TAMERA - Necropoli di Tarquinia

Sustainable Architecture and Landscape Design Piacenza 2022

ADVANCED LANDSCAPE DESIGN STUDIO Matteo Poli, Floriana Pergalani and Valentina Noce 07 Diellëza Tahiri Edera Kana Enkelejda Zekaj

© Necropoli di Tarquinia 2021

CONTENT The Etruscans Tombs of Tarqunia Context Analysis Site Survey

3 7 13 15

Strategy Concept

19 21

Territory Necropolis Model Exercises Mobile Application Algorithm Tomb Design Vegetation Afterlife Pavilion Museum Entrance Via Ripagretta

23 25 29 31 33 37 43 51 53 55

Conclusion

57

THE ETRUSCANS TRADITIONS, LIFE AND DEATH

The Etruscans, called Rasenna or Rasna in their language, were people of ancient Italy. They lived between the IX and I centuries BC, settled in a large area called Etruria, corresponding roughly to Tuscany, western Umbria and northern and central Lazio, with offshoots also to the north in the Po Valley, in today’s Emilia-Romagna, south-eastern Lombardy and southern Veneto, to island of Corsica, and to the south, in some areas of Campania. They preceded the Romans and were an advanced civilization especially in the context of art and literature. However, very little is known about them even nowadays regardless on-going archaeological research studies.

Interesting about the Etruscans is their complicated relationship with death which, over the centuries went through different phases. Their necropolises were real cities within the city and the tombs were singular replicas of the living quarters.

The Etruscans had a very lively cult of the dead. The necropolis and tombs are the first archaeological evidence concerning it, which they left as a reminder of their passage. In the first phase, the vision of death for the Etruscans was extremely serene. They believed that the dead continued to live in their tombs and for this reason they furnished the last abode of the dead with all kinds of furnishings. Every part of these tombs, was referring to the world of the living that was manifested in the representations painted on the walls of the tombs that echoed scenes of everyday life: athletic games; dances; banquets and parties, in the company of relatives and friends; hunting and fishing trips. Even in the structure: beams, cornices, ceilings, etc., the tombs of the Etruscans replicated the domestic environment. Objects, furniture and paintings were used to lighten the living room of the deceased, they reaffirmed that the tomb was the home of the afterlife and transfused to the dead a little of the vitality they represented.

The Etruscans were people of great vitality, able to welcome death with a hint of joy and serenity, as an inevitable stage in life. The passage into the afterlife of a deceased was celebrated as a party, this at least in a first phase, in the next, influenced by Greek culture, the Etruscans assimilated a very different idea of death.

Scanned original map of the Etruscan Tombs in the Tarquinia’s Necropolis | (ISPA Research), 2013

3

The first examples of monumental tombs were clearly inspired by the houses of the Etruscans: huts with a circular or elliptical plan; built with large stone blocks, surmounted by a false dome. The real sepulcher was an internal chamber which was reached by passing through a corridor, where furnishings and food offerings were placed.

It is evident that the Etruscans had a deep respect for the dead. Dance, music and prayer were of great importance in these ceremonies and there was no shortage of athletic competitions and fights. From the 5th century BC for the Etruscan’s vision of death changes radically: demonic figures, snakes and monsters begin to populate the graves of their dead. This profound transformation is not due solely to the influence of Greek civilization, but is probably linked to the awareness that the Etruscans developed, especially around the third century, that their civilization was running out. The sense of anguish for the imminent end affects not only daily life but also determines the vision of the afterlife which becomes a terrifying place, where the dead live without hope and surrounded by monstrous demons.

Etruscan civilisation as a phenomenon requires further investigation in terms of archaeology, history, language and genesis. Considering archeological evidences present today, the etruscan settlements were mainly focused in the region of Tuscany, western Umbria, and northern Lazio, as well as the Po Valley, EmiliaRomagna, south-eastern Lombardy, southern Veneto, western Campania, and along Tyrrhenian Sea.The earliest evidence of a culture that is identifiably Etruscan, dates from about 900 BC.

4

These evidences are usually necropolises, ancient roads, or partial traces of hypothetical settlements. The two studied cemeteries including their construction, artistic decoration and objects found in them are the necropolis near the town of Cerveteri, which is called Banditaccia and the one next to Tarquinia called Monterozzi.

Each of these cemeteries is different in the characteristics of the tombs and therefore cover together the Etruscan burial culture.

Cerveteri is known for structural aspect of the tombs, and the necropolis city-like plan, with “streets”, small squares and “neighbourhoods”. Tarquinia on the other hand, is famous for its painted tombs. This in spite the fact that they constitute only 3% of the known 6 000 tombs in the cemetery. The tombs are all cut in the rock and accessible via sloping or stepped corridor. Most of them were made for a single couple and constitute of one burial chamber.¹ Apart from Necropolises, etruscan traces can be found in road networks as well, particularily in the impressive road network of Via Cava (meaning: excavated roads), also known in Italian as Cavoni². These open-air paths, gigantic corridors created by digging the tufaceous rock, link an Etruscan necropolis and several settlements in the Maremma between Pitigliano, Sovana and Sorano. Along the Vie Cave can be found etruscan tombs and engravings. The signs of wear on the walking surface were caused by the centuries-old passage of the wagons, which also testifies to how much they have been used over time.

It is unknown the exact reason why etruscans made these roads. Some hypothesize a use of a sacred and funerary nature, other theses claim they were connecting roads, defensive systems or even works for the flow of water. Geologically speaking the via Cava roads are developed in the tuff, from a few hundred meters long to over a kilometer, with a maximum depth of about twenty-five meters. Originally they were excavated in the tuff by the Etruscans and usually have a course, albeit tortuous, that goes from the top of a tufaceous hillock towards the valley of a stream.

Via Cava network is spread in several places, but some important Cavoni acess points that we consider, concerning our research in Tarquinia, are Fratenuti, San Sebastiano, Parco Archeologico Citta del Tufo, Madonna, Calvone and Buia. All these locations partially connected, co-existing together within this system, can be an interesting opportunity for Tarquinia to be considered as a part of this network.

BOLOGNA

TARQUINIA

FLORENCE CERVETERI ROME

TYRRHENIAN SEA

NAPLES

¹ ICOMOS.(2004). ”Cerveteri and Tarquinia (Italy)”. No 1158 ² Terra Incognita.“Vie Cave Etrusche” [Online] Available from: https://terraincognita.earth/vie-cave-etrusche/

5

via Cava di Fratenuti

CIVITELLA D’AGLIANO

LAKE OF BOLSENA VALENTANO FARNESE

MARSILIANA

MONTERFIASCONE

CANINO

TUSCANIA

VITERBO

MA

RTA R.

Strada E80 / via AURELIA

via Cava Etrusca Strada Signorino

MONTALTO DI CASTRO

RA

FIO

R.

via Cava Buia

VETRALLA

LAKE OF VICO

TARQUINIA via Cava Etrusca Strada Signorino

.

ER

NON

MIG

AURELIA

LAKE OF BRACCIANO

CIVITAVECCHIA

y

lwa

rai

CERVETERI

VIA CAVA & ARCHAEOLOGICAL ETRUSCAN SITES

via Cava

10km

5km

6

TOMBS OF TARQUINIA HISTORICAL TRACES

According to researchers, the core of the old city of Tarquinia or as it was called in the past, Tarchuna, was positioned close to the temple of Ara Della Regina (which is believed to have been a housing typology), and the cemetery of the city it was positioned at Necropoli di Monterozzi. Historical traces along the whole city of Tarquinia write a clear timeline of how the city changed, expanded, and developed throughout the centuries.

The ancient traces are mostly spread at Necropoli di Monterozzi, as for the most recent traces of history, the medieval ones are found at the old city of Tarquinia³.

The old city is mainly positioned inside the historical walls for political and strategic reasons. Ancient traces of Etruscan are found almost in every part of the city, but the most important part is the tombs at Necropoli di Monterozzi. Tarquinia also it is crossed by the ancient road dating from 241 BC, Via Aurelia.

Etruscan Necropolises of Tarquinia

³ Canino Info. Le Tombe Etrusche di Tarquinia [online]

Available from: https://www.canino.info/inserti/monografie/etruschi/tombe_tarquinia/index.htm (accessed 13.02.22)

7

NECROPOLI DI MONTEROZZI & TARQUINIA 6 Tomba delle Leonesse

2 Tomba del Baccante 200m

4 Tomba della Pulcella

1 Tomba dell’Orco 200m 1

5

4

7

8

6

2 9

3

7 Tomba dei Tori

3 Tomba degli Anina

8 Tomba del Tifone

9 Tomba dei Demoni Azzuri

5 Tomba delle Pantere

Necropolis di Tarquinia Open tombs Closed Tombs Storage Area ffor Cinerary Urns IIron Age

200m 200m

8

Tomba della Fustigazione

Tomba del Gorgoneion

Tomba dei Giocolieri

A-A

A-A

B

B-B

B

B-B

B-B

B

A

A

A A

A

A

B B B

A-A

A-A

B-B

Tomba del Guerriero

Tomba Due Tetti

Tomba Pallottino

B

B

A

A A

A

B

A-A B B-B

B-B

B

A-A

B-B

A-A A-A

9

Tomba Moretti

Tomba Bettini

Tomba Dei Leopardi

B B

A

A

A

A

A

B

B

A

A-A

A-A

A-A

B-B B-B

A-A

Tomba Dei Demoni Azzurri

Tomba Dei Baccanti

B

Tomba della Caccia Al Cervo

A

A A

B

A

A-A

A-A

B-B

A-A

10

Tomba della Caccia e Della Pesca

Tomba Del Cacciatore

Tomba Cardarelli

Tomba Cristofani

Tomba delle Leonesse

La Tomba Bartoccini

11

Tomba Degli Anina

Tomba Degli Scudi

Tomba Della Pulcella

Tomba Del Fiore di Loto

Tomba Dei Fiorellini

Tomba Dei Caronti

A-A

B-B B

D

D

B

C

A

A A

A

C-C

D-D

C

B

B

12

CONTEX ANALYSIS GRAY-GREEN-BLUE SYSTEMS

Tarquinia Necropolis UNESCO borders

other archeological sites of etruscan traces

Buildings

Marta River & streams

Valleys & Mountains

Main Roads

Railway

13

350m

700m

Reading the context and jumping from different scales to close observations: from Monterozzi Necropolis and the city of Tarquinia, to a larger territory of the surrounding landscape, it is significant to identify landscape systems and elements.

The gray infrastructure indicates an ancient road called via Aurelia which now is partially present through the city, the railway which is in fact outside the city, and the Highway E80 that connects Tarquinia to major cities like Rome and Florence.

River Marta which flows from Bolsena lake towards the Tyrrhenian Sea, branches a large network of streams and canals in the region. Moreover the underground streams and wells present in the plateu of Tarquinia, show a significant potential of the blue system. Nonetheless, the green system includes a series of different types of landscapes of rural Tarquinia, connecting to a larger system of northern mountains and hiking attractions such as La Castellina, Roccaccia and via Cava, the imposing informal ancient etruscan pathway that connected different etruscan settlements together. Additionally to what has been explained above, via Cava today is used by hikers and mountain lovers and as it spreads in a particularily large extent, it is seen as a highly powerful element in our research in linking it to the territory of Tarquinia and consequently to the Necropolis of Monterozzi.

Zooming in to Tarquinia itself, the city stands on top of a fascinating tuff cliff which is quite characteristic not only for the site and Tarquinia itself, but also to the Etruscans settlements and materials used in housing structures, road networks, and tombs.

Therefore the presence of tuff (called “tufo” in italian) is very evident in the geology of the landscape and buildings as a vernacular material as well.

Historically speaking, Tarquinia developed out of the ancient Tárchuna (3 km northeast), which was one of the principal cities of the Etruscan confederation against Rome. Overcome by Rome in 311 BC, after following wars in 394 to 51, Tárchuna became the site of a Roman colony (Tarquinii) in 181 and received Roman citizenship in 90 BC. It declined during the late Roman Empire, and the old site was abandoned after the Lombard (6th century AD) and Saracen (8th century) invasions.

Its inhabitants moved to a lower-lying site, known in medieval times as Corneto and from 1922 as Tarquinia.³ Today the built environment is divided into two parts: the old town: inside the city walls which is home to a large number of gothic-romanesque churches , fifteenth- century palaces , ancient sources and historic buildings, and the new part of the city: outside of city walls, which is radically different following a scattered urban composition in comparison to the old town which is more compact and preserved.

Necropoli of Monterozzi is positioned outside of the city, between the city and the new cemetery of Tarquinia. Necropoli di Monterozzi is very important, speaking not only on historical terms, but on the social, economic, and cultural aspects as well, for the city of Tarquinia and research studies about the Etruscan civilisation.

14

SITE SURVEY DRIFTING & MAPPING OUT OF MEMORY Surrounded by a series of agricultural fields, with a roman old town filled with towers and beautiful churches, Tarquinia or also known as Cornetto, is home to a long and valuable tradition of Etruscan Necropolis and archaeological sites, including tombs, temples and pathways. In contrast to the touristic coastline which Tarquinia has, the city and the Necropolis of Monterozzi itself strangely lacks the attention it deserves. An explicit site survey made in different modalities, explains further this issue. Drifting as an experience through the city shows how the context is perceived from a chaotic journey by car and walking.

15

CLOSE OBSERVATIONS OF SITE AREA Being positioned on top of the hill, the Necropolis of Tarquinia has magnificient views facing the Tuscan Landscape.

The current museum unfortunately is not very well developed.The main road is not pedestrian-friendly and the first contact with the site is not very welcoming and confusing.Info-points are outdated, and the path along the tombs bemuses the visitor. These close observations state the problems and potentials that identify the site area.

16

Photos taken in Necropolis di Tarquinia, 2021

17

18

STRATEGY

ANALYTICAL DIAGRAMS Regional Framework

Etruscan Road San Rocco in Sorano

Via Cava di san Sebastiano

Parco Archeologico Città del Tufo Lago di Bolsena

Via Cava del Madonna Via Cava di Fratenuti

Via Cava del Calvone

78 km

Local Framework

1000 m

LEGEND Observatory platform

Soft mobility path

Ara della Regina Afterlife Pavilion

New building functions [ Restaurants and resting areas]

Re- Define the Main Road

Re-Shape the Tombs Entrances [ Buildings]

Accommodation Housing Typologies

8.4 km Camping Area

MONTEROZZI NECROPOLIS

850m

350 m

350 m

1

5

4

8

6

7

1.6 km

2 9

3

19

The strategic geographical position where Tarquinia is placed has granted this particular place to be inhabited by humans more than 2500 years ago. Although little is visible of the once-great wealth and extent of the ancient city, archaeology is increasingly revealing glimpses of past glories.

Throughout the analytical research regarding connection, the most important Etruscan traces were identified. Their proximity to and from the Necropolis of Monterozzi which would be the pivot point of research will divide the research into two dimensions strategically speaking: Regional and Local Framework.

Both these frameworks require different interventions and different approaches regarding the scale, content, context, and individual characteristics. Large-scale analytical research identified a clear connection of the already existing ancient Etruscan roads such as Via Cava. Closer observation of the area depicted another very important connection of different necropolises inside Necropoli di Monterozzi,such as: Necropoli di Tarquinia and Necropoli di Scataglini. The main intervention which is mutual for both frameworks is the soft mobility path, which will connect and reactivate the ancient traces of former Cornetto. These main interventions aim to: Regenerate the Environment, Preserve cultural, heritage, and artistic values, Enhance the Social and Economic dimension and include Technology as an intangible layer.

GOALS AND ACTIONS ENVIRONMENTAL REGENERATION

Camping Area Observatory platform

IMPROVEMENT Re-Define via Ripagretta - heritage axis

CULTURAL & HERITAGE PRESERVATION

SUBSTRACTION Re-Shape the Tombs Entrances [Buildings]

Re-Shape the main Museum Building

Accommodation

Afterlife Pavilion

Soft mobility path

SOCIAL & ECONOMIC ENHANCEMENT ac

tio

go

als

ns

ADDITION Mobile App for info and itineraries workshop and research centers

RESEARCH & TECHNOLOGY

20

21

CONCEPT Following a multi-scale research and observation into Etruscan traces and Tarquinia as a site in particular, we’ve come to a delicate approach with significant focus on both territorial-scale connections with other etruscan sites, and humanscale correlations in a closely studied matter of feeling, touching and remembering architecture and landscape.

Using technology as a guide in nowadays common routine, will help create a more efficient, functional and sustainable way of experiencing a fragile and fascinating story of The Etruscans.

Perception of death changed radically over time and it is visible on the painted walls of the tombs in Tarquinia Necropolis.“ ” (etruscan word meaning “chamber of death” aims to explore and reflect further on this evolution, respecting and reminding the spiritual way of life and afterlife of this peculiar civilization.

Due to on-going archeological research, the project carries a rather light approach regarding landscape and architectural design, keeping it as minimal and necessary as possible. Hence, developing an algorithm that generates daily possible routes based on user interest and performance, interpolated in an user-friendly mobile application, is one of our main proposals that will not only provide more efficient way of visiting the museum, but will create a methodology that helps preserve and regenerate the landscape, transforming it into a resillent landscape. The walking tracks change daily, in order to let the nature to reinvent itself. Consequently, we have studied carefully the concept of human effect on surfaces that are touched, violated or simply seen. Explained in Usures by Rotor⁴: “As a trace of use, wear reminds us that most of the time other users have gone before us, and still more will follow. In some cases wear even provides a valuable clue as to the nature of these uses. In this sense, traces of wear play a vital part in our ability to read our environment and, by extension, appreciate it.”

Surfaces, textures, and feelings of the touch are of great significance in all part of this project, because “wear is laid bare and becomes detached from the narratives linked to decades of use which make up its value, leaving the only possible interpretation that life, with all its cracks and wrinkles, has changed with time.”

⁴ Rotor. (2010). “Usus/usures. Etat des lieux - How things stand”. Wallonie-Bruxelles Édition.

Also available in: https://rotordb.org/en/projects/usususures

22

TERRITORIAL SCALE

SOFT MOBILITY ROUTE & DESIGN PROTOTYPES

A3 Countryside

PROFILE A1 Main road Ripagretta

A1 Ripagretta

PROFILE A1 Main road Ripagretta

sof

tm

ob

ility

A2 Housing

roa

d

A2 Aqueduct

sof

tm

ob

ility

pa

rkin

g

roa

d

pa

A4 via Cava

rkin

g

PROFILE A3

Countryside Roads

info point display board customized based on locations

A3 Countryside

e-bike charging & parking

seating & charging slots

sof

tm

ob

PROFILE A3

e-bike charging & parking info point display board customized based on locations

seating & charging slots

Countryside Roads

A2 Ara della Regina

gravel

ility

roa

d

sof

tm

ob

ility

gravel

roa

d

23

PROFILE A1 Main road Ripagretta

PROFILE A1 Main road Ripagretta

sof

tm

sof

tm

ob

ility

ob

roa

ility

d

pa

rkin

roa

d

PROFILE A2

Ara della Regina New housing area Under the Aqueduct

info point display board customized based on locations

seating & charging slots

seating & charging slots

sof

tm

gravel

ob

sof

ility

tm

gravel

ob

ility

pa

g

rkin

g

PROFILE A2

Ara della Regina New housing area Under the Aqueduct info point display board customized based on locations

e-bike charging parkingboard info point& display

customized based on locations

info point display board customized based on locations e-bike charging & parking

e-bike charging & parking seating & charging slots

tm

sof

ob

ility

gravel

ob

ility

gravel

tm

Countryside Roads

PROFILE A3

Countryside Roads

e-bike charging & parking

seating & charging slots

sof

PROFILE A3

roa

d

PROFILE A4 Etruschan path, via Cava roa

d

PROFILE A4 Etruschan path, via Cava

wa

lkin

gt

wa

rac

lkin

ks

gt

rac

ks

24

NECROPOLIS SCALE

MASTERPLAN OF TARQUINIA MUSEUM

25

6m

12m

24m

26

GROUND LEVEL

via Ripagretta and Museum Entrance

Afterlife Pavilion Area

27

Tombs

Research Center

6m

12m

28

MODEL EXERCISES

DESIGN PROCESS OF MASTERPLAN Topography physical model study initiated the site-scale strategy regarding connection.

Placing the accurate position of tombs onto the real typography setting, without the other layers of detachment such as road, vegetation or other particles of the built environment, generated a new layer of linkage between the two necropolises.

Initial Model. Scale 1:1000

29

No paths at all, and at the same time multiple paths! The initial idea of the connection between two necropolises integrates the already existing layers and generates non-identical scenarios based on different timelines, users, and attraction points. This particular model presents the pivot point of the conceptual design phase.

Usures Scenarios Model. Scale 1:500

30

MOBILE APPLICATION THE IDEA OF VIRTUAL JOURNEYS

The Mobile App will be mainly used to create interactive experiences while visiting Tarquinia , the Museum of Necropoli di Tarquinia, and having personalized tours through the tombs and other facilities provided in the project. Visitors have to use the ticket, which is part of the app, to access all respective doors of the museum.

The interactive experience consists of a countless variety of daily journeys with scenarios adapted to different types of users. The logic takes into account specific criterias used to generate optimal routes everyday for one week. This methodology serves as a way to preserve landscape and stimuntaniously organize the museum walk. Due to security problems in museums and survelliance systems, the app will provide real time data and tracking on all visitors while being within the museum territory. Additionally, the app provides information on etruscan culture and ongoing archeological research/escavation, a guide for eating, drinking and sleeping in Tarquinia, as well as a new’s feed board, that can be connected with social media apps such as facebook, twitter, instagram, snapchat etc.

31

32

THE ALGORITHM

THE LOGIC CALCULATION OF CHANGING PATHS

Within the mobile application, an algorithm is developed in order to calculate and stimulate a numerous alternatives of paths inside and outside of museum.

These so called virtual journeys will be generated daily for a week, and reset again for each week. The algorithm is created based on a set of criterias and a set of scenarios according to the user type. There are 5 criterias used in calculation: 1. Tombs are listed in a hirearchy according to cultural importance and content.

For example if the visitor wants to see only “the biggest tombs”, “happy tombs” or “demon tombs”, the output of algorithm will generate only respective tombs of these characteristics; 2. Attraction points, such as pavilion, research center or resting areas are picked based on user preference and interests; 3. Previously walked paths are excluded from the calculation in order to let the grass grow. This means that if a path from point A to point B has been walked 100 times today, tomorrow this path will be removed from scenarios, but will reappear in the next week.

SET OF CRITERIA:

Tombs

Attraction Points

visiting tombs based on scenarios

visiting points based on scenarios

C.

A.

B. D.

Previously Walked Paths eleminating paths based on scenarios

Vegetation & Seasonal Changes walking based on vegetation

Distances & Walking Risks eleminating risky and long routes

tumuli

50m

33

SET OF SCENARIOS | USERS:

4. Vegetation and sesonal changes like the previous criteria, exludes areas where the vegetation is supposed to be healing, growing or considering seasonal changes, some plants have a specific blooming time which should be followed carefully.

5. Distances and Walking Risks as a criteria exludes from calculation the long distances between two points of interest. This also considers the presence of tumuli as a ‘non-walkable’ area and risky possible surfaces such as terrain changes.

Nonetheless, the set of scenarios which comes in four profiles of user type, is established based on path model exercises conducted by us during design process.

According to excercises, we’ve optimized an average time of 15 minutes visit per tomb, 20 to 30 minutes for the afterlife pavilion and up to 15 minutes for open air exhibition areas. However, since the time may vary based on personal interest a percentage of spontanity and uncertainity is also included in the algorithm.

Technically speaking, the calculation process will generate endless alternatives of possible journeys (for n sequences > P(n,t) =n!/(n-t)!), and will result in the most optimal solution for the selected criteria used in the calculation.

Calculation & Optimization Process

34

all users

group visits

DAY 1

DAY 2

DAY 3

DAY 4

DAY 5

35

researchers & students

1-day individual visit

3-hour individual visit

36

TOMB DESIGN

PLAN AND SECTION Tomba della Caccia e della Pesca

-340

tomb ventila

glass walls -2cm glass slabs -5cm steel bearing structure

37

334

613

±0

vegetation soil gravel -5cm moisture retention layer -0.5cm drainage & root barrier -5cm membrane protection layer -0.5cm waterproof membrane -0.5cm thermal insulation -5cm timber roof construction -8cm tufo coating -1cm

tufo coating -1cm thermal insulation -3cm tufo brickwall -15cm tufo coating -1cm

300

ultra metal cor-ten 6mm thickness 210x90cm dim automatic sliding

ation

362

perforated steel steel nods steel bearing beam

38

Cassette presents the entrance to the afterlife. Considering that the already existing entrances are inadequate and confusing, we proposed an intervention that consists of restoring tumuli, stairs, and cassette. Almost every tomb will have an entrance door from which the visitor can continue downstairs to the tomb, after the visit is finished one will leave the tomb from the other door. This confusing journey tends to project an afterlife journey that will not allow the visitor to turn back to where he/ she was. Fear, joy, abandonment are amongst feelings that these tombs tend to transcend to the visitor. The addition of the interactive glass box allows the visitor to be physically inside the tomb, which intensifies each feeling creating a totally new and very significant experience.The new design of stairs that lead to the interactive glass box inside the tomb, consists of perforated steel, which is a lightweight material and also the holes provide the opportunity of the smell and physical properties of the stone to be still visible.

Necropoli of Monterozzi kept hidden and safe underground for more than 2500 years, valuable artistic frescoes. A unique and exceptional testimony to the ancient Etruscan civilization was the only urban type of civilization in pre-Roman Italy.

Moreover, the depiction of daily life in the frescoed tombs, many of which are replicas of Etruscan houses, is a unique testimony to this vanished culture.

DETAILED AXONOMETRIC VIEW Tomba della Caccia e della Pesca

GREENROOF

vegetation soil gravel -5cm moisture retention layer -0.5cm drainage & root barrier -5cm membrane protection layer -0.5cm waterproof membrane -0.5cm thermal insulation -5cm GREENROOF timber roof construction -8cm vegetation tufo coating -1cm soil gravel -5cm moisture retention layer -0.5cm drainage & root barrier -5cm membrane protection layer -0.5cm waterproof membrane -0.5cm thermal insulation -5cm timber roof construction -8cm tufo coating -1cm

hidden rain gutter system in roof&facade

hidden rain gutter system in roof&facade

ventilation pipes the tomb in the ground made of limestones

ventilation pipes

tumuli, protected & added in missing tombs

the tomb in the ground etrsucan made of limestones painted walls

tumuli, protected & added in missing tombs

etrsucan painted walls

TUFOWALLS

tufo coating -1cm thermal insulation -3cm tufo brickwall -15cm tufo coating -1cm

TUFOWALLS

GLASSBOX ultra metal cor-ten 6mm thickness 210x90cm dim automatic sliding

DOOR

iLOCK openpath smart reader configurable usb ports electrical box/supplier

ultra metal cor-ten 6mm thickness 210x90cm dim automatic sliding

tufo coating -1cm thermal insulation -3cm tufo brickwall -15cm tufo coating -1cm

glass walls -2cm glass slabs -5cm steel bearing structure

DOOR

STAIRS

iSCREEN cover glass on-chip lens color filter photodiode

iSCREEN cover glass on-chip lens color filter photodiode

GLASSBOX

perforated steel steel nods steel bearing beam

glass walls -2cm glass slabs -5cm steel bearing structure

STAIRS

perforated steel steel nods steel bearing beam

iLOCK openpath smart reader configurable usb ports electrical box/supplier

th

openpa

39 th

openpa

Tarquinia’s large-scale wall paintings are exceptional both for their formal qualities and for their content, which reveals different aspects of life, death, and religious beliefs of the ancient Etruscans. Presenting historical, artistic, and architectural values requires a high-level security preservation system and especially when the architectural building itself is an artifact. Each tomb entrance has its individual proposed security system, the first impact of the visitor with the tomb would be the tomb entrance door which is impossible to open without the ticket. The I-lock integrated within the door design allows us to control the number of visitors within the tomb and at the same time provides a secure environment for the artifacts. The interactive glass box placed inside the tomb holds enormous pieces of information about the tombs paintings, symbols, and history of Etruscans. The glass box works as a screen, which is activated with touching motion, allowing the visitor to interact and learn more about the tomb contents.

The museum surveillance system is divided into two fields of operation: Open Air System and Closed System. In addition to that, both systems are connected to a real-time locating system.The condition of the assets tagged is continuously monitored, and the data is stored. Any change of the assets condition instantly triggers alerts, sent immediately via email, text alert, or other preferred methods.

Additionally, video analytics from camera systems and facial recognition software can record all events for real-time analysis. This monitoring system is closely working with the designed application of the visiting scenarios, which collects users’ data and monitors their movement and position in real-time.The open-air surveillance system includes: Fence mounted vibration detection system, Lightning, Security Cameras, and Laser Devices. Proposed closed surveillance and preserving system of the museum includes Nest Cam Surveillance Camera, Laser Security System, Digital Humidity Sensor Rh/T, Smart Smoke Detectors, Lightning system.

Cameras are positioned in strategic points of view, integrated within the lightning layout design. The cameras have a color night vision setting and also 110 degrees wide and adjustable angle which provides a high range of surveillance surface.

Inside the chamber of the tomb are placed angle adjustable lasers, with reflective red&infrared reflective sensors, which are activated as soon as unknown objects enter the restricted area. Digital humidity and ventilation devices are placed within the tomb because the preservation process of the tombs paintings are very delicate, for the paintings to hold the existing condition and to stop the deterioration process, the temperature and humidity must be kept to constant parameters.

Smart smoke detectors are also integrated within the top surface, their accuracy permits the sensor to activate the alarm from lower temperatures such as -3 °C. Poor lighting always creates poor exhibits! Very high importance was given to the lighting system as a presenting and preserving tool. The lighting system inside the tombs is minimal and automatic lightning to avoid photochemical damage (fading) and photomechanical damage (structural damage). On the other hand, the outside lightning system is integrated within the landscape giving importance to focus points of our interventions: museum entrance, traced tombs, tombs entrances, urns, and other attractions (open-air exhibition, belvedere platform, etc.)

PROTOTYPE DESIGN OF lighting &security systems

LIGHTS

-loom LED -acrylic, metal -warm color -intensity from 50lx

SMART SMOKE DETECTORS -RF433mhz Wireless Interlinked -CO, CO2 and heat detector -3x3x1.1mm dim -10yrs of battery life -mode: siren with flash

17°c

Nest Cam SURVEILLANCE CAMERAS

-wireless, no hub -2k video & HDR -color night vision -6 Ah,3.65V lithium-ion battery -110°wide & adjustable angle

LASER SECURITY SYSTEM -SICK, BOSCH, other -multiple LED, red & infrared -reflective sensors, 20-55m -threaded model, 35g weight -angel adjustable

21%

DIGITAL HUMIDITY SENSOR RH/T -CMOSens® chip -LED display -3x3x1.1mm dim -accuracy: ±2%RH & ±0.3°C

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Tomb Section Model. Scale 1:50

41

Construction Detail Model. Scale 1:20

42

VEGETATION

MICROCLIMATE AND BIODIVERSITY

The site area is very rich in vegetation. Being part of the Lazio region and seaside on one hand and close to Tuscany on another has allowed the vegetation diversity to thrive. Considering that the Etruscan society is mainly known through the memorial and achievement inscriptions on monuments of the Etruscan civilization, especially tombs, the dominant part of the contextual content of the frescoes are flowers, shrubs, trees, grass, etc.This verbal evidence reveals the close connection of Etruscans with nature, hence this proclaims the cultural, ecological, and historical values of the already existing native vegetation on site.Being situated in a hill, the sloped side of the hill facing the Tuscany is populated by high vegetation, whereas the top of the hill holds a scarce amount of high vegetation. Via Ripagretta, which divides Necropolis of Tarquinia with Necropoli di Scataglini, is surrounded on both sides by high vegetation, as well. Trees along the street have a very important role, creating microclimate conditions and at the same time providing a natural buffer zone. Some of the most important native trees that are already present on the site are Quercus ilex, Olea europea, Nerium oleander, Punica granatum, Quercus pubescens, ficus carica, etc. Vegetation as a very important part of this particular site holds a very important position in our proposal.Our project aims to improve the condition of the already existing vegetation and expand the amount of native vegetation to increase the biodiversity of the whole area.

Querqus ilex

GSPublisherVersion 0.4.100.100

Olea europaea

Nerium oleander

Punica granatum

Quercus pubescens-

Ficus carica

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TUMULI

TOMB

CASSETTE

DROMOS

VEGETATION COVER

The necropolis consists of more than 6000 hypogeal tombs cut into the rock and covered by soil mounds, spanning a chronological period from the 7th to 2nd century BC, and about 3% of them are painted, comprising the only great evidence of preRoman painting in the Mediterranean basin. Paintings, which were made using soil oxide and mineral pigments on rock or plaster, accurately portray Etruscan civilization, its customs, beliefs, and the everyday life of its people.

The practices of building hypogeal tombs and decorating them with mural paintings developed in several Etruscan cities, in a wide region of Etruria, during a period from the 7th to the 3rd century B.C. Their painted tombs have an extraordinary cultural and artistic relevance because they reflect the life, the funeral rites, and the concept of the afterlife of the Etruscans aristocracy. In this necropolis, the sepulchral chambers often lie at a variable depth from the surface (from 2 m to 8 m), under variable soil and bedrock types, which have been excavated to obtain them.

Monterozzi in [local Italian dialect means “small hills’], this indicates that tumuli above the tombs are as old as tombs themselves. The original tumuli, which covered the tombs, were often dismantled and only partially rebuilt. The building of mounds as burial marks, a sign that appears from a long distance, has a long tradition, which can be dated even from the last millennium B.C. in the area of the ancient Thracia, Illyria, and Greece, and similar buildings can be found all over the world.

Most of the original tumuli were probably visible during the 19th century when the area was used for animal grazing, and this explains the toponym “Monterozzi”. The conservation of underground tombs is affected by several physical-chemical and biological factors, which could be reduced by insulating systems able to maintain the microclimatic stability also decreasing the biodeterioration risk. In Mediterranean areas, wild ephemeral plants, which reduce their cover during the hot season, seem unsuitable for reducing summer overheating. According to a study made in 2021 regarding the role of vegetation in preserving the frescoes inside the tombs, a positive influence of vegetation cover was detected on two tombs: Fiore di Loto & Casca e Pesca. More importantly, tumuli rebuilding, conserving the roundish original shape and a sufficient wide size, seems necessary, not only for the philological reason in the archaeological site but also because a roundish shape does not create a preferential exposure and because of the need to guarantee a more efficient shelter of the underground. ⁵

Ephemeral Herbs Ephemeral Ephemeral Herbs Herbs

Therophytes Therophytes Therophytes

Phanerophytes Phanerophytes Phanerophytes

Perennial Herbs Perennial Perennial Herbs Herbs

Cynodon dactylon Cynodon Cynodon dactylon dactylon

Hemicryptophytes Hemicryptophytes Hemicryptophytes

44

VEGETATION

PLANTS & BLOOM CALENDAR

The collected data show the complex network of relationships among various parameters affecting the conservation of such a subterranean cultural heritage.

A positive influence of vegetation cover in maintaining higher and more constant humidity conditions were detected. Plant covers also influenced internal temperatures, but the mounds’ orientation, as well as other constructive features, also seem to have a relevant role. Data confirmed that late summer and early autumn are the most critical microclimatic periods for the hypogeal paintings. To improve the insulation systems, we suggest a careful rebuilding of tumuli over the tombs, as well as a better selection of wild plants that do not create a risk of roots penetration underground and are suitable for maintaining their covering during summer.⁵ The selection of the best plant cover needs, however, careful consideration of other parameters. This includes the potential role of the roots in penetrating underground and creating damage through physic-chemical interactions with rocks and mural paintings. As a preliminary list, some wild perennial herbaceous species already present in the site could be considered as a potential, not root penetrating plants as covers, such as Convolvulus cantabrica, Salvia verbenaca, Picris hieracioides, and Clematis cirrhosa.

Name : solidago rug

Plant type : Perennia

Season: late summe

Au

Height: 90- 120 cm

21

tu

Blooming color :

December

m

n

N

ua

b

em

ov

Jan

er

ry

r

te

in

W

ry

ua

br

Fe

20

Name : aster macrop

Plant type : Perennia

obe

r

Season: summer, fa Height: 50- 70 cm

er Septemb

Name : cornus cana

Plant type : Perennia

Apr

il

23

March

Oct

Blooming color :

Season: spring and Height: 10- 20 cm Blooming color :

st

gu Au ay

Su m

June

g rin

July

Sp

me r

M

Name : diplotaxis_te

21

Plant type : Perennia

Season: summer, au Height: 10-60 cm Blooming color :

⁵ Caneva, G. et al.(2021).”Vegetation Cover and Tumuli’s Shape as Affecting Factors of Microclimate and Biodeterioration Risk for the Conservation of Etruscan Tombs(Tarquinia, Italy)”. Sustainability, 13, 3393. https://doi.org/10.3390/su13063393 Academic Editor: Bernhard Huchzermeyer

45

Name : bellis perennis L Name : bellis perennis L Plant type : Perennials Plant type : Perennials Season: Summer and mild Winters Name : bellis perennis L Winters Season: Summer and mild Height: 10-15 cm Plant type : Perennials Height: 10-15 cm Blooming color : Season: Summer and mild Winters Blooming color : Name bellis perennis L Height:: 10-15 cm

Name : hyoseris radiata L. Name : hyoseris radiata L. Plant type : Perennials Plant type : Perennials Season: spring and summer Name : hyoseris radiata L. Season: spring and summer Height: 10-30 cm Plant type : Perennials Height: 10-30 cm Blooming color : Season: spring and summer Blooming color : Name hyoseris Height:: 10-30 cmradiata L.

Plant typecolor : Perennials Blooming : Season: spring and summer

Plant typecolor : Perennials Blooming : Season: Summer and mild Winters

Plant typecolor : Perennials Blooming : Season: spring and summer

Height: 90 - 120 cm Name : agastache rugosa Blooming color : Plant type : Perennials

Height: 20 - 50 cm Name : convolvulus cantabrica Blooming color : Plant type : Perennials

Height: 10-15 cm Name : bellis perennis L Blooming color : Plant type : Perennials

Height: 10-30 cm Name : hyoseris radiata L. Blooming color : Plant type : Perennials

Height: 60- 120 cm Name : malva sylvestris L Blooming color : Plant type : Perennials

Season: late summer and fall

Season: summer and fall

Season: spring and summer

Season: Summer and mild Winters

Season: spring and summer

Season: summer and fall

Height: 90- 120 cm

Height: 90 - 120 cm

Height: 20 - 50 cm

Height: 10-15 cm

Height: 10-30 cm

Height: 60- 120 cm

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Name : aster macrophyllus Name : aster macrophyllus Plant type : Perennials Plant type : Perennials Season: summer, fall and winter Name : aster macrophyllus Season: summer, fall and winter Height: 50- 70 cm Plant type Perennials Height: 50-: 70 cm Blooming color : Season: summer, fall and winter Blooming color : Name : 50aster Height: 70macrophyllus cm Plant typecolor : Perennials Blooming :

Name : clematis cirrhosa Name : clematis cirrhosa Plant type : Perennials Plant type : Perennials Season: autumn, winter and spring Name : clematis Season: autumn,cirrhosa winter and spring Height: 90- 200 cm Plant type Perennials Height: 90-: 200 cm Blooming color : Season: autumn, winter and spring Blooming color : Name clematis cirrhosa Height:: 90200 cm Plant typecolor : Perennials Blooming :

Name : cynodon dactylon Name : cynodon dactylon Plant type : Perennials Plant type : Perennials Season: summer and autumn Name : cynodon Season: summerdactylon and autumn Height: 01- 30 cm Plant type Perennials Height: 01-: 30 cm Blooming color : Season: summer and autumn Blooming color : Name cynodon Height:: 0130 cmdactylon Plant typecolor : Perennials Blooming :

Name : dactylis glomerata L. Name : dactylis glomerata L. Plant type : Perennials Plant type : Perennials Season: autumn and winter Name : dactylis Season: autumnglomerata and winterL. Height: 60- 120 cm Plant type Perennials Height: 60-: 120 cm Blooming color : Season: autumn and winter Blooming color : Name dactylis L. Height:: 60120 glomerata cm

Name : salvia verbenaca Name : salvia verbenaca Plant type : Perennials Plant type : Perennials Season: spring and summer Name : salvia Season: springverbenaca and summer Height: 03-10 cm Plant type : Perennials Height: 03-10 cm Blooming color : Season: spring and summer Blooming color : Name salvia cm verbenaca Height:: 03-10

Season: summer and autumn

Plant typecolor : Perennials Blooming : Season: autumn and winter

Plant typecolor : Perennials Blooming : Season: spring and summer

Name : plantago lanceolata L. Name : plantago lanceolata L. Plant type : Perennials Plant type : Perennials Season: all seasons Name : plantago lanceolata L. Season: all seasons Height: 20- 50 cm Plant type Perennials Height: 20-: 50 cm Blooming color : Season: all seasons Blooming color : Name plantago Height:: 2050 cmlanceolata L. Plant typecolor : Perennials Blooming :

Name : agastache rugosa Name : agastache rugosa Plant type : Perennials Plant type : Perennials Season: summer and fall Name : agastache rugosa Season: summer and fall Height: 90 - 120 cm Plant type Height: 90 :- Perennials 120 cm Blooming color : Season: summer and fall Blooming color : Name agastache Height:: 90 - 120 cmrugosa

Name : convolvulus cantabrica Name : convolvulus cantabrica Plant type : Perennials Plant type : Perennials Season: spring and summer Name : convolvulus cantabrica Season: spring and summer Height: 20 - 50 cm Plant type Height: 20 :- Perennials 50 cm Blooming color : Season: spring and summer Blooming color : Name convolvulus Height:: 20 - 50 cm cantabrica

Plant typecolor : Perennials Blooming : Season: late summer and fall

Plant typecolor : Perennials Blooming : Season: summer and fall

Height: 90- 120 cm Name : solidago rugosa Blooming color : Plant type : Perennials

Name : solidago rugosa Name : solidago rugosa Plant type : Perennials Plant type : Perennials Season: late summer and fall Name : solidago rugosa Season: late summer and fall Height: 90- 120 cm Plant type Perennials Height: 90-: 120 cm Blooming color : Season: late summer and fall Blooming color : Name : 90solidago rugosa Height: 120 cm

Name : malva sylvestris L Name : malva sylvestris L Plant type : Perennials Plant type : Perennials Season: summer and fall Name : malva sylvestris Season: summer and fallL Height: 60- 120 cm Plant type Perennials Height: 60-: 120 cm Blooming color : Season: summer and fall Blooming color : Name malva L Height:: 60120sylvestris cm Plant typecolor : Perennials Blooming : Season: summer and fall

Season: all seasons

Season: summer, fall and winter

Season: autumn, winter and spring

Height: 50- 70 cm Name : aster macrophyllus Blooming color : Plant type : Perennials

Height: 90- 200 cm Name : clematis cirrhosa Blooming color : Plant type : Perennials

Height: 01- 30 cm Name : cynodon dactylon Blooming color : Plant type : Perennials

Height: 60- 120 cm Name : dactylis glomerata L. Blooming color : Plant type : Perennials

Height: 03-10 cm Name : salvia verbenaca Blooming color : Plant type : Perennials

Height: 20- 50 cm Name : plantago lanceolata L. Blooming color : Plant type : Perennials

Season: summer, fall and winter

Season: autumn, winter and spring

Season: summer and autumn

Season: autumn and winter

Season: spring and summer

Season: all seasons

Height: 50- 70 cm

Height: 90- 200 cm

Height: 01- 30 cm

Height: 60- 120 cm

Height: 03-10 cm

Height: 20- 50 cm

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Name : cornus canadensis Name : cornus canadensis Plant type : Perennials Plant type : Perennials Season: spring and summer Name : cornus Season: spring canadensis and summer Height: 10- 20 cm Plant type Perennials Height: 10-: 20 cm Blooming color : Season: spring and summer Blooming color : Name : 10cornus canadensis Height: 20 cm

Name : coptis groenlandica Name : coptis groenlandica Plant type : Perennials Plant type : Perennials Season: spring Name : coptis Season: springgroenlandica Height: 03- 17 cm Plant type Perennials Height: 03-: 17 cm Blooming color : Season: spring Blooming color : Name : 03coptis Height: 17 groenlandica cm Plant typecolor : Perennials Blooming :

Name : ferula communis Name : ferula communis Plant type : Perennials Plant type : Perennials Season: spring and summer Name : ferula Season: springcommunis and summer Height: 50-90 cm Plant type : Perennials Height: 50-90 cm Blooming color : Season: spring and summer Blooming color : Name ferula communis Height:: 50-90 cm Plant typecolor : Perennials Blooming :

Name : foeniculum vulgare Name : foeniculum vulgare Plant type : Perennials Plant type : Perennials Season: summer Name : foeniculum Season: summer vulgare Height: 60- 80cm Plant type Perennials Height: 60-: 80cm Blooming color : Season: summer Blooming color : Name foeniculum Height:: 6080cm vulgare

Name : verbascum sinuatum L. Name : verbascum sinuatum L. Plant type : Perennials Plant type : Perennials Season: late spring and late summer Name : verbascum L. Season: late spring sinuatum and late summer Height: 60- 120 cm Plant type Perennials Height: 60-: 120 cm Blooming color : Season: late spring and late summer Blooming color : Name verbascum Height:: 60120 cm sinuatum L.

Name : centaurea aspera L Name : centaurea aspera L Plant type : Perennials Plant type : Perennials Season: spring and summer Name : centaurea L Season: spring andaspera summer Height: 05- 12 cm Plant type Perennials Height: 05-: 12 cm Blooming color : Season: spring and summer Blooming color : Name centaurea Height:: 0512 cm aspera L

Season: spring

Season: spring and summer

Plant typecolor : Perennials Blooming : Season: summer

Plant typecolor : Perennials Blooming : Season: late spring and late summer

Plant typecolor : Perennials Blooming : Season: spring and summer

Height: 10- 20 cm Name : cornus canadensis Blooming color : Plant type : Perennials

Height: 03- 17 cm Name : coptis groenlandica Blooming color : Plant type : Perennials

Height: 50-90 cm Name : ferula communis Blooming color : Plant type : Perennials

Height: 60- 80cm Name : foeniculum vulgare Blooming color : Plant type : Perennials

Height: 60- 120 cm Name : verbascum sinuatum L. Blooming color : Plant type : Perennials

Height: 05- 12 cm Name : centaurea aspera L Blooming color : Plant type : Perennials

Season: spring and summer

Season: spring

Season: spring and summer

Season: summer

Season: late spring and late summer

Season: spring and summer

Height: 10- 20 cm

Height: 03- 17 cm

Height: 50-90 cm

Height: 60- 80cm

Height: 60- 120 cm

Height: 05- 12 cm

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Name : diplotaxis_tenuifolia_6 Name : diplotaxis_tenuifolia_6 Plant type : Perennials Plant type : Perennials Season: summer, autumn and winter Name : diplotaxis_tenuifolia_6 Season: summer, autumn and winter Height: 10-60 cm Plant type : Perennials Height: 10-60 cm Blooming color : Season: summer, autumn and winter Blooming color : Name : diplotaxis_tenuifolia_6 Height: 10-60 cm Plant typecolor : Perennials Blooming :

Name : lamium maculatum L Name : lamium maculatum L Plant type : Perennials Plant type : Perennials Season: late spring and summer Name : lamium maculatum L Season: late spring and summer Height: 10-20 cm Plant type : Perennials Height: 10-20 cm Blooming color : Season: late spring and summer Blooming color : Name lamiumcm maculatum L Height:: 10-20 Plant typecolor : Perennials Blooming :

Name : medicago sativa L Name : medicago sativa L Plant type : Perennials Plant type : Perennials Season: spring and summer Name : medicago sativa L Season: spring and summer Height: 50-80 cm Plant type : Perennials Height: 50-80 cm Blooming color : Season: spring and summer Blooming color : Name medicago Height:: 50-80 cm sativa L Plant typecolor : Perennials Blooming :

Name : rumex acetosa L Name : rumex acetosa L Plant type : Perennials Plant type : Perennials Season: all seasons Name : rumex acetosa L Season: all seasons Height: 10- 50 cm Plant type Perennials Height: 10-: 50 cm Blooming color : Season: all seasons Blooming color : Name rumex L Height:: 1050 acetosa cm

Name : dasypyrum villosum (L.) Name : dasypyrum villosum (L.) Plant type : Perennials Plant type : Perennials Season: all seasons Name : dasypyrum Season: all seasonsvillosum (L.) Height: 30- 60 cm Plant type Perennials Height: 30-: 60 cm Blooming color : Season: all seasons Blooming color : Name dasypyrum Height:: 3060 cm villosum (L.)

Name : geranium molle L Name : geranium molle L Plant type : Perennials Plant type : Perennials Season: Spring and summer Name : geranium molle L Season: Spring and summer Height: 05- 30 cm Plant type Perennials Height: 05-: 30 cm Blooming color : Season: Spring and summer Blooming color : Name geranium Height:: 0530 cm molle L

Season: spring and summer

Plant typecolor : Perennials Blooming : Season: all seasons

Plant typecolor : Perennials Blooming : Season: all seasons

Plant typecolor : Perennials Blooming : Season: Spring and summer

Height: 10-60 cm Name : diplotaxis_tenuifolia_6 Blooming color : Plant type : Perennials

Height: 10-20 cm Name : lamium maculatum L Blooming color : Plant type : Perennials

Height: 50-80 cm Name : medicago sativa L Blooming color : Plant type : Perennials

Height: 10- 50 cm Name : rumex acetosa L Blooming color : Plant type : Perennials

Height: 30- 60 cm Name : dasypyrum villosum (L.) Blooming color : Plant type : Perennials

Height: 05- 30 cm Name : geranium molle L Blooming color : Plant type : Perennials

Season: summer, autumn and winter

Season: late spring and summer

Season: spring and summer

Season: all seasons

Season: all seasons

Season: Spring and summer

Height: 10-60 cm

Height: 10-20 cm

Height: 50-80 cm

Height: 10- 50 cm

Height: 30- 60 cm

Height: 05- 30 cm

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Blooming color :

Name : linaria purpurea (L.) Mill Name : linaria purpurea (L.) Mill Plant type : Perennials Plant type : Perennials Season: late summer and fall Name : linaria purpurea (L.) Season: late summer and fallMill Height: 45- 60 cm Plant type Perennials Height: 45-: 60 cm Blooming color : Season: late summer and fall Blooming color : Name linaria (L.) Mill Height:: 4560 purpurea cm Plant typecolor : Perennials Blooming :

Name : picris hieracioides Name : picris hieracioides Plant type : Perennials Plant type : Perennials Season: summer, spring and autumn Name : picris hieracioides Season: summer, spring and autumn Height: 16- 120 cm Plant type Perennials Height: 16-: 120 cm Blooming color : Season: summer, spring and autumn Blooming color : Name picris hieracioides Height:: 16120 cm Plant typecolor : Perennials Blooming :

Name : avena fatua L Name : avena fatua L Plant type : Perennials Plant type : Perennials Season: autumn, winter Name : avena fatua L Season: autumn, winter Height: 30- 150 cm Plant type Perennials Height: 30-: 150 cm Blooming color : Season: autumn, winter Blooming color : Name avena Height:: 30150fatua cm L

Name : euphorbia helioscopia L Name : euphorbia helioscopia L Plant type : Perennials Plant type : Perennials Season: summer and autumn Name : euphorbia helioscopia Season: summer and autumn L Height: 10- 40 cm Plant type Perennials Height: 10-: 40 cm Blooming color : Season: summer and autumn Blooming color : Name euphorbia Height:: 1040 cm helioscopia L

Season: late summer and fall

Season: spring, summer and autumn

Plant typecolor : Perennials Blooming : Season: autumn, winter

Name : sonchus tenerrimus L_ Name : sonchus tenerrimus L_ Plant type : Perennials Plant type : Perennials Season: Autumn Name : sonchus Season: Autumn tenerrimus L_ Height: 30- 80 cm Plant type Perennials Height: 30-: 80 cm Blooming color : Season: Autumn Blooming color : Name sonchus tenerrimus L_ Height:: 3080 cm

Season: summer, spring and autumn

Name : anthemis arvensis L. Name : anthemis arvensis L. Plant type : Perennials Plant type : Perennials Season: spring, summer and autumn Name : anthemis arvensisand L. autumn Season: spring, summer Height: 30- 70 cm Plant type Perennials Height: 30-: 70 cm Blooming color : Season: spring, summer and autumn Blooming color : Name anthemis Height:: 3070 cmarvensis L. Plant typecolor : Perennials Blooming :

Plant typecolor : Perennials Blooming : Season: Autumn

Plant typecolor : Perennials Blooming : Season: summer and autumn

Height: 45- 60 cm Name : linaria purpurea (L.) Mill Blooming color : Plant type : Perennials

Height: 16- 120 cm Name : picris hieracioides Blooming color : Plant type : Perennials

Height: 30- 70 cm Name : anthemis arvensis L. Blooming color : Plant type : Perennials

Height: 30- 150 cm Name : avena fatua L Blooming color : Plant type : Perennials

Height: 30- 80 cm Name : sonchus tenerrimus L_ Blooming color : Plant type : Perennials

Height: 10- 40 cm Name : euphorbia helioscopia L Blooming color : Plant type : Perennials

Plant typecolor : Perennials Blooming : Season: spring and summer

Season: summer, autumn and winter

Season: late spring and summer

46

USED TYPE OF PLANTS AXONOMETRIC VIEW

Therophytes

Perennial Herbs

A perennial plant or simply perennial is a plant that lives more than two years.

The term is often used to differentiate a plant from shorter-lived annuals and biennials.

Therophytes are annual plants that complete their life cycle in a short period when conditions are favourable and survive harsh conditions as seeds.

They are typically found in deserts and other arid regions.

Hemicryp Cynodon dactylon

On the tumuli covered by the artificial cover of Cynodon dactylon, a not negligible regrowth of spontaneous species was detected. This fact proves the ability of both seeds and vegetative parts, which remained underground, to recolonize the natural spaces. dactylon showed its maximum cover in Summer and a reduction of it in Autumn.

A plant life form of classification typically herbac grasses, which at the soil surfac protected by lea

47

ptophytes

m in Raunkiaer's system . Hemicryptophytes are ceous perennials, such as produce perennating buds ce, where the buds are af or stem bases.

Ephemeral Herbs An ephemeral plant is one marked by short life cycles.

The word ephemeral means transitory or quickly fading..

48

SEASONAL CHANGES SECTION SPRING

SUMMER

AUTUMN

Sunday, March 20

Tuesday, June 21

Wednesday, September 22

Tuesday, June 21

Friday, September 23

Tuesday, December 21

Cynodon dactylon

Hemicryptophytes

Ephemeral

Therophytes

WIN

Tuesd

Sund

Perennial Herbs

Cyno dact

Cynodon dactylon

Cynodon dactylon

Therophytes

Perennial Herbs Hemicryptophytes

49

NTER

day, December 21

day, March 20, 2022

odon tylon

50

AFTERLIFE PAVILION ETRUSCAN PERCEPTION OF DEATH

Afterlife Pavilion reflects on the main concepts of life and death,as perceived by the Etruscans. As first the vision of death was extremely serene, they believed that the dead continued to live in their tombs and for this reason they furnished the last abode of the dead with all kinds of furnishings. Every part of the tombs was referring to the world of the living that was manifested in the representations painted on the walls of the tombs that echoed scenes of everyday life: athletic games; dances; banquets and parties, in the company of relatives and friends; hunting and fishing trips. However, from the 5th BC the vision of death changes radically: demonic figures, snakes and monsters begin to populate the graves of their dead. The afterlife became a terrifying place, where the dead live without hope and surrounded by monstrous demons. This pavilion aims to recall these visions, experiencing etruscan perception of death or life in the underworld.

EARTHROOF

TUFOWALLS

earth /gravel 10cm moisture retention layer -0.5cm drainage & root barrier -5cm membrane protection layer -0.5cm waterproof membrane -0.5cm suspended metal mesh-5cm

tufo coating -1cm tufo brickwall -15cm tufo coating -1cm

3%

3% s

lope

pe

slo

WATER

circulation from the roof to ‘the circle’

3% s

lope

TACTILE WALLS

tactile writings for visually impaired reflecting on the pavilion content

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flooring made of stone mosaics

Materials used in the design, consist of tufowalls, earth roof and stone flooring.

Similarily to the building structure tombs’ new casettes, afterlife pavilion uses tufo blocks as main structural material and tufo coating as facade material, giving the delicate sense of touching and feeling the fragile but rocky history of The Etruscans.

The pavilion also contains different vegetation, that is added to enhance semi- open spaces for seating and natural atmosphere to inspire subtle spiritual connections between life and afterlife as percieved by etruscans. The floor on the other hand is designed as a ‘storytelling ground’, stone flooring neatly painted in mosaics figures of etruscan after death lifestyle, the afterlife.

Considering the visually impaired people, all walls are provided with tactile writings reflecting on the contents of the Pavilion.

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MUSEUM ENTRANCE NEW ENTRANCE BUILDING DESIGN

A new entrance building of the museum, is another proposal that will provide a proper functional museum administration, ticket office, service areas, security and surveillance room, bookshop, children areas and a food court. In order to create a central access to the tombs, the position of these new entrance buildings will be along via Ripagretta shifted in the middle of the site.

Spatial composition and architecture follow a semi-open design approach, ensuring recreational resting and working spaces for visitors and workers of the museum.

ROOF

earth /gravel 10cm moisture retention layer -0.5cm drainage & root barrier -5cm membrane protection layer -0.5cm waterproof membrane -0.5cm structural support-20cm

TUFOWALLS

tufo coating -1cm tufo brickwall -15cm insulation 5 cm tufo coating -1cm

Via Ripagretta

Via Ripagretta

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Children area (didactic activities)

Control room

Ticket box

Bookshop

Sitting area

Parking for visitors and workers is proposed along the road Ripagretta which will also maintain electric charging spots for e-bikes and other electric vehichles.

Structurally speaking, the entrance buildings use the same construction system as other buildings proposed in this project. Concrete foundation, tufo blocks structure, tufo as a coating material for inside and outside and green roof system.

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VIA RIPAGRETTA STREET SHOPS DESIGN

Via Ripagretta will act as “Heritage Axis” which tends to reactivate the necropolises on both sides of the street. The soft mobility path will be added to the already existing profile of the road.

Parking spaces will be provided along the main road whereas a limited speed limit standard would permit this intermediate area between the Tarquinia and Scataglini Necropolis to act as part of the museum itself.

The entrance to both necropolises would be visible from the main street by adding diverse focused functions across the entrances. The already existing position of shops will remain the same.

Considering the high importance that Etruscanrelated tourism has for the local community in Tarquinia, this axis can be transformed into an open market for a short period, annually. The open market would enhance and promote the locally made goods by the people who live in Tarquinia.

The shops and the walls tend to create an interactive performance fully dependent on the human reaction.

The wall, as a flexible integrated prototype, which when closed can be depicted as a straight surface, comes alive when people use it. Some parts of the wall, turn into an entrance door for the shops and the other parts turn into seating.

This movement creates a whole new perception of the site viewed from the street, different fragments of the site are visible each time a wall partition moves, framing various images that provide different pieces of information about the contents of the museum for the outside visitor.

Movement Scenarios

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Elevation

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CONCLUSION In this project we’ve come to closely understand the importance of research in particularily lost civilisations and the fragile archeological sites performing as landscapes in need of peculiar preservation and intelligent solutions.

Design approach may be seen as light and simple whilst inducing a genuine meaning and research behind. It is also substantial for us to identify and appreciate larger regional scales (ecosystems, infrastructures and landscape patterns) as well as understanding smaller, more intimate places as part of a larger framework.

As P. Zumthor phrases in his book Atmospheres⁶ “We perceive atmosphere through our emotional sensibility - a form of perception that works incredibly quickly, and which we humans evidently need to help us survive.” we’ve tried to comprehend the emotional connection of past and present, performed between humans, architecture and landscape as main actors. This can be seen as a real performance, in a real world. Furthermore, the sound of a space is important in the project. A lot can be understood by silence, and just the sound of space instead, interiors as he says “are like large instruments, collecting sound, amplifying it, transmitting it elsewhere.”

Hence we’ve designed semi-open spaces, in and out of space, enclosed and open, blended in the delicate landscape of Tarquinia Necropolis. These sort of atmospheres are strongly linked to the senses and shape how time and space is perceived and experienced. Surfaces are not just visual patterns but more mutable and thickened elements, systemic and alive, guiding us into The Etruscan world.

Another aspect that we studied during the project is the resilience of landscape and human impact and constant reckless violation of architecture and environment.

Specific security systems must be designed and merged within museums and especially archeological sites. That is why we found out that human behaviour must be studied and treated as performance developed in time and space. After conducting different exercises of how people visit the museum, which landscapes the walk and what catches their sensual and emotional attention, we used technology in our favour as an important factor of the project. As J. Corner states in Recovering Landscapes⁷ “today’s space and time are phenomena radically different from their historical antecedents.We are surrounded by a space-time landscape of electronic media, images, internets, information superhighways, transglobal commutes, and rapid exchange of materials both visible and invisible.” the idea of using technology as a tool instead of an enemy, comes as a new fascinating methodology for us, which actually manages to describe a dynamic and changing landscape, one where the demands of changing programs lead to a different reading of the site in different times. And that because the function of design is not only to make architecture and landscapes attractive but also to make them more adaptive, more fluid, more capable of accommodating changing demands and circumstances based on “usures”.

⁶ Zumthor, P.(2006). “Atmospheres: Architectural Environments, Surrounding Objects”. Basel: Birkhauser. ⁷ Corner, J.(1999). “Recovering Landscape: Essays in Contemporary Landscape Theory”. New York: Princeton Architectural Press.

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This project is part of Advanced Landscape Studio developed under the supervision of professor Matteo Poli, Floriana Pergalani and assistant Valentina Noce Students: Diellëza Tahiri, Edera Kana & Enkelejda Zekaj Research and other reference drawings are taken from ICOMOS, UNESCO and respective links mentioned in this booklet.

SALD, School of Architecture, Urban Planning and Construction Engineering Piacenza, 2022