Palazzo dei Congressi Chair of Conservation-restoration, Art Technology and Conservative Science TUM Project MA – The Beauty of Architectural Surfaces prof. Dr. phill. dott. Thomas Danzl – Dott. Ric. Roberta Fonti Martin Bumbál
Justifying the Choices We Make! HISTORY, BACKGROUND AND A NEW USE The EUR (Esposizionale Universale Roma) district is a business and residential district of Rome. Originally in the year 1932, the area was chosen as a site to host the 1942 World’s Fair. Benito Mussolini planned to open the World’s Fair as a celebration of twenty years of Fascism. The building of Palazzo dei Ricevimenti e dei Congressi, built by the architect Adalberto Libera is a very peculiar and iconic building characteristic of this part of the city. The building, privately owned by EUR Spa, originally served as a congress centre and hosted a number of significant events. Recently, the Italian architect Massimiliano Fuksas has designed for EUR Spa a New Rome / EUR Convention Centre and Hotel “The Cloud“ only 350 meters away from the Palazzo dei Ricevimenti e dei Congressi and thus has left the Palazzo seeking for a new function. The building of the Palazzo dei Ricevimenti e dei Congressi is undoubtedly a piece of a high quality architecture, which represents its times. Unluckily, on the other hand, the building itself is as well a representation of an evil ideology of that times. We have to strictly distinguish between those two aspects. On the one hand, we should celebrate its very own artistic, architectural and technical qualities. On the other hand, we must pay no less of attention to prevent any demonstration of its ideological intentions by all possible means. Looking at the overall design of the building, its most iconic part is with not doubt the Welcome Reception hall (Sala dei Ricevimenti). The hall is a very unique space formed by its high ceiling and floor, which is designed by using a stepshape outline focused towards the centre. To fully celebrate the architectural qualities of such a space, we need to find a new function for the building that would not only fit into the existing structure, but as well could take advantage from the peculiar architectural features of such a space, and use it to its maximum potential. Part of such a process consists of several decisions, which have to be carried out, because of the new use we wish to give to the building, and directed to establish a dialogue with the existing with respect to both its original design and superimpositions. The EUR district, from an urbanist and geographic point of view, lies on the south from the centre of Rome, and was originally planned as a garden city. The composition and urbanism of the district is resembling and referring to the urban composition of ancient roman harbour city of Ostia.
An integral part of roman cities is the city bath. Although there are many baths in the city of Rome, none of them is located in the EUR district or nearby. The conclusion and synthesis of the factors mentioned above is a proposal of a totally new function into the existing building – the EUR city bath. PROGRAM OF THE BUILDING Such a drastic change in the use of the building, from congress centre to thermal bath, requires a change in inner design of spaces. Because of this, I was paying a great deal of attention to their redevelopment strategy assigning uses to spaces according to their characteristic existing architectural features. Then, the ground floor will be the place of the central pool. The high ceiling with windows of the welcome reception hall will serve as a source of natural ventilation as well as the step-shaped design of its floor will serve as a pool. Further, vertical surfaces will be returned to their original idea of a mosaic work, which would very much fit the classic architectural decorative motif of a Roman bath. The new main entrance will be moved to nowadays rear entrance. While the nowadays main entrance will be kept closed and used as a display window. In the vestibule of the old main entrance, there would be resting zone supported with bars providing drinks and small snacks. More quiet resting zones are placed into the spaces around the central pool. By taking advantage from the inner subdivision of the congress hall, this will host a sauna: the new sauna world, having 6 different types of saunas. These are: Finnish sauna, Swedish dry sauna, steam sauna, infrared sauna, kello sauna and bio sauna. The sauna world will include changing rooms and cold shower. The other rooms and spaces on the ground floor serve as entrance, vestibule, tickets zone, changing rooms, showers, toilets, separate room for mother with baby (i.e. for breastfeeding). There would be also rooms for yoga or zumba class and interior gym, both supported by its own changing rooms. Last, but not least, it has been planned to establish a first aid room. On the second floor, the building is divided into two parts. In the northern part of the building there would be the administrative offices and other rooms for employees and management. In the southern part of the building will be located the wellness area. There are various types of massages, procedures, baths as well as manicure, pedicure, cosmetics, hair saloon and so on.
The roof terrace serves as an open air resting zone. The terrace offers a beautiful view on the surroundings of the building. The open air theatre would be used in the warm evenings for events such as theatre, cinema projection, public discussion or lecture or maybe even a ‘chamber’ concert. The basement would serve as such and especially for technological rooms which are suiting the needs of the new use. Particularly, the pool (pumps, engine, tank for the recycle of water) and the related facilities - then, a storage and a kitchen for the bars and welcome reception bond to events at the roof top. IMAGE OF THE BUILDING AND THE NEW IN THE OLD The building would be presented under a new image as a city bath. The harmful interventions (superimpositions) which over time were damaging the aesthetic appearance of the building will be removed. All the new structures would be done based on the two following rules: 1. They must be distinguishable as much as possible; 2. They must be reversible as much as possible. Therefore, the new interventions would mostly take place in a forms of inserted wooden elements merged yet distinguishable from the existing constructions regardless from materiality. Works of addition are wooden boxes, which are places into the existing rooms so that they are not hurting the existing and at the same time are distinguishable from the existing by use the modern language of architecture and a completely different type of timber. Only locations, where such a kind of approach is impossible to be applied due to the new use (i.e. the changing rooms, lockers and showers on the ground floor, the enlargement of the toilets on the ground floor), spaces will be treated in a way so that the interventions will still be recognisable, but not aesthetically competing or damaging the existing structures. The congress hall requires a clearance of auditorium. A new flatten wooden floating floor will be installed on the existing one. The level of the new floor would be the same as the one of the corridors. Some other minor demolitions need to be carried out as well (e.g. the small walls defining the rooms for the toilets). TREATMENT OF MATERIALS The whole restoration will be done with the highest possible respect for existing materials and the original design idea standing behind architectural surfaces. Then, marble claddings will be treated in such a way so to remove biological colonisations and deterioration patterns, because these are, here, considered as something which is taking over and damaging the marble surfaces and moreover,
they may cause further irreversible damage to the marble. On the other hand, the natural patina will be preserved as a sign of the time, since it is changing the aesthetic appearance of stones but it does not cause any damage to its inner structure. This will be treated only in those spots, where this in combination with other deterioration patterns could possibly damage the building or its users in the future. The columns of the main façade would be treated with a coherent approach, so they would be conserved as much as possible. When there is no possibility for further conservation (because of their technical state) they would be replaced. The surfaces inside the old main entrance would be treated by using a coherent approach to the overall conservation-restoration strategy. The parts, where the marbling technique has been originally chosen over the actual marble cladding, the paintings imitating marble will be restored. APPROACH TO ARTISTIC PIECES No artistic pieces publicising and showing fascism could be displayed (Legge italiana sull’ apologia del fascismo). On the other hand, aiming at respecting their artistic value, which is not bond to the subject they exteriorise, they should not be destroyed. The quadriga wouldn’t be placed on the pedestal on the main face, this would be rather left empty, as a symbol of defeated evil ideology. Gino Severini’s wall painting, which is today located in the old rear entrance, will be moved to the old main entrance and placed again over the existing fresco. The fresco will be documented (for historical reasons) and conserved in its current state. This will be safely stored in the storage spaces in the basement of the building, according to the fourth point of Camillo Boito’s ’Prima Carta del Restauro‘, in which clearly stands: "Exhibition in a nearby place of any material parts of a historical building that were removed during the process of restoration." The wall at the old rear entrance will be decorated with a wall mosaic made out of wood/timber, so that it will be clearly distinguished as a new piece of art. An artistic competition will be launched. The four walls of the reception hall will be treated in a same way. There would be held an artistic competition, similar to the old one. The fourth wall, in the original competition, representing Rome in the fascist Era will be replaced by the following new topic: Rome as one of the mail capitals of modern Europe. The
mosaics will be executed once again by using wood/timber, because of the same reason - thus, featuring the tesserae to recall the idea of a mosaic work. Martin Bumbál
Wall Painting Gino Severini, Tempera on Plywood Scale 1:75
Work in Agriculture and the Regions
Spring and Summer
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Wall Painting Gino Severini, Tempera on Plywood, Legend of Pigments
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Wall Painting Gino Severini, Tempera on Plywood, Work in Agriculture and the Regions Detail scale 1:10 Actual scale 1:50
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Wall Painting Gino Severini, Tempera on Plywood, Legend of Pigments
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Wall Painting Gino Severini, Tempera on Plywood, Spring and Summer Detail scale 1:10 Actual scale 1:50
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Wall Painting Gino Severini, Tempera on Plywood, Legend of Pigments
White Pigments
Yellow Pigments
Red Pigments
Brown Pigments
Green Pigments
W
Y
R
Br
G
Lead
Naples
Carmine
Raw Umber
Emerald
Blue Pigments
Black Pigments
Bl
Bla
Ultramarine Blue
Vine Black
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Y
R
Br
G
Bl
Bla
Titanium
Cadmium
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Burnt Umber
Green Earth
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Oxid of Iron
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Br
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mixed with
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Ocher
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Wall Painting Gino Severini, Tempera on Plywood, The Threshing Detail scale 1:10 Actual scale 1:50
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Wall Painting Gino Severini, Tempera on Plywood, Legend of Pigments
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Wall Painting Gino Severini, Tempera on Plywood, Autumn and Winter Detail scale 1:10 Actual scale 1:50
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Wall Painting Gino Severini, Tempera on Plywood, Legend of Pigments
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Yellow Pigments
Red Pigments
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Green Pigments
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Carmine
Raw Umber
Emerald
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Wall Painting Gino Severini, Tempera on Plywood, Agriculture Loan Detail scale 1:10 Actual scale 1:50
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Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View Scale 1:50
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Wall Cladding Adalberto Libera, Marble Cladding, Mapping of Materials Scale 1:50
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guarnizione in gomma
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translucent glass
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concrete
calcestruzzo
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plastic foil
foglio di plastica
plastová fólia
polyacrylic glass
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fire extinguisher
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Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View, Detail 1 Scale 1:25
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betón
translucent glass
vetro translucido
translucenté sklo
glue residues
residui di colla
zvyšky lepidla
polyacrylic glass
vetro poliacrilico
plexisklo
plastic sign
cartello di plastica
plastová značka
rubber seal
guarnizione in gomma
gumené tesnenie
plastic foil
foglio di plastica
plastová fólia
Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View, Detail 1 Scale 1:25
0m
0,5 m
1m
2m
3m
5m
Wall Cladding Adalberto Libera, Marble Cladding, Mapping of Deterioration Patterns, Detail 1 Scale 1:25
K
Pf
St
OP
AM Ms
Sc
St
BC
EN
IT
SK
AM
Alteration (material)
Alterazione (materiale)
Zmena (materiálu)
AD
Antropologic deterioration
Deterioramento antropologico
Antropologické poškodenie
Crack
Fratturazione o fessurazione
Prasklina
AC
Area of cracks
Area di crepe
Sg
Sugaring
Ch
Chipping
C
C
Ab
Ch
D
Md
Pt
St
AD
Sg
EN
IT
SK
Sc
Scrath
Graffio
Poškriabanie
Ab
Abrasion
Abrasione
Abrázia (odieranie)
K
Keying
Pitting
Oblasť prasklín
MP
Missing part
Zuccheraggio
Scukornatenie
Pf
Scheggiare
Odlomenie hrany
BC
MP
BC
OP
OP
AD
EN
IT
SK
D
Deposit
Deposito superficiale
Depozit (usadenina)
St
Staining
Macchia
Škvrnitosť
Pekovanie (zasekávanie)
IP
Iron rich patina
Patina ricca di ferro
Patina bohatá na železo
Lacuna Mancanza
Chýbajúca časť
Ms
Moss
Muschio
Mach
Perforation
Perforazione
Perforácia (prederavenie)
Md
Mould
Muffa
Pleseň
Black crust
Crosta nera
Čierna krusta
Plant
Pianta
Rastlina
Discolouration & deposit
AC
Features included by material loss
Ab
Biological colonisation
Detachment
Crack & deformation
General terms
D
Pt
Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View, Detail 2 Scale 1:10
2m
1m
0,5 m
0m
Wall Cladding Adalberto Libera, Marble Cladding, Mapping of Deterioration Patterns, Detail 2 Scale 1:10
E
Ms
Ch EN
IT
SK
Antropologic deterioration
Deterioramento antropologico
Antropologické poškodenie
C
Crack
Fratturazione o fessurazione
Prasklina
Sg
Sugaring
Zuccheraggio
Scukornatenie
Ch
Chipping
Scheggiare
Odlomenie hrany
Sc
Scrath
Graffio
Poškriabanie
MP
Missing part
Lacuna Mancanza
Chýbajúca časť
BC
Black crust
Crosta nera
Čierna krusta
D
Deposit
Deposito superficiale
Depozit (usadenina)
E
Encrustation
Incrostazione
Inkrustácia
IP
Iron rich patina
Patina ricca di ferro
Patina bohatá na železo
Pt
Plant
Pianta
Rastlina
Ms
Moss
Muschio
Mach
MP AD
AD
Sg
IP
D C
Sc D
BC
Pt
Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View, Detail 3 Scale 1:5
0,8 m
0,6 m
0,4 m
0,2 m
0,1 m
0m
Wall Cladding Adalberto Libera, Marble Cladding, Mapping of Deterioration Patterns, Detail 3 Scale 1:5
E Ms
E
L St C
EN
IT
SK
Crack
Fratturazione o fessurazione
Prasklina
Ch
Chipping
Scheggiare
Odlomenie hrany
BC
Black crust
Crosta nera
Čierna krusta
D
Deposit
Deposito superficiale
Depozit (usadenina)
St
Staining
Macchia
Škvrnitosť
E
Encrustation
Incrostazione
Inkrustácia
IP
Iron rich patina
Patina ricca di ferro
Patina bohatá na železo
L
Lichen
Lichene
Lišajník
Moss
Muschio
Mach
C Ch
St
D
BC
IP
Ms
Wall Cladding Adalberto Libera, Marble Cladding, Ortophotographic View, Detail 4 Scale 1:5
0,8 m
0,6 m
0,4 m
0,2 m
0,1 m
0m
Wall Cladding Adalberto Libera, Marble Cladding, Mapping of Deterioration Patterns, Detail 4 Scale 1:5
D
MP
EN
IT
SK
Crack
Fratturazione o fessurazione
Prasklina
Ch
Chipping
Scheggiare
Odlomenie hrany
MP
Missing part
Lacuna Mancanza
Chýbajúca časť
BC
Black crust
Crosta nera
Čierna krusta
D
Deposit
Deposito superficiale
Depozit (usadenina)
IP
Iron rich patina
Patina ricca di ferro
Patina bohatá na železo
Pt
Plant
Pianta
Rastlina
C
IP
D Pt
C
Ch BC
Ground Floor Adalberto Libera, Original Drawing, 1938 Scale 1:200
Ground Floor Proposed State Scale 1:200
nd
2 Floor Adalberto Libera, Original Drawing, 1938 Scale 1:200
nd
2 Floor Proposed State Scale 1:200
Roof Terrace Adalberto Libera, Original Drawing, 1938 Scale 1:200
Roof Terrace Proposed State Scale 1:200
Longitudinal Section Adalberto Libera, Original Drawing, 1938 Scale 1:200
Longitudinal Section Proposed State Scale 1:200
Cross Section - Reception Hall Adalberto Libera, Original Drawing, 1938 Scale 1:200
Cross Section - Reception Hall Proposed State Scale 1:200
Cross Section - Congress Hall Adalberto Libera, Original Drawing, 1938 Scale 1:200
Cross Section - Congress Hall Proposed State Scale 1:200
Main Elevation Adalberto Libera, Original Drawing, 1938 Scale 1:200
Main Elevation Proposed State Scale 1:200
Rear Elevation Adalberto Libera, Original Drawing, 1938 Scale 1:200
Rear Elevation Proposed State Scale 1:200
Side Elevation Adalberto Libera, Original Drawing, 1938 Scale 1:200
Side Elevation Proposed State Scale 1:200