Volume XLII-2/W15
Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLII-2/W15, 503–508, 2019
https://doi.org/10.5194/isprs-archives-XLII-2-W15-503-2019
© Author(s) 2019. This work is distributed under
the Creative Commons Attribution 4.0 License.
Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLII-2/W15, 503–508, 2019
https://doi.org/10.5194/isprs-archives-XLII-2-W15-503-2019
© Author(s) 2019. This work is distributed under
the Creative Commons Attribution 4.0 License.

  22 Aug 2019

22 Aug 2019

A MULTIDISCIPLINARY DOCUMENTAL REPRESENTATION METHOD FOR KINETIC AND ENVIRONMENTAL ART

F. Gasparetto1, A. Devecchi2, and L. Baratin2 F. Gasparetto et al.
  • 1DICEA, via Brecce Bianche, University Politecnica delle Marche, Ancona AN, Italy
  • 2Conservation and Restoration school, DiSPeA, Piazza della Repubblica, 13, University of Urbino PU, Italy

Keywords: Digital documentation, environmental artwork, contemporary art, survey, representation

Abstract. The contribution addresses the definition of a new collaborative documental method for designing and managing the different phases of conservation of kinetic-programmed art. Our approach consists of developing a new representative model that includes both mechanical parts and spatial characteristics. The research stems from a specific case-study, Ambiente – Strutturazione a parametri virtuali (1969) by Gabriele Devecchi, permanently displayed at Museo del '900 in Milan since 2010. Starting from the dimensional and technical data, we obtained a graphical model of lamps 2D and 3D. They were enriched by a detailed abacus describing all the elements and by specific maps capturing all the phases of regular and extraordinary maintenance underwent by the environment.

The second part was carried out with a report about physical motion. The goal has been representing speed and geometry of the movement inside the space. By merging the first part of the documenting process and the second one we've got a graphic digital model including information about the individual parts of the installation and their mechanical interaction. The third and last step is ongoing and tackles the challenge of using virtual technologies for the description of the whole environment. Thanks to a collaboration between technicians and theoretic scholars, we attempted to match the study of the physical motion and all data about the structural parts with the careful consideration of historical-artistic and perception-related features. The work led to the conclusion that a virtual, immersive reproduction of the environment is not enough for deeply understanding the experience enjoyed by users inside it, because it misses the embodied perception activated by the artwork. For this reason, this study may be considered as a step in a broader research path about documentation of complex environmental, immersive, kinetic works of art.