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Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-02-22T18:25:18Z No. of bitstreams: 1 aureliano_amaro_ribeiro_souza_macedo.pdf: 4739932 bytes, checksum: a843a7ec0d2fca6ec5571df431242191 (MD5) / Made available in DSpace on 2018-02-22T18:25:18Z (GMT). No. of bitstreams: 1 aureliano_amaro_ribeiro_souza_macedo.pdf: 4739932 bytes, checksum: a843a7ec0d2fca6ec5571df431242191 (MD5) Previous issue date: 2017-11-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / This work has as its theme "The Damage Map of the Facades of the Santa Izabel Theatre". It results from a qualitative literature review, in books and websites containing scientific articles and relevant legislation, and a field visit to the historic building. It provides an overview of the selected theme including historical monuments, relevant legislation, the outer cladding system, pathological manifestations and a damage map. Moreover, it evaluates the pathologies in the building’s facades, specifying the active degradation processes, that is, the main pathologies in coatings and those associated with the building’s natural environment. The mapping of the existing conditions, including degradation and changeability of the stone material along the years, were performed, making it possible to intervene in the Historic Monument, trying to identify the causes and effects of the damage, and to produce the full report of its pathological manifestations and forms of work to satisfactorily remedy the existing damage in the historic building. / Esta dissertação tem como tema “O Mapa de Danos das Fachadas do Teatro de Santa Izabel”. Resulta de uma pesquisa bibliográfica de natureza qualitativa, em livros e sites da internet contendo artigos científicos e legislação pertinente, e de campo, com visitas ao edifício histórico. Apresenta uma visão geral da temática abordada, monumentos históricos, legislação pertinente, o sistema de revestimento de fachada, as manifestações patológicas e mapa de danos. Avalia-se ainda as patologias das fachadas desse edifício, especificando-se os processos de degradação atuantes, ou seja, as principais manifestações em revestimentos associadas ao ambiente natural da edificação. Procedeu-se ao mapeamento das manifestações patológicas existentes, sua degradação e alterabilidade do material pétreo. Observou-se que o Monumento Histórico vem sofrendo ao passar dos anos deterioração por completo em suas fachadas, e por este motivo foi feito um levantamento das manifestações patológicas existentes para ao mesmo tempo lançar mão da ferramenta Mapa de Danos e assim intervir no Monumento Histórico, procurando identificar as causas, origens e mecanismos desses danos, bem como formas de atuar satisfatoriamente na edificação histórica para sanar os danos nela existentes.

As the "Revolution" threatened Rome during the final decades of the Republic, the many landscapes of the city — built, intellectual, social and natural — became inextricably linked within a confused cultural matrix. Vitruvius was not simply observing a set of places; he was living within spaces that, while having lost many of their explicit meanings over time, contained within them implicit, albeit unclear, cultural codes for him to ponder. Vitruvius in fact was not describing Roman architecture as it was; he was describing it as he wished it to be. There are a host of reasons to question the physical exactitude of his examples and subsequent models: The vantage point of a single individual living within a specific place at a particular moment in time was, and continues to be, limited at best. There are geographical and architectural inaccuracies that leave the reader wondering if Vitruvius actually saw much of what was inserted within the treatise. And Vitruvius would have generalized in order to arrive at the broad sets of tenets contained in the books. The "looseness" characterizing the tenets of Vitruvius is precisely what has enabled imaginative interpretations over the centuries. By including drawings within translations, the classical imagination has become fused with memories of what monuments should look like. Linked to this, translated versions of Vitruvius' treatise can be usurped in order to connect ruins more closely to Roman architectural ideals than they may have been in the first place. The translation and annotation project of Jean Gardet and Dominique Bertin in the 1550s is an example of how the treatise of Vitruvius was attached, inextricably, to the antiquities of southern France. The habit of turning to the De Architectura in order to produce a body of archaeological knowledge and in turn to provide "proof for the architectural reconstruction of classical monuments has persisted. In the end, the monument can serve as confirmation for the translated text, and the text re-confirms the monument. In Orange, the use of the treatise by architects has been retraced to show that the reconstructed theater does not correspond, in its rebuilt state, to that which would have stood in its place. Eventually, the habit of turning to Vitruvius was adapted to such an extent that it practically became invisible, with architects and archaeologists turning to it with little thought as to its contextual validity. This is probably why we see so few explicit references to its use in the literature documenting the re-building of monuments; it is only by retracing field notes that the extent to which it was used, even relatively lately, can be assessed. At the same time, classical archaeology has — and continues to — direct its attention to deblayage, remaniements, consolidations and in time, la sauvegarde. The present-day impetus for these activities is closely connected to history, heritage and ultimately, the notion of patrimoine. The difficulty today is that the more we re-build, whether it be for basic cultural consumption or within grander state agendas, the recourse to producing related bodies of knowledge to justify architectural plans has the potential to increase significantly. The understanding of classical architecture within the context of history and heritage must be met by a corresponding comprehension of its temporal, formal and social nature; Vitruvius' words, as I have stressed, do not necessarily depict a material architecture. Vitruvius' architect lived within an urban setting that was highly dynamic and not necessarily readily interpreted. And while Republican spaces derived from a need for function, efficiency, beauty and representation, they were not necessarily or completely redesigned each time they were reused; they were often modified to suit. Notions related to specific and ideal spaces were most probably stored within the minds of the multifaceted designers to be shaped according to particular sets of pre-existing cultural and built conditions as well as geographical settings. And to these, the craftspeople would have added personal interpretations. Today the problems arise when architects and archaeologists, eager to convince themselves and others of their theoretic, forget that we simply do not know what memories resided in the mind of Roman architects.

As the "Revolution" threatened Rome during the final decades of the Republic, the many landscapes of the city — built, intellectual, social and natural — became inextricably linked within a confused cultural matrix. Vitruvius was not simply observing a set of places; he was living within spaces that, while having lost many of their explicit meanings over time, contained within them implicit, albeit unclear, cultural codes for him to ponder. Vitruvius in fact was not describing Roman architecture as it was; he was describing it as he wished it to be. There are a host of reasons to question the physical exactitude of his examples and subsequent models: The vantage point of a single individual living within a specific place at a particular moment in time was, and continues to be, limited at best. There are geographical and architectural inaccuracies that leave the reader wondering if Vitruvius actually saw much of what was inserted within the treatise. And Vitruvius would have generalized in order to arrive at the broad sets of tenets contained in the books. The "looseness" characterizing the tenets of Vitruvius is precisely what has enabled imaginative interpretations over the centuries. By including drawings within translations, the classical imagination has become fused with memories of what monuments should look like. Linked to this, translated versions of Vitruvius' treatise can be usurped in order to connect ruins more closely to Roman architectural ideals than they may have been in the first place. The translation and annotation project of Jean Gardet and Dominique Bertin in the 1550s is an example of how the treatise of Vitruvius was attached, inextricably, to the antiquities of southern France. The habit of turning to the De Architectura in order to produce a body of archaeological knowledge and in turn to provide "proof for the architectural reconstruction of classical monuments has persisted. In the end, the monument can serve as confirmation for the translated text, and the text re-confirms the monument. In Orange, the use of the treatise by architects has been retraced to show that the reconstructed theater does not correspond, in its rebuilt state, to that which would have stood in its place. Eventually, the habit of turning to Vitruvius was adapted to such an extent that it practically became invisible, with architects and archaeologists turning to it with little thought as to its contextual validity. This is probably why we see so few explicit references to its use in the literature documenting the re-building of monuments; it is only by retracing field notes that the extent to which it was used, even relatively lately, can be assessed. At the same time, classical archaeology has — and continues to — direct its attention to deblayage, remaniements, consolidations and in time, la sauvegarde. The present-day impetus for these activities is closely connected to history, heritage and ultimately, the notion of patrimoine. The difficulty today is that the more we re-build, whether it be for basic cultural consumption or within grander state agendas, the recourse to producing related bodies of knowledge to justify architectural plans has the potential to increase significantly. The understanding of classical architecture within the context of history and heritage must be met by a corresponding comprehension of its temporal, formal and social nature; Vitruvius' words, as I have stressed, do not necessarily depict a material architecture. Vitruvius' architect lived within an urban setting that was highly dynamic and not necessarily readily interpreted. And while Republican spaces derived from a need for function, efficiency, beauty and representation, they were not necessarily or completely redesigned each time they were reused; they were often modified to suit. Notions related to specific and ideal spaces were most probably stored within the minds of the multifaceted designers to be shaped according to particular sets of pre-existing cultural and built conditions as well as geographical settings. And to these, the craftspeople would have added personal interpretations. Today the problems arise when architects and archaeologists, eager to convince themselves and others of their theoretic, forget that we simply do not know what memories resided in the mind of Roman architects. / Graduate and Postdoctoral Studies / Graduate

The purposes of this creative project were (1) to develop a stone conservation plan for some of the markers in the "Old Part" of Beech Grove Cemetery, (2) to bring attention to the plight of a sampling of the cemetery stone markers in the "Old Part," and (3) to provide a written and photographic database for those individuals who are concerned with the preservation/conservation of Beech Grove Cemetery, in the hopes that a conservation plan can be implemented throughout the cemetery.Results revealed that a vast majority of Beech Grove's markers are deteriorating due to several natural factors such as weathering and erosion, as well as to neglect and vandalism. I have included, in this project, 195 stone inventory forms with a correlating map and photograph of those stones surveyed. The results also confirmed my theory that little conservation has taken place in the cemetery. Some conservation efforts that have been applied to the stone markers have further damaged them due to inappropriate methods. / Department of Architecture

American cemeteries have evolved from unsophisticated and crowded burial grounds to curvilinear and elegantly designed rural cemeteries to the functional business of the memorial park. Regardless of the type, all cemeteries are constantly changing due to their natural features and because of the deterioration of stone after prolonged exposure to the elements. Then add neglect or vandalism into the mix and cemeteries appear to be particularly doomed.This creative project examines the cemeteries in Delaware County, Indiana. Working from "Cemeteries in Delaware County, Indiana" by Rosaella Cartwright and Elizabeth Modlin, an inventory was completed for the sixty located cemeteries. The ten that were not inventoried were outside the scope of the project, could not be located, or inaccessible. The landscape features, markers, funerary art motifs, and preservation efforts were recorded and the data was then analyzed. Issues and challenges facing the cemeteries were investigated, including how to go about properly documenting a cemetery and general information on cleaning and repairing markers. Finally preservation guidelines and recommendations were proposed for the cemeteries in Delaware County. / Department of Architecture

Shelters, as preventive conservation methods, have traditionally been considered a better option than leaving the site exposed. However, there has been limited research on their effect on the preservation of heritage materials and, as a result, there is no clear scientific evidence to support sheltering. This study aims to provide the first rigorous scientific assessment of the effect of lightweight, open shelters on limestone deterioration at archaeological sites. A method based on the use of low-cost environmental monitoring equipment and limestone blocks and tablets (as indicators of decay) has been developed to determine the degree of protection provided by the shelters at the Bishop' Palace (Witney, England) and Hagar Qim (Malta). Preliminary visual assessments of the field sites were followed by 12-18 month exposure trials. Temperature extremes and fluctuations, frost events, relative humidity extremes and fluctuations, NaCl crystallisation events, solar radiation, wetting events, salt content, atmospheric pollutants and dust deposition were monitored. In addition, stone decay was studied by analysing changes in weight, elasticity, surface hardness, ultrasonic pulse velocity, surface colour, moisture content and general appearance (microscopic and macroscopic pictures) in stone samples. An exhaustive assessment of the shelter at the Bishop's Palace was carried out using Chalk, Cotswold and Portland limestone blocks as well as Portland limestone tablets (specifically for studying dissolution, soiling and biological growth). Additionally, a comparative assessment of the effects of the two shelters in contrasting climatic environments, the Bishop's Palace (temperate maritime) and Hagar Qim (Mediterranean), was undertaken by monitoring Globigerina and Coralline limestone blocks simultaneously at both sites. The research has shown that lightweight, open shelters do not exclude decay completely but minimise it. However, there are some areas at higher risk of decay, i.e. top parts of the walls and the periphery. In addition, problems with the shelter design can enhance some decay mechanisms, such as biocolonisation on the periphery at the Bishop's Palace and dust deposition under the shelter at Hagar Qim. Therefore, the effectiveness of shelters should not be assumed.

Este trabalho procura mostrar novos conceitos em intervenções e materiais de construção nas restaurações de monumentos históricos. Caso especial da Kahal Zur Israel (primeira sinagoga das Américas), o que motivou a restauração deste monumento. Qual era o contexto histórico da época, o histórico do monumento em si mesmo, quais foram os critérios de intervenção adotados, baseados nas práticas restaurativas dos novos teóricos e guardando algumas das recomendações das cartas patrimoniais existentes. Explanar sobre as descobertas arqueológicas feitas, com o objetivo de conseguir informações, para execução de um projeto de intervenção correto e adaptado às necessidades de uso atual, salvaguardando o bem patrimonial, bem como promover a auto-sustentabilidade do empreendimento, adquirir suporte financeiro para a sua sobrevivência e conservação. O procedimento levou em conta outros monumentos, onde foi observado o emprego de materiais modernos, utilizados com a finalidade de adaptar os monumentos para usos contemporâneos onde o comércio, o turismo, os serviços, as comunicações e o conforto ambiental são imperativos, isto sem perder os seus valores culturais no sítio histórico. Também descreve e destaca os materiais modernos dos antigos, não criando falso histórico nem falso artístico. Exemplo bem dado pelo novo bloco anexo complementar, situado ao fundo da Sinagoga. Em geral, os materiais de construções modernos, dão um novo sentido de intervenção aos monumentos. / This study shows new restoration concepts about interventions and construction materials used in historical monuments. The study views the specific case of Kahal Zur Israel (first synagogue of the Americas), and what exactly motivated the restoration of this monument. Some questions considered were: which was the historical context of the time? What was the history of the monument in itself? Which were the intervention criteria adopted, based on the newest theories, while at the same time preserving some of the present recommendations of the heritage letters? The study also described some of the archaeological discoveries that were carried out with the objective of gathering information to best execute the restoration project. The intervention tried to adapt the present necessities of the locale, preserve its historical value, and promote its financial self-sustainability. The procedure included considerations done on other monuments where modern materials were used so that contemporary uses could be adapted (commerce, tourism, services, communications and environmental comfort). At the same time the preservation of the cultural values of the historical center was observed. Moreover, the procedures show and differentiate the modern materials from the old, avoiding a false representation of the historical and artistic value of the locale. A good example of this at Kahal Zur Israel, is the complementary annexed bloc, situated in the depths of the synagogue. In general, modern building materials give a new sense of intervention to the monuments.

Made available in DSpace on 2017-06-01T17:57:22Z (GMT). No. of bitstreams: 1 Carlos Cunha_Dissert.pdf: 2470152 bytes, checksum: 4460f71382fd382ca604ccfad3147047 (MD5) Previous issue date: 2007-10-19 / This study shows new restoration concepts about interventions and construction materials used in historical monuments. The study views the specific case of Kahal Zur Israel (first synagogue of the Americas), and what exactly motivated the restoration of this monument. Some questions considered were: which was the historical context of the time? What was the history of the monument in itself? Which were the intervention criteria adopted, based on the newest theories, while at the same time preserving some of the present recommendations of the heritage letters? The study also described some of the archaeological discoveries that were carried out with the objective of gathering information to best execute the restoration project. The intervention tried to adapt the present necessities of the locale, preserve its historical value, and promote its financial self-sustainability. The procedure included considerations done on other monuments where modern materials were used so that contemporary uses could be adapted (commerce, tourism, services, communications and environmental comfort). At the same time the preservation of the cultural values of the historical center was observed. Moreover, the procedures show and differentiate the modern materials from the old, avoiding a false representation of the historical and artistic value of the locale. A good example of this at Kahal Zur Israel, is the complementary annexed bloc, situated in the depths of the synagogue. In general, modern building materials give a new sense of intervention to the monuments. / Este trabalho procura mostrar novos conceitos em intervenções e materiais de construção nas restaurações de monumentos históricos. Caso especial da Kahal Zur Israel (primeira sinagoga das Américas), o que motivou a restauração deste monumento. Qual era o contexto histórico da época, o histórico do monumento em si mesmo, quais foram os critérios de intervenção adotados, baseados nas práticas restaurativas dos novos teóricos e guardando algumas das recomendações das cartas patrimoniais existentes. Explanar sobre as descobertas arqueológicas feitas, com o objetivo de conseguir informações, para execução de um projeto de intervenção correto e adaptado às necessidades de uso atual, salvaguardando o bem patrimonial, bem como promover a auto-sustentabilidade do empreendimento, adquirir suporte financeiro para a sua sobrevivência e conservação. O procedimento levou em conta outros monumentos, onde foi observado o emprego de materiais modernos, utilizados com a finalidade de adaptar os monumentos para usos contemporâneos onde o comércio, o turismo, os serviços, as comunicações e o conforto ambiental são imperativos, isto sem perder os seus valores culturais no sítio histórico. Também descreve e destaca os materiais modernos dos antigos, não criando falso histórico nem falso artístico. Exemplo bem dado pelo novo bloco anexo complementar, situado ao fundo da Sinagoga. Em geral, os materiais de construções modernos, dão um novo sentido de intervenção aos monumentos.