Papers by Francesca Condò
The work is related with reality-based 3D modelling and monument analysis. In this project we str... more The work is related with reality-based 3D modelling and monument analysis. In this project we stressed the importance to use 3D technologies as a tool to improve archaeological research and to increase the production of information from archaeological data to 4D analysis and interpretation. The object of our research is a “nuraghe”, a typical megalithic monument built only in Sardinia during the Bronze Age. The building, called Nuraghe Oes, is composed of one main tower and a basement – similar to a bastion –with two smaller towers; it shows peculiar features both in the internal and the external shape and it is well preserved. This project is related with the first season of stratigraphic excavation: after this, we have performed a 3D survey of the entire monument using an integrated approach. We used a TOF laser scanner for a massive data collection of the external and some internal parts of the monument and, overcoming instrument and accessibility limits, we integrated the data u...
EnglishAncient architecture and the contemporary city. Roman villas in the Suburbium: notes and r... more EnglishAncient architecture and the contemporary city. Roman villas in the Suburbium: notes and reflections. The aim of this article is to list some significant examples of the relationship between the remains of some of the ancient villas of the Suburbium and their surrounding landscape and architecture, and to propose a classification of these villas based on their relationship to the contemporary buildings and territory, as well as briefly reflect upon the identification, conservation and the quality of interventions on these cultural properties. In working on historic structures many aspects come to light only during the intervention and thus can not be known at the outset, making it very difficult if not impossible to foresee every step and operation that will be necessary during the course of the work. Nevertheless, preliminary studies and a strong interdisciplinary team are indispensable from the very beginning for any intervention on the unique archaeological remains that ar...
Digital Applications in Archaeology and Cultural Heritage, 2015
toscanalibri.it, 2019
Quale è il significato che diamo alla locuzione "narrazione museale"? Forse non a caso non se ne ... more Quale è il significato che diamo alla locuzione "narrazione museale"? Forse non a caso non se ne è data una definizione stretta, lasciando così la possibilità a ogni en tà coinvolta dal tema di scegliere la direzione che più le si confacesse. La definizione stessa di museo si applica a realtà anche molto diverse tra loro accomunate da uno scopo definito dall' essere al servizio della società, dall'apertura, dalla ricerca, e non soltanto, come era in un passato non troppo remoto, dalla necessità di rappresentare un paese o conservare beni culturali mobili. Se partiamo quindi da un oggetto, il museo, di per sè difficilmente definibile in modo univoco, non si potrà pretendere di avere una definizione di "narrazione museale" stretta. E forse, per il narratore, è meglio così. Il museo è una macchina complessa, composta da elemen eterogenei che svolgono la loro mansione ai fini di un unico scopo: essere, appunto, al servizio della comunità umana e del suo sviluppo. Si entra nella macchina, si viene frullati o cullati , a seconda della natura della macchina, e si esce cambiati. La complessità della macchina fa si che la narrazione non possa essere affidata al solo linguaggio scritto: sono diverse le componenti che narrano, diversi per ognuna delle componenti i registri di lettura. èvdavvero possibile separare gli ingranaggi di una macchina? Distinguere, come si è quasi sempre fatto finora, l'allestimento dall'ordinamento scientifico di un museo? Nella macchina-museo la comunicazione del contenuto dovrebbe avvenire attingendo a tu i mezzi espressivi a disposizione e scegliendo quale privilegiare a seconda del caso, e a più livelli
Museum Dià, 2018
Il Museo Nazionale Giovanni Antonio Sanna, nel cuore di Sassari, costantemente frequentato dai c... more Il Museo Nazionale Giovanni Antonio Sanna, nel cuore di Sassari, costantemente frequentato dai cittadini nel corso di eventi e mostre, è un esempio di come un istituto culturale possa costituire un punto di riferimento per la comunità locale oltre che per il turista desideroso di comprendere un territorio. Nato per accrescimento-di reperti e di edifici-il Museo non è nello stato attuale facile da percorrere, né dal punto di vista fisico né dal punto di vista concettuale. Grazie a recenti finanziamenti si è avuta la possibilità, da parte di un gruppo di lavoro multidisciplinare, di avviare una trasformazione che procede in due direzioni: 1. il recupero delle origini: il Sanna nasce da una collezione privata comprendente materiale archeologico, etnografico e artistico. Nel corso degli anni si è sottratto spazio alle collezioni etnografiche e alla pinacoteca a favore dei reperti archeologici. Il primo obiettivo è stato riportare l'attenzione sulla nascita del museo, dunque sulla figura di Giovanni Antonio Sanna e sulla natura eterogenea della collezione, spostando quindi la focale dal collezionista al fenomeno del collezionismo, e da questo alla nascita dell'archeologia come la conosciamo oggi; 2. nuovi racconti. Il ruolo del museo non è solo quello di contenere e conservare ma quello di raccontare se stesso e le storie che racchiude. Dalla visita affidata ai mezzi tradizionali si cerca col progetto in corso di passare a una visita coinvolgente che utilizza nuovi sistemi per stimolare il visitatore e incuriosirlo, rendendolo partecipe di un universo complesso. L'ambiente interattivo posto nel cuore del museo, oltre a invitare l'utente al gioco con la scala del tempo, vuole connettere l'isola al resto del Mediterraneo ponendo in luce gli scambi fecondi avvenuti fin dalla preistoria. Il contesto chiuso del museo si aprirà inoltre alla partecipazione sociale con la realizzazione di una caffetteria, l'apertura del giardino al pubblico e la realizzazione in autocostruzione di un nuovo spazio per la didattica.
Chronos, Kairòs e Aion Il tempo dei musei a cura di f. Pignataro, S. Sanchirico, C. Smith, 2018
La villa restaurata e i nuovi studi sull'edilizia residenziale tardoantica a c. di P. Pensabene e C. Sfameni, 2014
Roman villas were complex establishments: with luxurious decoration and fittings, and a special r... more Roman villas were complex establishments: with luxurious decoration and fittings, and a special relationship with their natural
environment, the architectural spaces themselves are sometimes arranged in an unusual layout that also reflects the special nature of
‘living in a villa’. Understanding them is complicated, furthermore, by the effects of the continuous changes implemented through time.
So long as there is no such a thing as ‘neutral’ conservation work, we can only try to work out an interpretation appropriate for our own
time, the most scientific and complete one that we can achieve at the moment of our intervention: acting in a team alongside experts
with different specialisms, making efforts not to lose sight of the complexity of the task, avoiding the reduction of a real monument to a
mere fake, and attaining at the same time a high standard in one’s work. All too often reconstructions offer poor quality, conjuring up a
cheap ‘cinema’ image rather than one of a real place that people once lived in. Dramatized actions and virtual 3D images create
completely reversible reconstructions, offering visitors the possibility to form their own ideas about what is missing in reality. Information
and suggestions drawn from literature and iconography help us to complement the real but fragmentary remains, so bringing to life the
inanimate condition in which they are preserved.
Roman villas were complex objects: luxury decoration and furniture, a peculiar relation to natura... more Roman villas were complex objects: luxury decoration and furniture, a peculiar relation to natural context, spaces arranged sometimes in an unusual layout also reflecting a way of “living in a villa”.
The understanding is furthermore complicated by the effect of continuous changes implemented through time.
As long as there is no such a thing as a “neutral” conservation work we can only try to work out an interpretation belonging to our time, the more scientific and complete we can achieve at the moment of our intervention, acting in team with experts of different matters, making efforts not to loose such a complexity, to avoid reducing the real monument to a fake and to reach a good quality level at the same time: reconstructions often offer poor quality, conjuring up a cheap cinema setting more than a real place for people to live in.
Drama actions and virtual 3D imagery create completely reversible reconstructions offering visitors the possibility to figure out their own idea of what's missing. Informations and suggestions drawn from literature and iconography help us to complete concrete but fragmentary evidences, transforming a motionless conservation project into a living and captivating event, provided we could keep a high level production.
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Papers by Francesca Condò
environment, the architectural spaces themselves are sometimes arranged in an unusual layout that also reflects the special nature of
‘living in a villa’. Understanding them is complicated, furthermore, by the effects of the continuous changes implemented through time.
So long as there is no such a thing as ‘neutral’ conservation work, we can only try to work out an interpretation appropriate for our own
time, the most scientific and complete one that we can achieve at the moment of our intervention: acting in a team alongside experts
with different specialisms, making efforts not to lose sight of the complexity of the task, avoiding the reduction of a real monument to a
mere fake, and attaining at the same time a high standard in one’s work. All too often reconstructions offer poor quality, conjuring up a
cheap ‘cinema’ image rather than one of a real place that people once lived in. Dramatized actions and virtual 3D images create
completely reversible reconstructions, offering visitors the possibility to form their own ideas about what is missing in reality. Information
and suggestions drawn from literature and iconography help us to complement the real but fragmentary remains, so bringing to life the
inanimate condition in which they are preserved.
The understanding is furthermore complicated by the effect of continuous changes implemented through time.
As long as there is no such a thing as a “neutral” conservation work we can only try to work out an interpretation belonging to our time, the more scientific and complete we can achieve at the moment of our intervention, acting in team with experts of different matters, making efforts not to loose such a complexity, to avoid reducing the real monument to a fake and to reach a good quality level at the same time: reconstructions often offer poor quality, conjuring up a cheap cinema setting more than a real place for people to live in.
Drama actions and virtual 3D imagery create completely reversible reconstructions offering visitors the possibility to figure out their own idea of what's missing. Informations and suggestions drawn from literature and iconography help us to complete concrete but fragmentary evidences, transforming a motionless conservation project into a living and captivating event, provided we could keep a high level production.
environment, the architectural spaces themselves are sometimes arranged in an unusual layout that also reflects the special nature of
‘living in a villa’. Understanding them is complicated, furthermore, by the effects of the continuous changes implemented through time.
So long as there is no such a thing as ‘neutral’ conservation work, we can only try to work out an interpretation appropriate for our own
time, the most scientific and complete one that we can achieve at the moment of our intervention: acting in a team alongside experts
with different specialisms, making efforts not to lose sight of the complexity of the task, avoiding the reduction of a real monument to a
mere fake, and attaining at the same time a high standard in one’s work. All too often reconstructions offer poor quality, conjuring up a
cheap ‘cinema’ image rather than one of a real place that people once lived in. Dramatized actions and virtual 3D images create
completely reversible reconstructions, offering visitors the possibility to form their own ideas about what is missing in reality. Information
and suggestions drawn from literature and iconography help us to complement the real but fragmentary remains, so bringing to life the
inanimate condition in which they are preserved.
The understanding is furthermore complicated by the effect of continuous changes implemented through time.
As long as there is no such a thing as a “neutral” conservation work we can only try to work out an interpretation belonging to our time, the more scientific and complete we can achieve at the moment of our intervention, acting in team with experts of different matters, making efforts not to loose such a complexity, to avoid reducing the real monument to a fake and to reach a good quality level at the same time: reconstructions often offer poor quality, conjuring up a cheap cinema setting more than a real place for people to live in.
Drama actions and virtual 3D imagery create completely reversible reconstructions offering visitors the possibility to figure out their own idea of what's missing. Informations and suggestions drawn from literature and iconography help us to complete concrete but fragmentary evidences, transforming a motionless conservation project into a living and captivating event, provided we could keep a high level production.