Una ipotesi di restauro di un pavimento in ciottoli contemporaneo (Sala delle otto colonne, o della Manica Lunga della biblioteca Classense a Ravenna)
(Biblioteca
Classense fondata dai Monaci di San Romualdo nel 1512.)
Il
progetto di costruzione del pavimento, previa bonifica del terreno di
quella che era lo spazio utilizzato come stalla, viene iniziato nel
1976; l' operazione di recupero vera e propria viene iniziata nel
1981 e prosegue sino al 1983.
Il
progetto per il recupero è dell'architetto Marco Dezzi Bardeschi,
mentre il coordinamento dei lavori per la realizzazione del pavimento
è di Maria Grazia Brunetti, già docente all'Istituto d'Arte del
Mosaico di Ravenna, docente, in quel periodo, all' Istituto d'Arte di
Firenze. La realizzazione è stata eseguita dagli allievi
dell'Istituto d'Arte di Firenze, dell'Istituto d'Arte di Ravenna,
dell' Accademia di Belle Arti di Ravenna e dell'Istituto
Professionale di Ravenna. L'intera opera, secondo quanto risulta
dagli atti, viene eseguita in trenta giorni consecutivi.
Il
disegno del pavimento ripropone la figura di uno schiacciato
geografico tolemaico, un globo terracqueo e le orbite dei pianeti del
sistema solare.
La
superficie del pavimento misura mq. 340 e viene realizzata con
pietre, vetro o materiale di recupero.
Il
materiale lapideo viene così reperito: ciottoli da fiume (
serpentino nero delle Alpi, rosso di Verona, brecce di vario colore,
bianco di Carrara) ecc.
Nelle
discariche di lavorazione del vetro di Empoli vengono reperiti 15
q.li di frammenti colorati, con i quali poi, fatti macinare, si sono
realizzate le zone perimetrali della grande sala, l'intorno dei vari
pilastri e le zone speciali (la vasca circolare con una geografia
immaginaria, le terre di luna, il grande occhio bianco a pavimento).
Le
orbite che ruotano attorno ad ogni pilastro sono realizzate in
cubetti di porfido grigio e rosso da pavimentazione stradale, nella
pezzatura di cm. 4X6, 6X8 ,8X10 e 10X12.
Per
la posa in opera dei frantumi di vetro è stata utilizzata della
resina epossidica, mentre per i ciottoli e i cubetti di porfido è
stato spalmato un impasto bagnato (magro) di circa cm. 2 di sabbia
e cemento portland, rapporto 3 a 1.
Questo
impasto è stato steso su un'altro di circa 3-5 cm. di spessore
costituito da sabbia, sabbione (ghiaia), calce e cemento. Questo, a
sua volta, sovrapposto ad un “vespaio” costituito da ciottoli, di
circa 6-7 cm. di spessore, e sabbia, necessario per eliminare
l'umidità del terreno, infatti, in questo caso, non è stato creato
un fondo in calcestruzzo data la particolarietà del terreno sul
quale è stata costruita la “Classense”, particolarmente
impregnato di umidità.
Sala
dello otto colonne (o della Manica Lunga) della Biblioteca Classense
di Ravenna (pavimento in ciottoli)
Room of the eight columns (or Long Sleeve) of the Library Classense Ravenna (floor pebbles)
(Classense library founded by the monks of St. Romuald in 1512.)
The construction project of the floor, after land reclamation of the space that was used as a stable work began in 1976, the 'recovery operation itself is started in 1981 and continued until 1983.The project for the restoration by the architect Marco Dezzi Bardeschi, while the coordination of work on the construction of the floor is Maria Grazia Brunetti, former professor at the Art Institute of Mosaic of Ravenna, teacher, at that time, all ' Art Institute of Florence. The implementation was performed by the students of the Art Institute of Florence, the Art Institute of Ravenna, dell 'Accademia di Belle Arti di Ravenna and the Professional Institute of Ravenna. The entire work, as apparent from the documents is performed in thirty consecutive days.The design of the floor once again the figure of a crushed Ptolemaic geography, a globe and orbits of the planets of the solar system.The floor surface measure sqm. 340 and is made of stones, glass or recovery.The stone is then found: pebbles from the river (black serpentine of the Alps, red Verona breaches of various colors, white Carrara), etc..In landfills glass processing Empoli 15 q.li are found fragments of colored, with which then made grind, have made the perimeter areas of the hall, around the various pillars and special areas (the circular tank with an imaginary geography, the land of the moon, the great white eye on the floor).The orbits that rotate around each pillar are made of gray and red porphyry from the road surface, the size of cm. 4X6, 6X8, 8X10 and 10X12.For the laying of shattered glass has been used of the epoxy resin, while for the pebbles and porphyry cubes was coated a wet dough (slender) of about cm. 2 of sand and Portland cement ratio of 3 to 1.This mixture was spread on another of about 3-5 cm. thick consisting of sand, gravel (gravel), lime and cement. This, in turn, superimposed on an "air gap" constituted by pebbles, of about 6-7 cm. thick, and sand, necessary to eliminate the moisture of the soil, in fact, in this case, was not created a bottom concrete date the particolarietà the land on which was built the "Classense", particularly impregnated with humidity.
The construction project of the floor, after land reclamation of the space that was used as a stable work began in 1976, the 'recovery operation itself is started in 1981 and continued until 1983.The project for the restoration by the architect Marco Dezzi Bardeschi, while the coordination of work on the construction of the floor is Maria Grazia Brunetti, former professor at the Art Institute of Mosaic of Ravenna, teacher, at that time, all ' Art Institute of Florence. The implementation was performed by the students of the Art Institute of Florence, the Art Institute of Ravenna, dell 'Accademia di Belle Arti di Ravenna and the Professional Institute of Ravenna. The entire work, as apparent from the documents is performed in thirty consecutive days.The design of the floor once again the figure of a crushed Ptolemaic geography, a globe and orbits of the planets of the solar system.The floor surface measure sqm. 340 and is made of stones, glass or recovery.The stone is then found: pebbles from the river (black serpentine of the Alps, red Verona breaches of various colors, white Carrara), etc..In landfills glass processing Empoli 15 q.li are found fragments of colored, with which then made grind, have made the perimeter areas of the hall, around the various pillars and special areas (the circular tank with an imaginary geography, the land of the moon, the great white eye on the floor).The orbits that rotate around each pillar are made of gray and red porphyry from the road surface, the size of cm. 4X6, 6X8, 8X10 and 10X12.For the laying of shattered glass has been used of the epoxy resin, while for the pebbles and porphyry cubes was coated a wet dough (slender) of about cm. 2 of sand and Portland cement ratio of 3 to 1.This mixture was spread on another of about 3-5 cm. thick consisting of sand, gravel (gravel), lime and cement. This, in turn, superimposed on an "air gap" constituted by pebbles, of about 6-7 cm. thick, and sand, necessary to eliminate the moisture of the soil, in fact, in this case, was not created a bottom concrete date the particolarietà the land on which was built the "Classense", particularly impregnated with humidity.
Stato
attuale del pavimento.
L'acciottolato
è stato progettato sino dall'inizio per essere il pavimento della
sala detta delle “otto colonne” o” manica lunga” quindi per
essere posto in un interno. Non solo, la sala è stata destinata,
sino dalla ricostruzione, per essere sede di eventi periodici: mostre
d'arte, convegni ecc. La complessità del disegno progettato (per la
verità in parte modificato in corso lavori) ha dovuto piegare il
mezzo alle necessità estetiche. Pertanto non si è tenuto
doverosamente conto del fatto che il pavimento non avrebbe potuto
essere pulito e lavato spesso ed in modo sufficiente, anche perchè
non soggetto a dilavamento naturale, e la tecnica di posa del vetro
macinato ( a getto sulla resina fresca ) avrebbe fatto sì che col
tempo lo stesso vetro sarebbe stato eliminato sia dallo spazzamento
che dal continuo calpestio.
Infatti
oggi il pavimento ( i ciottoli ed il porfido) risulta essere
ricoperto da un notevole strato di sporcizia che ha certamente
modificato il colore originario mentre è scomparso quasi totalmente
lo strato di vetro macinato, sino a fare apparire (nella parte
originalmente azzurra) lo strato resinoso. Il pavimento risulta
essere oggi uniformemente grigio, si sono quindi perse le sfumature
di colori nero serpentino, rosso di Verona, bianco di Carrara ecc.
Solo
alcune macchie azzurrastre appaiano a tratti attorno alle colonne o
nelle altre zone dove originalmente era stato posto il vetro
macinato.
Current state of the floor.
The cobbled up was designed from the start to be the floor of the room known as the "eight pillars" or "long sleeve" then to be placed in an interior. Not only that, the room was intended, until the reconstruction, to be the site of regular events: art exhibitions, conferences and so on. The complexity of the planned design (actually partially modified in course work) had to bend the middle of the aesthetic needs. Therefore was not taken dutifully account the fact that the floor could not be cleaned and washed often enough and so, also because it is not subject to natural leaching, and the technique of laying the ground glass (jet on fresh resin) would so that over time the glass would have been eliminated by both the sweep and the continued walking.
In fact, today the floor (the pebbles and the porphyry) turns out to be covered by a significant layer of dirt that has certainly changed while the original color has disappeared almost completely the layer of ground glass, up to make it appear (in part originally blue) layer resinous. The floor appears to be uniformly gray today, you are then lost shades of black serpentine, red Verona, Carrara white etc..
Only a few spots appear bluish at times around the columns or in other areas where it was originally placed the ground glass.
Current state of the floor.
The cobbled up was designed from the start to be the floor of the room known as the "eight pillars" or "long sleeve" then to be placed in an interior. Not only that, the room was intended, until the reconstruction, to be the site of regular events: art exhibitions, conferences and so on. The complexity of the planned design (actually partially modified in course work) had to bend the middle of the aesthetic needs. Therefore was not taken dutifully account the fact that the floor could not be cleaned and washed often enough and so, also because it is not subject to natural leaching, and the technique of laying the ground glass (jet on fresh resin) would so that over time the glass would have been eliminated by both the sweep and the continued walking.
In fact, today the floor (the pebbles and the porphyry) turns out to be covered by a significant layer of dirt that has certainly changed while the original color has disappeared almost completely the layer of ground glass, up to make it appear (in part originally blue) layer resinous. The floor appears to be uniformly gray today, you are then lost shades of black serpentine, red Verona, Carrara white etc..
Only a few spots appear bluish at times around the columns or in other areas where it was originally placed the ground glass.
Ipotesi
di restauro
Per
quanto riguarda la parte di pavimento ricoperta da ciottoli essa
abbisogna solo di un intervento di pulitura, onde poter ripristinare
le sfumature originali dei ciottoli, essendo questi ultimi ancora ben
inseriti nell' impasto cementizio.Tale intervento di pulitura potrà
essere meccanico (cioè fatto a mano), lavaggio delle superfici,
fatto con acqua e un detersivo adatto a sciogliere lo strato di
sporcizia depositato su di esse (probabilmente un semplice detersivo
per pavimenti in pietra o ceramica).
Per
quanto riguarda invece la parte originalmente ricoperta da vetro
macinato può essere proposto solo il rifacimento, essendo
impossibile un intervento di restauro, le ipotesi di rifacimento sono
tre:
a)
gettare del vetro macinato (come in origine) dello stesso colore
azzurro, su di un nuovo strato di resina epossidica,;
b)
dopo avere eliminato completamente il vetro macinato originale, porre
delle tessere in pasta di vetro (possibilmente dello stesso colore
azzurro) negli spazi lasciati vuoti, anche in questo caso potà
essere usata resina epossidica come collante visto che è stata usata
in origine per il vetro macinato;
c
) spalmare uno strato di mosaico a “graniglia” sempre negli spazi
“puliti” dal vetro macinato e dalla resina epossidica, tale
strato di graniglia potrà essere lasciato tal quale oppure levigato
(il colore dovrà sempre essere azzurro, il più simile a quello
originale).
Per
quanto riguarda l' ipotesi a) è possibile affermare che il
rifacimento non potà essere definitivo, avrà naturalmente una
durata almeno pari a quella del lavoro originale; le ipotesi b) e c)
invece potranno garantire una durata molto più lunga, almeno quanto
il pavimento in ciottoli.
Ovviamente,
essendo il progettista e la coordinatrice dei lavori ancora viventi,
dovrà essere chiesto preventivamente il loro parere prima di
decidere qualsiasi tipo di intervento sul pavimento.
Hypothesis restoration
As regards the part of the floor covered with pebbles it needs is a cleaning intervention, in order to be able to restore the original shades of the pebbles, the latter being still well placed in 'dough cementizio.Tale cleaning intervention may be mechanical (ie done at hand), washing of surfaces, made with water and a suitable detergent to dissolve the layer of dirt deposited on them (probably a simple detergent for stone floors or ceramic).
As regards the part originally covered with ground glass may be brought only rebuilding, it is impossible to a restoration, reconstruction assumptions are three:
a) throw of ground glass (as originally) of the same color blue, of a new layer of epoxy resin;
b) after eliminating completely the original ground glass, tiles in place of the glass paste (possibly the same color blue) in the spaces left empty, also in this case POTA be used as epoxy resin glue seen that was originally used for the ground glass;
c) spreading a layer of mosaic "grit" always in the spaces "cleaned" from the ground glass and the epoxy resin, such a layer of grit may be left as it is or honed (the color will always be blue, the most similar to the original ).
With regard to the 'hypothesis) we can say that the POTA remake not be definitive, will naturally have a length at least equal to that of the original work, the assumptions b) and c), however, will ensure a much longer duration, at least as the floor in pebbles.
Obviously, being the designer and coordinator of the work still living, should be asked their prior opinion before deciding any work on the floor.
As regards the part of the floor covered with pebbles it needs is a cleaning intervention, in order to be able to restore the original shades of the pebbles, the latter being still well placed in 'dough cementizio.Tale cleaning intervention may be mechanical (ie done at hand), washing of surfaces, made with water and a suitable detergent to dissolve the layer of dirt deposited on them (probably a simple detergent for stone floors or ceramic).
As regards the part originally covered with ground glass may be brought only rebuilding, it is impossible to a restoration, reconstruction assumptions are three:
a) throw of ground glass (as originally) of the same color blue, of a new layer of epoxy resin;
b) after eliminating completely the original ground glass, tiles in place of the glass paste (possibly the same color blue) in the spaces left empty, also in this case POTA be used as epoxy resin glue seen that was originally used for the ground glass;
c) spreading a layer of mosaic "grit" always in the spaces "cleaned" from the ground glass and the epoxy resin, such a layer of grit may be left as it is or honed (the color will always be blue, the most similar to the original ).
With regard to the 'hypothesis) we can say that the POTA remake not be definitive, will naturally have a length at least equal to that of the original work, the assumptions b) and c), however, will ensure a much longer duration, at least as the floor in pebbles.
Obviously, being the designer and coordinator of the work still living, should be asked their prior opinion before deciding any work on the floor.
