{"id":5922,"date":"2015-08-17T11:54:08","date_gmt":"2015-08-17T09:54:08","guid":{"rendered":"https:\/\/www.assorestauro.org\/?p=5922"},"modified":"2023-08-17T12:01:15","modified_gmt":"2023-08-17T10:01:15","slug":"scuola-di-restauro-heritage-conservation-in-italy-and-in-russia","status":"publish","type":"post","link":"https:\/\/www.assorestauro.org\/en\/scuola-di-restauro-heritage-conservation-in-italy-and-in-russia\/","title":{"rendered":"Scuola di Restauro. Heritage Conservation in Italy and in Russia"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-bottom:50px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-padding-top:0px;--awb-padding-right:0px;--awb-padding-bottom:0px;--awb-padding-left:0px;--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:0px;--awb-margin-bottom-large:0px;--awb-spacing-left-large:0px;--awb-width-medium:50%;--awb-order-medium:0;--awb-spacing-right-medium:0px;--awb-spacing-left-medium:0px;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-1 fusion-text-no-margin\" style=\"--awb-font-size:36px;--awb-line-height:35px;--awb-letter-spacing:var(--awb-typography2-letter-spacing);--awb-text-transform:var(--awb-typography2-text-transform);--awb-text-color:var(--awb-color5);--awb-margin-bottom:40px;--awb-text-font-family:var(--awb-typography2-font-family);--awb-text-font-weight:var(--awb-typography2-font-weight);--awb-text-font-style:var(--awb-typography2-font-style);\"><p>INDEX<\/p>\n<\/div><div class=\"fusion-text fusion-text-2\"><p>Pubblicato \u201c<strong>Scuola di Restauro. Heritage Conservation in Italy and in Russia<\/strong>\u201d, un libro realizzato da Assorestauro e FGUP con il supporto di ICE ed il Ministero della Cultura della Federazione Russa<\/p>\n<p>a cura di Nicola Berlucchi, Donatella Fiorani, Andrea Griletto, Sergey Kulikov, Olga Piatkina, Tatiana Vyatchanina.<\/p>\n<p>Il libro raccoglie l\u2019esperienza di formazione realizzata da Assorestauro nel 2013-2014 con il coinvolgimento di circa 22 aziende italiane, che hanno tenuto lezioni frontali a Mosca in affiancamento ai professori Russi ed Italiani o presentato cantieri durante il workshop in Italia, e 45 professionisti russi con elevata esperienza diretta nel settore restauro provenienti da enti pubblici di primaria importanza o dal settore privato.<\/p>\n<p>Il libro \u00e8 stato presentato in Russia a Kazan, nella Repubblica di Tatarstan, asettembre 2015<br \/>\nPubblicato in inglese e russo da Nardini il libro \u00e8 costituito da circa 430 pagine ed \u00e8 acquistabile presso l\u2019Editore<\/p>\n<div class=\"video-shortcode\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"fOF3yrIqtB\">\n<p><a href=\"https:\/\/www.nardinieditore.it\/prodotto\/scuola-di-restauro-heritage-conservation-in-italy-and-russia\/\">Scuola di Restauro. Heritage Conservation in Italy and Russia<\/a><\/p>\n<\/blockquote>\n<p><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Scuola di Restauro. Heritage Conservation in Italy and Russia&#8221; &#8212; Nardini Editore\" src=\"https:\/\/www.nardinieditore.it\/prodotto\/scuola-di-restauro-heritage-conservation-in-italy-and-russia\/embed\/#?secret=J96483dsvr#?secret=fOF3yrIqtB\" data-secret=\"fOF3yrIqtB\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/div>\n<h4>INDICE<\/h4>\n<p>Curators: Nicola Berlucchi, Donatella Fiorani, Andrea Griletto, Sergey Kulikov, Olga Pyatkina, Tatiana Vyatchanina<br \/>\nPages 430, hard cover, cm 24x 29, illustrated, year 2016<br \/>\nIsbn:\u00a09788840403205<\/p>\n<p>Contents | \u041e\u0433\u043b\u0430\u0432\u043b\u0435\u043d\u0438\u0435<\/p>\n<p class=\"testocorrenteinglese\" align=\"left\">\u00a0Assorestauro | Assorestauro<br \/>\nCentral Scientific-Restoration Project Workshops |<br \/>\n\u0426\u0435\u043d\u0442\u0440\u0430\u043b\u044c\u043d\u044b\u0435 \u041d\u0430\u0443\u0447\u043d\u043e-\u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u043e\u043d\u043d\u044b\u0435 \u041f\u0440\u043e\u0435\u043a\u0442\u043d\u044b\u0435 \u041c\u0430\u0441\u0442\u0435\u0440\u0441\u043a\u0438\u0435 (\u0444\u0433\u0443\u043f \u0446\u043d\u0440\u043f\u043c)<\/p>\n<p><strong>Institutional Premises<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u041e\u0444\u0438\u0446\u0438\u0430\u043b\u044c\u043d\u044b\u0435 \u043f\u0440\u0438\u0432\u0435\u0442\u0441\u0442\u0432\u0438\u044f<\/strong><\/p>\n<p>Vyacheslav Fatin | \u0412\u044f\u0447\u0435\u0441\u043b\u0430\u0432 \u0424\u0430\u0442\u0438\u043d<br \/>\nPier Paolo Celeste | \u041f\u044c\u0435\u0440 \u041f\u0430\u043e\u043b\u043e \u0427\u0435\u043b\u0435\u0441\u0442\u0435<br \/>\nAlessandro Zanini | \u0410\u043b\u0435\u0441\u0441\u0430\u043d\u0434\u0440\u043e \u0414\u0437\u0430\u043d\u0438\u043d\u0438<br \/>\nIrina Korobyina | \u0418\u0440\u0438\u043d\u0430 \u041a\u043e\u0440\u043e\u0431\u044c\u0438\u043d\u0430<\/p>\n<p><strong>Project Premises<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u041d\u0430\u0443\u0447\u043d\u043e\u0435 \u0441\u043e\u043f\u0440\u043e\u0432\u043e\u0436\u0434\u0435\u043d\u0438\u0435 \u043f\u0440\u043e\u0435\u043a\u0442\u0430<\/strong><\/p>\n<p>Scientific value of the educational project Scuola di Restauro 2013-2014<br \/>\n\u041e \u043d\u0430\u0443\u0447\u043d\u043e\u043c \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0438 \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u0442\u0435\u043b\u044c\u043d\u043e\u0433\u043e \u043f\u0440\u043e\u0435\u043a\u0442\u0430 Scuola di Restauro 2013-2014 \u0433\u0433.<br \/>\n<em>Tatyana Vyatchanina, Irina Belintseva<\/em>\u00a0|\u00a0<em>\u0411\u0435\u043b\u0438\u043d\u0446\u0435\u0432\u0430 \u0418.\u0412., \u0412\u044f\u0442\u0447\u0430\u043d\u0438\u043d\u0430 \u0422.\u041d.<\/em><\/p>\n<p>A Comparison of Cultures through a school of Architectural Conservation<br \/>\n\u0414\u0438\u0430\u043b\u043e\u0433 \u043a\u0443\u043b\u044c\u0442\u0443\u0440 \u0447\u0435\u0440\u0435\u0437 \u0448\u043a\u043e\u043b\u0443 \u041a\u043e\u043d\u0441\u0435\u0440\u0432\u0430\u0446\u0438\u0438 \u0410\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u043d\u044b\u0445 \u041f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u043e\u0432<br \/>\n<em>Nicola Berlucchi, Donatella Fiorani<\/em>\u00a0|\u00a0<em>\u041d\u0438\u043a\u043e\u043b\u0430 \u0411\u0435\u0440\u043b\u0443\u043a\u043a\u0438, \u0414\u043e\u043d\u0430\u0442\u0435\u043b\u043b\u0430 \u0424\u044c\u043e\u0440\u0430\u043d\u0438<\/em><\/p>\n<p>I.\u00a0<strong>Conservation Theory: the General Frame<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u0422\u0435\u043e\u0440\u0438\u044f \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438: \u043e\u0441\u043d\u043e\u0432\u043d\u044b\u0435 \u043f\u0440\u0438\u043d\u0446\u0438\u043f\u044b<\/strong><\/p>\n<p>The Problem of the Systematic Approach towards Restoration of Cultural Heritage<br \/>\n\u041a \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0435 \u0441\u0438\u0441\u0442\u0435\u043c\u043d\u043e\u0433\u043e \u043f\u043e\u0434\u0445\u043e\u0434\u0430 \u043a \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u043e\u0431\u044a\u0435\u043a\u0442\u043e\u0432 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f<br \/>\n<em>Sergey Kulikov<\/em>\u00a0|\u00a0<em>\u0421\u0435\u0440\u0433\u0435\u0439 \u041a\u0443\u043b\u0438\u043a\u043e\u0432<\/em><\/p>\n<p>An overview on Italian Restoration<br \/>\n\u0418\u0442\u0430\u043b\u044c\u044f\u043d\u0441\u043a\u0438\u0439 \u0432\u0437\u0433\u043b\u044f\u0434 \u043d\u0430\u00a0\u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044e<br \/>\n<em>Giovanni Carbonara |\u00a0<\/em><em>\u0414\u0436\u043e\u0432\u0430\u043d\u043d\u0438 \u041a\u0430\u0440\u0431\u043e\u043d\u0430\u0440\u0430<\/em><\/p>\n<p>Conservation in architecture: criteria, issues and examples in\u00a0Italy and in the international context<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0432 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435: \u043a\u0440\u0438\u0442\u0435\u0440\u0438\u0438, \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430\u0442\u0438\u043a\u0430 \u0438 \u043f\u0440\u0438\u043c\u0435\u0440\u044b \u043f\u0440\u043e\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0440\u0430\u0431\u043e\u0442 \u0432 \u0418\u0442\u0430\u043b\u0438\u0438 \u0438 \u0434\u0440\u0443\u0433\u0438\u0445 \u0441\u0442\u0440\u0430\u043d\u0430\u0445<br \/>\n<em>Donatella Fiorani |\u00a0<\/em><em>\u0414\u043e\u043d\u0430\u0442\u0435\u043b\u043b\u0430 \u0424\u044c\u043e\u0440\u0430\u043d\u0438<\/em><\/p>\n<p>Architectural Restoration in\u00a0Russia. Evolution of Concepts<br \/>\n\u0410\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u043d\u0430\u044f \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0432\u00a0\u0420\u043e\u0441\u0441\u0438\u0438. \u042d\u0432\u043e\u043b\u044e\u0446\u0438\u044f \u043a\u043e\u043d\u0446\u0435\u043f\u0446\u0438\u0439<br \/>\n<em>Aleksey Shenkov |\u00a0<\/em><em>\u0410\u043b\u0435\u043a\u0441\u0435\u0439 \u0421\u0435\u0440\u0430\u0444\u0438\u043c\u043e\u0432\u0438\u0447 \u0429\u0435\u043d\u043a\u043e\u0432<\/em><\/p>\n<p>The history of restoration in\u00a0Europe: a process through critical awareness and responsibility of\u00a0heritage protection<br \/>\n\u0418\u0441\u0442\u043e\u0440\u0438\u044f \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u0432\u00a0\u0415\u0432\u0440\u043e\u043f\u0435: \u043f\u0440\u043e\u0446\u0435\u0441\u0441 \u043c\u0435\u0436\u0434\u0443 \u043a\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u043c \u043e\u0441\u043e\u0437\u043d\u0430\u043d\u0438\u0435\u043c \u0438 \u043e\u0442\u0432\u0435\u0442\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0441\u0442\u044c\u044e \u0437\u0430 \u043e\u0445\u0440\u0430\u043d\u0443<br \/>\n<em>Marta Acierno |\u00a0<\/em><em>\u041c\u0430\u0440\u0442\u0430 \u0410\u0447\u0438\u0435\u0440\u043d\u043e<\/em><\/p>\n<p>II.\u00a0<strong>Conservation Theory: some specific issues<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u0422\u0435\u043e\u0440\u0438\u044f \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438: \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0441\u043f\u0435\u0446\u0438\u0444\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u0432\u043e\u043f\u0440\u043e\u0441\u044b<\/strong><\/p>\n<p>Aspects of urban culture: the\u00a0dialectic between concepts and practice<br \/>\n\u0410\u0441\u043f\u0435\u043a\u0442\u044b \u0433\u043e\u0440\u043e\u0434\u0441\u043a\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b: \u0434\u0438\u0430\u043b\u0435\u043a\u0442\u0438\u043a\u0430 \u043a\u043e\u043d\u0446\u0435\u043f\u0442\u043e\u0432 \u0438\u00a0\u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438<br \/>\n<em>Maria Piera Sette |\u00a0<\/em><em>\u041c\u0430\u0440\u0438\u044f-\u041f\u044c\u0435\u0440\u0430 \u0421\u0435\u0442\u0442\u0435<\/em><\/p>\n<p>Urban area of via della Lungara in Rome: issues and problems involving preservation and\u00a0redevelopment<br \/>\n\u0413\u043e\u0440\u043e\u0434\u0441\u043a\u043e\u0439 \u0440\u0430\u0439\u043e\u043d \u041b\u0443\u043d\u0433\u0430\u0440\u0430 \u0432 \u0420\u0438\u043c\u0435: \u0442\u0435\u043c\u044b \u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0441\u043e\u0445\u0440\u0430\u043d\u0435\u043d\u0438\u044f \u0438 \u0440\u0435\u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0446\u0438\u0438<br \/>\n<em>Maurizio Caperna |\u00a0<\/em><em>\u041c\u0430\u0443\u0440\u0438\u0446\u0438\u043e \u041a\u0430\u043f\u0435\u0440\u043d\u0430<\/em><\/p>\n<p>The problem of authenticity in the restoration of historic gardens<br \/>\n\u041f\u0440\u043e\u0431\u043b\u0435\u043c\u0430 \u0430\u0443\u0442\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442\u0438 \u043f\u0440\u0438 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u043f\u0430\u0440\u043a\u043e\u0432<br \/>\n<em>Massimo de Vico Fallani |\u00a0<\/em><em>\u041c\u0430\u0441\u0441\u0438\u043c\u043e \u0434\u0435 \u0412\u0438\u043a\u043e \u0424\u0430\u043b\u043b\u0430\u043d<\/em>\u0438<\/p>\n<p>Architecture and such Things. Elemental observations on\u00a0several works<br \/>\n\u0410\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0430 \u0438 \u043f\u0440\u043e\u0447\u0435\u0435. \u041f\u0440\u043e\u0441\u0442\u044b\u0435 \u0437\u0430\u043c\u0435\u0447\u0430\u043d\u0438\u044f \u043f\u043e \u043f\u043e\u0432\u043e\u0434\u0443 \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u0440\u0430\u0431\u043e\u0442<br \/>\n<em>Riccardo D\u2019Aquino |\u00a0<\/em><em>\u0420\u0438\u043a\u043a\u0430\u0440\u0434\u043e \u0434\u2019\u0410\u043a\u0432\u0438\u043d\u043e<\/em><\/p>\n<p>III.\u00a0<strong>Knowledge and Intervention for Conservation<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u041d\u0430\u0443\u043a\u0430 \u0438 \u0434\u043e\u043f\u0443\u0441\u0442\u0438\u043c\u0430\u044f \u0441\u0442\u0435\u043f\u0435\u043d\u044c \u0432\u043c\u0435\u0448\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430 \u0432 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438<\/strong><\/p>\n<p>Understanding the Historical Building as the main premise of the Conservation Project<br \/>\n\u041f\u043e\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0437\u0434\u0430\u043d\u0438\u044f \u043a\u0430\u043a \u0433\u043b\u0430\u0432\u043d\u0430\u044f \u043f\u0440\u0435\u0434\u043f\u043e\u0441\u044b\u043b\u043a\u0430 \u0434\u043b\u044f \u043f\u0440\u043e\u0435\u043a\u0442\u0430 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438<br \/>\n<em>Donatella Fiorani |\u00a0<\/em><em>\u0414\u043e\u043d\u0430\u0442\u0435\u043b\u043b\u0430 \u0424\u044c\u043e\u0440\u0430\u043d\u0438<\/em><\/p>\n<p>Science\u2019s contribution to the restoration of cultural heritage<br \/>\n\u0412\u043a\u043b\u0430\u0434 \u043d\u0430\u0443\u043a\u0438 \u0432 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f<br \/>\n<em>Nicola Santopuoli |\u00a0<\/em><em>\u041d\u0438\u043a\u043e\u043b\u0430 \u0421\u0430\u043d\u0442\u043e\u043f\u0443\u043e\u043b\u0438<\/em><\/p>\n<p>Analysis for the restoration: direct experiences of correlation between the study of cultural heritage and historical building and the restoration and renovation<br \/>\n\u0410\u043d\u0430\u043b\u0438\u0437 \u0438 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f: \u043e\u043f\u044b\u0442 \u043f\u0440\u044f\u043c\u043e\u0439 \u043a\u043e\u0440\u0440\u0435\u043b\u044f\u0446\u0438\u0438 \u043c\u0435\u0436\u0434\u0443 \u0438\u0437\u0443\u0447\u0435\u043d\u0438\u0435\u043c \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f \u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0437\u0430\u0441\u0442\u0440\u043e\u0439\u043a\u0438 \u0438 \u0440\u0430\u0431\u043e\u0442\u0430\u043c\u0438 \u043f\u043e \u043e\u0431\u0441\u043b\u0443\u0436\u0438\u0432\u0430\u043d\u0438\u044e \u0438 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438<br \/>\n<em>Rossana Gabrielli, Francesco Dall\u2019Armi |\u00a0<\/em><em>\u0420\u043e\u0437\u0430\u043d\u043d\u0430 \u0413\u0430\u0431\u043b\u0438\u044d\u043b\u043b\u0438, \u0424\u0440\u0430\u043d\u0447\u0435\u0441\u043a\u043e \u0414\u0430\u043b\u043b\u2019\u0410\u0440\u043c\u0438<\/em><\/p>\n<p>The evolution of the architectural survey<br \/>\n\u0420\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u0442\u0435\u0445\u043d\u0438\u043a\u0438 \u0441\u044a\u0451\u043c\u043a\u0438 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u043d\u044b\u0445 \u0441\u043e\u043e\u0440\u0443\u0436\u0435\u043d\u0438\u0439<br \/>\n<em>Alberto Raschieri |\u00a0<\/em><em>\u0410\u043b\u044c\u0431\u0435\u0440\u0442\u043e \u0420\u0430\u0441\u043a\u044c\u0435\u0440\u0438<\/em><\/p>\n<p>New technology for restoration project<br \/>\n\u041d\u043e\u0432\u044b\u0435 \u0442\u0435\u0445\u043d\u043e\u043b\u043e\u0433\u0438\u0438 \u0434\u043b\u044f \u043f\u0440\u043e\u0435\u043a\u0442\u0430 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438<br \/>\n<em>Matteo Fabbri |\u00a0<\/em><em>\u041c\u0430\u0442\u0442\u0435\u043e \u0424\u0430\u0431\u0431\u0440\u0438<\/em><\/p>\n<p>Rising damp in masonries: the\u00a0problem, diagnostic tecniques and the definitive solution<br \/>\n\u041a\u0430\u043f\u0438\u043b\u043b\u044f\u0440\u043d\u044b\u0439 \u043f\u043e\u0434\u0441\u043e\u0441 \u0432\u043b\u0430\u0433\u0438 \u043f\u043e \u043a\u043b\u0430\u0434\u043a\u0435: \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b, \u0441\u043f\u043e\u0441\u043e\u0431\u044b \u0434\u0438\u0430\u0433\u043d\u043e\u0441\u0442\u0438\u043a\u0438 \u0438 \u043e\u043a\u043e\u043d\u0447\u0430\u0442\u0435\u043b\u044c\u043d\u043e\u0435 \u0440\u0435\u0448\u0435\u043d\u0438\u0435<br \/>\n<em>Michele Rossetto, Davide Mauri |\u00a0<\/em><em>\u041c\u0438\u043a\u0435\u043b\u0435 \u0420\u043e\u0441\u0441\u0435\u0442\u0442\u043e, \u0414\u0430\u0432\u0438\u0434\u0435 \u041c\u0430\u0443\u0440\u0438<\/em><\/p>\n<p>IV.\u00a0<strong>Structural Aspects of Conservation<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u0421\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0435 \u0430\u0441\u043f\u0435\u043a\u0442\u044b \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438<br \/>\n<\/strong>Structural Instability, Structural Analysis and Possible Solutions. How to Intervene on Antique Buildings<br \/>\n\u0421\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u0430\u044f \u043f\u0440\u043e\u0441\u0430\u0434\u043a\u0430, \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0439 \u0430\u043d\u0430\u043b\u0438\u0437 \u0438 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u044b\u0435 \u0440\u0435\u0448\u0435\u043d\u0438\u044f. \u041e\u0441\u043e\u0431\u044b\u0435 \u043c\u0435\u0442\u043e\u0434\u044b \u0440\u0430\u0431\u043e\u0442\u044b \u043d\u0430 \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0437\u0434\u0430\u043d\u0438\u044f\u0445<br \/>\n<em>Fabrizio De Cesaris |\u00a0<\/em><em>\u0424\u0430\u0431\u0440\u0438\u0446\u0438\u043e \u0414\u0435 \u0427\u0435\u0437\u0430\u0440\u0438\u0441<\/em><\/p>\n<p>Notes on the design and verification criteria of\u00a0the arched structures over the centuries<br \/>\n\u0417\u0430\u043c\u0435\u0447\u0430\u043d\u0438\u044f \u043e \u043a\u0440\u0438\u0442\u0435\u0440\u0438\u044f\u0445 \u0440\u0430\u0441\u0447\u0435\u0442\u0430 \u0440\u0430\u0437\u043c\u0435\u0440\u043e\u0432 \u0438 \u043f\u0440\u043e\u0432\u0435\u0440\u043a\u0438 \u0430\u0440\u043e\u0447\u043d\u044b\u0445 \u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0446\u0438\u0439 \u0432 \u0440\u0430\u0437\u043d\u044b\u0435 \u0432\u0435\u043a\u0430<br \/>\n<em>Laura Bussi |\u00a0<\/em><em>\u041b\u0430\u0443\u0440\u0430 \u0411\u0443\u0441\u0441\u0438<\/em><\/p>\n<p>The art of building and earthquake culture<br \/>\n\u0421\u0442\u0440\u043e\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0438 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430 \u0441\u0435\u0439\u0441\u043c\u043e\u0443\u0441\u0442\u043e\u0439\u0447\u0438\u0432\u043e\u0441\u0442\u0438<br \/>\n<em>Cesare Tocci |\u00a0<\/em><em>\u0427\u0435\u0437\u0430\u0440\u0435 \u0422\u043e\u0447\u0447\u0438<\/em><\/p>\n<p>Objectives of Architectural Monuments Engineering Restoration<br \/>\n\u0417\u0430\u0434\u0430\u0447\u0438 \u0438\u043d\u0436\u0435\u043d\u0435\u0440\u043d\u043e\u0439 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u043e\u0432 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u044b<br \/>\n<em>Evgeny Pashkin |\u00a0<\/em><em>\u041f\u0430\u0448\u043a\u0438\u043d \u0415\u0432\u0433\u0435\u043d\u0438\u0439 \u041c\u0435\u0440\u043a\u0443\u0440\u044c\u0435\u0432\u0438\u0447<\/em><\/p>\n<p>V.\u00a0<strong>Conservation of Architectural Surfaces<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u043d\u044b\u0445 \u043f\u043e\u0432\u0435\u0440\u0445\u043d\u043e\u0441\u0442\u0435\u0439<\/strong><\/p>\n<p>Restoration of Monumental facades. Design procedures<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u043c\u043e\u043d\u0443\u043c\u0435\u043d\u0442\u0430\u043b\u044c\u043d\u044b\u0445 \u0444\u0430\u0441\u0430\u0434\u043e\u0432: \u043f\u043b\u0430\u043d\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u0435 \u043f\u0440\u043e\u0435\u043a\u0442\u043d\u044b\u0445 \u0440\u0430\u0431\u043e\u0442<br \/>\n<em>Nicola Berlucchi |\u00a0<\/em><em>\u041d\u0438\u043a\u043e\u043b\u0430 \u0411\u0435\u0440\u043b\u0443\u043a\u043a\u0438<\/em><\/p>\n<p>Restoration of surfaces (stone, plaster, stucco): types of decay and correct methodologies of intervention<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u043f\u043e\u0432\u0435\u0440\u0445\u043d\u043e\u0441\u0442\u0435\u0439 (\u043a\u0430\u043c\u0435\u043d\u044c, \u0448\u0442\u0443\u043a\u0430\u0442\u0443\u0440\u043a\u0430, \u043b\u0435\u043f\u043d\u0438\u043d\u0430): \u0444\u043e\u0440\u043c\u044b \u0440\u0430\u0437\u0440\u0443\u0448\u0435\u043d\u0438\u0439 \u0438 \u043c\u0435\u0442\u043e\u0434\u0438\u043a\u0430 \u043f\u0440\u043e\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0440\u0430\u0431\u043e\u0442<br \/>\n<em>Antonia Santori Merzagora |\u00a0<\/em><em>\u0410\u043d\u0442\u043e\u043d\u0438\u044f \u0421\u0430\u043d\u0442\u043e\u0440\u0438 \u041c\u0435\u0440\u0446\u0430\u0433\u043e\u0440\u0430<\/em><\/p>\n<p>Preservation of Stone, Plaster\u00a0and Molding<br \/>\n\u041a\u043e\u043d\u0441\u0435\u0440\u0432\u0430\u0446\u0438\u044f \u043a\u0430\u043c\u043d\u044f, \u0448\u0442\u0443\u043a\u0430\u0442\u0443\u0440\u043a\u0438 \u0438 \u043b\u0435\u043f\u043d\u0438\u043d\u044b<br \/>\n<em>Antonida Gustova |\u00a0<\/em><em>\u0413\u0443\u0441\u0442\u043e\u0432\u0430 \u0410\u043d\u0442\u043e\u043d\u0438\u0434\u0430 \u041d\u0438\u043a\u043e\u043b\u0430\u0435\u0432\u043d\u0430<br \/>\n<\/em>Lasers for cleaning of\u00a0monuments<br \/>\n\u041b\u0430\u0437\u0435\u0440\u044b \u0434\u043b\u044f \u043e\u0447\u0438\u0441\u0442\u043a\u0438 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u043e\u0432<br \/>\n<em>Alessandro Zanini, Laura Bartoli |\u00a0<\/em><em>\u0410\u043b\u0435\u0441\u0441\u0430\u043d\u0434\u0440\u043e \u0414\u0437\u0430\u043d\u0438\u043d\u0438, \u041b\u0430\u0443\u0440\u0430 \u0411\u0430\u0440\u0442\u043e\u043b\u0438<\/em><\/p>\n<p>Soft Cleaning of the defensive walls in Birgu, Malta: Controlled air-abrasion with IBIX technology.<br \/>\nRespect of the patinas and conservative cleaning<br \/>\n\u041d\u0435\u0438\u043d\u0432\u0430\u0437\u0438\u0432\u043d\u0430\u044f \u043e\u0447\u0438\u0441\u0442\u043a\u0430 \u043e\u0431\u043e\u0440\u043e\u043d\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u0445 \u0441\u0442\u0435\u043d \u0432 \u0411\u0438\u0440\u0433\u0443 \u043d\u0430 \u041c\u0430\u043b\u044c\u0442\u0435. \u041c\u0435\u0442\u043e\u0434 \u043a\u043e\u043d\u0442\u0440\u043e\u043b\u0438\u0440\u0443\u0435\u043c\u043e\u0439 \u0430\u044d\u0440\u043e\u0430\u0431\u0440\u0430\u0437\u0438\u0438 \u043f\u043e \u0442\u0435\u0445\u043d\u043e\u043b\u043e\u0433\u0438\u0438 IBIX: \u0443\u0432\u0430\u0436\u0435\u043d\u0438\u0435 \u043a \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u043f\u0430\u0442\u0438\u043d\u0435 \u0438 \u043e\u0447\u0438\u0441\u0442\u043a\u0430 \u043f\u0440\u0438 \u043a\u043e\u043d\u0441\u0435\u0440\u0432\u0430\u0446\u0438\u0438<br \/>\n<em>Caterina Giovannini |\u00a0<\/em><em>\u041a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u0414\u0436\u043e\u0432\u0430\u043d\u043d\u0438\u043d\u0438<\/em><\/p>\n<p>VI.\u00a0<strong>Use and Management of the Historical Architectures<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u041f\u0440\u0438\u0441\u043f\u043e\u0441\u043e\u0431\u043b\u0435\u043d\u0438\u0435 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f \u043a \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u043c\u0443 \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u044e<\/strong><\/p>\n<p>Rehabilitation and Re-Use of ancient buildings<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0438 \u043f\u043e\u0432\u0442\u043e\u0440\u043d\u043e\u0435 \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u0435 \u0441\u0442\u0430\u0440\u0438\u043d\u043d\u044b\u0445 \u0437\u0434\u0430\u043d\u0438\u0439<br \/>\n<em>Nicola Berlucchi |\u00a0<\/em><em>\u041d\u0438\u043a\u043e\u043b\u0430 \u0411\u0435\u0440\u043b\u0443\u043a\u043a\u0438<\/em><\/p>\n<p>The adaptation of cultural heritage for modern use<br \/>\n\u041f\u0440\u0438\u0441\u043f\u043e\u0441\u043e\u0431\u043b\u0435\u043d\u0438\u0435 \u043e\u0431\u044a\u0435\u043a\u0442\u043e\u0432 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f \u043a \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u043c\u0443 \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u044e<br \/>\n<em>Ekaterina Koneva |\u00a0<\/em><em>\u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u041a\u043e\u043d\u0435\u0432\u0430<\/em><\/p>\n<p>Plant design: integration and control of the impact assessment on monuments<br \/>\n\u0421\u0438\u0441\u0442\u0435\u043c\u0430 \u043a\u043e\u043c\u043f\u043e\u043d\u043e\u0432\u043e\u0447\u043d\u043e\u0433\u043e \u043f\u0440\u043e\u0435\u043a\u0442\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f: \u0432\u0441\u0442\u0440\u0430\u0438\u0432\u0430\u043d\u0438\u0435 \u0438 \u043e\u0446\u0435\u043d\u043a\u0430 \u0432\u043e\u0437\u0434\u0435\u0439\u0441\u0442\u0432\u0438\u044f \u043d\u0430 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u0438<br \/>\n<em>Riccardo Fibbi |\u00a0<\/em><em>\u0420\u0438\u043a\u043a\u0430\u0440\u0434\u043e \u0424\u0438\u0431\u0431\u0438<\/em><\/p>\n<p>Light as a design tool for Cultural Heritage: interaction, perception and suggestions<br \/>\n\u0421\u0432\u0435\u0442 \u043a\u0430\u043a \u0438\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442 \u043f\u0440\u043e\u0435\u043a\u0442\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u0434\u043b\u044f \u043e\u0431\u044a\u0435\u043a\u0442\u043e\u0432 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f: \u0432\u0437\u0430\u0438\u043c\u043e\u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435,<br \/>\n\u0432\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u0435 \u0438 \u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0432\u043e\u0437\u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435<br \/>\n<em>Carolina De Camillis |\u00a0<\/em><em>\u041a\u0430\u0440\u043e\u043b\u0438\u043d\u0430 \u0414\u0435 \u041a\u0430\u043c\u0438\u043b\u043b\u0438\u0441<\/em><\/p>\n<p>Risk Map of Cultural Heritage<br \/>\n\u041a\u0430\u0440\u0442\u0430 \u0420\u0438\u0441\u043a\u043e\u0432 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u041d\u0430\u0441\u043b\u0435\u0434\u0438\u044f<br \/>\n<em>Carlo Cacace |\u00a0<\/em><em>\u041a\u0430\u0440\u043b\u043e \u041a\u0430\u043a\u0430\u0447\u0435<\/em><\/p>\n<p>Risks Evaluation for Cultural and Natural Heritage<br \/>\n\u0423\u0447\u0451\u0442 \u0440\u0438\u0441\u043a\u043e\u0432 \u0434\u043b\u044f \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0438 \u043f\u0440\u0438\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u044f<br \/>\n<em>Vladimir Pluzhnikov |\u00a0<\/em><em>\u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u041f\u043b\u0443\u0436\u043d\u0438\u043a\u043e\u0432<\/em><\/p>\n<p>Ecological Assessment and Selection of Materials for Architectural Monument Restoration.<br \/>\nLegal Principles of Environment Protection<br \/>\n\u042d\u043a\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043e\u0446\u0435\u043d\u043a\u0430 \u0438 \u0432\u044b\u0431\u043e\u0440 \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u043e\u0432 \u0434\u043b\u044f \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u043e\u0432 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u044b. \u041f\u0440\u0430\u0432\u043e\u0432\u044b\u0435 \u043e\u0441\u043d\u043e\u0432\u044b \u043e\u0445\u0440\u0430\u043d\u044b \u043e\u043a\u0440\u0443\u0436\u0430\u044e\u0449\u0435\u0439 \u0441\u0440\u0435\u0434\u044b<br \/>\n<em>Valentina Knyazeva |\u00a0<\/em><em>\u0412\u0430\u043b\u0435\u043d\u0442\u0438\u043d\u0430 \u041a\u043d\u044f\u0437\u0435\u0432\u0430<\/em><\/p>\n<p>VII.\u00a0<strong>Restoration Worksites<\/strong><strong>\u00a0|\u00a0<\/strong><strong>\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u043e\u043d\u043d\u044b\u0435 \u043f\u043b\u043e\u0449\u0430\u0434\u043a\u0438<\/strong><\/p>\n<p>Not only surfaces: scales in restoration. The project of restoration of the fa\u00e7ades of the Coliseum (Rome)<br \/>\n\u041d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u043f\u043e\u0432\u0435\u0440\u0445\u043d\u043e\u0441\u0442\u0438: \u043f\u0440\u0438\u043d\u0446\u0438\u043f\u044b \u0438 \u044d\u0442\u0430\u043f\u044b \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438. \u0420\u0430\u0431\u043e\u0447\u0438\u0439 \u043f\u0440\u043e\u0435\u043a\u0442 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u0444\u0430\u0441\u0430\u0434\u043e\u0432 \u0420\u0438\u043c\u0441\u043a\u043e\u0433\u043e \u041a\u043e\u043b\u0438\u0437\u0435\u044f<br \/>\n<em>Francesca Brancaccio |\u00a0<\/em><em>\u0424\u0440\u0430\u043d\u0447\u0435\u0441\u043a\u0430 \u0411\u0440\u0430\u043d\u043a\u0430\u0447\u0447\u0438\u043e<\/em><\/p>\n<p>The Trajan Markets and their\u00a0Great Hall. The Structural Intervention for the Improvement of the Seismic Safety<br \/>\n\u0420\u044b\u043d\u043e\u043a \u0422\u0440\u0430\u044f\u043d\u0430 \u0438 \u0411\u043e\u043b\u044c\u0448\u043e\u0439 \u0437\u0430\u043b. \u0421\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0435 \u0440\u0430\u0431\u043e\u0442\u044b \u043f\u043e \u043f\u043e\u0432\u044b\u0448\u0435\u043d\u0438\u044e \u0441\u0435\u0439\u0441\u043c\u043e\u0441\u0442\u043e\u0439\u043a\u043e\u0441\u0442\u0438<br \/>\n<em>Alessandro Bozzetti |\u00a0<\/em><em>\u0410\u043b\u0435\u0441\u0441\u0430\u043d\u0434\u0440\u043e \u0411\u043e\u0446\u0446\u0435\u0442\u0442\u0438<\/em><\/p>\n<p>Restoration and consolidation with seismic improvement of Palazzo Ardinghelli in L\u2019Aquila<br \/>\n(work funded by the Government of Russian Federation)<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0438 \u0443\u043a\u0440\u0435\u043f\u043b\u0435\u043d\u0438\u0435 c \u043f\u043e\u0432\u044b\u0448\u0435\u043d\u0438\u0435\u043c \u0441\u0435\u0439\u0441\u043c\u043e\u0441\u0442\u043e\u0439\u043a\u043e\u0441\u0442\u0438 \u041f\u0430\u043b\u0430\u0446\u0446\u043e \u0410\u0440\u0434\u0438\u043d\u0433\u0435\u043b\u043b\u0438 \u0432 \u0433. \u0410\u043a\u0432\u0438\u043b\u0430<br \/>\n(\u043f\u0440\u0438 \u0444\u0438\u043d\u0430\u043d\u0441\u043e\u0432\u043e\u0439 \u043f\u043e\u0434\u0434\u0435\u0440\u0436\u043a\u0435 \u041f\u0440\u0430\u0432\u0438\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430 \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u0439 \u0424\u0435\u0434\u0435\u0440\u0430\u0446\u0438\u0438)<br \/>\n<em>Fausto Dramisino |\u00a0<\/em><em>\u0424\u0430\u0443\u0441\u0442\u043e \u0414\u0440\u0430\u043c\u0438\u0437\u0438\u043d\u043e<\/em><\/p>\n<p>Restoration and seismic improvement of Palazzo Carli-Benedetti in L\u2019Aquila<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0438 \u0430\u043d\u0442\u0438\u0441\u0435\u0439\u0441\u043c\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0443\u043a\u0440\u0435\u043f\u043b\u0435\u043d\u0438\u0435 \u041f\u0430\u043b\u0430\u0446\u0446\u043e \u041a\u0430\u0440\u043b\u0438-\u0411\u0435\u043d\u0435\u0434\u0435\u0442\u0442\u0438 \u0432 \u0410\u043a\u0432\u0438\u043b\u0435<br \/>\n<em>Carla Bartolomucci |\u00a0<\/em><em>\u041a\u0430\u0440\u043b\u0430 \u0411\u0430\u0440\u0442\u043e\u043b\u043e\u043c\u0443\u0447\u0447\u0438<\/em><\/p>\n<p>The restoration of the Basilica\u00a0of\u00a0Superga in Turin<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f Basilica di Superga (\u0411\u0430\u0437\u0438\u043b\u0438\u043a\u0430 \u0434\u0438 \u0421\u0443\u043f\u0435\u0440\u0433\u0430) \u0432\u00a0\u0422\u0443\u0440\u0438\u043d\u0435<br \/>\n<em>Giovanna Mastrotisi |\u00a0<\/em><em>\u0414\u0436\u043e\u0432\u0430\u043d\u043d\u0430 \u041c\u0430\u0441\u0442\u0440\u043e\u0442\u0438\u0437\u0438<\/em><\/p>\n<p>Project of Restoring, Fund Raising and Programmed Maintenance for the Church of S. Agata nel Carmine in Bergamo<br \/>\n\u041f\u0440\u043e\u0435\u043a\u0442 \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438, \u043f\u0440\u0438\u0432\u043b\u0435\u0447\u0435\u043d\u0438\u044f \u0441\u0440\u0435\u0434\u0441\u0442\u0432 \u0438 \u043e\u0440\u0433\u0430\u043d\u0438\u0437\u0430\u0446\u0438\u0438 \u043f\u043b\u0430\u043d\u043e\u0432\u043e\u0433\u043e \u043e\u0431\u0441\u043b\u0443\u0436\u0438\u0432\u0430\u043d\u0438\u044f \u0434\u043b\u044f \u0446\u0435\u0440\u043a\u0432\u0438 \u0441\u0430\u043d\u0442\u0430-\u0430\u0433\u0430\u0442\u0430-\u043d\u0435\u043b\u044c-\u043a\u0430\u0440\u043c\u0438\u043d\u0435 \u2013 \u0431\u0435\u0440\u0433\u0430\u043c\u043e \u2013 \u0438\u0442\u0430\u043b\u0438\u044f<br \/>\n<em>Marco Paolo Servalli, Adele Sironi |\u00a0<\/em><em>\u041c\u0430\u0440\u043a\u043e \u041f\u0430\u043e\u043b\u043e \u0421\u0435\u0440\u0432\u0430\u043b\u043b\u0438, \u0410\u0434\u0435\u043b\u0435 \u0421\u0438\u0440\u043e\u043d\u0438<\/em><\/p>\n<p>The restoration of the Palazzo Spampatti in Gandino (Bergamo)<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f Palazzo Spampatti (\u041f\u0430\u043b\u0430\u0446\u0438\u043e \u0421\u043f\u0430\u043c\u043f\u0430\u0442\u0442\u0438) \u0432\u00a0\u0413\u0430\u0440\u0434\u0438\u043d\u043e\u00a0(\u0411\u0435\u0440\u0433\u0430\u043c\u043e)<br \/>\n<em>Marco Paolo Servalli, Adele Sironi |\u00a0<\/em><em>\u041c\u0430\u0440\u043a\u043e \u041f\u0430\u043e\u043b\u043e \u0421\u0435\u0440\u0432\u0430\u043b\u043b\u0438, \u0410\u0434\u0435\u043b\u0435 \u0421\u0438\u0440\u043e\u043d\u0438<\/em><\/p>\n<p>The restoration and\u00a0revitalization of \u201cTeatro Sociale\u201d in Bergamo<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0438 \u043f\u0440\u0438\u0441\u043f\u043e\u0441\u043e\u0431\u043b\u0435\u043d\u0438\u0435 \u041e\u0431\u0449\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0433\u043e \u0442\u0435\u0430\u0442\u0440\u0430 \u0433.\u00a0\u0411\u0435\u0440\u0433\u0430\u043c\u043e<br \/>\n<em>Patrizio Pesenti, Nicola Berlucchi |\u00a0<\/em><em>\u041f\u0430\u0442\u0440\u0438\u0446\u0438\u043e \u041f\u0435\u0437\u0435\u043d\u0442\u0438, \u041d\u0438\u043a\u043e\u043b\u0430 \u0411\u0435\u0440\u043b\u0443\u043a\u043a\u0438<\/em><\/p>\n<p>Restoration works, enhancing and functional reuse of Palazzo del Podest\u00e0 in Mantua<br \/>\n\u0420\u0430\u0431\u043e\u0442\u044b \u043f\u043e \u0432\u043e\u0441\u0441\u0442\u0430\u043d\u043e\u0432\u043b\u0435\u043d\u0438\u044e, \u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u0438 \u0438 \u043f\u0440\u0438\u0441\u043f\u043e\u0441\u043e\u0431\u043b\u0435\u043d\u0438\u044e \u041f\u0430\u043b\u0430\u0446\u0446\u043e \u0434\u0435\u043b\u044c \u041f\u043e\u0434\u0435\u0441\u0442\u0430 \u0432 \u041c\u0430\u043d\u0442\u0443\u0435<br \/>\n<em>Giammarco Piacenti |\u00a0<\/em><em>\u0414\u0436\u0430\u043c\u043c\u0430\u0440\u043a\u043e \u041f\u044c\u044f\u0447\u0435\u043d\u0442\u0438<\/em><\/p>\n<p>The restoration and the structural strengthening of the Monastery of \u201cSan\u00a0Benedetto in Polirone\u201d<br \/>\n\u0420\u0435\u0441\u0442\u0430\u0432\u0440\u0430\u0446\u0438\u044f \u0438 \u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0442\u0438\u0432\u043d\u043e\u0435 \u0443\u043a\u0440\u0435\u043f\u043b\u0435\u043d\u0438\u0435 \u0410\u0431\u0431\u0430\u0442\u0441\u0442\u0432\u0430 \u0421\u0432. \u0411\u0435\u043d\u0435\u0434\u0438\u043a\u0442\u0430 \u0432\u00a0\u041f\u043e\u043b\u0438\u0440\u043e\u043d\u0435<br \/>\n<em>Nicola Berlucchi |\u00a0<\/em><em>\u041d\u0438\u043a\u043e\u043b\u0430 \u0411\u0435\u0440\u043b\u0443\u043a\u043a\u0438<\/em><\/p>\n<p>VIII.\u00a0<strong>Graduation projects students of Scuola di Restauro<\/strong><strong>\u00a0|<br \/>\n<\/strong><strong>\u0414\u0438\u043f\u043b\u043e\u043c\u043d\u044b\u0435 \u043f\u0440\u043e\u0435\u043a\u0442\u044b \u0441\u0442\u0443\u0434\u0435\u043d\u0442\u043e\u0432 Scuola di Restauro<\/strong><\/p>\n<p>\u0410\u0431\u0434\u0440\u0430\u0445\u043c\u0430\u043d \u041c\u0430\u0445\u043c\u0443\u0434\u043e\u0432, \u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u041b\u0438\u0442\u043e\u0432\u0430, \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u0420\u0438\u043c\u0441\u043a\u0430\u044f<br \/>\n\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0423\u0440\u0430\u0434\u043e\u0432\u0441\u043a\u0438\u0445, \u041c\u0430\u0440\u0438\u044f \u0427\u0438\u0441\u0442\u043e\u0432, \u0410\u043d\u043d\u0430 \u0413\u043b\u0443\u0445\u0438\u0445, \u0410\u043b\u0435\u043a\u0441\u0435\u0439<br \/>\n\u0416\u0434\u0430\u043d\u043e\u0432, \u041e\u043b\u044c\u0433\u0430 \u041f\u044f\u0442\u043a\u0438\u043d\u0430, \u0410\u043d\u043d\u0430 \u0413\u043e\u0440\u044f\u0447\u0435\u0432\u0430<br \/>\n\u0410\u043b\u0435\u043a\u0441\u0435\u0439 \u041a\u0443\u043b\u0438\u043a\u043e\u0432, \u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u0410\u043d\u0442\u043e\u043d\u043e\u0432\u0430, \u0414\u0435\u043d\u0438\u0441 \u0413\u0440\u0438\u0431\u043e\u0432, \u0412\u043b\u0430\u0434\u0438\u0441\u043b\u0430\u0432 \u041a\u0430\u0440\u043f\u043e\u0432<br \/>\n\u0410\u043d\u0442\u043e\u043d\u0438\u043d\u0430 \u0418\u0433\u043d\u0430\u0442\u044c\u0435\u0432\u0430, \u0422\u0430\u0442\u044c\u044f\u043d\u0430 \u041a\u043e\u0440\u043e\u0431\u043e\u0432\u0430<br \/>\n\u041a\u0443\u0437\u043d\u0435\u0446\u043e\u0432 \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0418\u0432\u0430\u043d\u043e\u0432\u0438\u0447, \u041a\u0430\u0446 \u0422\u0430\u0442\u044c\u044f\u043d\u0430 \u041b\u044c\u0432\u043e\u0432\u043d\u0430, \u0428\u0443\u0431\u0438\u043d \u0420\u0443\u0441\u043b\u0430\u043d \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u0438\u0447<br \/>\n\u0421\u0430\u0444\u0440\u043e\u043d\u043e\u0432 \u0412\u044f\u0447\u0435\u0441\u043b\u0430\u0432 \u0418\u043e\u0441\u0438\u0444\u043e\u0432\u0438\u0447<br \/>\n\u0420\u0430\u0434\u0438\u043d \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u043e\u0432\u0438\u0447<br \/>\n\u0421\u0435\u0440\u0433\u0435\u0439 \u041a\u043e\u043d\u0435\u0432, \u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u041a\u043e\u043d\u0435\u0432\u0430, \u0415\u043b\u0435\u043d\u0430 \u0425\u0440\u0443\u0441\u0442\u0430\u043b\u0435\u0432\u0430<br \/>\n\u041f\u044c\u044f\u043d\u043a\u043e\u0432\u0430 \u041d\u0430\u0442\u0430\u043b\u044c\u044f \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u043d\u0430<br \/>\n\u0412\u0430\u043b\u0435\u0440\u0438\u0439 \u041a\u0430\u043b\u0438\u043d\u0438\u043d, \u041c\u0430\u043a\u0441\u0438\u043c \u0421\u043c\u0438\u0440\u043d\u043e\u0432<br \/>\n\u0418\u0432\u0430\u043d \u041a\u043e\u0440\u043d\u0438\u043b\u043e\u0432<br \/>\n\u0417\u0430\u044f\u0446 \u0418\u043d\u043d\u0430 \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u043d\u0430, \u0428\u0430\u0431\u043b\u043e\u0432\u0441\u043a\u0438\u0439 \u0415\u0432\u0433\u0435\u043d\u0438\u0439 \u0410\u043d\u0430\u0442\u043e\u043b\u044c\u0435\u0432\u0438\u0447, \u041b\u0438\u043d\u043e\u0432\u0441\u043a\u0438\u0439 \u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0412\u044f\u0447\u0435\u0441\u043b\u0430\u0432\u043e\u0432\u0438\u0447<br \/>\n\u0414\u0430\u043d\u0438\u043b\u0435\u043d\u043a\u043e \u0418\u0432\u0430\u043d, \u0412\u0430\u0440\u0431\u0443\u0437\u043e\u0432 \u0421\u0435\u0440\u0433\u0435\u0439, \u041a\u043e\u0440\u043e\u043b\u0451\u0432\u0430 \u0421\u0432\u0435\u0442\u043b\u0430\u043d\u0430, \u041e\u0440\u043b\u043e\u0432 \u0410\u043d\u0434\u0440\u0435\u0439<br \/>\nCompanies\u2019 profiles (members of Assorestauro) | \u041f\u0440\u043e\u0444\u0438\u043b\u0438 \u043a\u043e\u043c\u043f\u0430\u043d\u0438\u0439 (\u0427\u043b\u0435\u043d\u044b Assorestauro)<\/p>\n<p>HEARTFELT THANKS | \u0421\u0415\u0420\u0414\u0415\u0427\u041d\u041e \u0411\u041b\u0410\u0413\u041e\u0414\u0410\u0420\u0418\u041c<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:-150px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-order-medium:0;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><span class=\" fusion-imageframe imageframe-none imageframe-1 hover-type-none\"><img decoding=\"async\" width=\"1000\" height=\"1178\" title=\"scuola-di-restauro-russia-1\" src=\"https:\/\/www.assorestauro.org\/wp-content\/uploads\/2015\/08\/scuola-di-restauro-russia-1.jpg\" alt class=\"img-responsive wp-image-5925\" srcset=\"https:\/\/www.assorestauro.org\/wp-content\/uploads\/2015\/08\/scuola-di-restauro-russia-1-200x236.jpg 200w, 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Nardinieditore.it<\/p>\n<\/div><div style=\"text-align:center;\"><a class=\"fusion-button button-flat fusion-button-default-size button-default fusion-button-default button-1 fusion-button-default-span fusion-button-default-type button-border-blu hover-bg-yellow hover-color-white only-icon\" style=\"--button-border-radius-top-left:100px;--button-border-radius-top-right:100px;--button-border-radius-bottom-right:100px;--button-border-radius-bottom-left:100px;--button_font_size:24px;--button_line_height:14px;--button_padding-top:10px;--button_padding-right:50px;--button_padding-bottom:10px;--button_padding-left:50px;\" target=\"_blank\" rel=\"noopener noreferrer\" href=\"https:\/\/www.nardinieditore.it\/prodotto\/scuola-di-restauro-heritage-conservation-in-italy-and-russia\/\"><span class=\"fusion-button-text\"><\/span><i class=\"fa-arrow-right fas button-icon-right\" aria-hidden=\"true\"><\/i><\/a><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Pubblicazione sintesi della scuola Italia\/Russia, Ed Nardini 2015<\/p>\n","protected":false},"author":5,"featured_media":5924,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"image","meta":{"inline_featured_image":false,"footnotes":""},"categories":[47,106,109],"tags":[118,415,417],"_links":{"self":[{"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/posts\/5922"}],"collection":[{"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/comments?post=5922"}],"version-history":[{"count":2,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/posts\/5922\/revisions"}],"predecessor-version":[{"id":5926,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/posts\/5922\/revisions\/5926"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/media\/5924"}],"wp:attachment":[{"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/media?parent=5922"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/categories?post=5922"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.assorestauro.org\/en\/wp-json\/wp\/v2\/tags?post=5922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}