Élia Roldão, Susana França de Sá, Alexandra Pinto Rodrigues, Emília Tavares
This paper discusses the conservation challenges posed by the mixed-media photographic artwork, Revolução, Corpo, Tempo (1978) by Ernesto de Sousa, from Museu Nacional de Arte Contemporânea do Chiado, in Portugal. Due to the artwork's poor condition and an exhibition request, a conservation intervention was needed. However, the definition of a conservation plan was challenging because of the complex and singular creative process of Ernesto and the highly deteriorated exhibition mounting. The lack of existing information led to the start of a research study and to the production of new documentation. This paper examines the gathered knowledge on Ernesto de Sousa's work and case study, and his possible position regarding the artwork’s deterioration and evolution over time – fundamental issues for decision-making in conservation. Based on visual observation, archive research, informal interviews, photo-documentation, infrared spectroscopy, and x-ray fluorescence spectroscopy, this paper discusses the challenges, the methodology and the applied treatment.
本文讨论了由埃内斯托·德·索萨(Ernesto de Sousa)创作的混合媒体摄影作品《革命，公司，节奏》(1978)所带来的保护挑战，该作品来自葡萄牙国家当代艺术博物馆(national de Arte contemporary museum)。由于艺术品的状况不佳和展览要求，需要进行保护干预。然而，由于Ernesto复杂而独特的创作过程和高度恶化的展览安装，保护计划的定义具有挑战性。由于缺乏现有资料，因此开始了一项研究和编制新的文件。本文考察了Ernesto de Sousa的工作和案例研究中收集到的知识，以及他对艺术品随着时间的推移而恶化和进化的可能立场——这是保护决策的基本问题。本文通过视觉观察、档案研究、非正式访谈、照片文献、红外光谱和x射线荧光光谱等方法，讨论了研究的挑战、方法和应用处理。
{"title":"Decision-making process and restoration work of a photographic-based artwork by Ernesto de Sousa","authors":"Élia Roldão, Susana França de Sá, Alexandra Pinto Rodrigues, Emília Tavares","doi":"10.14568/cp27337","DOIUrl":"https://doi.org/10.14568/cp27337","url":null,"abstract":"This paper discusses the conservation challenges posed by the mixed-media photographic artwork, Revolução, Corpo, Tempo (1978) by Ernesto de Sousa, from Museu Nacional de Arte Contemporânea do Chiado, in Portugal. Due to the artwork's poor condition and an exhibition request, a conservation intervention was needed. However, the definition of a conservation plan was challenging because of the complex and singular creative process of Ernesto and the highly deteriorated exhibition mounting. The lack of existing information led to the start of a research study and to the production of new documentation. This paper examines the gathered knowledge on Ernesto de Sousa's work and case study, and his possible position regarding the artwork’s deterioration and evolution over time – fundamental issues for decision-making in conservation. Based on visual observation, archive research, informal interviews, photo-documentation, infrared spectroscopy, and x-ray fluorescence spectroscopy, this paper discusses the challenges, the methodology and the applied treatment.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66721953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The concept of creative conservation began to be developed in 2012 by conservators from the Polytechnic Institute of Tomar. This approach, which begins with a process of resignification of fragmented objects, those apparently without possible recovery and on the verge of being discarded, has the goal to develop actions that encourage reflective thinking on preservation and collective memory. This article explores its application in industrial heritage through two case studies: Cartão de Ponto project (2012), based on the conservation of a set of timecards of former workers of the Spinning Mill of Tomar, and the ongoing POR1FIO project, which seeks to create an educational tool from preserved objects from the Torres Novas Nacional Spinning & Weaving Co. These projects demonstrate that creative conservation approach can be a new strategy to help the local community to establish positive memories based on their industrial heritage and to manage the trauma from the de-industrialization processes.
2012年，托马尔理工学院(Polytechnic Institute of Tomar)的修复人员开始提出创造性保护的概念。这种方法始于对碎片化物体的重新设计过程，这些物体显然没有可能恢复，处于被丢弃的边缘，其目标是发展鼓励对保存和集体记忆进行反思的行动。本文通过两个案例探讨其在工业遗产中的应用:cart o de Ponto项目(2012)，基于托马尔纺纱厂前工人的一组工卡的保存，以及正在进行的POR1FIO项目，该项目旨在利用托雷斯新国家纺织公司保存下来的物品创造一种教育工具。这些项目表明，创造性的保护方法可以成为一种新的策略，帮助当地社区在工业遗产的基础上建立积极的记忆，并管理去工业化过程带来的创伤。
{"title":"Things rust but memories last forever: creative conservation in the industrial heritage","authors":"Ricardo Triães, Ânia Chasqueira, Ângela Ferraz","doi":"10.14568/cp29453","DOIUrl":"https://doi.org/10.14568/cp29453","url":null,"abstract":"The concept of creative conservation began to be developed in 2012 by conservators from the Polytechnic Institute of Tomar. This approach, which begins with a process of resignification of fragmented objects, those apparently without possible recovery and on the verge of being discarded, has the goal to develop actions that encourage reflective thinking on preservation and collective memory. This article explores its application in industrial heritage through two case studies: Cartão de Ponto project (2012), based on the conservation of a set of timecards of former workers of the Spinning Mill of Tomar, and the ongoing POR1FIO project, which seeks to create an educational tool from preserved objects from the Torres Novas Nacional Spinning & Weaving Co. These projects demonstrate that creative conservation approach can be a new strategy to help the local community to establish positive memories based on their industrial heritage and to manage the trauma from the de-industrialization processes.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66723387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study focuses on the rise of a first generation of architects aware of restoration restoration practices according to the Renaissance cultural and artistic environment, and resulting from classical treatises. How to intervene in medieval pre-existences was a problem that these architects had to face and solve, because despite considering Gothic undesirable, it was essential to find a way to ensure the ‘conformity’ of the building, without violating the mutual ‘harmony’ of its parts, according to the principle of concinnitas, as stated by Alberti. Taking the formulation proposed by Panofsky about the modes of action found in medieval pre-existences: overlay, continuance and compromise, and according to Italian examples previously studied, we sought to evaluate the practice, in Portugal, of this modus operandi. The identification of several national case studies from the Modern period allows us to substantiate this operation and to cast a new view on the conceptual and practical genesis of architectural restoration in Portugal.
{"title":"Examples of architectural restoration in Portugal in the 16th to 18th centuries according to the spirit of concinnitas: ideal of harmony, unity and conformity","authors":"Maria João Baptista Neto","doi":"10.14568/cp26667","DOIUrl":"https://doi.org/10.14568/cp26667","url":null,"abstract":"The study focuses on the rise of a first generation of architects aware of restoration restoration practices according to the Renaissance cultural and artistic environment, and resulting from classical treatises. How to intervene in medieval pre-existences was a problem that these architects had to face and solve, because despite considering Gothic undesirable, it was essential to find a way to ensure the ‘conformity’ of the building, without violating the mutual ‘harmony’ of its parts, according to the principle of concinnitas, as stated by Alberti. Taking the formulation proposed by Panofsky about the modes of action found in medieval pre-existences: overlay, continuance and compromise, and according to Italian examples previously studied, we sought to evaluate the practice, in Portugal, of this modus operandi. The identification of several national case studies from the Modern period allows us to substantiate this operation and to cast a new view on the conceptual and practical genesis of architectural restoration in Portugal.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66721679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Architectural heritage documentation is a preliminary step to address any heritage conservation and management problem. However, data collection is often isolated resulting in lack of communication between different data types and incomplete documentation. This text examines the wide-ranging collection of technical and administrative documentation concerning to the successive conservation-restoration works carried out in the monastery of San Millán de la Cogolla de Yuso (La Rioja, Spain) since its declaration as a UNESCO World Heritage site in 1997. The main objective is to propose a document management system which can support an efficient long-lasting safeguard and also allows new uses and additional values. This aim entails the consideration of information retrieval (when the documents are scattered across many archives), classification (a normalised and comprehensive classification chart is lacking for the documents generated in conservation-restoration), and description (a list of metadata needs to be benefit of future users and any other additional uses).
建筑遗产文件是解决任何遗产保护和管理问题的初步步骤。然而，数据收集往往是孤立的，导致不同数据类型之间缺乏沟通，文档编制不完整。本文考察了圣Millán de la Cogolla de Yuso修道院(西班牙拉里奥哈)自1997年被宣布为联合国教科文组织世界遗产以来所进行的连续保护修复工作的广泛技术和行政文件。主要目标是提出一种文件管理系统，该系统可以支持有效的持久保障，并允许新的用途和附加价值。这一目标需要考虑信息检索(当文件分散在许多档案中时)、分类(在保护修复过程中生成的文件缺乏规范化和全面的分类图表)和描述(元数据列表需要对未来用户和任何其他额外用途有利)。
{"title":"Documentary data collection: an initial step for information management in the conservation and restoration of cultural heritage","authors":"J. Korro, J. M. Valle-Melón, Á. Rodríguez Miranda","doi":"10.14568/cp27370","DOIUrl":"https://doi.org/10.14568/cp27370","url":null,"abstract":"Architectural heritage documentation is a preliminary step to address any heritage conservation and management problem. However, data collection is often isolated resulting in lack of communication between different data types and incomplete documentation. This text examines the wide-ranging collection of technical and administrative documentation concerning to the successive conservation-restoration works carried out in the monastery of San Millán de la Cogolla de Yuso (La Rioja, Spain) since its declaration as a UNESCO World Heritage site in 1997. The main objective is to propose a document management system which can support an efficient long-lasting safeguard and also allows new uses and additional values. This aim entails the consideration of information retrieval (when the documents are scattered across many archives), classification (a normalised and comprehensive classification chart is lacking for the documents generated in conservation-restoration), and description (a list of metadata needs to be benefit of future users and any other additional uses).","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66722532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Scottish Transport and Industry Collections Knowledge Network (STICK) brings together a range of organisations and individuals who share a common interest in transport and industrial collections and promoting their care and enjoyment. While a multi-disciplinary steering group drives it forward, STICK is its members and their passion and knowledge. STICK facilitates shared learning and knowledge exchange through projects, events and active communication that have drawn on the knowledge and expertise of participants to achieve the aims of the group. STICK’s engaged membership and the success of its projects demonstrate the network’s strengths but, as an informal body, it faces various challenges as well. It is looking to use learning from its work to date, along with the combined experience and needs of its steering group and members, to address these challenges and continue to bring people together and achieve good outcomes for the sector in the future.
{"title":"The Scottish transport and industry collections knowledge network (STICK)","authors":"Ellie Swinbank","doi":"10.14568/cp29188","DOIUrl":"https://doi.org/10.14568/cp29188","url":null,"abstract":"The Scottish Transport and Industry Collections Knowledge Network (STICK) brings together a range of organisations and individuals who share a common interest in transport and industrial collections and promoting their care and enjoyment. While a multi-disciplinary steering group drives it forward, STICK is its members and their passion and knowledge. STICK facilitates shared learning and knowledge exchange through projects, events and active communication that have drawn on the knowledge and expertise of participants to achieve the aims of the group. STICK’s engaged membership and the success of its projects demonstrate the network’s strengths but, as an informal body, it faces various challenges as well. It is looking to use learning from its work to date, along with the combined experience and needs of its steering group and members, to address these challenges and continue to bring people together and achieve good outcomes for the sector in the future.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66723176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Schröter, Cyrille Foasso, L. Bellot‐Gurlet, L. Brambilla
The paper reports the study of five totalizing counters preserved in the collections of the CNAM (museum of the French National Conservatory of Arts and Crafts) in Paris. These artefacts are part of a corpus of over forty counters attributed to the Darras company founded by engineer Alphonse Darras (1860-1936). In the framework of the LacCA project at Haute Ecole Arc, Neuchâtel (Switzerland), dedicated to the characterization of lacquered copper-alloys, our attention was drawn to the different aspects of the object’s coatings. Lacquers were frequently applied to technical objects to both protect them from corrosion and provide an esthetical appearance. Five totalizing counters showing various typologies and surface colours were chosen from the set and explored by a non-invasive multi analytical approach. The comparative study – investigating lacquering processes and materials - contributes to the historical study of these artefacts.
{"title":"Investigating five totalizing counters manufactured by the Alphonse Darras company of the CNAM collections in Paris","authors":"J. Schröter, Cyrille Foasso, L. Bellot‐Gurlet, L. Brambilla","doi":"10.14568/cp29230","DOIUrl":"https://doi.org/10.14568/cp29230","url":null,"abstract":"The paper reports the study of five totalizing counters preserved in the collections of the CNAM (museum of the French National Conservatory of Arts and Crafts) in Paris. These artefacts are part of a corpus of over forty counters attributed to the Darras company founded by engineer Alphonse Darras (1860-1936). In the framework of the LacCA project at Haute Ecole Arc, Neuchâtel (Switzerland), dedicated to the characterization of lacquered copper-alloys, our attention was drawn to the different aspects of the object’s coatings. Lacquers were frequently applied to technical objects to both protect them from corrosion and provide an esthetical appearance. Five totalizing counters showing various typologies and surface colours were chosen from the set and explored by a non-invasive multi analytical approach. The comparative study – investigating lacquering processes and materials - contributes to the historical study of these artefacts.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66723091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes the potential for “caring thinking” of Matthew Lipman’s philosophy to be applied from education to museological practice to enhance new decision-making models for conservation. “Caring thinking” is crucial when applied from education to heritage conservation, as it does not only concern the treatment of the deteriorated parts of any industrial object but the truth, the museological content that lies beyond the aesthetic or historical values that have to be thoroughly examined. The Lipman theory articulates complex modes of thought that include: a) valuational, b) affective, c) active, d) normative and e) the empathy of man for human ingenuity, effort and expectations. This effort, reflects the need for the industrial and technological heritage conservator not only to extend the life-span of the collections but to strive to retain their intangible value and enhance the viewer’s museological engagement with them.
{"title":"How Lipman’s “caring thinking” theory for human thought may encourage the safeguarding of industrial and technological heritage","authors":"Stoupathis Konstandinos","doi":"10.14568/cp28987","DOIUrl":"https://doi.org/10.14568/cp28987","url":null,"abstract":"This paper describes the potential for “caring thinking” of Matthew Lipman’s philosophy to be applied from education to museological practice to enhance new decision-making models for conservation. “Caring thinking” is crucial when applied from education to heritage conservation, as it does not only concern the treatment of the deteriorated parts of any industrial object but the truth, the museological content that lies beyond the aesthetic or historical values that have to be thoroughly examined. The Lipman theory articulates complex modes of thought that include: a) valuational, b) affective, c) active, d) normative and e) the empathy of man for human ingenuity, effort and expectations. This effort, reflects the need for the industrial and technological heritage conservator not only to extend the life-span of the collections but to strive to retain their intangible value and enhance the viewer’s museological engagement with them.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66722798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article proposes a comparative study involving two breweries: Portugália in Lisbon and Antarctica in Joinville, Brazil. Deactivated and with their buildings in a state of degradation, we propose an analysis of the different reuse plans and urban regeneration projects that would involve these two examples of industrial heritage. The sources used are varied: official documents, journalistic articles, literary records and a specific bibliography. We articulate concepts from the fields of archaeology and industrial heritage, urbanism, conservation and reuse and restoration with the intention of substantiating questions and problems regarding the circumstances that may have prevented both these industrial spaces, as well as the adequate reuse and safeguard of old buildings and their industrial components. Initially, we address the impact of the Industrial Revolution on brewing and then the reuse plans of each brewery, highlighting the contexts and the way in which the preservation policy was developed in each case.
{"title":"Heritage (almost) forgotten: breweries between reuse, safeguard and abandonment – the cases of Portugália at Lisboa and Antarctica at Joinville, Brazil","authors":"Tiago Castaño Moraes","doi":"10.14568/cp29234","DOIUrl":"https://doi.org/10.14568/cp29234","url":null,"abstract":"This article proposes a comparative study involving two breweries: Portugália in Lisbon and Antarctica in Joinville, Brazil. Deactivated and with their buildings in a state of degradation, we propose an analysis of the different reuse plans and urban regeneration projects that would involve these two examples of industrial heritage. The sources used are varied: official documents, journalistic articles, literary records and a specific bibliography. We articulate concepts from the fields of archaeology and industrial heritage, urbanism, conservation and reuse and restoration with the intention of substantiating questions and problems regarding the circumstances that may have prevented both these industrial spaces, as well as the adequate reuse and safeguard of old buildings and their industrial components. Initially, we address the impact of the Industrial Revolution on brewing and then the reuse plans of each brewery, highlighting the contexts and the way in which the preservation policy was developed in each case.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66723223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
F. Agua, Angel Luis Garvía, J. Barreiro, D. Morales-Martín, M. García-Heras, M. Villegas
Environmental monitoring is essential for the proper preservation of natural materials in museums, both in exhibition halls and storerooms. Deterioration and degradation of natural materials occur when deviations from neutral pH conditions take place as a consequence of pollution, visitors, non-professional interventions, unsuitable storage conditions, catastrophes, or vandalism. Simple techniques to measure the extent of acidic or alkaline gasses in the museum atmosphere are therefore important, especially in storerooms where objects are placed for long periods. Sol-gel pH sensors have been synthesized and applied for monitoring storerooms of the Museo Nacional de Ciencias Naturales of Madrid (Spain). pH monitoring was carried out for one year under different meteorological seasons. Most of the storage systems monitored maintained a neutral pH, while some of them were slightly acidic. These acidic conditions could favour chemical deterioration on organic structures of naturalized animals, and cause acidic corrosion in minerals and inorganic parts of the objects.
{"title":"Application of pH sensors for preventive preservation in storerooms at the Museo Nacional de Ciencias Naturales (Madrid)","authors":"F. Agua, Angel Luis Garvía, J. Barreiro, D. Morales-Martín, M. García-Heras, M. Villegas","doi":"10.14568/cp25721","DOIUrl":"https://doi.org/10.14568/cp25721","url":null,"abstract":"Environmental monitoring is essential for the proper preservation of natural materials in museums, both in exhibition halls and storerooms. Deterioration and degradation of natural materials occur when deviations from neutral pH conditions take place as a consequence of pollution, visitors, non-professional interventions, unsuitable storage conditions, catastrophes, or vandalism. Simple techniques to measure the extent of acidic or alkaline gasses in the museum atmosphere are therefore important, especially in storerooms where objects are placed for long periods. Sol-gel pH sensors have been synthesized and applied for monitoring storerooms of the Museo Nacional de Ciencias Naturales of Madrid (Spain). pH monitoring was carried out for one year under different meteorological seasons. Most of the storage systems monitored maintained a neutral pH, while some of them were slightly acidic. These acidic conditions could favour chemical deterioration on organic structures of naturalized animals, and cause acidic corrosion in minerals and inorganic parts of the objects.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41574033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present study aims to understand the architectural history of the Jesuit College in Elvas, as well as the materials used there, and the masters who worked in its construction. It seeks, therefore, to improve our knowledge in the history of building, thus bridging the existing gap about the materials and construction systems carried out in this type of buildings in Portugal. The detailed reading of the produced documentation during the works carried in the church and college, between the end of the 17th century and the first half of the 18th century, is crucial for future works of rehabilitation in this building, as well as in others of a similar typology, either built by the Jesuits, or constructed by others in this region. This study also contributes to improve the present knowledge of the stones used, and quarries of origin, as well as who used and worked in these quarries. Furthermore, it will identify the woods used for construction, and identify the lime ovens which are fundamental to understanding all the construction process.
{"title":"The Jesuit college of São Tiago de Elvas: construction, materials and actors","authors":"Inês Gato de Pinho, Maria João Pereira Coutinho","doi":"10.14568/cp2020086","DOIUrl":"https://doi.org/10.14568/cp2020086","url":null,"abstract":"The present study aims to understand the architectural history of the Jesuit College in Elvas, as well as the materials used there, and the masters who worked in its construction. It seeks, therefore, to improve our knowledge in the history of building, thus bridging the existing gap about the materials and construction systems carried out in this type of buildings in Portugal. The detailed reading of the produced documentation during the works carried in the church and college, between the end of the 17th century and the first half of the 18th century, is crucial for future works of rehabilitation in this building, as well as in others of a similar typology, either built by the Jesuits, or constructed by others in this region. This study also contributes to improve the present knowledge of the stones used, and quarries of origin, as well as who used and worked in these quarries. Furthermore, it will identify the woods used for construction, and identify the lime ovens which are fundamental to understanding all the construction process.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45960563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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