ࡱ> #`V7bjbj5G5G4W-W-,A%n n n ~     8B^4 Ot"GOIOIOIOIOIOIO$TQhSmO- j%j%j%mO O:):):)j%  GO:)j%GO:):)RF OI P\S*C &BGO,O0OGHT<(HT<OIOIhHT Id} X:)!"mOmO(pOj%j%j%j%  d   THE NEW EDEN REDISCOVERED The artworks restoration and the rehabilitation and valorisation project of Asger Jorns Villa in Albissola Marina by Danilo Demi and Anna Pisani() Asger Jorn biography Asger Jorn was born in Vejrum (Denmark) in 1914. In 1936 he moved to Paris. In 1948 he created together with Dotremont, Appel, Constant, Corbeille, Alechinsky and Noiret the art group called CoBrA. In 1954 he moved, together with his family, to Albissola Marina. In 1957 he began the rehabilitation works of the house/atelier in Bruciati area, designing and building by himself, with the help of an Italian friend Umberto Gambetta all the decorative and artistic elements inside and outside the two buildings and in the whole garden. Since 1958 Jorn began to create ceramic artefacts in the workshops of Albissola: using ceramic in 1959 he realised the huge mural panel (m. 33x3) for the Staatgymnasium of Aarhus in Denmark. In 1960 Albissola Marina Municipality gave to Jorn the honorary citizenship. In March 1973 he donated to Albissola Marina Municipality the two buildings, the garden and all the artworks inside and outside the complex. He prematurely died in May 1973. The garden of Eden : Asger Jorns creative genesis in Albissolas garden What Jorn created in Albissolas villa, according to Alberico Sala in the book Le jardin dAlbisola, had the purpose of mending, around his house, a piece of Eden; a totally true and entirely fantastic place, in which nature and man cohabit happily together. () He got the land exchanging it with a picture; now, whatever has been collected here forms a unitary work of art, painting and sculpture, ceramic and architecture: and, moreover, the nature, with its flowers and its movements, spaces of blue air, trees. Here, indeed, Jorns creative intellect, his brilliant imagination, his deep human sensibility for modest objects and materials, has been able to assert by a quiet arrogance, a fertility without mortifications. A poem to look at and touch, inside which wandering as in a labyrinth without terrors, full of wonders. (.) In Albissolas miracle, poetry is victorious. ( ). Rehabilitation and valorisation of the complex The complex of Jorns Villa is formed by two old buildings located on both sides of a big rain water basin for the irrigation of the surrounding fields, being agriculture the original use of the whole area, from here down toward the seaside. In the year 2001 Albissola Marina Municipality expressed his strong will to intervene with restoration works not to loose this precious cultural inheritance. Only in this way Jorns last will would have been respected. In order to better plan the impressive restoration interventions, a very detailed analytic work has been made to identify problems and causes of decay all over the complex and to catalogue collocation and conditions of artworks (sculptures, murals, paving, benches, walls) as well as of the original vegetation into the garden. Many thematic digital maps have been then produced. A lot of very accurate analysis and survey have been made on buildings as well, to better plan specific interventions also for them. Firstly then, preliminary emergency interventions have been undertaken to secure one of the two buildings from decay, as well as some walls and paths in the garden who were in a very serious situation. Further deep restoration interventions have been applied to both buildings, to the water basin and then to the whole garden. A new building to be used as guest house has been designed: it will host artists coming from the whole world. The main purpose of the project has been to allow the full re-use of the complex without altering either the original appearance of the buildings or the garden neither of what was contained in them, this being the result of Jorns personal creative choice. The garden has been rehabilitated using the highest respect of the original conditions desired by Jorn and his friend Umberto: structural elements (walls, pergolas, flowerbeds) as well as the vegetation originally existing into the garden have been replaced according to what was reported in the photographic documentation of 1972-73. In the eastern side of the area a multifunctional space has been created: a square with a new small building in concrete, crystal and steel to be used for video projections and conferences, even via internet, to link Jorns Villa to other museums hosting Jorns artworks. The artworks restoration: analysis and studies The objectives that the Municipality of Albissola Marina is pursuing with the restoration interventions are very accurate. First of all, recover the full re-use of the complex according to Jorns last will, carefully restoring artefacts and artworks in the complex and those in the Municipal depot to be re-placed into the villa. The purpose is to bring the complex back to its original splendour during the time of Jorn. After that, open the complex to national and international visitors, also installing a special equipment for disabled people to overcome difficulties connected to the morphology of the site. The final objective is to insert the complex into a global circuit getting from the local territory (i.e. the MuDAC project()) to the regional dimension, up to the internationally established circuit of the great masterpieces of art. The artworks restoration financially supported by an European regional fund started with the establishment of an accurate intervention plan designed by the architects Danilo Demi and Anna Pisani with the help of specialists in various fields. The plan focuses on restoration interventions joined together with complementary actions on the microclimatic control of the environment. Various phases have been identified. First of all a complete catalogue and mapping of the whole artworks in the garden outside and inside the buildings, has been made, subdividing them into various typologies: a total number of 106 elements has been identified. A number of 14 decorated benches, placed inside the garden, has been catalogued. Inside the two buildings and into the main toilet 28 artistic works have been identified. Outside, in the garden, around 38 different types of paving all made by Jorn himself have been catalogued. A great number of other artworks should be added: those stored into the Municipal warehouse after 1999, when the Municipality got physically the possession of the whole property. In detail they are: a small canvas painted when Jorn went to Djerba in Tunisia, 3 oil paintings on canvas, 3 plates, one ampoule, one vase, one pitcher, 7 small ceramic elements, 10 small terracotta and polychrome glazed sculptures. Some artistic objects given to Jorn by various artists are part as well of the collection: 4 plates, one sculpture, 2 tile panels, one pot-shade amphora. There are also some popular terracotta artefacts: 41 pieces composed by pans, pots, plates, tiles, bowls, vases, mugs, etc., and the objects made by Jorns children in 1957-58: 5 terracotta artefacts and 4 paintings. The causes of decay have been identified for each artwork, in order to determine the most appropriate kind of restoration intervention. In some case photographic records made during different times has been used to better evaluate their progressive decay. Generally, all artworks in the complex show a considerable degradation. The mural paintings especially the one at the ground floor of the main house show detachment of plaster, colour losses, crumbling of the underlying support, washout problems, mainly due to capillary moisture from the ground, and rain infiltration. Sculptures and panels outside show detachments of parts, broken elements, crumbling, losses: this is mainly due to weather causes. The same situation is evident in almost all the ceramic artworks. The art works restoration: interventions Many diagnostics have been carried out: archaeometric and visual analysis to the mural paintings to understand the nature of plaster, polluting salts, colours, etc. and to suggest the best intervention method. A number of similar analysis have been performed as well on sculptures, external works, ceramics. Therefore detailed schemes of intervention have been established for each type of artwork. For mural paintings: elimination of capillary water infiltration, removal of metallic elements eventually present, removal of surface deposits and of every substance on the painting, supporting bandage on falling parts to sustain the plaster during the consolidation, impregnation with ethyl silicate, rinse with distilled water and application of cellulose pulp to extract soluble salts, injections of adhesive fillers between wall and plaster, filling of cracks and fractures with mortar, use of watercolour to restore the unity of colour where lost. For sculptures, external works, ceramics: verification of static conditions, losses and damaged parts, consolidation of supports, bonding of detached elements, lost parts recovery or reconstruction by neutral elements, protective treatments. Only for ceramics elements: washing, mechanical or chemical cleaning of surface deposits, application of ethyl silicate and infiltrations with epoxy resins in the micro fractures, integration of gaps and rejoining of fragments, restoration of paintings, protection using microcrystalline waxes. During the implementation of the above interventions a detailed photographic and video campaign will be made to illustrate the restoration phases, given the great cultural significance of the artworks to be restored. About the relocation in the garden of the artworks kept in the Municipal warehouse, it has been decided to place them once restored inside the museum-house. Some accurate 3D copies will be done and placed in the garden instead of them, to prevent any possible theft or further damage. Complementary interventions The artworks restoration inside the buildings also depends upon some technical interventions of microclimate control, in order to eliminate capillary moisture and rain infiltration inside the rooms. An advanced electro-physical dehumidification system will be installed inside both buildings to dry up walls and continuously control the humidity level. Other interventions will be the restoration of degraded plaster, the replacement of the veranda roof, the increase of natural ventilation system inside the rooms to avoid condensation phenomena. Thermal protective, low emission, anti-glare glass will be used to reduce the temperature range between inside and outside the buildings and to increase the daylight transmission. This will keep the internal environment protected from external heat and limit the artworks decay. All the interventions carried out in Jorns Villa are followed with great appreciation by the Danish Government and Ministry of Culture, willing to establish a technical and cultural exchange between Danish artists and ceramic workshops of Albissola, like Jorn himself wished. During these last years, despite the works undergoing all over the complex, many visitors artists, art estimators, scholars and students coming from many European countries continuously visited the site of Jorns Villa in Albissola. All of them expressed their great appreciation to see the rebirth of this extraordinary jewel of contemporary art that Jorns great imagination and artistic inspiration have left to us. *************** () Architects and Landscape Architects, founders of ARCHIPAES & PARTNERS Atelier, in charge since 2001 of Villa Asger Jorn rehabilitation and restoration projects. () Mu.DAC - Museo Diffuso dArte Contemporanea di Albissola Marina, on behalf of University of Genoa, Italy and the Municipality of Albissola Marina.     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