Master's Degree Thesis

POLITECNICO DI MILANO 1863 SCHOOL OF ARCHITECTURE URBAN PLANNING CONSTRUCTION ENGINEERING A.Y 2017 - 2018 PUMICE INDUSTRIAL SITES IN LIPARI: VALORIZATION PROJECT IN THE FRAMEWORK OF UNESCO GEOPARKS

REMEMBERING THE PASSAGE OF PUMICE

by IPHENDULE MAIPATO NDZIPHO

PROF. STEFANIA VARVARO PROF. ROSSANA GABAGLIO

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To my dear mother... uThikane, uNdela, uNdandani, uNovinya, iNkanyezi yeZulu evela empuma langa, uMswati.

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CONTENTS 06 ABSTRACT 09 REMEMBERING THE PASSAGE OF PUMICE:

Project Development 10 MASTER PLAN SCALE: Porticello Site 18 DESIGN FOCUS AREA 22 DESIGNING IN THE LANDSCAPE 28 DESIGNING IN THE BUILDING 34 ARCHITECTURAL SCALE INTERVENTION 59 DECAY ANALYSIS AND

CONSERVATION PROJECT 73 REFERENCES

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ABSTRACT IT Lipari è un'isola siciliana che appartiene al gruppo di Isole Eolie, inserito nella Lista del Patrimonio dell'UNESCO nel 2000.

Storicamente, Lipari è stata caratterizzata dall'industria della produzione della pomice, divisa in due sequenze temporali. La prima è quella del periodo pre-industriale, risalente al XIX secolo fino agli anni '50; la seconda è quella del periodo industriale che risale agli anni '50 fino all'anno 2007.

Durante il periodo pre-industriale la pomice veniva estratta dalla montagna per mezzo di un processo manuale. Al contrario, durante il periodo industriale, veniva estratta dalla montagna mediante l'uso di macchinari pesanti. In entrambi i periodi il passaggio percorso dalla pomice è quella dalla montagna al mare.

Il sito di progetto è l'edificio TH Ferlazzo da lungo tempo abbandonato, situato a 200 metri a sud della Fabbrica di Porticello, abbandonato con l'apertura della fabbrica nel 1957.

Il sito scelto appartiene al periodo pre-industriale; tuttavia l'edificio TH Ferlazzo è fisicamente situato così vicino alla fabbrica di Porticello, risalente al periodo industriale, che si trasforma in uno spazio architettonico che media la memoria dei periodi preindustriali e industriali della produzione di

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pomice nell'isola di Lipari.

Per riportare in vita la memoria di questi due periodi, la tesi propone il progetto di un museo. La memoria viene ulteriormente enfatizzata attraverso i percorsi, per evidenziare il passaggio che storicamente percorreva la pomice, da cui titolo "Ricordando il passaggio della pomice."

Alla scala del paesaggio, le intenzioni progettuali sono quelle di interpretare architettonicamente il passaggio della pomice. Il progetto si articola attraverso un " landscape loop", un sistema di percorsi che collega la Fabbrica di Porticello con l'edificio TH Ferlazzo. Altro aspetto che caratterizza il progetto è un articolato sistema di scale: luoghi in cui fermarsi, sedersi, stare e meditare guardando il paesaggio da e attraverso la facciata dell'edificio esistente.

PAROLE CHIAVE: Pre-industriale; industriale; produzione di pomice; passaggio di pomice; memoria; landscape loop; sistema di scale; posti in cui fermarsi

ENG Lipari is a Sicilian island that belongs to a collection of islands known as the Aeolian Islands.

The Aeolian islands were added to the UNESCO Heritage List in the year 2000.

Historically, Lipari is characterised by the pumice production industry, which may be divided into two time frames. The first time frame is the preindustrial period, dating from the 19th century right through to the 1950s. The second time frame is the industrial period which dates from the 1950s to the year 2007.

During the pre-industrial period, the pumice was extracted from the mountain by means of a manual process. In contrast, during the industrial period, the pumice was extracted from the mountain by means of a process which involved the use of heavy machinery. In both periods the route travelled by the mined pumice ran from the mountain to the sea.

The chosen site for the project realisation is the long-abandoned T.H. Ferlazzo building, located 200m south of Fabbrica di Porticello. The T.H. Ferlazzo building was abandoned with the opening of Fabbrica di Porticello in 1957.

The fact that the chosen site belongs to the preindustrial period, yet is physically located so close to the central site of the industrial period, brought with it an opportunity to transform the T.H. Ferlazzo

building into an architectural space that mediates between both eras; with the intervention project I sought to preserve the memory of the pre-industrial period and capture something of the industrial period regarding pumice production on the Island of Lipari.

To bring to life the memory of these two time periods, the design of a museum is proposed on the site. The memory aspect is further emphasised by using the landscape to highlight the route or passage of the pumice, giving rise to the project tittle, Remembering the Passage of Pumice.

On the landscape scale, the design intentions are to create an architectural interpretation of the passage of pumice. This is achieved by means of a landscape loop, which is a system of paths connecting Fabbrica di Porticello with the T.H. Ferlazzo building. To add to this, a system of stairs is introduced into the design. These stairs include places to pause, where one can sit and ponder both the recent and more distance past, while enjoying the beautiful views from and through the framed faรงade.

KEYWORDS: Pre-industrial; industrial; pumice production; passage of pumice; memory; landscape loop; system of stairs; places to pause

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REMEMBERING THE PASSAGE OF PUMICE: Project Development

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MASTER PLAN SCALE: Porticello Site Having analysed the pumice production process, it was established that both the TH. Ferlazzo Building and Fabbrica di Porticello were central points of pumice production on the island of Lipari.

Thus, it was important to realise a design that creates a connection between the two production sites, which in their history tell the story of the Passage of Pumice. On the master plan scale the intention of the design was to then connect the two sites by means of a landscape loop, which is as series of experiential paths.

Between the two sites, exists the abandoned and dilapidated silos, a space that required to be taken care of. The design intention to connect Fabbrica di Porticello with the TH. Ferlazzo Building, encouraged the idea to translate this silo into what I call a Room in the Landscape, that affords the visitors another place to pause as they return to the start of the route.

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Over the pumice production periods on the island of Lipari, the face of the island has changed drastically. Punta della Castagna, is a perfect example that illustrates the change the island experienced as a result of pumice production.

On the master plan scale, I have proposed Punta della Catagna as a point where visitors, can trek up so to access panoramic views of the surroundingt from has high as 75m above sea level.

Above is an image illustating Punta della Castagna as it is today.

Below is the territorial section illustrating the old line placed on the current line of Punta della Castagna.

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From observation we see that there is a presence of heavy weight machiner y on this site which tells the story that indeed, Fabbrica di Porticello was the centre of the industrial pumice production on the island of Lipari. It is important to note that unlike the TH. Ferlazzo Building, Porticello is not so imbedded in the land. This too, is the result of industrialised production process on this site. The territorial section through Fabbrica di Porticello, best illustrates how the building sits in the site.

Image illustating how Fabbrica di Porticello sits on the site today.

Territorial section through Fabbrica di Porticello.

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From simply observing the Silo, immediately, one can notice how this space is neglected, and a result so damaged. The current state of the Silo is what encouraged me to take the bold decision to transform this space into a Natural Room, by introducing a boundar y wall on the 12.5m level, as well as creating a connection passage, through the landscape, that scales from level 0.00m to 12.5m. The intention of the passage through the landscape, is to recall the memory of the Passage of Pumice.

Above is an image illustating the state of the Silo as it is today.

Below is the territorial section of the Silo, illustrating the change in level of Silo.

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We k n o w t h a t t h e p u m i c e production process of the preindustrial period, involved extracting the pumice out of the mountain, by creating tunnels that run inside the mountain.

Thus, the proposed passage running through the landscape is to emphasise this memory. I felt comfortable to take such a bold design decision, as mentioned before, as it is, the Silo is just so damaged, and in need of an intervention to prevent further damage.

Above is an image illustating the state of the Silo as it is today.

Below is the territorial section through the Silo, illustrating how the Silo is an enclosure.

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A primary characteristic of the chosen site is how the building is embedded in the landscape. This characteristic informed a lot of the design decision taken during the development of the project.

To add, it is important to note the current open nature of the chosen site, this is the result of the roof having collapsed, which too encouraged the design decisions taken.

An image illustrating how the building is embedded in thel and.

Below is the territorial section of the through the TH. Ferlazzo Building.

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A diagram illustrating the connection between Fabrica di Porticello & TH. Ferlazzo Building, by means of a landscape Loop.

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DESIGN FOCUS AREA To develop the design focus area, I took into consideration the existence of the abandoned silo which separates Fabbrica di Porticello from the T.H. Ferlazzo building. I proposed to transform this space into an open room in the landscape.

To create the room in the landscape, I emphasised the boundary of the space with a retaining wall.

The use of a wall does not only give this space the characteristics of a room, but it is also useful to hold the soil in place. The reason behind taking

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such a bold approach, was influenced by the reality that, as it is, the land is so damaged and with the passing of time, it keeps falling apart.

To add, it became my intention to design this space so to recalls the memory the pre industrial pumice production. This production period was specifically characterised by the digging of manmade tunnels to extract the pumice out of the mountain. Therefore, in my design, I connect this room with the beach, by means of tunnel.

SECTION A-A: The relationship between the building and the newly design room in the landscape.

SECTION B-B: Remembering the extraction of pumice through manmade tunnels

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PRE-INDUSTRIAL Below is a collection of pictures which are useful to understand the characteristics of the island of Lipari during the pre-industrial pumice production period.

Looking at the pictures, it is evident that during this period, the pumice was mined by means of a manual process.

Having established that the chosen T.H. Ferlazzo building belongs to the pre-industrial production period, it was impor tant to understand the characteristics of Lipari during this period, so to draw some design decisions and conclusions.

1. Digging tunnels to extract the pumice.

2. Manual Labour

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3. Women at work

4. Manmade rail track

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DESIGNING IN THE LANDSCAPE The intention to design in the landscape, was influenced by a series of site conditions, which came with both problems and opportunities. The first problem to address of these site conditions, is the abandoned silo, which with the closing down of pumice production on the island, in 2007, was left to deteriorate.

The presence of the silo came with the opportunity to transition this space into what I call The Room in the Landscape, where people have a series of places to stay, and access to a panoramic view of the landscape. To make this Room in the Landscape accessible I chose to manipulate the landscape; 1.) by flattening the landscape at +12.50m level, 2.) by creating a passage inside the landscape which creates a direct connection to the Room, and 3.) by encircling the silo with a retaining wall so to prevent it from any further collapse and deterioration.

Whilst this is a bold approach, it is equally appropriate design decision to take, because the silo as it is, is already so damaged.

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1.1: The Abandoned Silo

1.1: Passage Leading to The Room in The Landscape

An image illustrating the condition of the Silo

The Room in the Landscape

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The second site condition that influenced the design decisions taken, is the narrow beach. At this point of the beach on the island of Lipari, there is no comfortable place to stay. Not only that, the little space there is of the beach, is uncomfortable in the sense that it is only composed of stones and rocks, so there is no place to comfortably sit and/or busk in the sun after a swim in the water.

Thus, I chose to respond to this problem by introducing a platform, affording people a place to stay in the sun after enjoying a swim in the water. In addition, I used the platform design to reinforce the idea of the “Passage of Pumice,” which runs from mountain to sea. Thus, within the platform, I introduced the starting point, of the “Passage of Pumice” within my design. I placed this “Passage of Pumice,” on the line of the canyon, that currently exists in the landscape.

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2.1: The Narrow Beach

2.2: Introducing a Place to Stay on the Shoreline.

An image illustrating the narrow beach

Introducing a place to stay on the beach

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The third response to the site conditions, was to address the presence of the canyon, which is a line that runs on the vertical face of the landscape, from the road level down to the sea level.

The presence of the canyon tells the story that, along the pumice production process, the pumice that was not good enough for the next stage, was disposed into the ocean, along this point of the landscape. This is a procedure that was performed with little care, hence the current existing damages on the face of the landscape.

In response to these site conditions, I created interactive stars, which allows the visitor to go closer into the canyon.

The stairs afford the visitor the opportunity to walk on the line which was once part of the pumice production process. This is another way to recall and reinforce the memory of pumice production.

Thus, the pumice production process, is what gave rise to the intervention tittle, “Remembering the Passage of Pumice.�

The production process tells the story of how the pumice started from the mountain and passed from one point to the next along the production process, until it was ready to be shipped out to the rest of the world.

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3.1: The canyon in the landscape

3.2: The Passage of Pumice

An image illustrating the canyon.

An experience of the passage of pumice.

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DESIGNING IN THE BUILDING Another approach to the project intervention was the consideration of designing in the building of TH. Ferlazzo, where a system of stairs that play the role of Places to Pause, are introduced.

Paying attention to how the building sits on a sloping site and is embedded in the earth, too informed some design decisions. However, this presented a series of problems, one being accessibility and movement through the site.

Therefore, the first condition I chose to address under this topic, was creating an architectural interpretation of the mountain slope, by means of introducing a system of stair. To make these stairs a Place to Pause, at some points the stairs become seats, where one can sit and look at the view of the sea. The architectural formulation of this space, remembers the mountain slope, this then gave rise to the name of this space being the Open – Air Room of Remembrance.

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1.1: The steep mountain slope

1.2: Architectural interpretation on mountain slope

An image illustrating how the building is embedded in a sloping site.

Remembering what used to be a natural slope by means of an architectural intervention; stairs

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The second topic to be considered, is the problem of light entry. The building being embedded in the ground means, natural light does not enter the ground floor level space. Thus, I responded to this problem by cutting the floor slab, and creating a series of lightwells, each serving a different purpose along with bringing in natural light into the building.

At the points where the floor slab is cut, interactive stairs are added. The first set of stairs connect the museum on the ground level with the rest of the building.

Not only that, these stairs are too a place to pause, where one can sit and look at the display of the museum.

The second set of stairs are a space that enhances one’s curiosity, because when sitting in this space, one only has partial visual access to the museum, this has the potential to encourage the visitor to explore the rest of the building.

As it stands, the roof has long collapsed in the middle area of the building.

As a result, this space has a sense of openness and infinite height. Thus, I decided to introduce a lightweight stair which affords the visitor the possibility to climb and experience the height of the building, as well as experience the view of the landscape, through the frames of the wall.

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2.1: Light Entry

2.2: A System of Stairs

An image illustrating the open nature of the space

An experience of the height of the building

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The facade of this TH. Ferlazzo building is characterised by the presence of the open frames. This then came with the opportunity to use these frames as viewpoint, where one can look at the beautiful landscape from and through these frames. The presence of this framed wall equally encouraged the design decision to create a light weight staircase, so to make views from and through the frames more accessible.

Having taken the decision to make the frames viewpoint, along the staircase I created “Places to Pause,” where one can rest and ponder while looking at the landscape. The architectural interpretation of these “Places to Pause,” are seats along the staircase.

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3.1: The Framed Facade

3.2: Places to Pause

An image illustrating the frames of the faรงade

The frames of the faรงade as viewpoints

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ARCHITECTURAL SCALE INTERVENTION On the architectural scale, movement through the building is emphasised.

There are three proposed routes that one can use to move through the building.

The first and primary route affords the visitors a compact experience of all spaces in the project intervention. This route starts from the shoreline platform and leads into the museum on the ground floor, allowing people to experience the museum display. This route then leads to the first system of stairs, which are not just stairs, but also a place to pause with continued visual access to the museum display.

Arriving on the first floor, there exist the option to experience the second system of stairs, a space which can enhance curiosity, because from this space one has limited visual access to the museum.

Continuing along this primary route, one is lead to the lightweight stairs, which allow visitors to experience the framed faรงade. Along this system of stairs are places to pause, where one can look at the view of the ocean, through and from the framed faรงade. Not only that, this system of stairs allows the visitor to experience the perception of infinite height of the space.

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A WALK - THROUGH

The route then leads to the fourth system of stairs. This system of stairs acts as the architectural interpretation of the mountain slope, thus how this space is architecturally formed, it remembers the mountain slope. Therefore, I called this space the Open Air-Room of Remembrance. To add, from this space the visitor has a framed perception of the ocean few, as from here they look at the sea through the framed faรงade.

Moving on, one is led to the final system of stairs, which Remember the Passage of Pumice. This system of stairs sits on the line of the canyon in the landscape.

Here too, are places to pause where once can sit and look at the view of the ocean. Thereafter, one is led to the Room in the Landscape, and the path leads back to Fabbrica di Porticello, completing the first landscape loop.

The secondar y route through the building, starts from the first floor and is a continuation of the second landscape loop. This route eventually joins the primary route and continues through the building as illustrated in the exploded axonometric diagram.

SPACE INTERPRETATION USING A SYSTEM OF STAIRS

The third and final route, is a quick pass through the building, which branches off the main route on the first floor.

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1. Entering on the Passage of Pumice.

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2. A machine to remember the industrial production of pumice.

3. A look into the Stone Exhibition Room.

4. Remembering the journey travelled by pumice, from the mountain to the sea.

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5. Looking up at the visual accessibility platform.

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6. A last look into the the museum.

7. Swinging beneath the grid roof.

8. A route leading to experiencing the view of the sea through the framed facade.

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9. Looking up at the Passage of Pumice

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10. A look into the Open Air Room of Remembrance

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GROUND FLOOR PLAN

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1. Passage of Pumice Platform 2. Museum Entrance

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3. Industrial Machinery

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4. Stone Display 1

5. Industrial Rail display 6. Museum Entrance/Exit 7. Museum Visual Accessibility Platform

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FIRST FLOOR PLAN 6 5

1. Museum Visual Accessibility Platform 2. Enhancing Curiosity 3. Water Element (Pond) 4. Passage of Pumice 5. Platform 6. Open-air Room of Remembrance 7. Swimming Pool 8. W.C Facilities

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SECOND FLOOR PLAN 1. Spa/Yoga Room 2. A Space to stay on the Passage of Pumice 3. Passage of Pumice 4. Open-air Room of Remembrance 5. Swimming Pool

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THIRD FLOOR PLAN 1. Swimming Pool Void 2. Snack Bar 3. Corten Steel Net 4. Open-air Room of Remembrance 5. The Passage of Pumice 6. Path leading to the Room in the Landscape

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SECTION A-A: An Architectural Interpretation of the Mountain Slope

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SECTION B-B: Visual Accessibility of the Museum

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SECTION C-C: The Exposed Exhibition

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FRONT ELEVATION: The Framed Facade

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SECTION D-D

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SECTION B-B

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Looking in the direction of Stromboli...

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Looking in the direction of Canneto...

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Walking down the Passage of Pumice, taking a moment of pause to look an enjoy the view of the sea...

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Looking at the sea through the Framed Facade...

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The Open Air Room of Remembrance, a place to stay and look at the sea...

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DECAY ANALYSIS AND CONSERVATION PROJECT

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INTRODUCTION As this TH. Ferlazzo building belongs to the period before the industrialisation of the production of pumice, it is built with local and traditional materials. The presence of the construction holes in the façade of the building tell the story that this building was built during the time when simple wooden scaffolding was still used. The holes are the result of where the scaffolding was attached to the walls.

From the difference in the texture of the materials one can deduce that this building was constructed over different time periods. For example, when observing the façade one can immediately identify the different types of plasters. From this, we can hypothesise that the more granular, porous and single layer plaster is the oldest. This plaster has become granular and porous as result of having suffered the most degradation and decay, losing some of its layers. The smoother and more consistent plaster is relatively new. This plaster is multi layered, and therefore the material reads with more consistency.

To add, there is a strong presence of mixed stones (a collection of lava, pumice and obsidian stone.)

This mixed stone conglomerate is only found on the grounds floor wall.

The use of different materials at different points of the building, presents the problem of various levels of decay which require protection so to maintain

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the building in a stable condition and prevent further damage. Along with preserving the building from further decay and damage, the intention of the conservation intervention is, to afford the building a sense of chromatic consistency and uniformity. However, at the same time still display the difference in materiality. To achieve this, I use the conservation project as a tool to reconcile the new proposed design, with the building’s current prominent characteristics. By upholding the building’s current characteristics, I further emphasise the idea of memory, a concept at the core of my design development.

This chapter therefore presents the analysis of the building façade, focussing on the current state of materials and phenomena decay. The façade of the building is important, as it is the first presentation of the project, which can be seen from the beach as well as from the ocean afar.

The following proposed method of conservation demonstrated on the front façade of the building, is a base sample, that can be repeated and carried out on the rest of the building.

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MATERIALS AND PHENOMENA DECAY DESCRIPTION OF MATERIALS, PHENOMENA DECAY AND CONSERVATION STATUS. MIXED STONE Components: Lava Stone, Pumice, Obsidian Components: Lava Stone, Pumice, Obsidian The mixed stone is found in load bearing walls and belongs to the construction period before the industrialisation of pumice production in the. On the faรงade of T.H. Ferlazzo building, the mixed stone is predominant on the ground floor wall. From observation, we can conclude, the stones are held together by a pumice mortar.

Description of the conservation status: Despite being exposed to damaging environmental conditions, the mixed stone wall has resisted accelerated deterioration. However, because of its position (sitting right on the shore line,) the wall has suffered some biological degradation, such a mould and vegetation growth, as well as moisture stains

Description of the conservation status: As mentioned before, this TH. Ferlazzo building is constructed on the shoreline, thus, the pumice blocks have roughened as they have suffered some chromatic altercation (discoloration,) and breakage.

PUMICE CEMENT (Conglomerate) Components: Pumice, Lime, Stone, Sand The use of this material is primarily visible on the mixed stone wall. It can also be observed the pumice cement was used as mortar on the rest of the building. The pumice cement is the main material used for mortar throughout the building.

Description of the conservation status: Especially on the stone wall, the pumice cement shows good resistance. The primary state of decay suffered by this material is roughening.

PLASTER Components: Pumice

PUMICE BLOCKS Components: Pumice The pumice blocks were introduced at a much later, to the previous structure. These are primarily used to construct the add on structure, which I have proposed to be removed.

This material has been primarily applied on the exterior walls of the structure. One can observe at least two consistencies of pumice plasters. 1.) a rough granular plaster, which is somewhat porous.

2.) a smooth plaster, achieved by applying several layers of the pumice plaster. The faรงade having plasters of different tells the story that the plasters belong to two different time period.

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Description of the conservation status: The faรงade having a difference in the consistency of the pumice plaster, equally tells a story of erosion. For example, the rough granular plaster, there is evidence that some layers of the plaster having fallen off, hence the roughness in texture.

Where the plaster is darker, it has suffered chromatic altercation. In some parts, the plaster has affected by biological film and dampness.

WOOD Components/Elements: Panels, Poles, Planks None of the wooden elements found on the site belong to the construction. One can observe that the wooden elements were added to purely close off this TH Ferlazzo building and make it inaccessible.

Description of the conservation status: It is not possible to conserve and preserve ant of the wooden element. They have all suffered warping as a result of exposure to water.

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METAL Components: Fibre, Aluminium.

Like the wooden element, none of the metal elements belong to the construction, they are all additions to the building, to make it inaccessible.

The metal fibres are used on to hold the wall, in the possible event of an earthquake. The aluminium is used on the signage of the building.

Description of the conservation status: Because the building stands on the shore line, all the metals elements found on the site, show signs of accelerated stage of oxidation and corrosion. As a result the metal elements moslty have rust stains.

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CONSERVATION TECHNICAL SHEET CONSERVATION PHASE 1 REMOVAL METAL ELEMENTS None of the metal elements belong to the original construction of the building. I therefore have proposed the removal of these elements, as none of these add any aesthetic value to the faรงade of the building. The removal is done by manual acton. The metal elements consist of the aluminium signage and the shower found outside.

WOODEN ELEMENTS As mention in the Materials and Phenomena Decay topic, none of the wooden element belong to the original structure of the building, but they were rather added to the structure, to make the building inaccessible. As a result, their presence is unpleasant. Therefore, I propose their removal.

However, in my design I have chosen to replace some of the wooden element, particularly the wooden poles of the balustrade. However, I redesign the wooden balustrade, such that it coincides with the rest of my design proposal for the site.

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PLASTIC ELEMENT Like the metal element, none of the plastic elements belong to the original construction of the building and equally do not add any aesthetic value to the faรงade of the building.

PUMICE BLOCKS Given the pumice block structure does not belong to the original construction of this TH. Ferlazzo building, I propose its demolition. In addition, this structure obstructs the view of both mountain and sea, through the arch. Not only that, the presence of this structure, results in the passage through the arch being inaccessible, rendering the arch unpleasant.

CLEANING GROUTING WITH COMPATIBLE MORTAR This method of conservation is to be applied in the areas where there is a detachment of plaster from the masonry. The purpose of this method is to reconcile two or more non coplanar surfaces, hence, the line where the materials meet is inevitably a weak point, which is vulnerable to water condensation. However, this problem can be avoided, by carrying out this method of conservation with precision, which involves sealing the edges of the grouted area with a compatible mortar.

GENERAL DRY CLEANING_Manual The General Dry-Cleaning process is a physical – mechanical cleaning process, which is done on the surface of the of the structure. A collection of tools are used to achieve this cleaning process, and this is dependent on the state of degradation of the surface. The presence of deposits and encrustations on the surface, call for the use of a broom and/ or nylon brush, scalpels. The use of small metal spatulas may be taken into consideration.

CLEANING WITH AMMONIA BASED DETERGENT The use of an ammonia-based detergent is most useful for the removal of stains on the surface of the walls. As mentioned in the Materials and Phenomena Decay topic, the plaster has suffered some chromatic altercation (discolouration,) and to achieve a consistency and continuity of the plaster, the facades needs to be treated in this manner.

CLEANING WITH BIOCIDE For the removal of vegetation, a glyphosate herbicide (biocide) spray will first be sprayed onto all plants to prevent any future growth. After having sprayed the herbicide spray, micro tools and micro cutters are used to remove the vegetation. It is not advised to at any point, pluck out and/or pull out the vegetation, as this runs the risk of breaking down the wall.

GENERAL CLEANING WITH WATER Deionised and Nebulised water in low pressure.

This cleaning process is most suitable for the removal of powders and deposits which are soluble in water. It is important to note that this cleaning process may only be carried out in temperatures above 14°C. Below this limitation, there is the presence of frost and problem of slow evaporation which result in inconveniences which will render the whole process useless.

MECHANICAL DRY CLEANING The Mechanical Dr y-Cleaning process is recommended for where there is a presence of efflorescence. The presence of efflorescence is in fact encouraged by the fact that the building is built right on the ocean line. This process calls for the use of tools such as nylon or plant fibre micro brushes. This type of cleaning is proposed for the cleaning the inside of the holes in the façade.

CONSERVATION PHASE 2

The water used in this cleaning process needs to be deionised pure water with a neutral pH level (pH7.)

In order to not damage the wall during the course of cleaning, it is advised to atomize the water.

Using a nozzle, apply the atomised water as thick fog of droplets onto the surface. When it comes to the cleaning of porous materials, it is best to use with nebulised water. Not only that, it is

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also recommended to reduce the spray time and repeat the treatment several times. But, between the various cleaning cycles, one needs to make sure the treated surface is completely dry before applying the next layer of treatment.

INFILLING HOLES WITH NET The construction holes distributed on the facade, have become homes for birds. Therefore, as part of the conservation project, it is proposed that these are filled with a net.

PROTECTION The first step of protection that is taken, is the application of a siloxane based product by spray.

This good product is good water repellency and UV resistance.

DIRTY WATER TREATMENT This treatment is the best protecting for material such stones and plasters. It comprises of an aqueous application of “lime milk,” on a perfectly clean and consolidated surface. This “lime milk,” is a transparent protection layer applied on the consolidated façade at the end of conservation process. Dirty Water is prepared by lightly colouring lime water by adding pigments to it. The protection process is carried out by damping the wall with the water using a brush and/or a roller.

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REFERENCES

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BIBLIOGRAPHY 1.

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Tesi di laurea di Martina Fontanella, Stanze A Cielo Aperto, 2018 Pietro Lo Cascio, I 15 migliori sentieri delle isole Eolie, Nesos, Milazzo, 2011.

Giuseppe La Greca, Le Terme di San Calogero, Giovanni Iacolino Editore, 2004 Verges-Belmin V. Illustrated glossary on stone deterioration patterns, ICOMOS, 2008 Arena Giuseppe, L'economia delle Isole Eolie dal 1544 al 1961, Editore Messina, Messina, 1982.

Preite Massimo, Francovich Riccardo, Masterplan. La valorizzazione del paesaggio minerario, Edizione Polistampa, Firenze, 2009.

WEBSITES

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www.unesco.it http://www.parcogeominerario.eu/ http://parcogeominerariopomice.it/ www.tripinview.com www.googlemaps.com www.sicilyonweb.com/lipari/ https://whc.unesco.org/en/list/908 www.archiviostoricoeoliano.it/ www.fotoeweb.it/sicilia/Lipari.htm www.giornaledilipari.it/lalbum-dei-ricordi-le-spiagge-bianche-di-ezio-roncaglia/ http://www.eolnet.it/news/2008/04/lipari-pomiceviaggio-allinferno-da.html http://reportagesicilia.blogspot.com/2013/11/cavatori-di-pomice-lipari.html

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|POLITECNICO DI MILANO - A.A 2017 - 2018|