Abstract
<div>The contribution focuses on the design project in particular in relation to the existing Cultural Heritage. The principle aim is the investigation and the analysis of a complex as an indispensable relationship between the phase of building knowledge and that of intervention. Methodologically this question will be addressed firstly through a historical excursus through the main restoration theories with the aim of understanding how this aspect has always been perceived as a fundamental element for the success of the project; then it will be addressed towards the study and investigation of some more recent methodological solutions. Outcome, still open to development and progress scenarios, is the evaluation of how the most recent technologies and information systems can be able, if wisely used, to became tools able to assist the designer in the synthetic control of the management of the building process.</div>
Highlights
This paper focuses on Cultural Heritage; firs of all it is considered useful to give a definition of Cultural Heritage in order to understand the strong heterogeneity underlying this term and clarify the possible actions of intervention
The restoration project must follow the spirit of the monument, in order to be correct from a methodological point of view, able to lead the project
The theory expressed by Annoni (1882-1954) is interesting as placing the monument itself at the center of the restoration project, considering it as the object capable of providing the interpretation key for a correct intervention; “by this I mean the direct test on the monument, rather than as a historical document and an expression of art, as a constructive fact ... only if one penetrates the sometimes unexpected meanders of the ancient buildings, and bricks and stones, beams and paintings, organisms and forms let them say their unchanged word, just so the monument ...reveals its reason, and that of those who made it and wanted it” (Annoni 1929: 81-82)
Summary
This paper focuses on Cultural Heritage; firs of all it is considered useful to give a definition of Cultural Heritage in order to understand the strong heterogeneity underlying this term and clarify the possible actions of intervention. Cultural Heritage concerns the recognized and well-known monumental building and the minor buildings complexes or the industrial heritage This makes, a complex approach to the building precisely because the preliminary knowledge process is complex. It opens the cultural debate around, albeit important, longstanding questions concerning to provide a single, unambiguous and universally shared definition of some of the fundamental terms concerning the protection of Architectural Heritage such as Restoration, Recovery and Conservation. The restoration is the result of the set of techniques and design actions that allow to achieve the conservation objective It means that it is not possible to solve the problem in such a simplistic way. The cause derives precisely from the radical upheaval of speculative models of which contemporary culture has been reduced, which have made it difficult to formulate a single definition
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