collaboration with architects, which continued to progress over the entire period of his creative experience along with his more famous artistic and spatial production, offered important opportunities for experimentation and research. The artist worked with architects such as Luigi Figini, Gino Pollini, Giò Ponti, Luciano Baldessari, Marco Zanuso, Osvaldo Borsani and Ico Parisi, and it was actually the architects who first intuited the innovative scope of his research. It involved works of a temporary nature carried out for exhibitions, trade fairs and celebrations of historical events, some of which went missing at the end of the events, but also some that became an integral part of extant architecture. Indeed, the artist made numerous environmental works for public buildings, hotels, cinemas and private homes, using traditional materials such as ceramics, mosaics and plaster, as well as new media such as fluorescent colours, black lights, neon lights, and more. As often happens, and as needs and tastes changed, the works were decontextualized and assumed a different connotation.
Here below is a description of the choices made during three of the seven restorations we carried out in the last few years on environmental works created by Fontana between the mid-1940s and the end of the 1950s, which were taken from their original location and moved to new sites.
