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Summary of the Proceedings and Papers Presented at - World ...

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The archaeological research in <strong>the</strong> Casa dei Postumii<br />

<strong>and</strong> its surroundings was executed as a joint<br />

research project <strong>of</strong> <strong>the</strong> German Archaeological Institute,<br />

Rome, <strong>and</strong> <strong>the</strong> Bavarian Academy <strong>of</strong> Sciences.<br />

While this work was completed in 2002, studies about<br />

<strong>the</strong> long-term protection <strong>of</strong> <strong>the</strong> site <strong>and</strong> its interpret<strong>at</strong>ion<br />

(musealizzazione) have not yet been conducted. The conserv<strong>at</strong>ion<br />

<strong>of</strong> Cubiculum 5 was sponsored by Studiosus Reisen,<br />

Munich.<br />

Cubiculum 5, on <strong>the</strong> west side <strong>of</strong> <strong>the</strong> <strong>at</strong>rium, is <strong>the</strong> only<br />

room in <strong>the</strong> house th<strong>at</strong> has preserved its decor<strong>at</strong>ion fairly<br />

intact. In 1997, it showed all <strong>the</strong> signs <strong>of</strong> <strong>the</strong> repe<strong>at</strong>ed quick<br />

<strong>and</strong> preliminary repairs undertaken since its excav<strong>at</strong>ion in<br />

1860. First <strong>of</strong> all, <strong>the</strong> conserv<strong>at</strong>ion program called for <strong>the</strong> reduction<br />

<strong>of</strong> humidity inside <strong>the</strong> walls, <strong>the</strong> prevention <strong>of</strong> large<br />

areas <strong>of</strong> plaster becoming detached from <strong>the</strong> walls <strong>and</strong> <strong>the</strong><br />

fur<strong>the</strong>r deterior<strong>at</strong>ion <strong>of</strong> <strong>the</strong> colored co<strong>at</strong>ing <strong>of</strong> <strong>the</strong> frescoes.<br />

The three most important aspects <strong>of</strong> our agenda were to<br />

make sure <strong>of</strong> <strong>the</strong> total reversibility <strong>of</strong> all techniques <strong>and</strong> m<strong>at</strong>erials<br />

applied, second, avoid any work th<strong>at</strong> could cause fur<strong>the</strong>r<br />

damage to <strong>the</strong> decor<strong>at</strong>ion, <strong>and</strong>, third, to cre<strong>at</strong>e a more<br />

homogeneous impression for <strong>the</strong> modern viewer.<br />

A major result <strong>of</strong> our work is th<strong>at</strong> <strong>the</strong> room can now be<br />

appreci<strong>at</strong>ed as an aes<strong>the</strong>tic whole. Consequently, <strong>the</strong> small<br />

Dionysian pictures are recognizable as part <strong>of</strong> a particular<br />

sp<strong>at</strong>ial concept, reflecting <strong>the</strong> need for a certain st<strong>and</strong>ard <strong>of</strong><br />

living <strong>and</strong> represent<strong>at</strong>ion in <strong>the</strong> Casa dei Postumii.<br />

italiano<br />

Casa dei Postumii (VIII 4, 4.49) <strong>and</strong> its<br />

Insula: Present St<strong>at</strong>e <strong>and</strong> Future Prospects<br />

for Conserv<strong>at</strong>ion <strong>and</strong> Present<strong>at</strong>ion<br />

by Jens-Arne Dickmann & Felix Pirson (in collabor<strong>at</strong>ion with Letizia Abbondanza,<br />

Corinna Brückener, Janet Haberkorn <strong>and</strong> Barbara Schick)<br />

The protective ro<strong>of</strong><br />

The starting point for <strong>the</strong> development <strong>of</strong> a protective<br />

ro<strong>of</strong> for <strong>the</strong> Casa dei Postumii was <strong>the</strong> need to cover Cubiculum<br />

5 <strong>and</strong> its freshly-conserved decor<strong>at</strong>ion. As <strong>the</strong> design<br />

<strong>of</strong> <strong>the</strong> ro<strong>of</strong> is based on a modular structure, <strong>the</strong> ro<strong>of</strong> can be<br />

exp<strong>and</strong>ed in future. In addition to <strong>the</strong> need for a modular<br />

structure, <strong>the</strong> following principles determined <strong>the</strong> design <strong>of</strong><br />

<strong>the</strong> protective cover:<br />

n complete reversibility,<br />

n no use <strong>of</strong> ancient walls as support for modern<br />

construction,<br />

n no re-mortaring <strong>of</strong> ancient masonry,<br />

n no reconstruction <strong>of</strong> any kind,<br />

n a ro<strong>of</strong> as a ‘light ceiling’ such as used in modern<br />

museums,<br />

n a rel<strong>at</strong>ively fl<strong>at</strong> surface, <strong>and</strong><br />

n a minimum number <strong>of</strong> steel pillars.<br />

The general conviction behind <strong>the</strong>ses principles is th<strong>at</strong> an<br />

archaeological monument should be preserved as much as<br />

possible without altering its original archaeological st<strong>at</strong>e. A<br />

clear <strong>and</strong> comprehensible interpret<strong>at</strong>ion <strong>of</strong> <strong>the</strong> archaeological<br />

monument for <strong>the</strong> modern visitor should be achieved via<br />

o<strong>the</strong>r media, such as explan<strong>at</strong>ory panels <strong>and</strong> audio- or video-guides,<br />

ra<strong>the</strong>r than permanent reconstructions, as <strong>the</strong>se<br />

render contemporary scholarly views absolute <strong>and</strong> deprive<br />

subsequent gener<strong>at</strong>ions <strong>of</strong> <strong>the</strong> chance to study <strong>the</strong> monument<br />

with new questions <strong>and</strong> methods.

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