Gulludere e K1z1lçukur: la Valle delle Rose e la Valle Rossa in Cappadocia Premio Internazionale Carlo Scarpa per il Giardino 2020-2021
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Gulludere
e K1z1lçukur:
la Valle delle Rose
e la Valle Rossa
in Cappadocia
Premio Internazionale
Carlo Scarpa per il Giardino 2020-2021
Güllüdere
and Kızılçukur:
the Rose Valley
and the Red Valley
in Cappadocia
International Carlo Scarpa
Prize for Gardens 2020–2021
31st edition
edited by
Patrizia Boschiero and Luigi Latini
Extract in pdf format:
section The study and care of the place, contributions by
Maria Andaloro, Paola Pogliani, Michele Benucci e Giuseppe Romagnoli,
Carmela Crescenzi, Giorgio Verdiani,
pp. 142-186 and 187-191 (sectional bibliography)
Fondazione Benetton Studi Ricerche
Antiga
Treviso 2020
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley in Cappadocia International Carlo Scarpa Prize for Gardens 2020-2021 published by Fondazione Benetton Studi Ricerche, with Antiga, edited by Patrizia Boschiero and Luigi Latini On the occasion of the 31st International Carlo Scarpa Prize for Gardens, dedicated to Güllüdere and Kızılçukur, this dossier is being issued simultaneously in Italian and English editions. Editorial production: Patrizia Boschiero (coordination), Chiara Condò and Nicoletta Tesser (editing and layout). Proofreading of English texts by Oona Smyth. Translations from Italian to English: Oona Smyth (Motivation of the Prize, pp. 7-14; essays by Maria Andaloro, pp. 61-77, 142-154, and 226-239; Chiara Bordino, pp. 89-100; Giuseppe Barbera, pp. 102-117; Natalia Rovella and others, pp. 125-129; Andrea Bixio, Roberto Bixio, Andrea De Pascale, pp. 131-141; Paola Pogliani, pp. 155-162; Maria Raffaella Menna, pp. 164-166; Michele Benucci and Giuseppe Romagnoli, pp. 167-169; Carmela Crescenzi, pp. 170-178; Giorgio Verdiani, pp. 179-186). Translations from Italian to Turkish: Elettra Ercolino (Motivation of the Prize, pp. 15-21). Translations from French to English: Traduttori Associati (essay by Monique Mosser, pp. 213-225). The translations published in the Italian edition of this book are by Elettra Ercolino, Oona Smyth, and Traduttori Associati. The editors, authors, the publications office and the documentation centre of Fondazione Benetton Studi Ricerche worked on research and acquisition of bibliographic, cartographic, iconographic and documentary materials.
Contents
6 The International Carlo Scarpa The study and care of the place
Prize for Gardens
142 Maria Andaloro,
7 Statement of the Carlo Scarpa Prize, Tuscia University’s Mission in Cappadocia
in English, Turkish and Italian, edited by
the Scientific Committee of the 155 Paola Pogliani,
Fondazione Benetton Studi Ricerche Painting in Cappadocia
32 Maps of the Rose Valley and the Red Valley, 164 Maria Raffaella Menna,
Cappadocia, The garden and the gardener
edited by Thilo Folkerts in the Church of St Joachim and St Anne
167 Michele Benucci and Giuseppe Romagnoli,
The place and its history The rock-cut settlement of Şahinefendi
37 Thilo Folkerts, 170 Carmela Crescenzi,
Cappadocia: immediate continuity. Survey of landscape surrounded
Visiting Rose Valley, Red Valley by the Göreme and Kılıçlar valleys
and their surroundings
179 Giorgio Verdiani,
61 Maria Andaloro, The Church of Meryem Ana at Göreme
Cappadocia. Deep in the rocks
among valleys and painted churches 187 Sectional bibliography
79 Ekrem Akurgal,
The great civilizations of Anatolia Readings of the place
89 Chiara Bordino, 193 Murat Ertuğrul Gülyaz,
The development of Christianity Paşabaği and Zelve ruins
in the Nevșehir region (4th-10th centuries)
and its role in the promotion of the visual arts 201 Aslı Özbay,
Cappadocian civil architecture
The nature of the landscape 213 Monique Mosser,
World heritage and museumification
102 Giuseppe Barbera, in times of mass tourism
Agrarian practices and rural landscape
of the valleys 226 Maria Andaloro,
Pasolini and Medea in Cappadocia
119 Mutluhan Akin and Ahmet Orhan,
The geological structure and the volcanic
nature of Cappadocia: a brief review 240 Carlo Scarpa Prize 1990-2021
125 Natalia Rovella, Stefano Marabini, Mauro 246 The activities of the Carlo Scarpa Prize
Francesco La Russa, Gino Mirocle Crisci, for the place
Geological readings of the rupestrian territory
of Cappadocia: the case of Şahinefendi 247 Bibliography
131 Andrea Bixio, Roberto Bixio, 255 The authors
Andrea De Pascale,
Underground hydraulic systems and 260 Illustration references
anthropogenic cavities in Cappadocia
Scientific Committee and Coordination The International Carlo Scarpa Prize for Gardens
Luigi Latini, architect, Iuav University
of Venice (chairman); The International Carlo Scarpa Prize for Gardens is a campaign of studies
Giuseppe Barbera, agronomist, University and care for a site which is particularly rich in natural, historical and creative
of Palermo;
Hervé Brunon, garden historian,
values, instituted and organized every year since 1990 by the Fondazione
André Chastel Centre, Paris, cnrs; Benetton Studi Ricerche.
Thilo Folkerts, landscape architect, The purpose of the Prize is to enhance and propagate the culture of “stew-
100Landschaftsarchitektur, Berlin; ardship of the landscape” and “care of places”; it is conceived as an opportunity
Anna Lambertini, architect and landscape architect,
University of Florence; and an instrument through which a wider public, beyond the community of
Monique Mosser, art historian, Advanced School specialist experts, can be acquainted with the intellectual and manual skills re-
of Architecture, Versailles, cnrs; quired to manage the changing landscape and to safeguard and promote the
Joan Nogué, geographer, University of Girona;
José Tito Rojo, botanist, University of Granada. natural and historical heritage it embodies; the work requires a wide-ranging
Carmen Añón, landscape architect, University of combination of scientific, technical, artistic and craft knowledge and skills and
Madrid, member of the Prize Jury from 1990 to entails identification of the distinctive nature and characteristics of a site and
2010, honorary member from 2011;
Domenico Luciani, architect, director of the
an appreciation of its true extent and context; it involves acts of creation,
Fondazione Benetton Studi Ricerche from far-sighted renewal programmes, a daily routine of care and maintenance and
1987 to 2009, deviser of the Prize and its sensitive application of procedures whereby expressions of the natural herit-
chief executive from 1990 to 2014, honorary
member from 2015.
age, cultural change and human communities can exist side by side in the same
Former members of the Prize Jury include: place; it shuns ephemeral and superficial effect and measures success in the
Sven-Ingvar Andersson (1927-2007), landscape long term; it seeks a balance between conservation and innovation, accepting
architect, member of the Jury from 2002 that taste changes constantly and that the role of nature and history may dif-
to 2005, honorary member from 2006 to
2007; Rosario Assunto (1915-1994), philosopher, fer radically from one civilization or historical period to another.
chairman of the Jury in 1990 and honorary Each year the Scientific Committee of the Foundation, within the am-
chairman from 1991 to 1994; bit of its ongoing research activities, selects a place that features specific
Ippolito Pizzetti (1926-2007), landscape architect,
writer, member of the Jury from 1990 to 1996, characteristics, deserves attention and prompts considerations relevant to
honorary member from 1997 to 2007; the aims of the Prize; a statement is issued in which the Committee ex-
Lionello Puppi (1931-2018), art historian, chairman plains the reasons for its choice. The Committee’s decision is final.
of the Jury from 1990 to 2013, member of the
Scientific Committee from 2014 to 2018; Throughout the campaign, the Scientific Committee proposes and pro-
Massimo Venturi Ferriolo, philosopher, member vides guidelines for those actions that can contribute to increasing knowl-
of the Jury from 2009 to 2014, member edge, safeguarding, and promoting the site concerned. Using various means
of the Scientific Committee from 2015 to 2018;
Thomas Wright (1928-2016), consultant to the
of communication, it addresses public administrations, scientific, artistic,
National Trust and lecturer at the University technical and operative communities and all those who are committed to or
of London (Wye College), member of the Jury interested in enhancing appreciation of landscapes and gardens, developing
from 1990 to 2000, honorary member from new skills in investigation and planning as well as improving management
2001 to 2016.
Since 2015 the Scientific Committee of the procedures. Of particular importance among the actions envisaged are: the
Foundation and the Jury responsible for publication of a dossier, as part of the Fondazione Benetton Studi Ricerche ed-
awarding the Carlo Scarpa Prize from 1990 to itorial collection ‘Memorie,’ to raise awareness and give information about the
2014, have merged to become a single organism.
Other participants in the work of the Committee place; the collection of relevant bibliographic and cartographic materials,
include the director of the Foundation and which are made available through a documentary exhibition and for consulta-
the heads of the various sectors. tion in the Foundation’s library; the production of a documentary film, the or-
The activities of the Carlo Scarpa Prize ganization of one or more study meetings and a public ceremony during which
have been coordinated, since 2015, the body or person responsible for the management of the site or representing
by Patrizia Boschiero and the chairman the concept of care for this place is presented with a symbolic award consisting
of the Scientific Committee, Luigi Latini.
of the ‘seal’ designed by Carlo Scarpa (1906-1978), the designer of gardens after
whom the Prize is named.
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
6 International Carlo Scarpa Prize for Gardens 2020-2021
1
Participants in Tuscia University’s Central Restoration Laboratory, Istanbul: Agronomists
Mission in Cappadocia Ismet Ok. Università di Palermo: Giuseppe Barbera.
Università della Tuscia: Rita Biasi.
Art historians/archaeologists Restorers
Università della Tuscia: Maria Andaloro, Università della Tuscia: Livia Alberti, Experts in technologies applied
Michele Benucci, Chiara Bordino, Claudia Anna Arcudi, Silvia Borghini, Cristina Caldi, to cultural heritage
Guastella, Maria Raffaella Menna, Paola Pogliani, Sara Scioscia, Maria Cristina Tomassetti, cnr itabac: Francesco Antinucci
Daniela Sgherri, Giuliana Solimine, Valeria Valentini with Anna Levi and Eva Pietroni, with Walter Balducci,
Manuela Viscontini with Elisa Potenziani and and Daniele Rossi. Claudio Rufa, Stefano Scialotti.
Rachele Zanone/Giuseppe Romagnoli. Niğde Archaeological Museum: Fazil Açikgöz.
Università Roma Tre: Antonella Ballardini, Nevşehir Regional Restoration Laboratory: Photographers
Giulia Bordi, Maria Luigia Fobelli. Merve Azize Işin, Ayça Baştürkmen, Università della Tuscia: Gaetano Alfano,
Mustafa Toptepe, Uğur Yalçinkaya. Rodolfo Fiorenza, Domenico Ventura.
Architects Central Restoration Laboratory, Istanbul: Università Roma Tre: Danilo Renzulli.
Università di Roma “La Sapienza”: Öslem Toprak Cihan, Elif Bozdemir,
Marco Carpiceci and Carlo Inglese Gülseren Dikilitaş with Esra Esen and Seda Kartal. Local institutions involved
with Andrea Angelini, Giovanna Cresciani in safeguarding Cappadocia
and Antonello Gamba. Geologists/geographers Nevşehir Archaeological Museum,
Università di Firenze: Carmela Crescenzi, Università della Calabria: Gino Mirocle Crisci, directors: Alis Yenipinar, Murat Gülyaz,
Marcello Scalzo, Giorgio Verdiani Mauro Francesco La Russa, Stefano Marabini, Sevim Tunçdemir.
with Claudio Giustiniani and Francesco Tioli. Natalia Rovella, Silvestro Antonio Ruffolo. Nevşehir Regional Restoration Laboratory,
Università della Tuscia: Giuliano Bellezza. director: Hatice Temur.
Chemists
Università della Tuscia: Giorgia Agresti, Speleologists Director of the research and
Silvia Amato, Claudia Pelosi, Centro Studi Sotterranei, Genova: restoration project: Maria Andaloro.
Ulderico Santamaria with Carmela Malomo. Andrea Bixio, Roberto Bixio, Deputy director: Paola Pogliani.
Università di Modena e Reggio Emilia: Andrea De Pascale, Alessandro Maifredi,
Pietro Baraldi. Simona Mordeglia, Mauro Traverso.
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
142 International Carlo Scarpa Prize for Gardens 2020-2021
33 Meryem Ana 10 St Daniel 11 St Eustace
1
However, this vast rock-cut heritage 1. The site of the Church of
GiorGio Verdiani is undergoing a gradual process of Meryem Ana at Göreme along
The Church of Meryem Ana at deterioration as nature progressively with the other two complexes
Göreme, fragile custodian of an erodes the stone. Sometimes this included in the digital survey
outstanding art treasure threatened process has been accelerated by the carried out in 2012 (33, 10, 11 refer
by the disintegration of the rocks presence of the voids created by these to the Open Air Museum
– Açık Hava Müzesi – codes
rock-cut settlements: for example,
assigned to each church).
the collapse of part of a rock wall may
The rupestrian landscape of Cappadocia expose entire sections of subterranean
offers an incredible vision of a unique, cities, the interior wall of a church can
rich geological environment,1 eroded become its façade, the core of a peak
into forms creating evocative panoramas may reveal doorways or apses. In this
and fantastical architectural visions. complex situation, visiting and gaining 1. JoliVet-léVy 2001b. For the complete
A heritage made up of rocks, gorges, access to some of these architectural bibliography cited in abbreviated form in
this and in the following footnotes, see,
valleys, and promontories where the structures may prove difficult and, at
here, on pp. 187-191.
populations of the past2 dedicated times, even unsafe. This means that
themselves to creating rock-cut cavities architectural research must focus on 2. Jerphanion 1925-1942.
to hold dwellings, religious spaces, producing efficient documentation as
shared places, and defence systems3 as well as creating the necessary premises 3. thierry 2002.
well as storage areas or spaces intended for interventions leading to the
for agricultural or farming purposes.4 conservation and eventual access to 4. JoliVet-léVy 1991.
1792-3. Horizontal and vertical
section of the Church of Meryem
Ana from the 2012 digital survey;
the rock-cut spaces in the interior
are coloured red.
2
these rock-cut environments. Carrying horseshoe arch formerly decorated with
out interventions on these structures is wall paintings. Most of the paintings
no easy matter and the failure to adopt in the interior depict stories of the
the correct approach when seeking to Virgin and biblical events connected
provide access to tourists could result to her life. The architecture of the
in damage to the particular qualities of church differs from the other churches
these places, compromising their ‘poetry’. in this area in that it has a transverse
In many cases the state of alteration of nave with two barrel vaults of differing
the rocks may have reached a dangerous sizes with no supports. The sequence
point close to collapse, creating of spaces clearly reveals the complex
conditions that make it extremely evolution of the church over time,
difficult to ensure safe access to the sites which included several rather aggressive
of these rock-cut works. The extremely interventions like the entrance to the
fragile nature of this architecture is room of the tombs that altered and
revealed by huge cracks, the presence of destroyed a part of the original paintings.
elements on the verge of toppling, and The bema, which is raised up on three
dangerous passages. steps, was originally separated by an
Meryem Ana is a stunning rock-cut iconostasis into which six arches and
church that was used as one of the five columns were carved; however, the
set locations for Pier Paolo Pasolini’s subsequent loss of two columns has given
1969 film Medea.5 It is referred to as the interior an asymmetric appearance.
‘Göreme 33’ in the register of local Only two of the three original apses
cultural goods. It was carved, together are still present; the southern apse has
with a small monastery complex, out almost completely disappeared and there
of a rocky peak overlooking Valley of is a huge opening towards the valley
Swords (Kılıçlar Vadisi in Turkish). with a breathtaking view towards the
The access route to the church is rather rock face on the other side. Underneath
difficult, and involves crossing the the right section of the bema are two
ruins of several rock-cut rooms with further rooms that were dug out on
partially collapsed front walls in order top of each other (probably at different
to reach the floor with the entrance to times) and that were once linked by a
the church. The passage is not usually wooden staircase (now lost). This richly
5. Chiesi-Tursi 2007. open to the public who are prevented modelled and decorated church6 is
See also contribution by Maria Andaloro from entering by a small gate set into split in two by a huge crack that runs
in this volume, pp. 226-239. one of its narrow openings. A series of through the entire building, allowing
interconnecting rooms provided access water to percolate into the wall paintings.
6. AndAloro 2013. to the church. The entrance has a This splendid rock-cut structure belongs
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
180 International Carlo Scarpa Prize for Gardens 2020-20213
to the category of sites that are hard 2 millimetres at a 10-metre distance
to recover and is a dramatic example of with normally reflective material.
the extreme deterioration that can be The sampling step produced a point cloud
experienced by this type of architecture. with point spacing ranging from 2 to 3
It is threatened by the complete collapse millimetres in the interiors, and from
of the pinnacle, which rises 17 metres 5 to 10 millimetres for external surfaces.
above it while the valley lies 25 metres Using these settings, each single scan
below. Although the church is composed producing complete coverage took about
of rather compact spaces, the rich 4 minutes to carry out. This approach
colours, complex forms, sequence of proved ideal for the operating conditions
different levels, and the ‘sense of drama’ in this rock-cut environment, allowing
engendered by the conspicuous crack, rapid, detailed scans to be taken, even in
all have a strong impact on visitors, the narrow tunnels. The location of the
capturing the eye and arousing great single survey stations was determined
admiration. on the basis of the form and specific
In August 2012, in the context of a conditions of the space concerned.
complex campaign documenting rock-cut A full sphere panorama was also shot
environments carried out with the to ensure the accurate rendering of
participation of the Tuscia University the colours of all the wall paintings.
and of the Department of Architecture The shots were taken using a Pentax
of the University of Florence K7 digital slr 15-megapixel camera with
(for the part regarding the digital an 18-55 millimetres standard zoom lens.
survey), it was decided to implement The camera was mounted on a tripod
an urgent documentation survey of the with a specific panoramic head that
church of Meryem Ana.7 The survey allows the lens to rotate around the
was carried out as part of an integrated nodal point of the sensor so as to reduce
process involving use of panoramic parallax distortion between single shots.
photography as well as of a phase-shift Sixty shots were taken for each panorama.
3D laser scanner (Cam/2 Faro Focus 3D). Both laser scans and photographic shots
This easy-to-handle, high precision were designed to minimize occlusions
scanner is small, lightweight, and supplied produced by the complex forms of this
with a compact tripod. It has a range rock-cut structure.
of 0.6 to 120 metres, and generates a The dataset collected was processed in
point cloud with a 360-degree field order to create a body of images that
of vision on the horizontal axis and could promote an understanding of
320 degrees on the vertical axis. For every the relationship between the rock-cut
point measured the precision is around church and its natural context, including 7. AndAloro 2013.
Giorgio Verdiani, The Church of Meryem Ana at Göreme,
fragile custodian of an outstanding art treasure 1814
4. Interior view towards the fracture running through the Level 1. Traditional digital models,
the main barrel vault in the pinnacle. Subsequently, these images traditional physical scale models
Church of Meryem Ana. were used to create a Digital Twin, In this case, the solution proposed
focusing in particular on the interior of provided a layout based on explanatory
5. Interior view of the Church
the church. This involved developing panels and 3D scale models.
of Meryem Ana.
a detailed, fully texturized 3D digital All of the component parts of the panels
6. Detail of the interior. model capable of presenting the spatial can be obtained from data resulting
model in immersive virtual environments from the digital survey.
or for animations and simulations. The models on display are designed
At the same time, this model was used as models presented to the public
for experimentation exploring the with possibilities for direct contact
possibility of virtual musealization so that visitors can touch and move
combining both physical and digital them in order to observe them from
components,8 with the aim of making different points of view.
the church of Meryem Ana accessible These models could be replicated and
to everyone, by means of both physical produced in synthetic materials like pla
reproductions and digital components. (polylactic acid, a thermoplastic material
The approach to the production of used in 3D printing), which would allow
solutions for a potential musealization them to be put on display to the public
involved three proposals, formulated for long periods without undergoing
8. Bertuglia-Bertuglia-Magnaghi 1999. as follows. significant damage. The low cost of both
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
182 International Carlo Scarpa Prize for Gardens 2020-20215
the materials and printing technology connection to receive the necessary
means that these models could easily be data. The connection system linking
replaced if needed. the physical and virtual model will use
a qr code that can be scanned directly
Level 2. Physical models integrated by the visitor’s device.
with digital models
In this case, the solution proposed Level 3. The physical ‘cloned’ model
is based on a model produced using becomes an alternative to reality
the 3D printing process, resized or In this case, the solution consists of a
even reproduced as life-size models life-size model of the rock-cut church,
(either completely or in part), with created without seeking to reproduce
the entire body of wall paintings the complex palette of colours, instead
visualized on the physical model by an adopting a ‘neutral’ space with the
app presenting an augmented reality. necessary detail of the structure, which
This ensures that, no matter what can be visited like a kind of ‘technological
scale model is used, the paintings will clone’. The surfaces have been designed
have a realistic appearance thanks to permit rear projection using a
to the use of a personal device like a digital projector. The main surfaces
tablet or smartphone, without the and the vaulted ceilings will be made
need for complex, unique immersive from resin with a minimum thickness
systems; all that is needed is an Internet using laser sintering and a 3D printer.
6
Giorgio Verdiani, The Church of Meryem Ana at Göreme,
fragile custodian of an outstanding art treasure 1837. 3D laser scanner operating
in the interior of the Church of
Meryem Ana, view towards the
apses.
7
This solution can be produced as a an advanced form of copy of the original.
group of elements divided into portions Although it has incredible potential,
and reinforced with ribbing according it requires careful reflection and an
to the divisions of the wall paintings understanding of the processes involved.
themselves. There is the risk that rapidly developed
The minimal thickness ensures the digital systems will place too much
necessary transparency to allow an reliance on the ‘wow factor’ thereby
effective presentation, which can be drawing attention away from their
based on displaying the paintings as ultimate goal and salient points.
they actually are or integrating them The main target of this process
with graphic and multimedia effects must always be the cultural heritage
designed to increase the communication concerned and the promotion of
capacity of the installation. a better understanding of the site.
The digitization of cultural heritage is Any copy, whether physical or digital,
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
184 International Carlo Scarpa Prize for Gardens 2020-20218
is a reproduction of the original, the 8. Selection of interior and
sole holder of its magnificence and exterior views ‘produced’ by the
authenticity. Nonetheless, the ‘wonders’ 3D laser scanner survey.
of our technological era offer great
opportunities while, at the same time,
presenting a huge challenge in terms of
creating models that are more than mere
reproductions of the original.9
In this way, digital copies will encourage
visitors to wish to see the original, at
the same time providing them with an
opportunity to learn and to increase their
knowledge about the characteristics of
the actual original site.
9. Agnew-BridglAnd 2006.
Giorgio Verdiani, The Church of Meryem Ana at Göreme,
fragile custodian of an outstanding art treasure 1859 10 11
12
13 14 15
9-11. 3D digital model treatment
phases: application of texturing
and normal map in order to
reduce the dataset needed
to describe the object while
maintaining a high level of detail.
12-15. Production of the physical
scale model of the Church of
Meryem Ana.
16. Scale model with augmented
reality visualization of the
complete body of wall paintings.
16
The survey and documentation of the Church made up of Carmela Crescenzi (coordinator), 3D prototyping/printing and multimedia
of Meryem Ana were carried out as part of the Marcello Scalzo, Giorgio Verdiani, extraction of the churches of St Daniel,
prin 2010-2011 scientific activities, thanks Sergio Di Tondo, Claudio Giustiniani, Meryem Ana and St Eustace was carried
to the collaboration between Università degli Andrea Pasquali. The survey of the Church of out by Francesca Rafanelli, Carlo Gira, and
Studi di Firenze and Università degli Studi St Eustace was carried out by Giorgio Verdiani, Vittoria Niccolini as part of the work for their
della Tuscia. The activities in Cappadocia Sergio Di Tondo, and Claudio Giustiniani; undergraduate dissertations (rafanelli 2014,
were carried out by the Dipartimento di the digital survey of Meryem Ana by Gira 2014, niccolini 2014).
Architettura, Florence, as part of the European Giorgio Verdiani and Claudio Giustiniani. The work was carried out in the wider context
chRima project and of the subsequent Data treatment by Giorgio Verdiani, of the Cappadocian Mission of the Tuscia
pRin 2010-2011 research project. Sergio Di Tondo, Carmela Crescenzi, University, Rupestrian paintings in Cappadocia.
The dida research unit (Dipartimento Tiziana Pignatale, Alexia Charalambous, A project promoting knowledge, conservation,
di Architettura, Florence) participating in Vittoria Niccolini, Francesca Rafanelli, and awareness, directed by Maria Andaloro
the chrima and prin 2010-2011 projects is Carlo Gira. Research into virtual musealization, (see, here, pp. 142-154).
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pp. 189-213. Ankara 2011 (Istanbul, 24th-28th
Agnew-BridglAnd 2006 May 2010), pp. 147-160.
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dichiarati e committenti senza volto. en œuvre”, Mélanges de l’École Française de di San Rocco), 12-15 settembre 2018,
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Prize in Turkish): immediate continuity): JoLivet-Lévy, La Cappadoce. multidisciplinare applicato
figs 1-3, 8: photographs figs 1-21, 23-31: photographs Un siècle après Guillaume allo studio delle interazioni tra
by Marco Zanin-Fabrica; by Thilo Folkerts; de Jerphanion, Geuthner, nanoparticelle e substrati lapidei
figs 4-5: photographs fig. 22: drawing by Paris 2015, 2 vols, pl. 283; di diversa natura finalizzato alla
by Gaetano Alfano-Archive Thilo Folkerts based fig. 3: Paris, Bibliothèque conservazione di monumenti
of Tuscia University’s on Bing Maps satellite nationale de France, di interesse storico-artistico,
Mission in Cappadocia; imagery. ms. Grec 510, c. 71; Università della Calabria,
figs 6-7: photographs figs 4-7: photographs by 2014 (Phd thesis), p. 124;
by Patrizia Boschiero-fbsr. On pp. 60-77 Gaetano Alfano-Archive fig. 2: from nataLia roveLLa,
(Maria Andaloro, Cappadocia. of Tuscia University’s Mission stefano Marabini,
On pp. 22-29 Deep in the rocks, among valleys in Cappadocia. Gino MirocLe crisci,
(Statement of the Carlo Scarpa and painted churches): “Stratigraphy and conservation
Prize in English): fig. 1: Rome, Biblioteca On p. 101: of cultural heritage: the
fig. 1: photograph by Angelica; courtesy of from Giovannini 1971, p. 73. example of rupestrian churches
Luigi Latini-fbsr; the Ministry of Cultural of Cappadocia (Turkey)”,
figs 2-3, 6: photographs Heritage and Activities; On pp. 102-117 in strati 2013: first international
by Thilo Folkerts; this image may not be (Giuseppe Barbera, Agrarian congress on stratigraphy at the
figs 4-5, 8-9: photographs reproduced or copied by practices and rural landscape cutting edge of stratigraphy,
by Marco Zanin-Fabrica; any means; of the valleys): edited by RoGério Rocha,
fig. 7: photograph by figs 2-7, 9-22, 24-29: figs 1-4, 6, 18: photographs João Pais, José CarLos
Gaetano Alfano-Archive photographs by by Gaetano Alfano-Archive KuLLberG, StanLey Finney,
of Tuscia University’s Gaetano Alfano-Archive of Tuscia University’s Mission Springer, Berlin 2014, p. 318.
Mission in Cappadocia. of Tuscia University’s Mission in Cappadocia;
in Cappadocia; figs 5, 9, 13-15, 17: photographs On pp. 130-141
On pp. 30-31: fig. 8: photograph by by Marco Zanin-Fabrica; (Andrea Bixio, Roberto Bixio,
fig. 1: Rome, Biblioteca Domenico Ventura-Archive fig. 7: from National Geographic, Andrea De Pascale,
Angelica; courtesy of Tuscia University’s Mission 35, 4, 1919, p. 308; Underground hydraulic systems
of the Ministry of Cultural in Cappadocia; fig. 8: photograph by and anthropogenic cavities
Heritage and Activities; fig. 23: courtesy of Ozen Guney; in Cappadocia):
this image may not be Murat Ertuğrul Gülyaz. figs 10, 16: photographs by figs 1, 7-8, 11-13, 18-22, 24:
reproduced or copied by Luigi Latini-fbsr; processed by Roberto Bixio-
any means; On p. 78: figs 11-12: photographs by Centro Studi Sotterranei
fig. 2: Cartography Associates, from Arts of Cappadocia, a Thilo Folkerts. di Genova;
David Rumsey Collection; cura di Luciano Giovannini, figs 2, 9, 17, 23: photographs by
fig. 3: www.hgk.msb.gov.tr; Barrie and Jenkins, On p. 118: Andrea Bixio-Centro Studi
fig. 4: processed by London 1971, p. 71. from Giovannini 1971, pp. 56-57. Sotterranei di Genova;
Güllüdere and Kızılçukur: the Rose Valley and the Red Valley
260 International Carlo Scarpa Prize for Gardens 2020-2021You can also read
