Among Memory and Innovation. by Beatrice Rezzani

AMONG MEMORY AND INNOVATION

Beatrice Rezzani e Sabrina Schivalocchi Supervisor_ Prof. Oscar Eugenio Bellini Politecnico di Milano Course of study_ Architecture, Built Environment and Interiors Master Degree A.Y. 2019/2020

Renewal and enhancement of a former industrial site as a new cultural cluster for the future of the Piave Valley on the occasion of the Milan-Cortina Olympics games.

â&#x20AC;&#x153;Monuments need to sing. They need to generate a vocabulary, create a relationship, help create a civil society. Historical memory, in fact, is not an immobile fund capable of communicating anyway, one must know how to make it resurface, it must be continually retold. Also because, if the historical and cultural heritage does not enter into relationship with the people, declining different languages and speaking to everyone, it risks dying, unable to convey meaning and identity to a community. â&#x20AC;&#x17E;

P. ValĂŠry

Abstract

Keywords: _ post-industrial_ industrial archeology_ Piave _silos _vertical farm _museum _residential _Cortina

Abstract

This paper, starting from the current historical framework, analyzes the causes and effects of that process that allowed the transition from a Fordist to the postindustrial economic system and that led to the global phenomenon of industrial decommissioning and focuses on the possibility to intervene on the existing giving it new life. Particular attention was paid to the value of these industrial voids and to why it is essential to consider them not only from an aesthetic point of view but above all to see them as holders of social and cultural values. Reference was therefore made to the controversial expression â&#x20AC;&#x17E;industrial archeologyâ&#x20AC;&#x153; in reference to the ability of these artifacts to be evidence of important changes in human activities over time and the related transformations to which the territory and social life have been subjected. A taxonomy of important examples of reconversion and recovery of abandoned industrial areas in Italy and in the world was made below. Then moving on to analyze the case study in depth, trying to make sure that the new project could preserve testimonies historical and identity of the artifact but at the same time think about the future, becoming the creator of new values. From these considerations and studies we came to the definition of a project that defines itself as a self-sufficient city, located in the Dolomitic landscape. The reuse of the cement factory, studied in a planning perspective that looks to the future, is a work of redevelopment and re-appropriation of a site of industrial archaeology, converted to a factory of life, in all its facets. The project has been studied through various scales and various levels of detail, also considering the logistic aspects, embracing a gradual design over time in the panorama of the next Olympics of Curtain 2026. The micro-city project hosts different functions in the existing spaces: a Vertical Farm, a coworking space and Fab Lab, an events space, a museum and several bistros. In the new building there is a spa and a luxury hostel. The rooms are connected to each other through the original logic of the ancient production process that passed through the cement factory.

Site visits Analysis of the site

START

Data collection

Index

Study of the stakeholders involved

Analysis of the case studies

FOCUS ON THE CEMENT FACTORY

History of the cement factory

Index Introduction 2 Industrial Architecture 4 Tassonomy Case studies analyzed 12 The Belluno Valley analysis 21 The former cement factory of Castellavazzo 33 Mui.ri a chanche of memory 47 The Vertical farm 49 The project proposal 55

118 120 122

Rezzani F., Dolomites, Belluno, site visit 25th September 2020

Index

Notes Bibliography Final thanks

Chapter 1

Introduction

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

For about ten years the landscape has obtained a central place in the discourse concerning cultural heritage and consequently also the industrial heritage with the whole system that is created around the factory, such as workers‘ houses, road and railway networks . Large companies in particular shape the landscape and upset its balance, sometimes even creating new urban agglomerations in rural areas or radically transforming already urbanized areas. Their great contribution is visible not only during their activity but above all when all those new interactions and activities cease, leaving empty volumes in memory of our industrial past. As a result of the recognition of the great potential of these artifacts, the theme of the regeneration of industrial heritage has become a topic of discussion in numerous conferences involving many universities, the Order of Architects and Engineers and entities such as AIPAI (Italian Association for Industrial Archaeological Heritage). We personally came into contact with this reality of recovery during some courses and laboratories of the last years of university and we realized how many similar examples we recognized by looking at the Milanese context with which we are in daily contact, admired by the new spirit that these abandoned industries had acquired. Analyzing our case study, we tried to focus on considering this heritage as a tool for the reconstruction of social identity and a means to redefine the economic and cultural context and not only for its aesthetic and architectural value per se. Consequently, all its characteristics (cultural, historical, technological and environmental) must be preserved and enhanced to bring it to new life, respecting the past and thinking about the future. As Gianluca D ’Incà Levis argues in the Dolomiti Contemporanee intervention : “inessentiality of the budget, poetic concreteness, the historical importance of the site, the size of the volumes and their architectural value are not sufficient to motivate its recovery. Instead, its real potential counts towards the context in which the complex under examination is inserted, as the new use must respond to its needs and implement them.” (1) The first part deals with the culture of the project, the historical process that led to the development of industrialization and going into detail describing the characteristics of the working environment, in particular focusing on industrial villages and architecture. What caused the arrest of this process and the consequent decommissioning of industrial areas is then analyzed, considering any potential design potential and the value attributed to it worldwide and specifically at the Italian level. The reasons for the investigation in accordance with the theme came from our interest in the case of the former Cementificio di Castellavazzo (BL). The site, now completely abandoned, has been the result of several researches and studies. After having come to consonance with it during one of the Design Laboratories we decided to venture into the hypothesis of reactivation of this fascinating and suggestive industrial archaeology find.

Introduction

The item of the Industrial Architectural Heritage

Chapter 2

Industrial Architecture

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

To best deal with the redevelopment and enhancement of disused industrial areas, it is necessary to know the history of our industrial past and present, also looking at the traces left on the territory.Following the advent of the machine age and the consequent transition to processes increasingly independent of human labor, there was a phenomenon of mass unemployment of the peasant populations, who were forced to look for new jobs in the new urban settlements and industrial centers, real attractions thanks to the greater services offered. The advent of industry can in fact be considered the cause of the so-called urban phenomenon. Its impact was so strong on the birth and development of the city that it could be argued that its creation depends directly on the industries themselves. Over time, agricultural activities were gradually supplanted in favor of more and more investments in industrial activities, which seemed to be safer sources of income. The increase in production and the consequent greater wealth increased the demand for consumer goods, creating in turn new industries and so on. The establishment of new industries did not only correspond to the formation of new urban densities but also a strong increase in transport systems, a further reason for attraction. In most cases, industrial settlements developed in areas rich in raw materials and energy sources, exploiting the presence of rivers for the transport of goods and for the disposal of waste. At the territorial level, two main contexts can be distinguished, urban and rural. One of the substantial differences that distinguish the first from the second is the proximity to large urban centers with the consequent greater availability of manpower and the ease and speed of transport from the production environment to the end user. Even the raw materials they need are of great importance, supplied by other industries or directly from nature, as in the case of factories in an alpine or rural environment. In some cases, it is precisely the creation and localization of new production plants in areas that are difficult to reach or isolated that new communities and new urban centers of different sizes are created. For this reason, in the first place when we have passed from a Fordist economic system to a post-industrial one and when a particular raw material runs out, these new centers are those most at risk of depopulation if new driving activities, capable of supporting the economy that was previously based on industrial production, are not found. The relationship between the industry fields and the urban condition is tofĂŹday definitly changed even if the two elements today are not complitly joint up togather. The situation is still changed.

Industruial Architecture

Industry and territory . The differences between rural and urban areas.

We tend to speak of Industrial Architecture only after the last twenty years of the eighteenth century, since before this period the production activities were mainly of an artisanal nature, with the exception of particular constructions such as furnaces, mills or factories. With the development of heavy industry during the nineteenth century, the typical large industrial warehouses in iron and single-storey developed, illuminated by skylights arranged on pitched roofs. Usually, ennobled with or without coverings, they are characterized by rectangular or square plants to facilitate the use of prefabricated modules or for reasons due to production within the factory itself. This is in fact the first image that comes to mind when thinking of industrial architecture, the typical industrial warehouse, which is actually the most widespread building type in Italy, which has gone on to outline a common language for the most varied landscapes, to follow functional and quantities. There are obviously some exceptions, for example the works of Gino Valle and Tobia Scarpa if you think of the Italian scene. Before the 20th century, however, even in cases of prestigious buildings, their sole purpose was purely functional, aimed at produ-

cing in the simplest and most efficient way possible and in the case of subsequent modifications it was necessary to intervene with the additio f new buildings, often identical to the initial one. It was only in the early decades of the 20th century, thanks to examples such as Peter Berhens in his factory for the AEG in Berlin, that industrial architecture began to be thought of with an added artistic value, reaching its maximum expression with Walter Gropius and Alfred in the workshops Fagus of 1914. With these examples, the technical-functional purpose merges with the architectural and aesthetic value and industrial architecture becomes part of modern civil architecture. Other illustrious examples of architects and engineers who dedicated themselves to industrial architecture were Matté-Trucco (Lingotto), Nervi, Aalto and Brinkmann.As Pagano argues, „the standard and mass production take us back to the first great traditional law of aesthetics: the effectiveness of repetition and rhythm“, which, added to the desire for simplicity driven by wanting to remove the most evident social differences, to those pure rhythms that represent one of the most important and beautiful aesthetic foundations of modern architecture, and it was by looking at modern industrial life that these ideals of formal simplicity were born. The founding prin-

ciples underlying industrial architecture concern its functional and social aspect; the first corresponds to a great flexibility in the realization, so as not to make production difficult and facilitate changes that arise with the growth of the company, while as regards the social sphere, all those support environments to the factory itself, such as homes, must be provided and places of service and leisure for workers. It is in the industrial city that industrial architecture manifests itself in a complete way, creating an organism that is at times emancipated urbanistically and with its own independent life. (2) In fact, Charles Fourier‘s theories of utopian socialism and Robert Owen‘s experiments with the ideal nucleus of village-factory date back to the first decades of the nin teenth century, in which for the first time life in the workers‘ village also assumes a community vision, foreseeing the socialization between the various families. With the creation of the so-called „workers‘ villages“ we also see an attempt to integrate working life with community life. Two significant examples in the Italian territory are represented by the Leumann Village in Collegno (Turin) and the village of Crespi d’Adda (Bergamo). The latter in particular, given its recognized importance, was included in the UNESCO World Heritage List in 1995.

The consistent changements of the Industrial architecture.

Industruial Architecture

Historical image of the ex cement factory of Castellavazzo after the expantion in 1943

In recent decades, both internationally and in Italy, the phenomenon of the decommissioning of industrial buildings has become increasingly important with repercussions on a social, urban and economic level, opening the debate on the possibility of a possible reuse.The term industrial decommissioning generally refers to the partial or total decommissioning process of entire areas, agglomerations or individual buildings intended for production activities. (3) There are numerous expressions that are used to indicate abandoned areas and industrial areas with the buildings attached to them, the most common are: „weak areas“, „underutilized areas“, „interstitial areas“, „urban voids“, or even „ liberated places ”,“ resource containers ”,“ malleable areas ”referring to a possible transformation and therefore with an meaning. Internationally, the term „brownfields“ is used, defined by CLARINET, a working group founded by the European Commission, as: „sites that 1) have been affected by previous uses of the site and surrounding land, 2) are abandoned or underused , 3) they have real or perceived contamination problems, 4) they are mainly in developed urban areas, 5) they require intervention to bring it to beneficial use ”. In the United States, the Environmental Protection Agency (EPA) defines brownfields as „real estate, the expansion, re-development or re-use of what could be complicated by the actual or potential presence of a hazardous substance, pollutant or contaminant „. However, the lack of an accurate definition, even from a legal point of view, constitutes a major brake on census and monitoring operations. The causes that lead to the disposal can be of various kinds, from pollution produced by the factory to the scarcity of raw materials or energy sources. Conven-

tionally, the beginning of the phenomenon tends to coincide with the energy crisis of 1973, when the Arab countries, engaged in the Yom Kippur war, blocked their images of oil towards Europe and the United States, for which oil was one of the main energy sources, sending the western production system into crisis. As a large-scale consequence, this phenomenon, in addition to causing a serious economic crisis, has caused the decline of some traditional production sectors and the transition from a Fordist industrial system to a post-industrial society, in which the tertiary sector is becoming increasingly important. (4) Among the major changes that have occurred in the transition from a Fordist to a post-Fordist or post-industrial economic system we can distinguish several categories: one concerning the economy and the working environment, one relating to demography and family structures and the last one that includes institutions and welfare systems. In turn these three categories influence each other, ifact specific capitalist welfare regimes correspond, for example, to specific territorial and dynamic structures: an advanced phase of industrial urbanization with relatively separate working districts and shopping centers that favor mass consumption, and the intensification of a culture that revolves around the world of the automobile, although centered on a system of commuting to work. This is the case in North America and Europe with its peripheries for the working classes. (5) In our case we analyze in particular the changes connected to the production environment. In this period of great changes and characterized by a heavy economic crisis, large industrialists decide to relocate their factories to poorer areas in view of lower costs for labor and for greater regulatory simplicity. Consequently more and more factories are abandoned leaving only a skeleton in memory of the previous activity. As Gianluca Giovanelli argues, „The phenomenon of

decommissioning and the continuous adaptation and transformation of urban space belong to that physiological process that is inherent in the evolution of uses and the shape of the city itself“ .(6) By analyzing different cases of abandoned factories the causes underlying the interruption of their activity can be cataloged and can be essentially grouped into economic-sectorial, technological, environmental and urban factors. Among the former we can recognize the crisis in the industrial sector in favor of the tertiary sector, the great competition at local or global level and the lack of capacity to respond to market demand. On the technological level, on the other hand, the gap between technical progress and the natural aging of the plant affects, including the machinery or the structure itself. The exhaustion of raw materials, on the other hand, is part of the environmental factors, as it is linked to the location of the factory, such as its impact on the level of pollution of the site and surrounding areas. Urban planning factors, on the other hand, include, for example, the urban transformations caused by demographic growth and a subsequent relocation of industrial areas from urban areas to peripheral areas to avoid excessive growth in population density and congestion.(7) All these factors lead to the abandonment of all those areas. productive, creating new „voids“ and as Gregotti explains the theme of the transformation of the existing becomes the main theme of architecture and urban planning, the theme of „building in the built“.(8) As was recently observed by Renato Covino, these abandoned areas „take on value and charm precisely when they lose their function [...] the seduction arises from this of the abandoned „.(9)

The disposal process and the recycle opportunities. of former industrial architecture along the last two centuries.

Industruial Architecture

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

Industruial Architecture

Archaeological-industrial finds such as factories, mines and related archives, have always suffered from a marginal condition, especially in Italy, and only recently are they receiving more attention from a wider public thanks to the extension of the term of good cultural are not what was commonly defined as „beautiful“, but also what was considered as a testimony and historical document of human activities. In Italy, the first interests in the new discipline of industrial archeology were born around 1970, only twenty years after Great Britain, leading to the birth of the Italian Society for Industrial Archeology, part of the Center for Documentation and Industrial Archaeological Research. , which had as its purpose the census of cultural heritage and industrial heritage, which later became in 1997 AIPAI (Italian Association for Industrial Archaeological Heritage). Even from a regulatory point of view, Industrial Archeology was a new discipline, in fact in the Consolidated Text of 1999 reference is made to laws 1089/39 and 1497/39 regarding the protection of works of art and systems of landscaped buildings, particular references to abandoned industrial areas. Subsequently, with the Galasso Law, attention was paid not only to the cultural asset itself but also to the context, making it also an object of protection and enhancement. (10) In 2006, the Environmental Code, Legislative Decree no. 152 of 2006, in art. 240, defined a disused site as „a site where production activities have ceased“. The site can then be divided into „not contaminated“, „contaminated“ and „potentially contaminated“ on the basis of the threshold concentration values of contamination (CSC) and risk (CSR) but only in 2008 with the legislative decree n. 62 of 26 March, industrial heritage assets are fully considered as cultural assets. Nowadays the industrial lrevycling policy is still under discussion. n synthesis, the most recent experiences of recovery and redevelopment of defunctionalized areas, straits of isolated artifacts rather than extended areas, show the widespread recognition of the buildings and abandoned produ tion areas as an opportunity for the triggering of processes of ecological requalification and regeneration of natural resources in urban environment. Actually architects and municipalituedìs had worked togather throught a perfect synergy between effective reusal of the forgotten sites by the citizien. In the followings pages some of these exempes are displayed throght a crticial analysis. The approach we adopt is result of the criterias learned throught these case studies. adaptive reuse should be the best route to take for the recovery of buildings disused industrialists. In the re-functionalization of an industrial building we highlight countless possibilities of conversion of the destination of use ITo further support the reconversion of abandoned areas, the PGT of

4 February 2011, 30 years after the 1980 PRG, has finally highlighted the desire to recover and re-allocate the existing one to new urban functions rather than occupy more land, mainly using disused railway yards. The risk that these architectures and abandoned areas run is that the past they bear witness to is remembered only through photographic or oral documentation. This is due to the lack of conservation of technical drawings and archives, which trusted in the temporary nature of most industrial buildings, the typical warehouses, which used perishable materials such as metals, also subject to corrosion, as the main material to perform the function. structural, precisely because they were destined to last based on their short functionality of use. As reliable estimates inform us, in fact, every year in Italy alone, approximately 150,000 cubic meters of industrial buildings are dismantled and 300,000 tons of equipment scrapped. (11) Obviously it is inevitable that part of these buildings will be demolished but part of these can be considered cultural property and consequently should be preserved and enhanced. Although industrial buildings do not have the same laws and regulations that artistic and literary goods enjoy, extending the concept of cultural property to industrial ones was very important. This has greatly depended on the growing development of technology and science, which has given more and more importance to the industrial world, considering it the culture of the contemporary world, while previously the greater identification of culture with artistic, literary and philosophical activities has always been evident.Only recently, as proof of the interest aroused by these abandoned areas and their possible recovery, the AIPAI organized the General States of Industrial Heritage in 2018 and 2019, opening a new phase in interventions in this area. The purpose of this association is to achieve a high level of collaboration between public and private entities, to catalog, preserve and enhance the industrial heritage, archives, machinery and all other testimonies of industrial civilization. It has always enjoyed various disciplinary skills in order to have a deeper knowledge of the property in question and has hundreds of active members throughout the country, collaborating with universities, research centers, foundations, museums and state bodies.

State of the art in Italy. The current legislation about the reuse of archeological industrial architecture.

The importance to work for the protection and upgrading of the industrial architecture landscape and the collective memory. After a phase of international management that lasted from the 1970s to the 2000s, the theme of industrial archeology reached the most mature awareness and cultural richness of the heritage paradigm, gaining a niche in international scientific congresses and cultural organizations such as UNESCO and ICOMOS, opening interesting debates and exploring new concrete applications. (12) The object of study of industrial archeology is industrial heritage, a multidisciplinary term that concerns all the evidence of human industrial activities, in its evolutions and transformations, which have had an impact on the environment, on the city and consequently on society itself. The discipline is therefore immediately characterized by a multidisciplinary approach. It is a method of investigation of the history of man and of what he has built, of the historical, social and territorial identity of past communities starting from the simple everyday object or from the single building. The term „Industrial Archeology“ in Italy is absorbed later than the AngloSaxon experience.(13) In the wake of the British initiatives, the first conference held in Milan relating to the theme of Italian

Industrial Archeology dates back to 1978, the year of the foundation of the “Italian Association of Industrial Archeology”, organized into regional sections. Initially, according to the Italian public, the discipline was too articulated, complex, and involved multiple themes. The first objective of the group of Milanese scholars formed by Eugenio Battisti was to simplify and standardize the multifaceted idea of Industrial Archeology concretely “coinciding with direct experiences of contemporary life”. (14) Consequently, this discipline has found itself metabolized within the cultural experience of our country, serving as a pretext to put communities distant from each other and from their local roots into dialogue. In other cases, Industrial Archeology has become a pretext that has allowed the conservation of countless artifacts abandoned on Italian territory, former Satanic factories (15) so hated in the past, but now illuminated by a new light. Often, the current inhabitants of areas classified as industrial archeology come from completely different social realities. Immigration has altered traditions resulting in a solution of continuity in collective memory. The collective memory (16), which persists through the experience of the architectural artefact, is one of the engines that guarantees the conservation and possible reuse of Industrial Archeology. However, not everything that bears witness to the past has the right to be preserved; on the contrary, a cho-

sen method must be implemented. The construction tradition, the evolution of any artistic or architectural current, is the result of a selection of the best alternative among the various possible opportunities presented at the time of drafting the project (17). The selection is made by man himself, who on the other hand is the one who makes history through his choices: it has man as its protagonist, not the objects he made. Precisely because they are the result of the work and experience of Homo Faber (18), the artifacts of industrial architecture should not be examined as a container, but represent the content. It is therefore necessary to preserve the artifacts relating to the tradition of industrial archeology, as material evidence of facts related to human history. They must possibly be preserved in consistency and features at the time of their disposal. They must not only be passive skeletons, but as Battisti (14) states several times, they must be inserted again into current activities. The Industrial Heritage does not include only the material manifestations, but includes the social sphere within which a historical industrial artifact is inserted. The recovery of memory can take place through the reconstruction of experiences and people linked to the place, as an identifying element of a company.

Industrial Archeology as Heritage Good.

Industruial Architecture

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

Rezzani B., Outdoor view of the former cement factory Castellavazzo, Belluno, site visit 17th July 2020

lar, in fact, the landscape takes on the leading role in the modern world, exorcising its monsters, urbanism and its mechanization (21). In the common imagination, the advent of indus ry and labor was received with fear, accepted with difficulty in any social class. This new progress was gradually welcomed thanks to the commitment of entrepreneurs who proposed enlightened models, creating new workers‘ villages and using a progressive government, able to associate the presence of nature, work and land management (22). The image of the factory, imposing and dynamic, immersed in the stasis of the natural landscape, had overturned the aesthetic concept of the sublime at first associated with storm scenes, turbulent landscapes and the unleashing of the forces of nature.(23) Thanks also to the charm of modernity, the electric city, industrial objects, speed and the new power of creation, efficiency and imagination, starting from 1900 it was the noisy industry that aroused a renewed interest that went to outclass the primatist ideology of unspoiled nature so vivid earlier. This is a concept that can be better understood in reference to two settlements

that can be conceived as examples of perfect integration between the architecture of the „homo Faber“ and the ecosystem, allowing us to understand the link between the architectural design of the new factory at the inside a virgin environment which, until then, had only been undermined by agricultural tradition. The Crespi d’Adda model, which appears to be the most illustrious legacy of the tradition of the Italian workers‘ villages. It appears to have a predominance over the region both for its strategic and symbolic position, stretching out along the Adda river, over which it ruled. Another type of relationship between the factory, so to speak, and the landscape comes from the legacy of the ENI Village near Borca di Cadore, not far from the Belluno area. Unlike in the Crespi case, mountains and architecture blend together, creating a dialogue that is no less effective and takes on a discreet charm. The reciprocal exchange between architecture and landscape is not univocal or constant: according to Charles Reffresron there is no single aesthetic of the landscape in the various moments of history, therefore it is legitimate to attribute to the industrial building an aesthetic value, and therefore the qualificatio

The relationship between the aesthetics of the natural landscape and a post-industrial architectural artifact is a complex and current theme, which however arises as a result of the transformations imposed by the transformations of the 18th century. (19) The industrial revolution first of all upset the lifesty of society, and also the way of conceiving its „landscape“. In the past, it had a reduced meaning, linked only to its representation. In 1680 it was perceived as a “pictorial or graphic representation of a stretch of countryside in which nature plays the main role and in which figures and constructions are accessory. In the nineteenth century the landscape in the whims of the romantics and in the paintings of Turner, or Friedrich, in which the only protagonist is the sublime, the geist (20) of invincible and indomitable nature. About 1860, the English critic John Ruskin, in a series of correspondences, states that there is a morphology of presuppositions in landscape art, they are the foundation of every aesthetic discovery. He argues that the truth of the earth is the faithful representation of the forms of the soil, which he describes as sublime composition. According to the scho-

Industruial Architecture

Industry and landscape

Building reuse is one of the profound characteristics of Italian construction, the DNA in which we all recognize ourselves starting from the first cities built in our territory. Recovering, rebuilding, recycling, re-adapting, disassembling and reassembling are urban practices, linked to a deep and popular intelligence that does not consume resources but that rethinks them with curiosity and love. It is a continuous life cycle in which there is no distinction between inside and outside, public and private, monumental and minute. Thanks to this archaic and so strongly contemporary practice, Italian architecture has a potential that can be exported to the world. Like a good homemade dish whose remains, the next day, become the basis for a new, unexpected composition. Luca Molinari Compatible use or reuse is one of the most emblematic aspects of contemporary architectural conservation. As Calogero Bellanca explains in the „IV International Conference on Documentation, Conservation and Recovery of Architectural Heritage and Landscape Protection“(25), the term „Reuse“ arises from the union of the terms restoration and compatible use, in the face of increasingly unscrupulous architectural achievements. Reuse differs from restoration starting from the initial phase of study of the architectural organism, in the second case much more in-depth and which provides at the base a greater historical-critical preparation and technical and technological skills. The recent discussions regarding the theme of reuse have arisen due to the continuous mutations of the physical and social fabric, in particular of the urban context, starting not only to think of the abandoned areas previously described as a new opportunity but also as objects of interventions necessary for one conscious and sustainable development of the city.(12) In addition, an architecture that deals with the recovery of old artifacts must think of a sustainable and compatible approach from the first construction phase to the final phase of use and maintenance, using materials and techniques suitable for the purpose.

The main adopted reuse strategies in architecture heritage. Disused industrial buildings and the areas in which they are located live in a continuous tension between conditions of permanence and modification, of degradation and possible recovery, of marginalization and integration (26). This is because we wonder about the most appropriate type of intervention and the most appropriate tools and methods to do it and given the vastness of the possible articulations, this topic involves not only architecture but also technology, urban planning, economic sciences and social, energy, in or-

role as a preliminary intervention to a subsequent reuse or urban transformation project, as it provides for the safety of the areas in the face of possible contamination. At the same time, if you think of the high costs for the restoration and reuse of these brownfields, one must also think of the important return in terms of public benefit. The great “social” and therefore public cost of the reclamation therefore requires that the public benefit that must derive from it be maximized, thinking of the best possible transformation that the new intervention could bring to the surrounding area. (28) In particular, referring to the abandoned factories, Marco Dezzi Bardeschi argues that it is necessary “to add with caution but not to subtract, if possible, matter from the context, respecting the stratifications, complexity, heterogeneity of the existing building” (29). Nicola Gisonda also shares the same opinion, according to whom a new addition, without being disruptive, can help to recognize the restored object, acting as a mediation between the past and the new intended use.(30) The risk involved in restoration interventions is often that of embalming an artifact to preserve its signs and testimony, but it is possible to maintain a dialogue with the past even without repeating exactly what no longer exists, as the project shows recovery of the Officine del Volo in Milan by Nicola Gisonda.

Industruial Architecture

Problems related to these brown fields (reclamation, and social cost

der to sustainable urban development and integrated planning. According to Antonello Negri, there are three different types of intervention for disused industrial buildings depending on their value and future possibilities looking at the context in which they are inserted. The first solution, the most drastic, involves the total demolition of the building, leaving the area empty for a new construction or for environmental redevelopment. The second option retains the most significant parts without however denying the inclusion of new functions. The last involves the conservation of the building in its entirety, making it part of the surrounding landscape and becoming a „living“ document of its industrial past. (25) However, there are other subcategories of intervention, if we consider the case of recovery. As Donnarumma 7 argues, there are three different types of recovery: that which has as its purpose the restoration of the original productive functions through adaptation works, in the event that the market allows their reactivation; recovery aimed at productive reconversion and therefore the insertion of new production functions other than the original ones; finally, the recovery for functional conversion, with the inclusion of new functions. In the case studied by us, that is, abandoned industrial buildings, there are different potentials that can benefit a possible recovery. These characteristics derive primarily from their structural type, able to withstand loads and dynamic actions of great importance, from their volume, generally compact and therefore with a low ratio between the dispersing surface and the volume itself and from constants such as the considerable height of the environments internal, which allow a good adaptability and flexibility. There are numerous benefits that derive from the knowledge of these potentials of the industrial heritage, such as the reduction of soil consumption and the saving of the resources necessary for new constructions, the possibility of social and economic improvement thanks to the inclusion of new uses. and the regeneration and reclamation of the areas belonging to the former factories for new uses. The latter in particular is necessary in the face of the footprint left by industrial activities, which from the beginning have exploited the territory without particular precautions and attention, far from being sustainable and compatible, causing considerable environmental damage to numerous areas of our country. As Amalia Martelli (27) explains, reclamation is not the only difficulty faced in the recovery process, but it is accompanied by the compatibility of the new functions with the will of the community and the symbolic value of the building. However, remediation is considered one of those major problems that can affect reuse, mainly due to the large costs and timing required. In Italy, the intervention of the State has been seen in economically and managerially supporting these complex reclamation operations, demonstrating the public importance of these interventions. Furthermore, this also explains how these operations could hardly be carried out without great economic resources. Proof of the importance of these clean-up and restoration actions is their

The Reuse in architectural Industriala heritage

Rezzani B., Outdoor view of the former cement factory Castellavazzo, Belluno, site visit 17th July 2020

Chapter 3

Taxonomy of case studies

Taxonomy of case studies analyzed

Rezzani B., Outdoor view of the former cement factory Castellavazzo, Belluno, site visit 17th July 2020

Taxonomy of case studies

In order to better understand the intervation possibilities on the reusal technicques of an existeĂŹing architecture , we have studied twelve porjects relatide the undustrial reusal. Althought we went throught this critical analysis using two main criterias. Those criterias are temporal and method approaches which have ben used for the projectual purpose. These projects have all been realized along the last century with no country limits; moreover all of that are based on different strategies fof a former industrial site which had to stop the goods production, but wuch is still alive deven if dismesed before he project attuation. The critical view view we adopted to get into these case studies has allowed us to have a general picture of the different types of enhancement and redevelopment of former industrial sites now disused. A more in-depth analysis was then made, cataloging them by type of intervention, context in which they are found and the stakeholders who were involved in the project to understand what elements they had in common with our case study and then decide the type of approach to be used

Taxonomy of case studies 14

Case Studies in the worldwide.

Teatro Armani in Milan, Italy. (picture 1)

Teatro Armani was built by the famous Japanese architect Tadao Ando in 2000. The project is a redevelopment of a section of the former Nestlé factory, ( an important Italian alimentary firm) which gave birth to a new space for drama performances of considerable size. The Japanese designer was really involved into the mazing composition of the former industry, located into the south west side of Milan, immidiatly in front the twinning and reborn complex of the Armani Silos. With this double renovation, throught a matching of their creativity, Giorgio Armani and Tadao Ando have generated a mainstream headquarter for the Milanese dreaming generation. The theatre itself is preceded by a foyer covered by a so-called sail-shaped roof, capable of filtering light inside through studied holes. The bigger hall is able to accommodate over than six hundred people, and often used by the designer as a location for fashion shows – it underlights the polifuctional soul of this project. Other service spaces such as dressing rooms, cafesand restaurant crown the proje ct entirely made of hight tech pre casted concrete. The Hannebique Silos in Genoa, Italy. (Picture 2) The Hennebique silos complex is located in Genoa. It was built between 1899 and 1901 by the company of the same name, which set up a real cement production machine near the city port. The complex is today considered a site of historical and artistic interest, and core of many proposals for urban regeneration. Given the complexity and size of the former factory, located in the heart of the port city, any type of intervention would have inevitable consequences even on an urban scale. The superintendence has recently outlined guidelines for the conservation of the building, which can, however, be partially expanded and built.

The Fabbrica del Vapore is the result of the conversion and regeneration programme, of the spaces of the former industry of streetcars and rail vehicles Carminati and Toselli, wich gave the name of „Fabbrica del Vapore“.The former industrial site has been transformed into an an exhibition space and an artistial hub dedicated to creative activities managed by the Milaese population, with the authority’s support . The complex of buildings hosts since 2011- occasional workshops offered by artists and designers, a theatre, a cinema, cafes and a larfe exhibition space. Here, contemporary art, design and artistic performances are regularly held.

Taxonomy of case studies

Fabbrica Del Vapore In Milan, Italy. (Picture 3)

Zisa Cultural Sites In Palermo. Italy. (Picture 4)

The Sicilian Shipyards are a real citadel of culture of the city of Palermo. After the recovery and renovation programme of the spaces held in the early in the 90s, the site was forgot for many years due to the neglected behaviour of the municipal administration. Despite of that dark timsn today the area is used for exhibitions, theatrical performances, concerts, cine forums and cultural events of all kinds. Among its guests, the former shipyard hosts also different schools: the Institut Français de Palerme, the German cultural centre Goethe-Institut, the Istituto Gramsci Siciliano, its library and the Palermo headquarters of the National School of Cinema, the Centro Sperimentale di Cinematografia. Studing in such a beautiful and suggestive location is an inestimable occasion for learning the respect and richness that the city of the past had left to the our contemporary. Hamburger Banhof Museum In Berlin, Germany. (Picture 5) After a long period of reconstruction led by architect Josef Paul Kleihues, the Hamburger Bahnhof, one of the main stations in the heart of Berlin, reopened on November 2, 1996 as a museum of contemporary art, the „Museum für Gegenwart“. It has always hosted the works of the Nationalgalerie and the Marx Collection. The former shipping warehouses, located behind the main building, have been renovated by the architectural firm Kuehn Malvezzi and connected to the historical building through a passage. Today the Hamburger Bahnhof division of the Nationalgalerie is one of the largest and most significant public collections of contemporary art in the world.

The OGR - Officine Grandi Riparazioni, a majestic late nineteenth-century industrial complex in the heart of Turin, have been the protagonists of the growth of the city for about a century. Following its closure in the early 90s, its abandonment and degradation led to its demolition, which was later averted. In 2013, the CRT Foundation purchased the H-shaped building of about 20,000 square meters and 16 m high, the offices and outdoor areas and, through the company OGR-CRT, started the redevelopment. the „cathedral“ of Turin‘s industrial history redeveloped and returned to the city.

Taxonomy of case studies

Grandi Officine Riiparazioni in Turin, Italy. (Picture 6)

Eni Village in Borca di Cadore, Italy. (Picture 7)

Th Enie village and was built between the late ‚50s and early ‚60s, thanks to the political and entrepreneurial skills of Enrico Mattei. The human cluster literally covers an entire side of the mountain, in the core of the Dolomiti Natural Park. It is a large complex, equipped with a plant articulateon different structures, and built, according to innovative criteria, in a large forest at the foot of Mount Antelao. It’s benn a great exemple of the sublime ability of the man to adopt its own necessities along with an landscaping and environmental respect and sensibility. The project was leade by Edoardo Gellner, an Italian architect. After the Mattei’s empire had falle the huge holistic colony started its slow decline. Since 2000, the village is owned by the company Minoter, that began a collaboration with the independent association Dolomiti Contemporane, based on a project of cultural and functional enhancement of the settlement with Progettoborca. Once again art is an expedient, an occasion to legitimate the reuse and spread of a dismissed architecture. The New Casso Space In Belluno, Italy. (Picture 8) The project consist into an eqiovalent space is the Experimental center for contemporary mountain culture, a territorial engine that operates, through the visual arts and cultural regeneration, to the production of innovative images, aimed at the reactivation of exceptional and inert sites, the space of casso is extraordinarily emblematic: never closed was more terrible than that of vajont. The body of the building , originally known as an elementary school has been completely restored Thank to the architect Valentino Stella, and transformed into a public building, which confronts, proportioning itself significant

Former locomotive factory dating back to the nineteenth century, the structure, is articulated around a central courtyard and occupies an area of 13,500 square meters. After the decommissioning of the structure, some parts of the building were used as a technology museum. In 1981 the structure was occupied by a group of artists, teachers, architects, students and social workers, with the aim of creating a cultural space where art, politics and social integration could coexist. Today it is managed by the Umbrella company.

Taxonomy of case studies

Wuk | Casa Della Cultura, Vienna. (Picture 9)

Sass Muss in Sospirolo, Italy. Picture 10 The Sass Muss site, in Veneto, was intended for the production of ammonia and its activity continued from 1924 to 1964. Sass Muss is the site-origin of the „Dolomiti Contemporanee“ project, the first complex reactivated and recovered through a model in where culture and art become activating elements, concrete force for the recovery of the territory. The site was used between June 2011 and June 2012 and inaugurated the season of „artistic migrations“, creating offices, a bar-restaurant, a residence for artists and exhibition spaces.

10 Ufafabrik in Berlin, Germany. (Picture 11) The UFA-Film Copy Center was a space for the recording of motion pictures with an area of approximately 18,000 square meters. In the early 1980s, UFAFABRIK was founded as a place for environmental education and research, cultural promotion and social solidarity. The project is based on the integration of different functions such as living, working, creating and creating culture, with the aim of triggering a virtuous process of sustainable development attentive to local resources

. 11

The Cable Factory was built in three phases between 1939 and 1954 away from the city center. At the time of its construction it was one of the largest buildings in the country. Around the 1950s it lost its productive function, which was transferred elsewhere. The spaces were thus rented by artists and other activities as working spaces. Today the Cable Factory is Finland‘s largest cultural center. It houses three museums inside, ten galleries, dance theaters. Art schools, spaces for artists, musical groups and companies of various kinds. In the short term, unique spaces are also planned for rent for concerts, exhibitions, festivals and fairs.

Taxonomy of case studies

Kaapeli Cable Factory in Helsinki, Finland. (PICTURE 12)

Dolomiti Contemporanee The dolomiti contemporanee (dc) project was born in 2011. The DC initiative provides for the identification of closed spaces, such as abandoned factories, industrial archeology complexes. Forgotten, impacting, â&#x20AC;&#x17E;artificialâ&#x20AC;&#x153; built spaces, within the natural context of the unesco-dolomites, spaces that are understood as unused resources, taken up and restarted, with a temporary or permanent occupation policy, through contemporary art, the cultural activity and the search for innovation. International residency programs are one of the pivotal tools. In this way, the sites restart, while art and culture demonstrate that they actually possess a concrete propulsive and regenerative capacity. In this case architecture takes second place, it is a simple container of a heritage, a sober architecture that serves as a background to give space to what really has value and that is the artistic expression that takes place inside. Architecture takes on the role of theater, of space in which art has the possibility to manifest itself in all its forms. This does not detract from the importance or value of the intervention, and unexpectedly creates an opportunity for reflection on what architectural intervention really represents today.

Rezzani B., Indoor view of the former Village Eni, Borca di Cadore, site visit 2018

Taxonomy of case studies

Map of the sites involved in the DC project

Qualitative Analysis of the Studied Projects.

In the following pages we present two diagrams obtained by analyzing the case studies just presented. The first is a predominantly qualitative analysis, which gives importance to the different characteristics giving them a corresponding graphic relevance. For example, the greater the thickness of the line that connects the case study to the item â&#x20AC;&#x17E;distance from the cityâ&#x20AC;&#x153;, the greater the distance from the inhabited center and in the same way the thinner line connects those sites that are located in a mountain context or far from the main city. Thanks to this in-depth analysis we have highlighted those characteristics that the case studies already have in common with ours, such as the context in which they are located, and those instead that we would have liked to obtain with our intervention, such as the impact on the existing building.

CONTEST

INTERVENTION

FUNCTION

Distance from cities

Cultural centre

MANAGING Quantity of Stakeholders involved

Invasivity level

Museum Education +

RICOSTRUZIONE

RISTRUTTURAZIONE RESTAURO

Nuovo spazio di Casso

Fabbrica del vapore

Cantieri culturali della Siza

Hamburg Banhof Museum

Armani silos

CONTEST The cases highlighted reflect the characteristics hypothesized for our project. These are characteristics deriving from the previous analyzes of the individual case studies, cataloged according to the context, type of intervention, type of management and functions they host. The only a priori parameter is the distance from a city.

Nuovo spazio di Casso Sass Muss Ufa Fabrik

Wuk casa della cultura

FUNCTION

Sass Muss

INTERVENTION

Ufa Fabrik

MANAGING

Kaapeli Cable Factory

Taxonomy of case studies

Villaggio Eni

OGR

VALORIZZAZIONE

Quantitative Analysis of the Studied Projects.

reconstruction

renovation

restoration

valorization and reactivation

privats

municipality and associations

INTERVENTION municipality

society

mountain

suburb

city

self-managed

MANAGING

CONTEST

FUNCTION

museum artistic activities education and research

INTERVENTION

valorization and reactivation restoration renovation reconstruction self-managed

4 case studies 3 case studies

municipality and associations privats

2 case studies 1 case studies

Taxonomy of case studies

MANAGING

municipality

LEGEND

society

Chapter 4

The Belluno Valley analysis

The Belluno Valley Analysis

CASTELLAVAZZO

UDINE

BERGAMO BRESCIA MILANO

VICENZA VERONA

PADOVA

VENEZIA

Nord Italia

As already explained the former cementery which is the item of our project, is located into the fascinating area of the Bellunese Dolomites. This site is already on the border between the region of tT between the Veneto region and Trentino Alto Adige. The area, rich in history and millenary traditions, has been affected by the tragedy of the Vallewhich del Piave Vajont valley, in 1963 pore to the destruction of the municipalities of Erto 3e Casso due to the collapse of the homonymous dam only ten minutes drive away from the site in question. To this aspect are added the historical and cultural value of the Piave River and the centuries-old tradition of the Stonemasons of the Longarone Valley, to which a Museum has been dedicated.In the face of such a consistent tradition, it was a must to implement a cognitive process that takes into account the different layers of collective and historical memory that characterize this territory. Alongside a brief historical research, we also carried out an interdisciplinary analysis of the area, passing â&#x20AC;&#x17E;from the city to the spoonâ&#x20AC;&#x153;, a process more than necessary in view of every project.

Valle del Piave

The Belluno Valley analysis

CASTELLAVAZZO

Municipalities Built environment Farms Industries Agricoltural companies

Municipalities Built environment Idrography river basin

Comellco Corttna d’Ampezzo

Comellco

Auronzo Comellco

VVgo

Comellco Castello dd andras

Corttna d’Ampezzo

San VVto

Borca dd Cadore

Valle dd Cadore

CalalBorca zo dd Cadore

Longarone Gosal do Val del Grrsol

Cassomagggore Feltre

Belluno

Feltre

Seren del Grappa

SerenSeddco del Grappa

Mee

Val dd Zoldo

Agordo

DDga del Vajont

Calalzo

Valle dd Cadore

Castellavazzo

Val dd Zoldo

Castellavazzo Longarone

Taabon Agordo

Longarone

Gosaldo

DDga del Vajont

Gosaldo

Sospprolo Belluno

SospproloLamon

Lamon

Longarone

Sospprolo

Gosaldo

Falcade Fal cade Taabon

Castellavazzo Val del Grrsol

Taabon Agordo

Calalzo

Castellavazzo

Agordo

VVgo

San VVto

Val dd Zoldo

Val dd TZol do aabon

Auronzo

Calalzo

Valle dd Cadore

VVgo

Valle dd Cadore

Falcade

Cassomagggore

Auronzo

VVgo

San VVto

Falcade

San VVtod’Ampezzo Corttna

Auronzo

Seddco Mee

Farra dd Alpago

LEGENDA Comunn Idrograffa CCclovve Percorss montann LEGENDA Attrazzonn turrsttche municipalities Comunn Puntt recetttvv hydrography Idrograffa Puntt dd osservazzone cycle Spot paths per sport e arramppcata CCclovve

mountain routes Percorss montann tourist attractions Attrazzonn turrsttche receptive Puntt recetttvvpoints Puntt dd osservazzone observation points Spot per e arramppcata spot forsport sports and climbing

Sospprolo

Belluno

Cassomagggore

CassomagggoreSeddco

Lamon

Lamon Feltre

Mee

Feltre

Seren del Grappa Seren del Grappa

Farra dd Alpago

Seddco Mee

hydrographic basins landscape protection areas areas of community importance protected areas parks special protection areas

The Belluno Valley analysis

Corttna d’Ampezzo

Castello dd andras

Statistics data from ISTAT Distance between Castellavazzo and the built-up areas nearby

Comparison between country, region and province

surface incidence centers and nuclei

incidence of population aged 75 and over

female employment rate

public mobility

Ten-year variation in the population of the municipality of Castellavazzo

resident population

old age index

young couples with children

potential use of buildings

employment rate

Comparison between Castellavazzo and the built-up areas nearby incidence of lonely elderly people

The Belluno Valley analysis

square meters per inhabitant in the home

mobility out of the ordinary for study or work

Road links planned for Cortina 2026

Existing transportation links to castellavazzo

Cortina d’Ampezzo

90 min Castellavazzo

Comelico Auronzo di Cadore

Cortina d’Ampezzo

Selva di Cadore

20 min

Belluno

Borca di Cadore

Calalzo di Cadore 90 min

Zoldo

Road links planned for Cortina 2026 in Belluno

Perarolo di Cadore Ospitale di Cadore

Agordo

Castellavazzo

20 min

Comelico

Longarone

Ponte nelle Alpi

Cesiomaggiore

Sedico

Belluno

Pieve d’Alpago

Farra d’Alpago

Cortina Selva di Cadore

Borca Zoldo

Agordo

Perarolo Castellavazzo Longarone

Sedico

Belluno

Feltre

Castellavazzo Belluno

Highway A 27 Alemagna state road Provincial roads Railroad Railway station Airport Bus stops

The Belluno Valley analysis

Cortina d’Ampezzo

Provincial map of the transportation system

Comelico Auronzo di Cadore

Cortina d’Ampezzo

A d

Cortina d’Ampezzo

Selva di Cadore

Borca di Cadore

Calalzo di Cadore

Selva di Cadore

Borca di Cadore

90 min Zoldo

Perarolo di Cadore

Zoldo

Perarolo di Cadore

Ospit

Ospitale di Cadore Agordo

Castellavazzo

Agordo

20 min

Castel

Longaro

Longarone

Ponte nelle Alpi

Cesiomaggiore

Sedico

Belluno

Cesiomaggiore

Sedico

Ponte nelle Alpi

Piev

Belluno

SF d

Pieve d’Alpago

Farra d’Alpago

Feltre

Ago

Feltre

Highway A 27 Alemagna state road Provincial roads Railroad Railway station Airport Bus stops

The Belluno Valley analysis

Feltre

The middle valley of the Piave has always based its economy on water and timber, through activities related to logging, river transport and wood processing. Water was essential not only for transport but also for processing, as the driving force of the sawmills, thanks to canals and artificial canals. Not far away, along the Canale di Zoldo, the driving force of the water, combined with the thermal energy obtained from the combustion of wood, was instead used for the extraction and processing of the rocks extracted from the numerous mineral deposits in the area, giving life to an intense mining and metallurgical activity. During the early industrial age the economy based on these resources was lively competitive but with the impoverishment of local resources, the spread of hydroelectric energy and new competitive technologies, those works of intelligent use of the natural resources listed above were then supplanted, marking a point of no return for traditional economies. The abandonment of work activities and techniques has left evident signs on the territory, industrial settlements, infrastructures such as dams and pipelines but has also marked the impoverishment of a heritage that has constituted for centuries the essence of the cultural identity of the communities in the area . Due to calamitous events such as the case of the Vajont tragedy, only a few examples of archaeological pieces remain as evidence of the past of this area. The municipality of Castellavazzo, in the province of Belluno, extends into the middle valley of the Piave river, north of the municipality of Longarone and south-east of the small town of Olatrenghe, while on the opposite bank of the river there are the villages of Codissago and Podenzoi. As soon as you enter the Piave valley, the first thing that strikes you is the depth of the valley, narrow on both sides by mountain slopes completely covered with woods up to the top. The morphology of the territory is variously articulated but from the orographic point of view two main types can be distinguished, steep slopes with cliffs on the west bank and minor slopes on the opposite bank. Following this event, numerous initiatives were undertaken with the aim of recovering all those elements that represent the cultural identity of the communities. Small initiatives such as cultural events and research have given rise to permanent museums, such as the ethnographic museum of Goima and the museum of the raftsmen of the Piave di Codissago, as well as the more recent museum of the stonemasons of Castellavazzo. These activities, however, unfortunately have an episodic character and are detached from any policy of global promotion of the territory.

The Belluno Valley analysis

The project location: An overture and analysisi about the richness of the Piave valley in the Bellunese area.

Territorial analysis of the Piave Valley

ERCIO CIA DI BELLUNO

COMMERCIO CASTELLAVAZO E LONGARONE

CASTELLAVAZZO

QUADRO IDROLOGICO DEL BACINO DEL PIAVE

CASTELLAVAZZO

COMELICO

ORTINA D’AMPEZZO

PODENZOI

VIGO CODISSAGO

CODISSAGO

CASTELLAVAZZO LONGARONE LONGARONE

LONGARONE

BELLUNO

buildings Piave river River bed Castellavazzo Provincial road

built LEGENDA river basin Costruito industrial area Bacino Fluviale Piave railroad

Area Industriale Ferrovia

areas of moderate danger areas of medium danger areas of high danger areas of geological attention of very high geologicalGEOLOGICA hazard AREE areas DI PERICOLOSITA’ soil with medium permeability

Aree di pericolosità moderata Aree di pericolosità media Aree di pericolosità elevata Zone di attenzione geologica Zone di pericolosità geologica moltom elev Terreno con media permeabilità 29

NDA ni uito ie trie de Agricole

The Belluno Valley analysis

FELTRE

Areas of landscape protection Naturalistic areas of regional level Main itineraries of historical and historical-environmental value

project thematic routes hydrography historical centres points of historical and architectural interest

Project Alemgna State Road Provincial road Residential roads Railway Train station Cycle route Hydrography

The Belluno Valley analysis

Territorial analysis of the Piave Valley

Urban maps of the area

PAT preliminary environmental report

hydrography special protection area area for the protection of special protected natural species

tunnel railway area of urbanization residential woods of dairy terraces agrari vegetation evolving renovation viability

playground services nat connections elements of degradation touristic routes pedestrian paths project viability to recalibrate ato border 2c territorial strategic area station of service interchange buildings / complexes of value witness soric

production area of renovation agricultural area e1

residences of expanson

municipal equipment area area for education

residences of saturation

equipped area in the park parking lots

path limit fluvial constraint

residences of completion

relevance river

old town private green existing roads railway area

The Belluno Valley analysis

production urbanization area intercommunal cycling network metropolitan railway service line area for services network

urbanization area consolidated fluvial terraces

consolidated urbanization area

The tradition of stone in the Belluno area The territory has always been characterized by different types of rocks, the most valuable variety of which is the Pietra di Castellavazzo. It seems that this stone was extracted in Castellavazzo already in Roman times. The Pietra di Castellavazzo comes in two colors: gray and red. The gray color is due to the presence of clayey materials and graphite and is quarried more on the surface, while the particular red color is given by the presence of hematite and is found deeper.

The bellunese Stones: richness and proprieties The territory has always been characterized by different types of rocks, the most valuable variety of which is the Pietra di Castellavazzo. It seems that this stone was extracted in Castellavazzo already in Roman times. The Pietra di Castellavazzo comes in two colors: gray and red. The gray color is due to the presence of clayey materials and graphite and is quarried more on the surface, while the particular red color is given by the presence of hematite and is found deeper. It represents the finest stone in the Belluno area for its aesthetic characteristics and hardness and one of the quarries is still active today: the Marsor quarry, in the hamlet of Olantreghe, near Castellavazzo and other extraction sites. Throughout the province of Belluno and further down, transported on rafts, we have found it for centuries used as a noble stone for the most beautiful and representative architectural parts both for internal and external use given its qualities of resisting thermal changes. use was extracted and worked in Castellavazzo, and widely used, also in Venice, for steps and capitals.(42)

and

stone:

secolar

relation

The inhabitants of Castellavazzo were largely stonecutters and quarrymen. In this area of the Venetian mountains, characterized by a poor economic situation, stone, at least until it was supplanted by concrete, represented the only likely source of sustenance, of emancipation, both social and economic. (43) The Castellavazzo stonemasons were recognized for their skill both in Italy and in Europe. However, the arrival of industrialization in the Province of Belluno, which in these places was represented by the Cementi Marchino cement factory, has decreed the end of mining for architectural purposes, replaced by a new philosophy of building and life. Their work and the importance of tradition is remembered today in the Museum of Stone and Stonecutters which dedicates an entire section to the history and operation of the cement factory.

The Belluno Valley analysis

People

Geological framework and the Piave basin

The former and actual querries and the ancient railways network.

CEPE QUARRY MARSOR QUARRY

COLE QUARRY

PASCOLI QUARRY

Former querries | actually abandoned Ancient Cable Railway Ancient rail route Existing railways

Castellavazzo stones quarries | still active Climbing area Path of Memory | Vajont commemoration site gate River Piave

The Belluno Valley analysis

{

Cement factory

QUARRY

The valley of the piave collects a series of many artifacts belonging to the field of industrial archeology. In particular, they were born along the river spande from which the water was a source of work and life essential for the mountain area. Most of the sites today are in a state of serious decommissioning, such as the Marchino cement plant. Their reactivation and conservation as relics of an intrinsic tradition of the territory that hosts them, represents a challenge for modern institutions The possibility of identifying, locating and mapping these testimonies of a fundamental architecture for the past becomes a more than fundamental operation for the knowledge and correct planning aimed at recovering these. The cataloging and identification of the industrial archeology artefacts reported here is the merit of the architect Barbara Miot who in 1997 drew up an inventory that contains and records all these partially existing works. Thanks to his help it was possible to reconstruct the past of the cement factory and the various successes that have occurred over the years. List of the archeological undustrialeĂŹ sites along the Piave Valley

The Belluno Valley analysis

1. Ex Marchino cement factory in Castellavazzo 2. Canal bridge over the Piave river 3. Hydroelectric plant in Gardona 4. Railway tunnel station in Castellavazzo 5. Marl mine in the locality of Pascoli 6. Quarry and mine at Col Dangiac 7. Ga limestone quarries in Castellavazzo 8. Limestone quarries in Marsor 9. Brewery in Roggia di Longarone 10. Faesite plant in FaĂ¨ 11. Polla carpentry in Daesan 12. Railway bridge over the Desedan stream 13. Lime kiln 14. De Cesero mills on the Stort stream in Soffranco 15. Hydroelectric plant in San Martino di Fortogna 16. Gaggia hydroelectric plant in Soverzene 17. Mulino dei Savi on the Val Pora Soverzene stream 18. Barrier on the Piave river in Soverzene 19. Dam of Val Gallina

The Archeological Industrial Sites among the Piave valley.

Chapter 5

The former cement factory of Castellavazzo

Castellavazzo

CEMENTIFICIO di CASTELLAVAZZO

First new built up First building realization

Costruction of new miles Production boost

first cementary production

Stop working 1963

19051912 1943 1950

CEMENT FACTORY

1978

Moving the political power Castello di Gardone Extraction and stone elaborations

Spread out around Castrum Latin name labes (smottamento) Laebactium.

CASTELLAVAZZO

III sec. d.C.

VII sec. d.C.

1300 circa.

Birth

GARDONA CASTLE

1171

Castellavazzo became part of Longarone Municpality

Twenty active querries

Functions

4 Gennaio 2011

1900

1600

Dismission starts after losing power

1300 circa.

1508-1526 Cambrai War The dyke disaster I percorsi della memoria Dike turism

IWork startsi VAJONT

1957 18 Ottobre 1963 2006 2007

Creation of local Villas with the Belluno materials

Insustrial Revolution First Cooperative of the stone worhers.

58 a.C-

IX sec. d.C

XVII sec. 1774

61 Active quarries 591 operai

Local Museum is opened e in Castellavazzo Fallimento cave 1957

1800 1830

2000

PIETRA DI BELLUNO

North natural deviation after heavy storm

PIAVE

598

Tiber transportation along the river

VIII sec

Five confraternity of shipmen born Valley under the Venice political control Massive draulica works 1492 XV Sec 1642

More than wooden laboratorys are realized along the river The Piave isa military strategic war line during the WWII Last fluvial timber transportation 1870 1917 1942

The former cement factory of Castellavazzo

Stone extraction startes Creation of workers cooperatives

Leone di San Marco

Dom of Belluno is built with the tradistional stone

Historical map of Castellavazzo, municipality of Longarone

The building in question belongs to the legacy of postindustrial archeology of which we have numerous examples throughout Italy. It is a factory dedicated to the production of cement. The currently disused building was built in 1912 for the SocietĂ Calce Bellunese. (31) However, the first activity of cement production in Longarone was recorded in 1905, thanks to the Adriatica company (32), founded by Giuseppe Volpi, which between the two wars aimed at the exploitation of watercourses such as the Piave for the production of electricity. (33) The privately owned building is located in the Vare area, near the Castellavazzo station. The proximity to the Piave river has always occupied an important function, in fact the water was used industrially for the production of cement. In the production period (1912-1978), several quarrying sites of marl and limestone from cement located in the municipal area, of which the testimonies still remain. In 1943 there was an architectural expansion following the takeover of the Cementi Marchino & C. union, to meet the great demand for cement for the numerous villas in the Belluno area. New buildings were added to the old plant. It was precisely the lack of adequate spaces for the expansion that marked the consequent end of the production of the cement factory, which reduced the activity starting from the 1960s. , exterminating the neighboring countries and seeing the need for immediate reconstruction of the dam. This enterprise involved the entire economy of the Province of Belluno. About 61% was used in reconstruction. The plants were seriously damaged by the ebb wave and the request for cement for the dams ended definitively. After that flourishing market, the weaknesses of the factory came to light mainly due to the block structure which, lacking large internal spaces, prevented the replacement of Mannstaedt vertical ovens with more performing horizontal ovens. (34) In the Municipality of Longarone, 761 real estate units have been rebuilt, about a hundred large or medium-sized companies, with about 3,500 jobs (35). In 1978, the owner company (Unione Cementerie Marchino) definitively closed the business, providing for the dismantling of the structures.

The former cement factory of Castellavazzo

The history

The crushers and the coal loading plan The rooms that once housed the oil mills and the coal loading area are located at an altitude of 521 m a.s.l. The first room housed the imposing machinery of the hammer crushers with which the marl and limestone were crushed. These plants were equipped with feeding hoppers with protective grids. In the second room, which belongs to the oldest nucleus of the cement factory, the coal was loaded to the furnaces through a machine that lifted the fuel from the floor below. The process was carried out through mouths framed by brick arches. This space, unlike the first, is in good static and structural conditions; the change of place of intended use in the 30 â&#x20AC;&#x161;and moving the raw baking ovens to Mannstaedt, have indeed preserved from damage caused by the activities. In this room in particular, the ogival-shaped passing door (PHOTO)

The loading floors of raw flour The adjoining rooms of the Dietzsch and Mannstaedt kilns are located at an altitude of 530 m a.s.l. The first were used in the initial production phase of the plant, only to be replaced in 1930 with vertical type ovens. They became silos for the storage of raw flour and this change in use preserved them from damage related to cooking activities. This was moved to the adjacent iron sheet vats installed in 1930, 1941 and 1956. The rooms, both in good static and structural conditions, are characterized by appreciable figural and spatial qualities.In the brick towers used as silos you can see the doors that were once used for loading the material intended for cooking. The cement dispatch center Thees areas are located at altitudes of 508 and 506 m s.l.m. and both belong to the new production complex flanked in the 1950s by the factories of the old plant following the reorganization and expansion of processing according to industrial schemes. On the floor at an altitude of 508 meters there is a building whose surface is divided into two rooms that were once used as a warehouse for electrical equipment and as a laboratory for electricians.In the area at an altitude of 506 meters there was a large warehouse that housed the Breda, Loenhert and Luther mills. In them the clincker, mixed with plaster and corrective agents, was subjected to the grinding phase. Of this large room currently remains the imposing gabled wall in concrete and brick that closed the building to the east. The clincker powder reduction plants were removed in the 1970s with the dismantling of the business.

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

The former cement factory of Castellavazzo

The coal depot and the mechanical workshop The area is located at an altitude of 514 m a.s.l., where the buildings that in the past housed the coal depot and the mechanical workshop are located. (cf. Barbara Miot) One, consisting of four sheds side by side, with an exposed wooden structure, was used for the storage of the fossil fuel necessary for the operation of the furnaces behind it; the other, built with a structure of reinforced concrete pillars with brick infill masonry, was partly used as a warehouse and partly as a workshop. Both artifacts show good static and structural conditions.

emerges for its elegance, crowned by a double course of bricks at the head, which allowed the connection with the rear block of the new ovens. The room in which the process of crushing of raw materials took place, on the other hand, is in conditions of static and structural decay. When production was dismantled in the 1970s, the machinery was taken over and moved to another location. This caused the serious deterioration of the horizontal structures and the breaking through of a section of the infill masonry.

The silos for the deposit of the cement At the center of the dispatch center there are three impressive silos inside which the cement from the nearby mills was deposited. The storage phase allowed the maturation and conditioning of the same. In the 1950s, the plant was expanded and since the Castellavazzo factory has a small surface area, it was decided to build silo warehouses, with a diameter of 9 meters and more than 20 high.

The arrival plan of the decauville tracks This area is located at an altitude of 518 m a.s.l., where the area where the wagons loaded with coal from the railway arrived and the unloading plan for the same. This procedure was carried out through four revolving plates placed in correspondence with the center of each span of the underlying deposit. The premises of the Dietzsch ovens are also located where the inspection and movement of the fired material took place through the openings still visible today. Both bodies are made with a reinforced concrete load-bearing structure and brick infill masonry. The coal unloading plan presents good static and structural conditions while the environments where the control phase took place show serious deterioration conditions, particularly in the horizontal structures. The areas under analysis are distinguished by particular figural and spatial qualities. In the area where the wagons arrive, currently invaded by thick vegetation, its grandeur overlooks the retaining wall of the land on which the destroyed deposit of marl and limestone stood. Particular attention is paid to the texture of the squared stone blocks that make up the articulated wall. Along the unloading level, the iron tracks that allowed the movement of the wagons are still visible. The presence of the brick arches that frame the cooking surveillance openings gives the rooms of the ovens significant architectural values.

Historical picture before the 1943

In the building it is possible to distinguish two different areas. A productive nucleus, located at a higher altitude, formed by ovens, oil mills and connected premises. Below, on the other hand, the result of the recent industrial expansion is the six mills system, the dispatch center and an area used for the storage of clinker. The singular and evocative physiognomy, made of interconnected and articulated masses, rises in height creating complex sections. A third area is completely different, and constitutes A manor house, which is accessed via a long staircase. Following the changes relating to the technological development of production, thanks to the introduction of a new electrical network, some elements are inserted or eliminated as needed. In addition, the technological increase sees the decrease in manpower which in the 80s was reduced to about 85 employees. (36)

The former cement factory of Castellavazzo

Structure

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

The former cement factory of Castellavazzo

Axonometries of the current condition of the cement factory

Building 3

Building 5

Building 4

Building 2

Building 6

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1. Dietzsch ovens 2. Mannstaedt ovens 3. Deposits 4. Electric cabin 5. Electrical laboratory

1. Coal storage 2. Crushers 3. Marl and limestone deposit 4. Transformers 5. Deposits expansion 6. Mills 7. Dispatch center 8. Silos group 9. Residence of the director 10. Company canteen and shop 11. Locker room and workers showers 12. Reception 13. Decauville tracks

6. Calcimetric testing laboratory

YEARS between 1943 and 1953

The former cement factory of Castellavazzo

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YEARS BEFORE 1943

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YEARS between 1953 and 1978

YEARS between 1978 and 1998

1. Mangiarotti dryer 2. Mannstaedt kiln no. 3 3. Volumizing fans 4. Homogenization plant 5. Expansion of mills 6. Mechanical workshop 7. Krupp dryer 8. Dryer 9. Shed 10. Partial demolition electrical cabin

1. Demolition of the dryer 2. Demolition of deposits 3. Demolition of transformers 4. Demolition of the dryer 5. Demolition of mills 6. Mills 7. Dispatch center 8. Silos group 9. Residence of the director 10. Company canteen and shop 11. Locker room and workers showers 12. Reception 13. Decauville tracks

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Ring road Internal connecting road Ring road Connection ramp Internal connecting road of the Decauville Rails ramp ConnectionRailroad ramp tracks

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Rails ramp of the Decauville Railroad tracks

The former cement factory of Castellavazzo

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The procurement and shipping systems for products also underwent numerous changes. These modernizations went hand in hand with the innovations relating to the transport and road connection systems of the area. At the end of the 19th century the town of Castellavazzo was located on the Alemagna road, to which the railway connection to Belluno and Treviso was added. Through the railway system and deucaville (39), the increase in the price of coal, a necessary fuel for the production cycle, was guaranteed. Raw materials, marl, pozzolana and limestone, came from their respective quarries through both a stretch of cableway, which connected the ancient Cepe mine directly to the cement factory; and a railway line that connected the Cole and Pascoli quarries with the factory. The tracks of the rails that mark the courtyards of the cement factory are still visible, as well as the remains of the hoppers for unloading the material. (40) A further connection system was represented by the cable car which, according to information taken from the gis, was to connect the cement plant to the slope of the mountain in front, at an altitude of about 510 meters above sea level. It extended for a total length of 551,119 meters between the two stations. (41)

Connections: the railway

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The quarries

13 1. Unloading plan from the railway 2. Coal storage 3. Crushers 4. Dietzsch furnaces then silos 5. Former Mangiarotti dryer 6. Maennstaedt furnaces 7. Gypsum, slag and pozzolan deposits 8. Clinker deposits 9. Sedime ex mills 10. Cement storage silos 11. Electrical laboratory 12. Mechanical workshop 13. Station of 1913

The production of cement derives from the presence of nearby marl or limestone quarries. In this case, the Piave river bed has always been a great source of extraction of raw materials since ancient times. Towards the end of the 1800s there were 8 active quarries which guaranteed a flourishing mining activity with over 8 active quarries. Starting from 1912, the mining activity intensified with the foundation of the Calce Bellunese. In 1925 the company owned the Castellavazzo cement factory for the production of natural Portland cement and the extraction of marl took place in the Pascoli and Sossass quarries on the left bank of the Piave. The quarries were located along the railway line, or rather the track that facilitated the transport of the extracted material directly to the production factory. During the first years, the complex and manual processing required the use of about 250 workers. In the first years of operation, the trolleys were pushed by hand, then the line was equipped with a locomotive. Convoys of 1012 wagons were created with the locomotive, which were then unloaded into the cable car system. It must also be emphasized that every element that made up the structure was fundamental and made exclusively for the production of the material.

The former cement factory of Castellavazzo

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Productive process PRODUCED BY AN AUTODESK STUDENT VERSION

FIRST WORKS PRIMARY METERIES 7 SECOND PHASE FINAL WORKS

The production of cement

Cement is a hydraulic binder that comes in the form of a finely ground powder which, when mixed with water, forms a paste that sets and hardens. 7 The active component is known as Portland Clinker. Cement is a hydraulic binder in the 12 SECOND PHASE form of a finely ground powder, which, when 10 FINAL WORKS mixed with water, forms a hardening paste. After the extraction of raw materials from the quarry (limestone or marl), the crushed stone is crushed in13 11 side an oil mill. After the grinding phase in the raw ham mill, the dusty product was introduced into the ovens, to be transformed into clinker. The oldest ovens, vertical and brick, are the so-called Dietzsch ovens, they 12 represent the first element to which, over the years, successive architectural additions have been superimposed. During the second decade only one active 13 furnace persists, a “Mannstaed” with a rotating grill and one under repair. 37 These kilns had an elongated shape, and looked like lowered warehouses, still visible today in the cement factory complex. The dust then became packed into the so-called cyclone towers. 1. Unloading material from the railway Each cyclone constitutes a stage. These articulated and 2. Material transport with Decauville connected elements are still well preserved in the cement factory, and were used to dry the flour produced 3. Unloading coal in the mill (decarbonation), through several stages. 38 4. Coal storage The clinker produced in the rotary kiln is passed 5. Crushing of raw materials 1. Unloading material from the railway through the terracotta phase, in this kiln the trans6. Crushed raw material storage 2. Material transport with Decauville formation into cement takes place. These ovens 3. Unloading coal7. Drying of raw flour are also called „Molini del Cotto“. The last pha4. Coal storage 7. Drying of raw flour se consists of storing the cement in silos for im5. Crushing of raw materials 9. Corrective and plaster storage mediate shipment and transport. The first ovens, 6. Crushed raw material storage 10. Clinker storage In the 1950s, major changes were made to the produc7. Drying of raw flour 11. Clinker grinding with plaster and corrective agents tion plant, which underwent extensions such as the in7. Drying of raw flour 9. Corrective and 11. plaster storage troduction of a new laboratory, a third mill, and a third Cement storage in silos 10. Clinker storage oven for cooking and two mills for raw ham. 13. Shipping to the railway

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11. Clinker grinding with plaster and corrective agents 11. Cement storage in silos 13. Shipping to the railway

The former cement factory of Castellavazzo

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Fernanda De Maio e Carlo Palazzolo redazione Alessandro Tessari, Maddalena Basso Antonella Indrigo con il patrocinio di Facoltà di Architettura SBD Archivio Progetti Comune di Longarone Fondazione Vajont si ringrazia la società MINOTER SPA per la cortese ospitalità presso il villaggio AGIP di Corte di Cadore

L A V A LLE D EL Mui.ri a chanche of memory MO DER NO Chapter 6

Università Iuav di Venezia Santa Croce 191 Tolentini 30135 Venezia 041 257 1644 tel. www.iuav.it ©Iuav 2005

Iuav giornale dell’università iscritto al n 1391 del registro stampa tribunale di Venezia ISSN 2038-7814 direttore Amerigo Restucci

Mu.ri a chance of memory

stampa Grafiche Veneziane, Venezia

Maps of relevant paths starting from the site of the cement factory Path 20 „ salire e scoprire“ Path 19 „ Gardona. Testimone di storia“

The Castellavazzo cement project acts as a generator, the main site of one of the major redevelopment programs of the complex territory of Belluno and its surroundings. The project in question is known as mu.ri anagram of widespread museums of Bellunese, a cognitive program that involves the collaboration of various bodies involved in the vast theme of archaeology and industrial engineering. The founder of the project is the architect Giorgio Pradella, who states that the aim of the initiative is to „elaborate the memory through the historical and scientific investigation of the engineering works carried out in the Piave valleys, providing the public with opportunities to „see“ and tools to „know“. Since 2006 mu.ri has started a project of territorial ecomuseum proposing to develop tourist-cultural itineraries along the Piave basin.

In particular, in 2014 the project practices and the collaboration of mu.ri with the mayor of Longarone (and Castellavazzo) to create itineraries in the territory of the municipality of Belluno will begin. The council identified as an ideal point of reference for the network of routes along the Piave Maè ( ) stretch just the site of the former Cementificio di Castellavazzo. One of the first routes established winds along the Vajont valley, allowing to know in depth the homonymous dam and its troubled history. The purpose of the walls is therefore to promote a reconciliation between the forgotten and often deteriorated architecture that is hidden in the Dolomite valleys and its visitors. During the inspections we have found the existence of wooded paths that wind along the slopes of Mount Re up to the quarries located nearby fig.1. or to places of particular historical and cultural interest, such as the tower of Gardona.

Moreover, during the discussions with the architects Barbara miot and Giorgio Pradella (both directly involved in the study of the former Marchini cement factory, learned) the existence of four paths that lead to the area in front of these premises, we decided to attribute to the cement factory the pivotal role of the entire structure of mu.ri, placing within the complex of the old kilns a permanent museum, starting point of the ecomuseum routes. Alongside it there is a space dedicated to temporary exhibitions and workshops. ideal to host open lectures, conferences and events able to involve and educate visitors. In this way the memory of local tradition and history lives through the experience of the building itself in which you live and live.

The paths of memry: mu.ri. and the importance of the Spread Museum in the project.

Mu.ri a chance of memory

Path 21 „ Sulle tracce di antichi mestieri“

Chapter 7

The vertical farm

The Vertical Farm

Land Consumption and food production

Abb. 1 Bildbeschriftung Abb. 2 Bildbeschriftung

The vertical farm

Italy currently produces about 80-85% of the food resources needed to cover the needs of the inhabitants. it basically a covers little more than the consumption of three Italians out of four: just 33% for legumes, 34% for sugar, 69% for potatoes, 64% for milk and 72% for meat. Better rice ,fresh fruit (126%), vegetables (103%) and tomato. I proved that, Italy consumes more than its agricultural soil can produce: this is what emerges from the analysis of the agricultural soil deficit, an indicator developed by the Sustainable Europe Research Institute in Vienna. According to this study, a country in which the agricultural land used is lower by extension than that needed to cover the consumption of the population is considered a deficit. Italy has a deficit of agricultural land of almost 49 million hectares: to cover the consumption of its population it would need 61 million hectares of agricultural land 2 used, while the current surface area barely exceeds 12 million. The first cause of the loss of agricultural land is the demystification and in general the covering of the soil with materials such as cement, metal, glass, asphalt. This process has began and start to increase in the past. This land use process has slowly had been slowly transformed into an abuse of the existing land, up to a land covering irreversible exploitation. Soil Consumption is a process mainly due to the construction of new buildings and infrastructure, expansion of cities, densification or conversion of land within an urban area, land infrastructure. The concept of land consumption is, therefore, defined as a variation from non-artificial land cover (unconsumed land) to artificial land cover (consumed land ). Unlike our ancestors today, thanks to galloping technology and agricultural research, we are able to curb this process of cementing and land abuse (an increasingly valuable resource.) Especially among mountain communities, where agriculture represents a seasonal challenge for the inhabitants, it is increasingly necessary to implement long-term sustainable eco-sustainable strategies. To move away from â&#x20AC;&#x153;business as usualâ&#x20AC;?, all societies will be required to renew the assets used to produce goods and services, or capital stock, develop new solutions, and implement innovative technologies . Vertical agriculture represents - in all its facets - one of the possible turning points in this direction.

Future scenario Agricultural production is expected to rise worldwide in response to population growth, dietary changes and increased incomes. Raising consumer awareness about environmentally sustainable and healthier diets, reducing food waste, pricing food to reflect the negative externalities of its production, and limiting the use of grains for biofuel production will all be critical to curb the demand for agricultural products. In the next 30 years the world population will grow to 9.7 billion 2/3 will live in urban areas. The demographic implement will cause a nhigh food demand, unsustainable by the earth capability and i impoverishment of soil fields viability-. Climate changes will bring to a The lack of natural resources also due to deforestation and land degradation. Nowadays one-third of all food produced is losses or wasted and create an economical damage for farmers and economical aspects. Some of these wastes occurs after the food transportation from the farms to the sellers. This process also negatively affects the CO2 emissions and fuel usage.

Innovation from the past Vertical farming is the practice of growing produce in vertically stacked layers. This system is a largescale, intensive agricultural production takes place, using stacked, inclined surfaces to grow food crops, and sometimes to raise livestock and fish. e concept of vertical farming was created in 1909 by Rem Koolhaas. He described an open air building which had vertically stacked platforms of homes to produce food. This idea was published in Life Magazine. In 1915 the phrase â&#x20AC;&#x161;vertical farmingâ&#x20AC;&#x2DC; was used by Gilbert Bailey. He is credited for explaining what vertical farming means and how it works. Vertical farms come indifferent shapes and sizes, always without soil.

Vertical farms use one of 3 soil-free systems for providing nutrients to plants. or mist environment without the use of soil or an aggregate medium. The plants are suspended in a closed or semi-closed environment by spraying the plantâ&#x20AC;&#x2DC;s dangling roots and lower stem with an atomized or sprayed, nutrient-rich solution It involves growing plants in nutrient solutions that are free of soil. The plant roots are submerged in the nutrient solution, which is frequently monitored and circulated to ensure that the correct chemical composition is maintained. Is the most used because it due small scale farms. It combines plants and fish in the same ecosystem. Fish are grown in indoor ponds, producing nutrient-rich waste that is used as a feed source for the plants in the vertical farm. The plants, in turn, filter and purify the wastewater, which is recycled to the fish ponds.

The vertical farm

What is Vertica Farm

Is the process of growing plants in air or mist environment without the use of soil or an aggregate medium. The plants are suspended in a closed or semi-closed environment by sprayng the plantâ&#x20AC;&#x2DC;s dangling roots and lower stem with an atomized or sprayed, nutrient-rich solution.

It combines plants and fish in the same ecosystem. Fish are grown in indoor ponds, producing nutrientrich waste that is used as a feed source for the plants in the vertical farm. The plants, in turn, filter and purify the wastewater, which is recycled to the fish ponds.

The vertical farm

It involves growing plants in nutrient solutions that are free of soil. The plant roots are submerged in the nutrient solution, whic is frequently monitored and circulated to ensure that the correct chemical composition is maintained, Is the most used in small scale farms.

The green silos as a poddible solution of ecosystem renovation.

The vertical farm

Vertical farming presents multiple advantatHE ges, not only from an ecological point of view. People decided to adopt this method mainly for the already listed motivation abut also Couse this innovative agriculture inventive the communication and citizen iteration, as well kidsâ&#x20AC;&#x2122; environmental sensibility and awareness. Some of these social improvements had been seen into other practices such as urban orches and urban schoolish farms. By the way the vertical farming is actuable n a larger and more consistent scale than others in a more convenient way. So far Vertical farms are a creative technological advancement which allows us to grow a lot more food using less land. As urbanisation is increasing, vertical farms will allow us to grow food within cities, and help to decrease transportation costs as well. This method can be used throughout the day (including the night) and also throughout the year , The design adaptation of the silos provides an iconic redevelopment of the silos, in degrees of reusing the typical cylindrical shape of the complex able to accommodate, thanks to its physiognomy a vertical culture. The structure does not require any particular adaptations, if not the insertion of a stairwell and vertical connection systems. Along the walls are arranged cultivation systems (pots) able to accommodate the system of aeroponic cultivation. Since the vertical cultivation technology is powered exclusively by artificial light, the structure does not require openings for natural light. The complex is designed to produce the equivalent necessary for the self-sustaining of the complex and its inhabitants. This is a first example of how it is possible to apply a self-sustainable economy within a small town in order to provide for its survival in an eco-sustainable and educational way.

The vertical farm 56

Example of an aerophonic farm

Chapter 8

Project proposal

Rezzani B., Former cement factory Castellavazzo, Belluno, site visit 17th July 2020

intended use but, considering the project area as a cluster, we have included all those functions that make it to all intents and purposes a self-sufficient institution. The project stands as a self-sufficient city capable of meeting every need. Set in the Dolomite landscape, the complex takes on the openness of an autonomous village, a self-sufficient city. This cluster has all the characteristics of an eco-sustainable cluster. The entire facility is accessible via pedestrian paths, a safe and secure place located on the slopes of the mountain, away from the chaos of the city. Therefore, vehicles intended for logistics and are used can access them through dedicated routes. The concept of the project is organized around the theme of the production process that marked the life of the cement factory and its inhabitants. Starting from the current entrance, the marl was transported through the decauville in the various stages of processing. This path that binds the buildings significantly in a clockwise direction becomes the common thread that assumes a fundamental value in the project. In fact, the entire complex unfolds along a narrative path that, in the design hypothesis of so adaptive reuse, appears as a distinctive path on the ground, distinguishable in the different buildings. At the completion, or rather at the beginning of this path, we have placed a curved building, which is clearly distinguished from the existing volumes in terms of morphology and materials used.

It was born as a dam, which completes the production path and at the same time delimits the common space, as well as the main open space with the main accesses of the buildings. The importance of the quarries located on the opposite side of the Piave valley which originally provided the heme airs to the cement factory to which it addresses like a telescope on the mountain slopes. Thanks to the mountain paths of widespread museums, the complex blends perfectly with the mountain landscape through the paths that make the complex a crucial point for the new connection system of the entire valley. The materials used for the new building, the new silos (used as a vertical farm) and differ significantly from the context thanks to the use of materials such as glass, wood and concrete for the load-bearing parts. Given the unrecoverable conditions of some windows, a selective replacement was opted for, aimed only at the most deteriorated ones by means of flush transparent partitions. The project also provides for the reactivation of the railway in front. The railway station, once active and indispensable for the transport of raw materials and products, is still existing today but unused. The project, also in view of the future Milan Cortina 2026 Winter Olympics, plans to reactivate the direct connection line between Belluno and the ski resorts, an operation in line with the idea of creating a completely eco-sustainable space. 58

After the analyzes performed and the in-depth study, we took into consideration the idea of creating â&#x20AC;&#x2039;â&#x20AC;&#x2039; a micro city in order to give this abandoned and disused space a new identity and return it to the community and the territory to which it belongs. Given the complexity of the building, we decided to think progressively, breaking down the design process into several levels. Initially we started with the classification of the existing buildings on the basis of a conservative criterion and a qualitative criterion, deciding what to maintain and recover and what to demolish, as shown in the diagram on p. 59. Secondly, we reasoned from a functional point of view, to understand how such an articulated complex could work. Naturally, returning this artifact to its original function seemed immediately impossible to do, since the current cement production system would require a technological system that is difficult to manage, as had already been completed in the 1960s, which is why the abandonment of the building. The numerous geographical analyzes of the municipal and provincial territory have allowed us to hypothesize functions that can be potentially interesting both for the local population and for those coming from outside, given the considerable importance of the tourism system in the area. Given the complexity of the former cement factory and its position perched in the Dolomite mountains, we did not want to limit ourselves to choosing a single

Project proposal

Morphotechnotypological diagrams

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Ideative process of the project

FUTURE SCENARIO

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CULTURAL PATH

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Property boundaries of the project area

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Site project mobility

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Masterplan of the project proposal

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The three imposing silos that stand out in the northeast complex were once used for the storage of concrete ready to be transported elsewhere. At the rear there are those that, at the time of production, were used as warehouses. With our intervention we wanted to give even more prominence to the volumes of the silos, adding a fourth, which is however made of wood and glass. The choice of material derives both from our idea of â&#x20AC;&#x2039;â&#x20AC;&#x2039;creating an environmentally sustainable project and from the belief that each new intervention should be immediately visible and recognizable by those arriving in the area. Inside, given the considerable height of the volumes, we wanted to divide them into several levels and use it for production. Following the analyzes carried out, we decided to use the silos as a vertical farm, to produce all those products that could be useful for the catering and hospitality businesses of the small town. Around the silos there are all those service areas useful to support this production, kitchens, places for the processing of products and spaces for workers. On the top floor there is a restaurant with a view of the entire complex and an observatory while on the ground floor there is also a small market for the sale of products also to people from Castellavazzo and neighboring villages. In the rear part of the silos there are the former warehouses which are in good structural condition. Inside them, to make the most of the height of about eleven meters, we have created mezzanines in the area used as a fab lab, while in the remaining warehouses we wanted to create a catering area for those who use the laboratories and for other visitors.

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Silos and fab lab

Project proposal 72

Vertical farm and Fab Lab

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+506 slm

out of scale

FUNCTIONS 1. Administration offices 2.Entrance for the vertical farmâ&#x20AC;&#x2122;s workers 3. Offices 4. Vertical farm 5.Storages 6.Plaza 7. vertcal distribution for workers 8.vertical distribution for visitors

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 0

PRODUCED BY AN AUTODESK STUDENT VERSION

3. +508,50 slm +2,50 m

1. +508,50 slm +2,50 m +508,50 slm +2,50 m

+509,70 slm +3,70 m

7. 5. +508,60 slm +2,60 m

+506 slm

0,00 m +506 slm

PRODUCED BY AN AUTODESK STUDENT VERSION Floor plan level 1 out of scale

10 m

Lab 1. Fab lab 2. Bistrot 3. Passage to the event hub Vertical farm 4. Market 5. Entrance for visitors 6. vertical farm 7. workers facilities 8.vertical distribution for visitors

Project proposal

+504 slm

0,00 m

-2,00 m

PRODUCED BY AN AUTODESK STUDENT VERSION

+515,00 slm

+11,00 m

5. +508,50 slm +2,50 m

3. 2.

+508,50 slm +2,50 m

+512,70 slm +6,70 m

+506,00 slm 0,00 m

-2,00 m

PRODUCED BY AN AUTODESK STUDENT VERSION Floor plan level 2 out of scale

1. Pruduction space 2. Fab lab 3. Bistrot 4.Vertical farm 5. Bikers facilities

10 m

Project proposal

+504 slm

PRODUCED BY AN AUTODESK STUDENT VERSION

2. +11,10 m +517,10 slm

+506,00 slm 0,00 m

-2,00 m +504 slm

Floor plan level 3 out of scale

1. Kitchen for the restaurant 2. Terrace

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

+521,50 slm

PRODUCED BY AN AUTODESK STUDENT VERSION

+15,50 m

+522,40 slm +16,30 m

-2,00 m +504 slm

Floor plan level 4 out of scale

1. Vertical farm 2. Gathering space for workers

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

+526,10 slm +20,10 m

-2,00 m +504 slm

1. Restaurant

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 5 out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

+23,50 m

+20,10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

+16,25 m

+11,50 m

+7,00 m

+3,70 m

+0,00 m

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

Section

PRODUCED BY AN AUTODESK STUDENT VERSION

+27,50 m

PRODUCED BY AN AUTODESK STUDENT VERSION

+23,50 m

+20,10 m

+16,25 m

+13,50 m

+9,60 m

+7,20 m

+3,40 m +2,50 m

+0,00 m

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION out of scale

Section

PRODUCED BY AN AUTODESK STUDENT VERSION

+27,50 m

+20,10 m

+16,25 m

+13,50 m

+9,60 m

+7,20 m

+3,40 m +2,50 m

+0,00 m

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

+23,50 m

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

Section

10 m

Section out of scale

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

South facade

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale 0

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

North facade out of scale

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

East facade out of scale

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

West facade

The museum

Project proposal

The part of the factory where the ovens were located and also the first to be built, given the various elements of interest inside, has been used as a museum. In this building, in fact, our intervention was minimal, anticipating only an action to restore and make the building safe. Inside, we planned to host a museum dedicated to industrial archeology artefacts from the Piave valley and at the same time transform the building into a â&#x20AC;&#x17E;museum of itselfâ&#x20AC;&#x153; through the spaces for visitors and allowing them to understand the various environments and different functions. time hosted. Furthermore our project plans is to use the warehouse as an auditorium. Considering the considerable height of the environment, it is possible to create a stepped system inside that allows the best view of the stage. Our project involves the construction of the entrance hall to the museum service center in the arrival area of the tracks. In the space in front of the access to the museum from the center of the complex we have recreated a roof and a glass facade so as not to hide the building behind it, in order to host temporary exhibitions and create a volume that would allow a filter between the square and the entrance to the museum. The museum can also be accessed from the level where the Castellavazzo school is located, to allow quick access even for those arriving on foot from the center of the country or for students who wish to visit it or use the laboratories and study rooms created at the inside.

Project proposal

Museum

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

6. 4.

PRODUCED BY AN AUTODESK STUDENT VERSION

+515,00 m 0,00 m

5. 2. +515,00 m 0,00 m

+514,00 m

-1,55 m -1,00 m

out of scale

10 m

FUNCTIONS 1. Temporary exibition 2. Entrance of the museum 3. Main exibition 4. Entrance for the conference room 5. Conference room 6. Offices

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 0

PRODUCED BY AN AUTODESK STUDENT VERSION

+518,30 m

+3,30 m

+519,30 m

+4,30 m

PRODUCED BY AN AUTODESK STUDENT VERSION

2. +517,90 m +2,90 m

+518,00 m

+3,00 m

+514,00 m

-1,00 m

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION 1. Bookshop 2. Labs 3. Archives 4. Space for study 5. Public toilets

Project proposal

out of scale

Floor plan level 1

1. 1.

+521,00 m

+522,20 m

+6,00 m

+7,20 m

+6,45 m

1. +521,25 m

+523,40 m

+6,25 m

+8,40 m

1. Didactical spaces 2. exibition space 3. Storage

10 m

Project proposal

+521,45 m

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 2 out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

+527,45m

+12,45 m +525,20 m

+527,45m

+10,20 m

+12,45 m

+523,40 m

+8,40 m

PRODUCED BY AN AUTODESK STUDENT VERSION 1. Terrace 2. exibition space 3. Gathering areas

10 m

Project proposal

out of scale

Floor plan level 3

5. 2.

+530,80 m

+15,80 m

+530,40 m

+15,40 m +530,80 m

+15,80 m

+15,40 m

10 m

1. Entrance for the museum 2. Lockers 3. Gathering areas 4. Exibition space 5. Office

Project proposal

+530,40 m

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 4 out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

+19,70 m

10 m

1.Panoramic Observatory

Project proposal

+534,70 m

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

Floor plan level 5

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

10 m 5m 2m 1m 0

Section

Section out of scale

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

10 m 5m 2m 1m 0

West facade

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

10 m

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

North facade

100

PRODUCED BY AN AUTODESK STUDENT VERSION

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

West facade out of scale

Project proposal

101

102

Project proposal

103

Project proposal

Fair and event space

104

Project proposal

What was once used as a drying room for raw materials passed into the ovens, today appears to us as an empty shell. In fact, only a concrete wind facade and the side walls with the supporting structure in concrete remain to his testimony. Given the considerable size of the area and the intent to remember the image of the old cement factory, we decided to rebuild a new volume among the remains of the building that would cover its original position. Following our in-depth analysis of the territory, its potential and needs, we decided to use this new building as a space dedicated to events in the municipality and the surrounding areas, such as the ice cream, wood and mountain agriculture fair. . On the ground floor there are in fact small stable rooms with relative storage that serve as exhibition areas for companies involved in fairs, all connected by a large central nave that serves as a distribution and common space. Upstairs, on the other hand, we find small rooms connected by balconies and interspersed with small common terraces, used as small studios that can be rented individually all year round for smartworking or coworking. This building looks like a single volume with a double pitched roof but is divided longitudinally into opaque and transparent bands, whose texture follows the rhythm of the pillars present at the base of the walls of the old drying room.

105

Project proposal

Event area and coworking spaces

106

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

+515,00 m

0,00 m

+515,00 slm

+11,00 m

10 m

Floor plan level 0 out of scale

1. Events area 2.auditorium

107

FUNCTIONS

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

2. 1.

10 m

+515,00 slm

+11,00 m

Floor plan level 1 out of scale

1. Little rooms for smartworking and coworking 2.common areas

108

FUNCTIONS

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 1 out of scale

10 m

Project proposal

109

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

10 m

Project proposal

110

Cross section

PRODUCED BY AN AUTODESK STUDENT VERSION

out of scale

10 m

Project proposal

111

Longitudinal section

PRODUCED BY AN AUTODESK STUDENT VERSION

112

The dam or the curved building that arises at the beginning of the production process takes on a fundamental role in our project. It represents the completion of the whole complex, not that space for welcoming and aggregation and site visitors. Its s-shaped curvilinear morphology strongly dissociates from existing buildings based on an orthogonal organization typical of the factory. The dam building, on the other hand, opens up, soaring towards the Iliad like a telescope scanning the valley, resting its gaze on the ancient quarries beyond the valley. It also merges with the terrain of the mountain, addressing the theme of the living rock, the cut, the insertion inside the mountain side. The new building plays a mainly receptive role, aimed at hosting all those who visit the complex of the former cement factory or the paths of the network of Diffused Museums. On the ground floor, entrance of the complex, there is a dining area, flanked by a fitness area with an adjoining spa area, located in the eastern elevation of the building. The upper floors accessible through its internal distribution systems host a hostel and a Luxuria hotel, equipped with large rooms overlooking the valley and the central square - Visitors can access the roof that becomes a lookout, where they can admire the suggestive mountain landscape and fascinating. On both floors we find spaces dedicated to catering and service. The supporting structure of the concrete building provides for a system of circular chickens and containment baffles at the points where the building is in contact with the ground. The external and internal infill instead are made of wood. The natural lighting on the lower floors is possible through triple height patĂŹ and from the windows on the ground floor that open onto the belly of the mountain.

Project proposal

The new dam for Castellavazzo

Project proposal 113

Hostel Hotel and Spa

114

PRODUCED BY AN AUTODESK STUDENT VERSION

+508,50 slm

+2,50 m

1. +510 slm

out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 0

10 m

FUNCTIONS 1. Entrance 2. Restaurant and bar 3. Fitness area 4. Spa

115

Project proposal

+4,00 m

PRODUCED BY AN AUTODESK STUDENT VERSION

2. 1. +513,30 slm +7,80 m

10 m

FUNCTIONS

PRODUCED BY AN AUTODESK STUDENT VERSION Floor plan level 1 out of scale

1. Hostel common areas 2. Hostel rooms 3. common kitchen and living space

116

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

+516,30 slm +10,80 m

out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

Floor plan level 2

10 m

1. little apartments 2. Luxury hotel rooms 3. Restaurant and living space

117

FUNCTIONS 0

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

10 m

1. public terrace

out of scale

PRODUCED BY AN AUTODESK STUDENT VERSION

Roof plan

118

FUNCTIONS 0

Project proposal

East facade out of scale

10 m

Project proposal

119

10 m

West facade out of scale

120

Project proposal

PRODUCED BY AN AUTODESK STUDENT VERSION

Section out of scale

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

North facade out of scale

10 m

PRODUCED BY AN AUTODESK STUDENT VERSION

10 m

Chapter 9

123

Rferences

References

Notes 1. C. Natoli e M. Ramello, Strategie di rigenerazione del patrimonio industriale, 2017, Pacini Editore Industrie Grafiche, Pisa.

14. Archeologia Industriale: architettura, lavoro, tecnologia, economia e la vera rivoluzione industriale di Eugenio Battisti.

2. G. Pagano, Architettura Industriale in Italia, Bollettino d‘Arte, 1938-39, Ministero dei Beni culturali.

15. Fabbriche sataniche in Arte e rivoluzione industriale di Francis Kligender.

3. Dansero, E. (1993). Dentro ai vuoti. Dismissione industriale e trasformazioni urbane a Torino. Torino: Libreria Cortina.

16. La memoria collettiva è fondamento ed insieme espressione dell‘identità di un gruppo e rappresenta il passato: ogni gruppo seleziona e riorganizza incessantemente le immagini del passato, in relazione agli interessi e ai progetti che predominano nel presente. (G.Namer, Mémoire et société, 1987). La memoria “individuale” e la memoria “collettiva” di Eugenio Aguglia.

6. Giovanelli, G. (1997). Aree dismesse e rigenerazione urbana: l’innovazione nelle politiche e negli strumenti di intervento. In: Giovanelli G., (a cura di), Aree dismesse e riqualificazione urbana. Firenze: Alinea. 7. G. Donnarumma, Il fenomeno della dismissione dell’edilizia industriale e le potenzialità di recupero e riconversione funzionale, V Convegno di Storia dell‘Ingegneria, maggio 2013, Volume II, Napoli . 8. Gregotti, V. (1984). Modificazione. Casabella. Architettura come modificazione, 498(9). 9. R. Covino, Le seduzioni del dismesso. L’Archeologia industriale, in “Quaderno di comunicazione”, n. 8, 2008, pp. 101-108, ripubblicato in “Patrimonio Industriale”, Notiziario semestrale on line a cura dell’AIPAI, II, 3, dic. 2008, pp. 14-16. 10. E. Celano, Archeologia industriale, creatività e gestione integrata. Il caso Biellese. Tafter Journal, settembre 2011. 11. Atti del Convegno Internazionale di Milano, ivi 1978 . 12. P.C. Pellegrini, Manuale del riuso architettonico, Dario Flaccovio Editore, 2018, Palermo. 13. Cfr. Recupero di archeologie industriali. Verifiche preliminari di fattibilità economica per un caso studio a Verbania.

18. N.d.R. Secondi Francesco Maria Battisti, nell’epoca Moderna il termine Homo Faber sottolinea come, al giorno d’oggi l’individuo sia unicamente definito attravero la sia professione. 19. N.d.A. Al fin di non complicare il discoro cadendo in argomenti che non sono tema di tale scritto, si è stato deciso di evitare ogni approfondimento eccesivo in campo filosofico. 20. N.d.R. Letteralmente spirito in tedesco, tale termine si intende come facoltà o attitudine capace di cogliere qualcosa che non cade immediatamente sotto i sensi, che non è oggetto di conoscenza intellettiva, esso è il principio vivificante del sentimento. In Spirito, Treccani http://www.treccani.it/enciclopedia/spirito_%28Dizionario-di-filosofia%29/ 21. Lettere sulla pittura di paesaggio, Di Carl Gustav Carus, introduzione di Alessandro Nigro. 22. L’arrivo dell’industria in Quando l’industria diventa paesaggio, di François Barré Ex presidente di Rencontres d’Arles. 23. Fabbriche. Origine e sviluppo dell‘architettura industriale di Gillian Darley. 24. Paesaggi urbani e post-urbani: Lyon e IBA Emscher Park Elena Marchigiani. 25. AA.VV., F. Minutoli, ReUSO 2018: L‘intreccio dei saperi per rispettare il passato interpretare il presente salvaguardare il futuro, Gangemi Editore, 2019, Roma

Rferences

5. E. Mingione, Urban Social Change: A Socio-Historical Framework of Analysis, vol Cities of Europe: Changing Contexts, Local Arrangement and the Challenge to Urban Cohesion, gennaio 2015, Wiley-Blackwell, Hoboken.

17. Recupero di archeologie industriali. Verifiche preliminari di fattibilità economica per un caso studio a Verbania. Tesi di Maria Vittoria Marocco. Politenico di Torino, 2017.

124

4. Fusco, N., & Montebelli, S. (2003). Le aree industriali dismesse tra riuso e valorizzazione: spunti per una ricerca sull’area sudorientale di Roma. In: Morelli M., Sonnino E., Travaglini C.M., (a cura di). I territori di Roma. Storie, popolazioni, geografie. Roma: Università degli Studi di Roma “La Sapienza”, “Tor Vergata”, “Roma Tre”, 337-349.

26. Sposito, C. (2012). Sul recupero delle aree industriali dismesse. Tecnologie materiali impianti ecosostenibili e innovativi. Santarcangelo di Romagna (RN): Maggioli Editore.

38. Buzzi Unicem. La produzione del Cemento a 360° h t t p s : // w w w. b u z z i u n i c e m . c o m /d o c u ments/20143/360134/ProduzioneDelCemento.pdf/ d9bde9d3-6ba8-a198-fc22-761e048db637

27. Martelli, A. (2005). Sulle condizioni che influenzano la trasformabilità e ostacolano la riqualificazione delle aree industriali dismesse [Tesi di Dottorato]. Roma: Università degli studi di Roma “La Sapienza”.

39. N.d.R. – Nome abbreviato (di un sistema di trasporto su rotaia per cantieri edili e stradali, ideato dall’industriale francese P. Decauville (1846-1922), costituito da vagoncini a 4 ruote con cassone in lamiera, generalmente a forma di V, ribaltabile lateralmente per lo scarico, trainati da una locomotiva diesel o elettrica. Vrf. Deucaville, Treccani. http://www.treccani.it/vocabolario/decauville/

28. Tamburini G., La bonifica delle aree industriali dismesse: alcune considerazioni introduttive“ in Gargiulo, C. (a cura di), Processi di trasformazione urbana e aree industriali dismesse: esperienze in atto in Italia, AUDIS (Associazione Aree urbane Dismesse), Venezia 2001.

40. Castellavazzo quaries and cement factory https:// digilander.libero.it/maurobottegal/Castellavazzo.htm

29. Marco Dezzi Bardeschi, Il futuro della fabbrica (1984-1988), in ID., Restauro: punto e da capo. Frammenti per una impossibile) teoria, (a c. di) V. Locatelli, Milano, Franco Angeli, 1991, p. 232.

41. Mondo Fuviario.org. Funivia di Castelllavazzo. https://www.funivie.org/mondofuniviario/displayimage.php?pid=5338

30. Maria Antonietta Crippa, in Officine del volo. Un progetto di Nicola Gisonda. Restauro di un’architettura industriale per nuove funzionalità, (a c. di) M.A. Crippa e F. Zanzottera, Milano, Silvana, 2007, p. 112.

42. Arti e saperi della pietra nel bellunese, Margherita Chiricò Published on Nov 12, 2014 https://issuu.com/miatender/docs/arti-e-saperi-della-pietra-nel-bellunese

31. Crf. CHEDA DI RILEVAZIONE DI OPERE, MANUFATTI E SITI PROGETTO DRAU PIAVE SCHEDA N. 85 - Il Cementificio di Castellavazzo (in sponda sinistra del Fiume Piave) Tipologia AI.

43. Cavatori e scalpellini http://www.pietraescalpellini.it/page.php?sid=4d300 4e494402c72cda9493c7673e2cd&pageid=SZ00100N

32. Castellavazzo quaries and cement factory. https://digilander.libero.it/maurobottegal/Castellavazzo.htm 33. A caccia d‘acqua preziosa: come nasce l‘impero della Sade. Il corriere delle Alpi. https://temi.repubblica.it/corrierealpi-diga-del-vajont1963-2013-il-cinquantenario/il-monopolio-sade/ 34. Memoriefisiche – inizio https://www.memorieafasiche.it/ai/castellavazzo.html 35. La tragedia del Vajont. ht tps: //w w w. longarone. ne t /p age. php?pageid=SB2SX00P 36. Montagna in transizione Published on Jul 14, 2017 , Riqualificazione dell‘area dell‘ex-cementificio di Castellavazzo nelle dolomiti bellunesi come polo turistico montano.

125

Rferences

37. https://digilander.libero.it/maurobottegal/Castellavazzo.htm

Bibliografy _C. Natoli e M. Ramello, Strategie di rigenerazione del patrimonio industriale, 2017, Pacini Editore Industrie Grafiche, Pisa.

_E. Battisti, Archeologia industriale. Architettura, lavoro, tecnologia, economia e la vera rivoluzione industriale, Milano 2001.

_G. Pagano, Architettura Industriale in Italia, Bollettino d‘Arte, 1938-39, Ministero dei Beni culturali.

_F. F. Klingender, Arte e Rivoluzione Industriale, Einaudi,1972, Torino.

_Dansero, E. (1993). Dentro ai vuoti. Dismissione industriale e trasformazioni urbane a Torino. Torino: Libreria Cortina.

_G.Namer, Mémoire et société, Klincksieck1987.

_Giovanelli, G. (1997). Aree dismesse e rigenerazione urbana: l’innovazione nelle politiche e negli strumenti di intervento. In: Giovanelli G., (a cura di), Aree dismesse e riqualificazione urbana. Firenze: Alinea. _G. Donnarumma, Il fenomeno della dismissione dell’edilizia industriale e le potenzialità di recupero e riconversione funzionale, V Convegno di Storia dell‘Ingegneria, maggio 2013, Volume II, Napoli. _Gregotti, V. (1984). Modificazione. Casabella. Architettura come modificazione, 498(9). _R. Covino, Le seduzioni del dismesso. L’Archeologia industriale, in “Quaderno di comunicazione”, n. 8, 2008, pp. 101-108, ripubblicato in “Patrimonio Industriale”, Notiziario semestrale on line a cura dell’AIPAI, II, 3, dic. 2008, pp. 14-16. _E. Celano, Archeologia industriale, creatività e gestione integrata. Il caso Biellese. Tafter Journal, settembre 2011. _Atti del Convegno Internazionale di Milano, ivi 1978. _P.C. Pellegrini, Manuale del riuso architettonico, Dario Flaccovio Editore, 2018, Palermo. _Cfr. Recupero di archeologie industriali. Verifiche preliminari di fattibilità economica per un caso studio a Verbania. Tesi di Maria Vittoria Marocco. Politenico di Torino, 2017.

_Gillian Darley Fabbriche. Origine e sviluppo dell‘architettura industriale, Edizioni Pendragon, 2007, Bologna.

_F. Borsi, Introduzione all’archeologia industriale,1978, Roma. _Sciarra Roberta, L‘Italia è in deficit di suolo agricolo from Il cambiamento dal virtuale al reale, 30th August 2018. _Varius Autors, Il consumo di suolo, published by istituto Superiore per la Protezione e la Ricerca Ambientale, 2020

_Lyon e IBA Emscher Park Elena Marchigiani, Paesaggi urbani e post-urbani, Meltemi Editore srl, 2005, Milano

_Lorenzo Giovanni Bellù. Overview of The future of food and agriculture. Alternative pathways to 2050 published by the Economic and Social Development Department, FAO, 2018

_AA.VV., F. Minutoli, ReUSO 2018: L‘intreccio dei saperi per rispettare il passato interpretare il presente salvaguardare il futuro, Gangemi Editore, 2019, Roma.

_ZANE DASTOOR, Vertical Farm. Can Vertical farming Provide a Sustainable Source of food in metropolitan cities, in an eco-friendly way? On Weebly.com, 2019

_Sposito, C. (2012). Sul recupero delle aree industriali dismesse. Tecnologie materiali impianti ecosostenibili e innovativi. Santarcangelo di Romagna (RN): Maggioli Editore.

_ Barbara Miot, Il cementificio-Museo: un itinerariontra l‘archeologia industriale bellunese, Istituto universitario di architettura di Venezia, 1997-1998

_Martelli, A. (2005). Sulle condizioni che influenzano la trasformabilità e ostacolano la riqualificazione delle aree industriali dismesse [Tesi di Dottorato]. Roma: Università degli studi di Roma “La Sapienza”. _Tamburini G., „La bonifica delle aree industriali dismesse: alcune considerazioni introduttive“ in Gargiulo, C. (a cura di), Processi di trasformazione urbana e aree industriali dismesse: esperienze in atto in Italia, AUDIS (Associazione Aree urbane Dismesse), Venezia 2001. _MARCO DEZZI BARDESCHI, Il futuro della fabbrica (1984-1988), in ID., Restauro: punto e da capo. Frammenti per una impossibile) teoria, (a c. di) V. Locatelli, Milano, Franco Angeli, 1991, p. 232. _Maria Antonietta Crippa, in Officine del volo. Un progetto di Nicola Gisonda. Restauro di un’architettura industriale per nuove funzionalità, (a c. di) M.A. Crippa e F. Zanzottera, Milano, Silvana, 2007, p. 112. _A. Vitale, Luci e ombre sulla gestione del patrimonio industriale dismesso, 2011, Firenze University Press. _M. Russo, Aree dismesse. Forma e risorsa della città esistente, 1998, Edizioni Scientifiche italiane, Napoli.

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t e g r a t a - i l - c a s o - b i e l l e s e / https://www.aipaipatrimonioindustriale.com/chi-siamo _ ht tps: //do cplayer. it /17515557- Cor so - di -fon damenti- di- urbanistica -a -a -2013-14 -prof- giuseppe-de-luca-analisi-s-w-o-t.html _ http://www.urban-reuse.eu/?pageID=casi_internaz ionali&cID=landshaft _ http://www.urban-reuse.eu/?pageID=casi_internazio nali&cID=kaus _ http://www.urban-reuse.eu/?pageID=casi_internazio nali&cID=cablefactory _https://zedprogetti.it/2019/01/13/riuso-delle-areeindustriali-dismesse/ _ h t t p : // w w w. u r b a n - r e u s e . e u / ? p a g e I D = c a s i _ internazionali&cID=eisbahn _ https://www.lifegate.it/persone/stile-di-vita/fabbrica-del-vapore-milano-spazi-bandi _https://www.creziplus.it/news/vita-morte-e-resurrezione-di-un-luogo _https://www.visitberlin.de/it/aeg-am-humboldthain _http://www.ioarch.it/berlino_da_fabbrica_a_hub_ culturale-2963-0.html

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Rferences

Websites

Final thanks We would like to thank our professor Oscar Eugenio Bellini for his help in completing this thesis project and his patience in this difficult year. During the research phase, the help of the architect Barbara Miot, the architect Giorgio Pradella, creator of the mu.ri project, widespread museums of the Piave Valley, the employees of the urban planning office of Longarone and the surveyor Sacchet were fundamental for the materials supplied to us, Mr. Erminio Cappellesso, owner of the property, Professor Peter Beard and NiccolĂ˛ Del Farra. We also thank the respective families for the continuous support that has never been lacking in these years of studies. We also thank our personal taxi drivers, Federico and Fabio, always enthusiastic to be involved in the site visits. We also thank doctor Andrea Ceccarelli. A special thanks to the 23 Bassi architecture studio and SMP Studio Montanari & partners for their flexibility demonstrated in the recent months.

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Final thanks

A special memory goes to grandfather Vittorio.

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