Drawing voids and abstractions in architectural heritage a c stenger internet by Arne Stenger

Drawing Voids and Abstractions in Architectural Heritage

a consequence of the mental transfer â&#x20AC;&#x153;Asfrom the actually of the drawing or

the model to the material reality of the project, the images with which the designer advances are not mere visual renderings; they constitute a fully haptic and multisensory reality of imagination.

â&#x20AC;? - Juhani Pallasma, 2009

Sources Literature Amsler, T., Herrmann, D., Lohrer, K., & Weber, U. (1959) Corripo, Bauaufnahme an der TH Stuttgart. Stuttgart: Cantzsche. Amsler, T. (1959). Corippo : ein malerisches Bergdorf im Tessin. Stuttgart: Koch. Bianconi, G., (1983). Costruzioni Contadine Ticinesi. Locarno: A Dado. Buzzi, G. (1999). Atlante dellâ&#x20AC;&#x2122;edilizia rurale in Ticino : Locarnese Bellinzonese Riviera 2. Locarno: Edito dallo Stato del Cantone Ticin. Cullen, G. (1961). The Concise Townscape. London: Architectural Press. Gerosa, P. G. (1975). Un microterritorio alpino. Lugano: A. e. R. Pastorelli. Merleau-Ponty, M. (2005). Phenomenology of Perception. London: Routledge & Kegan Paul. Mondada, G. (1975). Corripo. Bellinzona: Salvioni & Co. Rasmussen, S. E. (1964). Experiencing Architecture. Cambridge: MIT Press. Images All images from own collection

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Abstract Corippo is a village with thirteen residents in Ticino, Switzerland. There are approximately eighty one buildings of which forty one are empty. Most of the buildings were constructed in the eighteenth century. The scenery and architectural heritage have made it a famous tourist spot. However if the current decline in population will continue, the village will be empty within a few decades. This report was written to find answers in using the values of vernacular architecture in a design that will revitalise Corippo. The village is used as a case study in showing methods of changing and creating within the existing structures. The following question was stated: How can we use the characteristics of the rural architecture of Corippo to create a village in which people want to live and work, and that tourists want to visit? The architectural characteristics were analysed. A social historical context is provided as well as a historical background in the creation of the village on a city scale. An overview of the history and current state of the types, forms and functions is given and an overview of the materials and construction methods used for the buildings. The theories of Gordon Cullen were used as an inspirational resource in understanding and using the abstract values of the architectural characteristics of Corippo. Functional goals were set for the design in Corippo. The village will be changed to fit contemporary standards on light, view, space and spaces that allow people to work from home. Functional goals that fit the design of Corippo as a museum were assigned to buildings. The works of Gordon Matta-Clark were used as an inspirational resource for changing the buildings in Corippo. The method of creating voids in the walls and roofs of the buildings will be used to create new meanings and interpretations for visitors and residents. The works of Giorgio Grassi were used as an inspirational resource for creating buildings within Corippo. The analysed characteristics were used as rules for the design of abstracted, typological statues. The report was written as a personal research in finding and using the values of architectural heritage. These values are made visible in the design. Future research could include research in urbanisation influences on abandonment and research on the historical values of architecture beyond the field of the vernacular.

Drawing Voids and Abstractions in Architectural Heritage An appendix to the report: Voids and Abstractions, Methods in Saving Architectural Heritage Graduation Studio â&#x20AC;&#x153;Interactionsâ&#x20AC;? September 2015 - July 2016 Arne C. Stenger Graduation Committee: prof. dr. B. J. F. Colenbrander ir. W. Hilhorst ir. R. Kindt

Content Introduction, the Values of Architectural Heritage

Architectural Characteristics, Social Historical Context

Architectural Characteristics, City Scale

Architectural Characteristics, Functions, Forms and Type of Buildings

Architectural Characteristics, Construction and Materials

Architectural Characteristics, Understanding Abstract Values

Intermezzo, Inspiration From Vernacular Architecture

Functional Goals for the Design in Corippo

The Void as a Method, Opening Corippo

Abstracting as a Method, Grassi and the Permanent Forms in Corippo

Design Overview

Sources

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Introduction The Values of Architectural Heritage This appendix was provided with the report Voids and Abstractions, Methods in Saving Architectural Heritage, as part of the graduation studio “Interactions” on the Eindhoven University of Technology. The drawings and texts serve as the summary of an architecture project in Switzerland. A personal interest in the values of architectural heritage guided my choice for the village of Corippo. Approximately 80% of the buildings in Corippo were built in the eighteenth century. (Mondada, 1975, p. 44) The preserved buildings combined with the mountainous scenery have made it a famous tourist spot. However, forty one out of the eighty one buildings in Corippo are empty. The research of this report focussed around the question: How can we use the characteristics of the rural architecture of Corippo to create a village in which people want to live and work, and that tourists want to visit? The following sub-questions were addressed: • •

•

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What are the characteristics of the architecture of Corippo? How can I use these characteristics to change the existing buildings to fit the functions of combined living and working and the functions of museum structures? How can I use these characteristics to create buildings within the existing village that fit the functions of combined living and working and the functions of museum structures?

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

Architectural Characteristics Social Historical Context Corippo was built by farmers between the sixteenth and eighteenth century. In these centuries, farmers provided their own families by farming in spring, summer and fall, and by working on the lower Magadino plain in winter. The population grew to approximately three hundred at the end of the eighteenth century but started to decline from then on. People left for opportunities in bigger cities, North-America and Australia, and because they could no longer compete with the more efficient farmers in the lower valleys. (Gerosa, 1975; Mondada, 1975).

  

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         5m 25m

Left: [1] Corippo, 2016.  50m

Right: [2] Corippo, 1900. (Mondada, 1975; Gerosa, 1975)

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1658

1798

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  5m

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10m

 20m

Architectural Characteristics City scale After the turn of the eighteenth century, only three extra buildings were built in Corippo. The village streets fit pedestrian or animal traffic only. The northern road that was widened in 1883 travels over the valley onto the wider road leading to Locarno. Factors of influence on the layout were: •

The village was erected above a church placed on an available piece of horizontal land. (Mondada, 1975, p. 99)

•

Buildings are arranged in stacks of volumes between 5 to 8 meters wide and 2 to 2.8 meters high per level. The number of levels per building vary between 1 and 4. (Amsler, 1959 and own research)

•

Perpendicular plots were cut halfway into the mountain. The remainder was levelled horizontally by building stone walls on the mountain slope. (Amsler, 1959 and own research)

•

Many of the buildings that were constructed in the seventeenth and eighteenth century were made by new residents, close to other buildings. There is limited horizontal space available and living close to each other created a relatively safe and functional efficient layout. Reconstructing inner dividing walls from already existing outer walls, once a neighbour was added, was technically challenging. Instead of removing the entire roof and reconstructing the wall to fit two roofs, a new single wall was constructed for the adjoining neighbour. (Gerosa, 1975, pp. 111 - 112; Mondada, 1975, pp. 218)

The current state of the building as concluded by research among residents of Corippo is provided in figure 5. Left: [3] Growth of layout in Corippo. [4] Routing in Corippo.

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Right:      5m 10m 20m

[5] Current state of the buildings. Page 12/13: [6] Roofs in Corippo, 2016. [7] Schwarzplan Corippo. [8] Human scale in Corippo.

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[6]

C-C' D-D'

B-B'

A-A'

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A-A'

B-B'

C-C'

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D-D'

barn



double, perpendicular to slope



single, 3-storey



double, roof perpendicular to slope, floor plan parallel to slope

 

single, 4-storey

  

double, roof and floor plan parallel to slope

  

mix, roof and floor plan perpendicular to slope

   [9]

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Architectural Characteristics Functions Forms and Types of Buildings The different household functions were divided vertically in the eighteenth century. Ground floor and attic were usually used for storage. The first floor was the central household space with hearth and the second floor was used as bedroom. Four influences played a role in the creation of the eighteenth century buildings we still see today: (Mondada, 1975; Amsler, 1959; Amsler, Herrmann, Lohrer, & Weber, 1959; Gerosa, 1975) •

People were smaller in the eighteenth century than today.

•

On average the angle of the mountain slope is 35 degrees. To minimise the use of materials, horizontal plots do not extend further than 6 meters into the valley.

•

The size of the floor plan was restricted by the materials used and the construction method; the granite walls and roofs are so heavy that supporting structures made from chestnut wood could only support small spans.

•

Stones were used to insulate the flooring. Opening a ceiling with a staircase would cause a loss of heat. Instead, most stairs were built on outer walls of buildings.

The types and routing of the buildings in Corippo are visualised in figures 9 and 10. More detailed drawings in figure 11 - 15.

Left: [9] Types in Corippo. Right: [10] Routing of types. Page 16 - 19: [11] Example of the type barn. [12] Example of the type double volume, perpendicular to slope. [13] Example of the type mixed volumes. Page 20 - 21 [14] Openings in Corippo. [15] Openings in Corippo.

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[11]

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[12]

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[13]

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[14]

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[15]

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[16]

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Architectural Characteristics Construction and Materials A variety of natural materials that is found in Ticino was used for the construction of the buildings. Granite and gneiss stones were used for pavement and walls. Slate for the roofs. Supporting roof structures were made from chestnut wood which was also the material used for doors and window sills. Chalk mortar was used to seal the stone walls. A combination of own research and the book Corripo, Bauaufnahme an der TH Stuttgart was used for this section on construction and materials. (Amsler, Herrmann, Lohrer, & Weber, 1959)

Left: [16] Possible wall to roof details in Corippo. Right: [17] Example of section with details from figure 16. [17]

[18]

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[18] Construction of a roof in Corippo.

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Architectural Characteristics Understanding Abstract Values A research by drawing was carried out to understand the values of architectural heritage of Corippo. Space can be defined by physical boundaries and corporeal presence (Merleau-Ponty, 2005). I believe the drawing can be a tool to define parts of the experience of space as inspired by the written work of Juhani Pallasmaa and in particular Gordon Cullen. The Concise Townscape (Cullen, 1961) was used as an inspirational source in defining abstract values. Concepts described by Gordon Cullen such as buildings as sculptures, seeing in detail and change of level were translated to initial design interventions. From the research it was concluded that the juxtaposition of diverse physical elements is essential for the experience of Corippo. The buildings in Corippo are closed at the moment. Drawings were made as explorations in showing ways of opening and diversifying the village.

Left and right: [19] Research by design in Corippo. Page 24 - 31 [20] - [26] Drawings made in Corippo

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Intermezzo Inspiration From Vernacular Architecture In an earlier stage of the process, the architecture of Corippo inspired designs in different directions. Reusing the characteristics of Corippo was explored in designs on different locations. Halfway into the process I changed my location to Corippo itself. Perhaps these earlier experiences can help future explorations in finding ways of reusing values of architectural heritage.

Left: [27] Early design drawing in a mountain in Bellinzona. Tectonic characteristics combined with dark and light contrasts inspired these initial ideas. Page 34 - 35: [28] Early design drawings inspired by tectonic characteristics of Corippo.

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Functional Goals For the Design in Corippo A set of functional goals was set for the design of combined living and working buildings in Corippo: •

Adding more space inside; by taking down inner walls and floors, higher and wider rooms are created inside the buildings.

•

Opening the structures; by removing wall elements the Verzasca valley on the south east is made more visible from inside the structures.

•

Connecting different structures horizontally and vertically; more rooms are added to single buildings creating direct routes between the inside spaces.

•

Enlarging the infrastructure; by creating a wider north road and more parking spaces people are forced to turn and park before entering the village square, which therefore can be closed for motor vehicles.

The interventions will create a village used by residents twenty-four-seven. At the same time, opportunities will be added by the design of the Ticino Institute of Architectural Heritage. More visitors means more chance to sell or display products from studios attached to the homes. Changes and creations were designed for visitors and residents that together create a lively village again.

Left: [29] Creating a house from an existing building. Right [30] Changing the structures into contemporary combined living and working buildings. Page 38-39: [31] Experiences from visits to the open air museum Insel Hombroich and the art project the Ecokathedraal influenced choices made for the design in Corippo. Variety, open layout and open structures were elements copied to the open air museum of Corippo.

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The Void as a Method Opening Corippo The work of Gordon Cullen was used as a reference for the first changes in the structures of Corippo. Voids will be made in Corippo to add new meanings and experiences to the existing structures. The work of Gordon Matta-Clark was used as an inspirational source in using the void as a method. The void is used to combine my functional goals on living in and visiting Corippo with my abstract goals on narrating the history of the built environment: •

Voids are created in the facades, facing the main artery. They guide the visitor into the exposition spaces or studios attached to the houses.

•

Voids are created that open the view to the valley and let more light in.

•

Reinforced concrete will be used on the inside of the buildings to strengthen the walls that are opened. In the void, the new and old structure are made visible.

•

In the exposition buildings, some of the already existing openings will be closed to ad diversity and contrasts with light and darkness.

•

Diversity is also added by different void details. There are three possible voids: 1. Open voids without windows that blur the difference between inside and outside. 2. Voids with windows in the walls of uninsulated exposition spaces. 3. Voids in the walls of insulated and heated spaces of the museum and houses.

•

Voids are only made in the existing structures as they narrate the history of the built environment. The form of new buildings is based on the specific typological history of the built environment of Corippo.

Left: [32] Voids that guide the visitor and narrate the structure of the building. Right [33] Changing the structures into exposition spaces. Page 38-39: [34] Early design research in creating voids in the built environment of Corippo.

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Abstracting as a Method Grassi and the Permanent Forms in Corippo Typo-morphological research was used for the goal of creating new buildings within the village. There are four empty plots in Corippo. Walls are left here as only remainders of buildings that used to exist there. The work of Giorgio Grassi was used as an inspirational resource for creating abstracted types on these ruined plots. Giorgio Grassiâ&#x20AC;&#x2122;s theoretical work differs in some aspects to the design in Corippo. He designed classical, archetypal monuments, stripped away from ambiguous meanings. The designs in Corippo are abstracted statues of common types in Corippo, adjusted to contemporary functional demands. A common ground between my interventions and designs by Grassi can be found in a respect for the existing forms and the use of abstraction as a design method. Abstraction of existing types is used in the design of Corippo as a middle ground between respecting the existing structures and taking distance from them, letting them keep their value as ruins in display.

Both pages: [35] Abstracted types, designed on the ruins of former houses.

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Design Overview

     

      

   

    





          

            

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           

           

Left: [36] Floor plan Corippo. Right: [37] Floor plan scheme Corippo. Next pages: [38] Physical model of the design.

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[39] Living and working building, level views.

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Floor 1,5 + 2 1B

Floor 2,5 + 3

[40] Living and working building, eye level and floor plans 1:100.

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Floor 1

Floor 0

[41] Living and working building, eye level and floor plans 1:100.

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[42] Living and working building, sections 1:50.

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[43] Details living and working building, 1:20.  1. Wall: 500 - 600mm existing stone wall, 200mm reinforced insulation concrete. 2. Window in new void: 12mm toughened glass + 10 mm cavity + 8mm float glass, larch timber frame. 3. Roof: 200 - 300mm existing stone roof, 200mm reinforced insulation concrete,

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existing timber frame left inside.  Door in new void: 4. glass in larch timber frame supported by 100mm insulation concrete frame. 5. Door in existing void: glass in larch timber frame supported by wooden lintel. 6. Window in existing void: 12mm toughened glass + 10 mm cavity + 8mm float glass, larch timber frame.

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[44] Details living and working building 1:20.  

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1. Wall: 500 - 600mm existing stone wall, 200mm reinforced insulation concrete. 2. Door in new void: glass in larch timber frame supported by 100mm insulation concrete frame. 3. Floor: 300mm reinforced concrete, heating concreted in. 4. Heating and services conduit. 5. Roof: 200 - 300mm existing stone roof, 200mm reinforced insulation concrete, existing timber frame left inside. 6. Existing supporting beams, concreted in. 7. Floor: 300mm reinforced concrete, heating  in.  concreted 8. Window in new void: 12mm toughened glass + 10 mm cavity + 8mm float glass, larch timber frame.

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[45] Living and working building, level views.

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Floor 3

Floor 2

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Floor 1

Floor 0

[46] Living and working building, floor plans 1:100.

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[47] Living and working building, sections 1:50.

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4 2B

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 [48] Details living and working building, 1:20 1. Sliding door: glass in larch timber frame. 2.Wall: 500mm reinforced untreated insulation

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concrete. 3. Window: 12mm toughened glass + 10 mm cavity + 8mm float glass, larch timber frame. 4. Supporting structural glazing vertical members.

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 [49] Details living and working building,1:20.

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1. Wall: 500mm reinforced untreated insulation concrete. 2. Door: glass in larch timber frame 3. Window: 12mm glass + 10 mm cavity + 8mm glass, larch timber frame. 4. Wall: 500 - 600mm existing stone wall, 200mm reinforced insulation concrete. 5.Floor: 300mm reinforced concrete, heating concreted in. 6. Heating and

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 [50] Details living and working building,1:20

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1. Roof: 500mm reinforced insulation concrete with a 2-component fine stopper sealant. 2. Sliding door: glass in larch timber frame. 3.Wall: 500mm reinforced untreated insulation concrete. 4. Heating and services conduit. 5. Floor: 300mm reinforced concrete, heating concreted in. 6. Window: 12mm toughened glass + 10 mm cavity + 8mm float glass, larch timber frame, supported by structural glazing vertical members.

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[51] Museum entrance building, level views.

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Floor 1

Floor 0

[52] Museum entrance building, floor plans 1:100 and eye level view.

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[53] Museum entrance building, sections 1:50.

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[54] Exposition building, level views.

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Floor 2

Floor 1

[54] Exposition building, eye level view and floor plans 1:100.

Floor 0

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[55] Exposition building, eye level views.

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[56] Exposition building, sections 1:50.

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Concluding Remarks The drawings in this appendix report are presented as an overview of the research by design; How can we use the characteristics of the rural architecture of Corippo to create a village in which people want to live and work, and that tourists want to visit? Values of existing architecture, as investigated by Cullen and Matta-Clark, are part of spaces defined by corporeal presence. My design is a personal answer in ways of reusing them. It started as an analytical research into the factors that created the built environment of Corippo. However, in the end my design changes more than this physical substance. I realise the paradox of my resources. I doubt the theories of Cullen, Matta-Clark and Grassi have been used before in a single design. However, although their questions and solutions in their respective fields of architecture are different, they all originated from ideals on reusing our architectural history. It is no coincidence that all three designers responded to functional, modernistic city constructions in the middle of the twentieth century. In the end, all three designers provided parts of my personal answers on dealing with the values of Corippo. This report provides answers and raises questions. There are two fields of interest for future research on the topics I discussed in this report: Firstly, this report focusses on reusing the values of the vernacular architecture of a village in Switzerland. My personal interest has always been wider: how to reuse the values of architectural heritage in other cities, other places? In my own city of Nijmegen for instance, I have recently witnessed how complete neighbourhoods were built as copies from houses built in the 1930â&#x20AC;&#x2122;s. Is that how we should reuse our architectural history? Secondly, this report only answers a small part of how to deal with a widespread urban development worldwide: people leaving smaller villages to live in bigger cities. I believe further research and designs are necessary if we want to preserve all elements of our architectural history. There are more questions that can be raised concerning this topic than I will ever be able to answer. In the end this report is only a starting point for my research in reusing values of architectural heritage. In future I hope to continue this personal journey in texts and designs.

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