Memorias evocadas - reconstrucción virtual de un hito arquitectónico

[EN] This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17th century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.[ES] Este artículo aborda el reto de reconstruir digitalmente las ruinas arquitectónicas y de recomponer su integridad geométrica, estilística y material. Para ello, los investigadores analizaron la iglesia de Santa María de Monasterio Albo, situada en el antiguo pueblo de Misterbianco (Sicilia) y destruida (junto con todo el burgo) por la erupción del Etna de 1669. En los últimos años, varias campañas de excavación han sacado a la luz la iglesia, revelando los restos del portal principal y los seis altares, que constituyen uno de los ejemplos más notables del arte manierista en el este de Sicilia. La investigación ha permitido reconstruir tridimensionalmente(3D) tanto los altares como el portal, reviviendo idealmente su configuración original del siglo XVII. Este objetivo se logró mediante una investigación de archivos (se consultaron documentos que se remontan a los años 1300-1666), un análisis de los tratados clásicos y renacentistas, así como dos campañas integradas de levantamiento digital (escaneado láser y fotogrametría). El resultado está representado por los modelos 3D de los siete artefactos, que incluyen partes supervivientes (reconstruidas como mesh fotogramétricas), varios fragmentos (colocados en su probable posición inicial mediante una anastilosis virtual) y superficies NURBS (’Non Uniform Rational Basis-Splines’, que recrean los elementos que ya no existen). Estos últimos fueron modelados en 3D, bien sobre la base de los tratados (que ofrecían información sobre las proporciones correctas), o bien por analogía con otros artefactos coetáneos similares. En general, la reconstrucción digital se basó en los principios éticos de transparencia de la intervención, reconocimiento de los añadidos no originales y distinción entre pruebas e hipótesis, según las Cartas de Londres y Sevilla. La experimentación ofrece un soporte válido para posibles intervenciones en el mundo real y es el punto de partida para desarrollar un archivo digital del sitio, capaz de explicitar los diferentes niveles de precisión de la reconstrucción.The authors would like to thank: the Monasterium Album Foundation, especially the president father Giovanni Condorelli and all the members of the institution, for allowing access to the archaeological site of Campanarazzu, for authorizing the photographic reproduction of images, as well as for the helpfulness to discuss the issues addressed; the Soprintendenza dei Beni Culturali of Catania (specifically the architect Giuseppe Sciacca) for providing the documentary sources of the excavation campaigns conducted since 2002 (specifically, the Fig. 7a, 7b, 8, 9a, 9b); Mr. Mimmo Murabito, for sharing the results of his historical research.Fallica, S.; Garozzo, R.; Santagati, C. (2021). 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