Virtual anastylosis applied to the architectural decoration of mixtilinear buildings in Villa Adriana: the case study of
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ORIGINAL PAPER
Virtual anastylosis applied to the architectural decoration of mixtilinear buildings in Villa Adriana: the case study of the scattered friezes of the Teatro Marittimo B. Adembri 1 & L. Cipriani 2 & G. Bertacchi 3 Received: 30 October 2017 / Accepted: 28 February 2018 # Società Italiana di Fotogrammetria e Topografia (SIFET) 2018
Abstract The peculiar figurative friezes of the buildings with mixtilinear entablature have always fascinated collectors of antiquities since the Renaissance, determining their scattering in private collections and museums throughout Europe. Thanks to the application of digital surveying and reverse modelling techniques, increasingly adopted during the last years for the documentation and enhancement of Cultural Heritage, it has been possible to outline a specific methodology for the restoration works that concern the virtual anastylosis of the architectural order and the correct repositioning of the friezes, also not physically present on site. The master model, which shows the conditions of the Teatro Marittimo before the last restoration works (2017), is the result of several survey campaigns, carried out over the course of the last years, in collaboration with the Direction of the Villa. This model has become the basis for the hypothetical order reconstruction and the repositioning of the friezes, by considering their geometrical, morphological, stylistic, constructive, and figurative features. The ongoing research is in constant update, and it aims at providing methodological directions for virtual anastylosis and scientific tools, also preparatory to a real restoration work, starting from such a unique and delicate site as Villa Adriana. Keywords Digital survey . Reverse modelling . Best fitting circumferences . Virtual anastylosis . Villa Adriana
Introduction Architects have always shown a keen interest in the buildings of Villa Adriana. Ever since the Renaissance, when the villa (also known as Hadrian’s Villa) was rediscovered, architects have been visiting the ruins to study the often extremely bold architectural orders and features and gain inspiration for their
* G. Bertacchi [email protected] B. Adembri [email protected] L. Cipriani [email protected] 1
Istituto BVilla Adriana e Villa d’Este^, Ministero dei beni e delle attività culturali e del turismo (MiBACT), Tivoli (Rome), Italy
2
DA - Dipartimento di Architettura, Alma Mater Studiorum Università di Bologna, Bologna, Italy
3
Alma Mater Studiorum - Università di Bologna, Bologna, Italy
own work. The villa is considered a place that Bcombines the best elements of the architectural heritage of Egypt, Greece and Rome^, as reported in the reasons for the site’s inclusion in UNESCO’s World Heritage List (1999), especially for its classical architecture, interpreted—in the light of emperor Hadrian’s vision—in an eclectic sense. The emperor’s residence at Tivoli is seen as a masterful accomplishment that brings together elements drawn from Greek architecture (in all its forms fr
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