{"id":2456,"date":"2021-02-06T10:53:06","date_gmt":"2021-02-06T09:53:06","guid":{"rendered":"https:\/\/arsuspaper.com\/?page_id=2456"},"modified":"2021-02-06T10:53:06","modified_gmt":"2021-02-06T09:53:06","slug":"maderuelo","status":"publish","type":"page","link":"https:\/\/arsuspaper.com\/en\/maderuelo\/","title":{"rendered":"-Maderuelo"},"content":{"rendered":"

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Maderuelo<\/strong><\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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\n\u00a0<\/strong>Ermita de la Veracruz.<\/strong>
\nPintura mural del siglo XII.<\/strong>
\nMaderuelo. Segovia.<\/strong>
\nEncargo de la Direcci\u00f3n General de Patrimonio Cultural de Castilla y Le\u00f3n.<\/strong>
\nEl original se conserva en el Museo del Prado.<\/strong>La ermita de la Veracruz -declarada Monumento en 1924- es un santuario de formas humildes, que sin embargo, albergaba uno de los conjuntos de pintura rom\u00e1nica m\u00e1s interesantes y mejor conservados de Espa\u00f1a. Con la creaci\u00f3n del embalse de Linares y la irremediable llegada de sus aguas, qued\u00f3 comprometida la delicada conservaci\u00f3n de las pinturas. En 1947 fueron trasladadas a lienzo y reconstruidas en el Museo del Prado, formando desde entonces parte de su colecci\u00f3n.<\/p>\n
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aspecto antes de la copia<\/p>\n<\/div>

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Adjudicada la recreaci\u00f3n de las pinturas por la Direcci\u00f3n General de Patrimonio de la Junta de Castilla y Le\u00f3n, se plantea -dado que la capilla original conserva importantes restos de pintura de gran valor hist\u00f3rico- construir al lado opuesto de la nave y encarada al original, una estructura exenta que contenga la copia. Todos los aspectos de la obra son estudiados junto a t\u00e9cnicos del Servicio de Arquitectura de Segovia y el irreductible alcalde de Maderuelo, Don Santiago Bayo.<\/p>\n<\/div>

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r\u00e9plica vista desde el original<\/p>\n<\/div>

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La reproducci\u00f3n de las pinturas tiene como objeto la representaci\u00f3n m\u00e1s fiel de la imagen perdida. Por ello, no compite con el original, sin\u00f3 que se convierte en el fiel testimonio del esplendor y la belleza que presentaba el conjunto antes de los arrancamientos. El efecto dialogante conseguido entre copia y original, consigue recomponer en la contemplaci\u00f3n de los muros originales \u2013\u00fanicos protagonistas- el recuerdo inmediato que aporta la objetividad de la r\u00e9plica.<\/p>\n<\/div>

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original visto desde la r\u00e9plica<\/p>\n<\/div>

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La nueva capilla<\/strong>\u00a0est\u00e1 calzada sobre una plataforma ligera de hormig\u00f3n, con la intenci\u00f3n de imitar el efecto de entrada en una sala diferenciada. Debido a las posibles inundaciones, el suelo, de mortero desnudo, exig\u00eda la permeabilidad necesaria para filtrar el agua y evitar estancamientos.<\/p>\n

El material utilizado para construir\u00a0la estructura<\/strong> -seis metros de altura por m\u00e1s de cinco de ancho y hondo-, fue el aluminio. Por sus propiedades de resistencia a la oxidaci\u00f3n y a los esfuerzos de tracci\u00f3n y compresi\u00f3n, se establec\u00eda como la mejor opci\u00f3n. Se colocaron planchas de policarbonato celular como soporte de fondo. Los vol\u00famenes irregulares de los muros, que tienen una presencia muy significativa, se modelaron con poliestireno expandido (el montaje de las pinturas en el Museo del Prado responde a una forma geom\u00e9trica regular, lo cual oblig\u00f3 a recortar o modificar las fotograf\u00edas para ajustarlas a las formas que presenta el original). Todo el conjunto fue recubierto con resina epoxi reforzada con fibra de vidrio. Finalmente se aplic\u00f3 el mortero pl\u00e1stico imitando la textura, lagunas y grietas del original.<\/p>\n<\/div>

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fotograf\u00eda en el Museo del Prado<\/p>\n<\/div>

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proyecci\u00f3n de im\u00e1genes<\/p>\n<\/div>

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detalle del proceso<\/p>\n<\/div>

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La fotograf\u00eda<\/strong>\u00a0fu\u00e9 realizada por el equipo de Arsus Paper en el Museo del Prado.
\nUna vez dimensionadas\u00a0las im\u00e1genes, se imprimieron calcos para delinear el perfil del mortero y aportar el aspecto de sobrerrelieve caracter\u00edstico de las p\u00e9rdidas de material.
\nPara hacer m\u00e1s precisa la aplicaci\u00f3n del Papelgel, las escenas fueron proyectadas sobre el nuevo muro. Las im\u00e1genes se colocaron siguiendo las p\u00e9rdidas de material, aportando una sensaci\u00f3n de profundidad y volumen excepcional.<\/p>\n<\/div>

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montando la estructura<\/p>\n<\/div>

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policarbonato y calcos<\/p>\n<\/div>

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Olga modelando poliestireno<\/p>\n<\/div>

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vista interior de la estructura<\/p>\n<\/div>

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Olga y Nacho aplicando mortero<\/p>\n<\/div>

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detalle del volumen<\/p>\n<\/div>

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Vera<\/p>\n<\/div>

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Luis y Marc<\/p>\n<\/div>

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retirando Papelgel<\/p>\n<\/div>

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detalle relieve<\/p>\n<\/div>

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La iluminaci\u00f3n\u00a0<\/strong>ha requerido de un estudiado planteamiento. Las paredes est\u00e1n cubiertas de im\u00e1genes y el suelo quedar\u00e1 anegado por el agua en las inundaciones. As\u00ed, se han dispuesto de cuatro focos modificados provistos de l\u00e1mparas hal\u00f3genas de intensidad regulada. Los m\u00e1s visibles, al final de la sala, han sido disimulados embuti\u00e9ndolos en el falso muro.<\/p>\n<\/div>

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