Contemporary laser techniques and general application in heritology and case of building in 7 Balkanska street, Belgrade

Abstract

It seems that the role of lasers in heritology and art has grown more and more since the end of the 20 th century; the early attempts of cleaning artistic objects, old monuments / artifacts during the times of Hedy Lamarr and the first unsuccessful nuclear tests as well as of thinking of holographic records. After the first series of circumstances linked to laser applications in restoration and conservation, it seems the coupling of words serendipity-zemblanity-bahramdipity has been activated. A long time has passed since the first works linked to the Porta della carte of the Palazzo Ducale (Doge’s Palace) in Venice (marble relief and ruby laser). Nowadays, this type of work can be treated as standardized and it is implemented in great number of countries [1, 2]. In the case of Florence Cathedral, the conservation of artworks was proposed by J. F. Fonatello, panels of the Giotto’s tower of the Florence Cathedral by Andrea Pisano. The unique roles of quantum generators – lasers – exist both in restoration and diagnostics. Besides that, the question of source existence – a source that provides completely new artistic impression with respect to its ideal characteristic of coherency – introduced new tools and techniques and could be (and was) implemented in many new processes and effects. New artistic directions were performed, where the source of the coherence became a part of a new artistic object, a hologram slide provokes the impression of the train entering the crowd, etc. [1–5] The laser role by using LIBS method in diagnostics in the case of the building in 7 Balkanska street, Belgrade, was presented in this paper.

Čini se da je uloga lasera u heritologiji i umetnosti u stalnom porastu od kraja 20. veka; rani su pokušaji čišćenja umetničkih objekata, starih spomenika ili artefakata od vremena Hedi Lamar (Hedy Lamarr) i prvih neuspešnih nuklearnih testova, kao i razmišljanja o holografskim zapisima. Posle prve serije okolnosti vezanih za primene laserskih tehnika u restauraciji i konzervaciji, izgleda da je sprezanje reči serendipity, zemblanity i bahramdipity aktivirano. Prošlo je mnogo vremena otkad su obavljeni prvi radovi vezani za Porta della Carta Duždeve palate (Palazzo Ducale) u Veneciji – mermerni reljef i rubinski laser. Danas ovaj tip radova može da se tretira kao konvencionalan/standardan i primeni u nizu zemalja [1, 2]. U slučaju Katedrale u Firenci Fonatelo (J. F. Fonatello) je predložio konzervaciju umetničkih objekata, Pizanove (Andrea Pisano) panele na Đotovoj (Giotto) kuli Katedrale.

Jedinstvene uloge kvantnih generatora – lasera – postoje i u restauraciji i u dijagnostici. Osim toga, pitanje postojanja izvora – izvora koji nudi potpuno novi umetnički utisak u odnosu na idealne osobine koherencije – uvelo je nove alate i tehnike i moglo je da (i jeste) primeni mnogo novih procesa i efekata. Novi umetnički pravci su izvedeni, gde je izvor koherencije postao deo novog umetničkog objekta, hologram je izazvao utisak da voz ulazi u masu ljudi, itd. [1–5] Uloga lasera u dijagnostici i u svrhu konzervacije i neke primene na slučaj zgrade u Balkanskoj 7 u Beogradu je prikazana u ovom radu.