The fountain of the Esedra is a clear testimony of the representative role attributed to the combination of vegetations and water in the Mostra d'Oltremare in Naples: designed by C. Cocchia and L. Piccinato in1938 and animated by a choreography Sons and Lumière, it can contain a mass of 4000 cubic meters of water with jets higher up 40 meters. Surrounded by trees, it's composed of a terraced pool and four concentric rings arranged in semicircular tiers; on the sides 24 circular basins mark the location of the central pool and connect this one to the adjacent trees. A composition of ceramic fragments, designed from 1950 by G. Macedonio, completes the figurative value of the work. Hydraulic plants were well advanced, too: a complex system of spaces below the tanks was in service with staff in operation. Thirteen hundred brass and bronze nozzles assured a diversified emission of water while a conductor, in a raised position, drove the movements necessary to vary the color, the brightness of the lights and the geometry of the water jets. After a long period of abandonment, the fountain has had a significant restoration of its functionality from 2000 to 2006. In addition to the rehabilitation of the structures and the restoration of deteriorated cement and ceramic decorations, the intervention has mainly focused on hydraulic, electrical and sound systems with operations of substitution aiming to their modernization and to law's adaptation. Starting from the deepening of the building yard history, the contribution explores issues related to the conservation of a significant work of the 20th century: among these ones, those related to a specific technological system connected to the transmission of an image stands out. Moreover, it examines connections and conflicts, in the case-study, relating to the restoration of architectural heritage and preservation of contemporary technological systems – complex but not historicized enough – that is, in this case, the real "structure" of the work itself.
Fontane in Mostra. Architettura, decorazione, impianti nel restauro di un'opera del Moderno / Russo, Valentina; Vassallo, E.. - STAMPA. - (2011), pp. 56-63. (Intervento presentato al convegno Le fontane storiche: Eredità di un passato recente. Restauro, valorizzazione e gestione di un patrimonio complesso tenutosi a Cesena nel 29-30 aprile 2011).
Fontane in Mostra. Architettura, decorazione, impianti nel restauro di un'opera del Moderno
RUSSO, VALENTINA;
2011
Abstract
The fountain of the Esedra is a clear testimony of the representative role attributed to the combination of vegetations and water in the Mostra d'Oltremare in Naples: designed by C. Cocchia and L. Piccinato in1938 and animated by a choreography Sons and Lumière, it can contain a mass of 4000 cubic meters of water with jets higher up 40 meters. Surrounded by trees, it's composed of a terraced pool and four concentric rings arranged in semicircular tiers; on the sides 24 circular basins mark the location of the central pool and connect this one to the adjacent trees. A composition of ceramic fragments, designed from 1950 by G. Macedonio, completes the figurative value of the work. Hydraulic plants were well advanced, too: a complex system of spaces below the tanks was in service with staff in operation. Thirteen hundred brass and bronze nozzles assured a diversified emission of water while a conductor, in a raised position, drove the movements necessary to vary the color, the brightness of the lights and the geometry of the water jets. After a long period of abandonment, the fountain has had a significant restoration of its functionality from 2000 to 2006. In addition to the rehabilitation of the structures and the restoration of deteriorated cement and ceramic decorations, the intervention has mainly focused on hydraulic, electrical and sound systems with operations of substitution aiming to their modernization and to law's adaptation. Starting from the deepening of the building yard history, the contribution explores issues related to the conservation of a significant work of the 20th century: among these ones, those related to a specific technological system connected to the transmission of an image stands out. Moreover, it examines connections and conflicts, in the case-study, relating to the restoration of architectural heritage and preservation of contemporary technological systems – complex but not historicized enough – that is, in this case, the real "structure" of the work itself.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
