Casa Garibaldi a Istanbul

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Casa Garibaldi a Istanbul
Il restauro di un lampadario liberty

giovedì 2 luglio 2015_Bressanone

 

Reale Restauri, socio Assorestauro e partecipante al progetto MED ART e MED ART follow-up, restauro della Sheik Suleiman Mescide, grazie alla rete di relazioni ed allo scambio di esperienze con i partner turchi, ha potuto partecipare al grande progetto di restauro di Casa Garibaldi, sede della Società Operaia Italiana di Mutuo Soccorso in Costantinopoli, supportato da Italian Embassy, e finanziato da una forte sponsorship turca della Association of Turkish Travel Agencies (TÜRSAB).
Il restauro, che riguarda un manufatto metallico di pregio artistico, viene presentato come caso studio nell’ambito del Convegno di Bressanone, quest’anno dedicato a “Metalli in Architettura”.

 

A new era for Casa Garibaldi in Istanbul: a long-term restoration of the historic headquarters of the Italian Workers’ Mutual Aid Association: an overview of the restoration of its chandeliers

The imminent inauguration of Casa Garibaldi, in 2015, will be a further step in the cooperation between Italy and Turkey in the field of restoration of cultural heritage. Due to the passion of the building’s curator, the involvement of the Italian Embassy, a strong Turkish sponsorship by the Association of Turkish Travel Agencies (TÜRSAB) and the support of specialized Italian companies, the restoration process is going to conclude.
The Italian Workers’ Mutual Aid Association in Constantinople was established in 1863 in honour of the ‘Hero of Two Worlds’. According to the former statute, Giuseppe Garibaldi was designated as the Executive Chairman of the Society, and Giuseppe Mazzini as the Honorary Chairman.
At the foundation ceremony, the Society adopted the motto ‘Love your country through your work’. In 2012, the restoration work was started with the purpose of re-establishing the formal assets of the building, which were created after the first restoration, in 1909, by the architects Mongeri and De Nari, and which are now recalled, particularly by the iron artworks and chandeliers. The present paper aims to represent this particular aspect of the ongoing restoration process. The iron artworks and chandeliers can recount the stylistic history of the earlier restoration project, which represents the beginning of the philological restoration that is currently underway.
The case of the restoration of an ‘original’ end of ‘800, iron, bronze and antimony chandelier is presented through a description of its restoration process.