The Tetrad of Oracles - Architectural Thesis Book by Myrto Pitara

THE TETRAD OF ORACLES Final Thesis Project

Christina Christofidou Iliana Pastelli Myrto Chrysanthi Pitara

T H E T E T R AD OF OR ACLE S

A Final Thesis Project by Christina Christofidou, Iliana Pastelli, Myrto Chrysanthi Pitara with Supervising Professor Alessandro Rocca

Politecnico di Milano - AUIC MSc Architecture Built Environment - Interiors 03 October 2019

SUSA VALLEY

TETRAD OF ORACLES

ACKNOWLEGEMENTS

We would like to express our appreciation and thank the following people for their contribution to the completion of our thesis project.

Firstly, to our thesis supervisor and studio professor, Professor Alessandro Rocca, for his continuous help and support during the last semester. For his motivation, advices and constructive feedback in each and every session. His guidance always pushed the project a step forward and without him this thesis would not have had the same result.

We would also like to thank, Assistant Professor Francesca Zanotto, for her continuous help and constant feedback at every session during the final thesis studio.

Finally, we would like to express our gratitude to our family, mostly our parents, and closest friends for the support and encouragement not only through this thesis project, but through our whole academic career

Christina, Iliana, Myrto

SUSA VALLEY

TETRAD OF ORACLES

ABSTRACT

The thesis project is located in Susa Valley in Piedmont, Italy. Via Francigena in Susa Valley was a historical route for pilgrims walking from Canterbury to Rome. Therefore, the Valley includes many places of worship. For this thesis, four historically important churches of different contexts are chosen in order to be transformed into spaces providing new ways to communicate with God. The selected abbeys are: San Antonio di Ranverso of a rural context to include accommodation and focus on praying, Sacra of San Michele built at the top of a mountain to include an auditorium for chanting, the Cathedral of San Giusto di Susa situated in an urban context to include a secret garden of confession spaces and the Novalesa Abbey located in a forest to include baths for catharsis. Inspired by the Delphi oracle which applied to all religions the thesis aims to the design of a tetrad (according to Pythagoras four was the number symbolising God) of contemporary oracles for the current visitors of the valley.

SUSA VALLEY

TETRAD OF ORACLES

TA BLE

C O NTE NTS

C O N T E X T _ 0 1 I. The Pilgrim Route _ 11 II. The Churches_ 21

C O N C E P T _ 0 2 I. The Pilgrim Route _49 II. The Churches_63

P R O J E C T _ 0 3 I. San Antonio di Ranveso _69 II. Sacra di San Michele_89 III. San Giusto di Susa_109 IV. Abbazia di Novalesa_129

R E F E R E N C E S _ I. Precedents _149 II. Bibliography_167

CONTEXT

I . T H E PILGRIM RO U TE

CHAPTER 01

Canterbury

Bar-Sur-A

Gran S

I. THE PILGRIM ROUTE

Calais Chalons Sur Marne

Aube Besancon Pontarlier

San Bernardo

Lausanne Pavia

Susa Valley Lucca

Parma Siena San Gimignano Rome Bari

Jerusalem

CHAPTER 01

I. THE PILGRIM ROUTE

VIA FRANCIGENA

The Via Francigena is the common name of an an-

Between the end of the first millennium and the be-

cient road and pilgrim route running from France

ginning of the second, the practice of pilgrimage

to Rome and Apulia, where there were the ports of

acquired a growing importance. The holy places

embarkation for the Holy Land, though it is usually

of Christianity were Jerusalem, Santiago de Com-

considered to have its starting point on the other

postela and Rome, and the Via Francigena repre-

side of the English Channel, in the cathedral city of

sented the central junction of the great faith roads.

Canterbury. So the route passes through England,

As a matter of fact, pilgrims coming from North

France, Switzerland and Italy. The route was known

travelled on the Via towards Rome and eventually

in Italy as the “Via Francigena” (“the road that

along the Alpian Way towards the bridges of Pug-

comes from France”) or the “Via Romea Francige-

lia, where they could embark for the Holy Land.

na” (“the road to Rome that comes from France”).

Vice versa, Italian pilgrims that headed towards

In medieval times it was an important road and pil-

Santiago, travelled on the Via towards North, to

grimage route for those wishing to visit the Holy

reach Luni, where they could embark for the bridg-

Land and the tombs of the apostles Peter and Paul.1

es of France or they could continue towards Mon-

It comprised several possible routes that changed

cenisio and then to the Via Tolosana, that led to

over the centuries as trade and pilgrimage grew.

Spain. Pilgrimage soon became a mass phenome-

Unlike Roman roads, the Via Francigena did

non and this intensified the role of the Via Franci-

not connect cities, but relied more on abbeys.

gena, that became a determinant communication channel for the realisation of cultural unity, that characterised Europe during the Middle Ages. 2

CHAPTER 01

NO VA L E SA

SU SA

B O R GO NE SU SA VILLAR FO C C H I A R D O SANT’ANTONINO D I SU SA

SANT’AMBROGIO D I TO R I N O

B E RTA SSI

AV I GL I A NA

B U TTI GL I E R A A LTA

I. THE PILGRIM ROUTE

VIA FRANCIGENA & THE SUSA VALLEY

FE RRI E RA

CHAPTER 01

MONCENISIO

SECTION A

NOVALESA

SAN GIORIO

EXILLES

CHIUSA DI SAN MICHELE

SUSA VILLAR FOCCHIARDO

SANT AMBROGIO DI TORINO

OULX

AVIGLIANA

OULX Cultural & Historical AttractionsSUSAin Susa Valley Historical Attractions: -Comune di Oulx -Autocarozzeria Prato di Fabio Prato Events: -Santa Maria Assunta -Free Fair of Oulx - Grand Escarton Fair -Chantar l'uvern

EXILLES

Historical Attractions: -Chiesa di San Pietro Apostolo Events: -Patronal Feast of San Pietro

TURIN

Historical Attractions: -Catedrale di San Giusto -Museo Civico -Augustos Arch -Chiesa Santa Maria delle Grazie -Amfiteatro Romano -Centro Culturale Diocesano di Susa -Centro Storico -Castello di Adelaide

Events: -Spring Fair -Duemila anni di clima in Val di Susa -Witches and ghosts at the castle -Babbo Natale in Moto

MONCENISIO

Historical Attractions: -Comune di Moncenisio Events: -Patronal Feast of San Giorgio Martyr -The Shroud in Susa Valley. Between history andd nature

SAN GIORIO

Historical Attractions: -Comune di San Giorio -Garda di San Giorio Events: -Patronal Feast of San Giorgio Martyr

NOVALESA

VILLAR FOCCHIARDO

Events: -Sant’Eldrado

Events: -Festival of Susa Valley Chestnut

Historical Attractions: -Abbazia Benedettina della Novalesa -Capella di San Sebastiano

Historical Attractions: -Capella delle Vigne -Capella Santa Lucia

CHIUSA DI SAN MICHELE

Historical Attractions: -Capella di Santa Croce -Comune di Chiusa di San Michele -Capella delle Grazie -Sacra di San Michele Events: -Santi Pietro Apostolo -Taste of Meliga

SANT AMBROGIO DI TORINO

Historical Attractions: -Comune di S.Ambrogio di Torino -Chiesa di San Rocco -Chiesa Parrochiale di San Giovanni Vincenzo -Palazzo Abbaziale di Sant’Ambrogio Events: -San Giovanni Vincenzo -Battle of the Sluices

AVIGLIANA

Historical Attractions: -Piazzetta San Giovanni -Castello di Avigliana -Porta Ferronia -Torre Circolare di via Porta Ferrate -Chiesa di S.Maria -Casaforte del Beato Umberto III di Savoia Events: -San Giovanni Battista -Sustainability Festival -Nature and culture between Lake little and San Bartolomeo -Agricultural Fair

I. THE PILGRIM ROUTE

VIA FRANCIGENA & THE SUSA VALLEY

The route meanders for over 170km with two

other places of worship with a more local feel

historical variables, starting from Monceni-

such as the Cripta di Celle, chapels, as well as

sio and Monginevro towards the valley and

town centres home to markets or places of tran-

on towards Turin. By taking the Via Franci-

sit such as Susa, Bussoleno, Avigliana and Oulx.

gena in the Susa Valley, the many pilgrims

Along the route were created hospitals, such

and hikers are offered the chance to revive

as the Precettoria di Sant’Antonio di Ran-

their mind and body. The medieval period

verso, inns and hotels, the inns of Novalesa

endorsed its leading role as a gateway be-

and Bussoleno. Fortified castles marking out

tween the Italian peninsula and the rest of

many of the Susa Valley villages – Oulx, Chi-

Europe for merchants, armies, aristocrats,

omonte, Susa,San Giorio, Chianocco, Bruzolo

men of Church and pilgrims who were aiming

– now reveal the widespread territorial con-

to reach Rome, the epicentre of Christianity.

trol held and also the aristocratic power along

The intense flow of people along the Via

the valley, relating to the economic and com-

Francigena circulated ideas and generat-

mercial importance that the route acquired

ed a constant exchange of knowledge, lan-

over time. These days, going along the Via

guages and religion which helped nurture

Francigena in the Susa Valley means a jour-

a European cultural energy in the valley:

ney for discovering art, nature and culture.

monasteries were built, such as the Abbey of Novalesa and the Sacra di San Michele,

CONTEXT

I I . T HE CHU RCHES

NOVA L ES A

ABBAZIA DI NOVALESA

B U SSO L E N O SU SA

BURGON SUSA

SAN GIUSTO DI SUSA

FOREST AREAS

URBAN AREAS

ARE CHU

NE CONDO VE

C A PRIE

S A N T’ A NTONI NO D I S USA S A NT ’ A M B ROGIO D I T ORINO

P I A N E SC A

SACRA DI SAN MICHELE AV I G L I A N A B U TTI G L I E R A A LTA

RIVOLI

ST. ANTONIO DI RANVERSO

EAS WITH HURCHES

FOREST AREAS URBAN AREAS -TOWNS AREAS WITH CHURCHES CHURCHES ABBEYS - SELECTED SITES VIA FRANCIGENA DORA RIPARIA RIVER

0.00

5.65

0.00

5.65

0.00

5.65

0.00

5.65

CHAPTER 02

San Antonio di Ranverso Site Plan

PRODUCED BY AN AUTODESK STUDENT VERSION

II. THE CHURCHES

SAN ANTONIO DI RANVERSO

Location _ Buttigliera Alta, Valle di Susa Date_ 12th Century Architecture_ Gothic, Romanesque Facilities_ Church, Ex-Monastery Farmhouse

CHAPTER 02

San Antonio di Ranverso Elevation

Hospital Elevation

San Antonio di Ranverso Plan

SAN ANTONIO DI RANVERSO

II. THE CHURCHES

The monastery (also known as preceptory) complex was founded in 1188 by Humbert III of Savoy, who give it to the Regular Canons of St. Anthony of Vienne, as a restoration point for pilgrims and a treatment center for people infected by ergot. With the outbreak of the Black Death in the 15th century, the abbey also took care of the new contagium. San Antonio was chosen due to its widespread depiction in company of a small pig, an animal whose fat was used for the treatment of the plague. The complex was modified and rebuilt several times. It initially included a hospital, of which only the facade remains, the preceptory itself and the church. The latter appears today in Lombard-Gothic style, after its renovation in the 14th-15th centuries. Annexed to it is the bell tower, also in Gothic style (14th century). The

interior

was

decorated

with

numer-

ous frescoes starting from the 13th century,

some

which

painted

Giaco-

mo Jaquerio in the early 15th century.

CHAPTER 02 CHURCH CHARACTERISTICS

left aisle nave right aisle

Three-aisled Basilica with vaults

Gothic archivolted facade with pinnacles and a rose window

Arcade with vaults

Bell Tower

Altar and Apse with Buttresses

Additional Basilica added later

SAN ANTONIO DI RANVERSO

II. THE CHURCHES SITE USES

Church

Ex-monastery

Ex-Hospital

Farmhouses

CHAPTER 02

PRODUCED BY AN AUTODESK STUDENT VERSION

Sacra di San Michele Site Plan PRODUCED BY AN AUTODESK STUDENT VERSION

II. THE CHURCHES

SACRA DI SAN MICHELE

Location _ Santâ&#x20AC;&#x2122; Ambrogio di Torino Date_ 10th Century Architecture_ Gothic, Romanesque Facilities_ Church, Library, Ruins

CHAPTER 02

PRODUCED BY AN AUTODESK STUDENT VERSION

Sacra di San Michele Section

Sacra di San Michele Plan

32 PRODUCED BY AN AUTODESK STUDENT VERSION

SACRA DI SAN MICHELE

II. THE CHURCHES

The church is located on top of a rocky crag base and towers above the valley. The church facade leads to a staircase, the Scalone dei Morti (“Stairway of the Dead”), flanked by arches, niches and tombs in which, until recent times, skeletons of dead monks were visible (hence the name). At the top of the 243 steps is the marble Porta dello Zodiaco, a masterwork of 12th century sculpture. The church itself is accessed by a Romanesque portal in grey and green stone, built in the early 11th century. The church has a nave and two aisles, and features elements of both Gothic and Romanesque architecture. On the left wall is a large fresco portraying the Annunciation (1505), while in the Old Choir is a triptych by Defendente Ferrari. The complex includes the ruins of the 12th15th centuries monastery, which had five floors. It ends with the Torre della Bell’Alda (“Tower of the Beautiful Alda”) The so-called “Monks’ Sepulchre” is probably the remains of a chapel reproduction, with an octagonal plan, the Holy Sepulchre of Jerusalem.5

CHAPTER 02 CHURCH CHARACTERISTICS

Three-aisled Basilica with vaults and unique big columns including cross-shaped ones

Ruins of the ex-monastery which used to be part of the Church

Bell Tower

Later extension to the church with flying buttresses

Later extension with a new circulation tower and a balcony overlooking at the ruins

left aisle nave

right aisle

SACRA DI SAN MICHELE

II. THE CHURCHES SITE USES

Church

Museum-Library

Ruins

CHAPTER 02

PRODUCED BY AN AUTODESK STUDENT VERSION

San Giusto di Susa Site Plan PRODUCED BY AN AUTODESK STUDENT VERSION

II. THE CHURCHES

SAN GIUSTO DI SUSA

Location _ Susa, Torino, Italy Date_ 9th Century Architecture_ Romanesque Facilities_ Church, Monastery

CHAPTER 02 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

San Giusto di Susa Section

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

San Giusto di Susa Plan

PRODUCED BY AN AUTODESK STUDENT VERSION

SAN GIUSTO DI SUSA

II. THE CHURCHES

Originally it was the church of the Benedictine Abbey of San Giusto, established in 1029 by Marchese Olderico Manfredi to house the newly discovered relics of San Giusto. The church was built around 1100 and has since been refurbished and restored several times. It was not until 1772 that the bishopric of Susa was created there, previously a territorial abbacy, and at that point the abbey church was made into the Cathedral of the new diocese. The cathedral is a Romanesque style building. The facade has terracotta decorations and is joined to a Roman gate of the 4th century, the Porta Savoia, to the south. Halfway along the south side stands the campanile, with six levels of mullioned windows. The interior reflects a Latin Cross plan, with three aisles. It contains a baptistry which is earlier than the present church, and a statue supposedly of Adelaide, Marchioness of Turin.6

CHAPTER 02 CHURCH CHARACTERISTICS

left aisle nave right aisle

Three-aisled Basilica with vaults

Ancient Roman Porta, attached to the facade of the church

Altar and Apse with pinacles

Existing Crypt

Bell Tower

SAN GIUSTO DI SUSA

II. THE CHURCHES SITE USES

Church

Monastery

CHAPTER 02

Abbazia di Novalesa Site Plan

II. THE CHURCHES

ABBAZIA DI NOVALESA

Location _ Novalesa, Torino, Italy Date_ 8th Century Architecture_ Romanesque Facilities_ Church, Monastery, Museum

CHAPTER 02

Abbazia di Novalesa Elevation

Abbazia di Novalesa Section

Abbazia di Novalesa Plan

ABBAZIA DI NOVALESA

II. THE CHURCHES

The a

complex monastery,

of and

Novalesa the

abbey

includes church.

The abbey is accessed through a portal leading to a first court, with a three-span portico with cross-vaults, surmounted by a loggia. There is another court around which the building revolves: at its center are the two remaining wings of the 16th century cloister: one has five and the other has seven round arcades, supported by cylindrical columns without capitals. At the crossing between the two cloister wings is the bell tower, built in 1725-1730, which stands at 22.50 m. The abbey church is dedicated to St.Peter and Paul. It was built in the 18th century above the pre-existing Romanesque church from the 11th century, of which some frescoes, including the Stoning of St. Stephen, remain. The current church is in Baroque style and has a nave with barrel vaults. Half of the nave is used as presbytery, and ends in a semi-circular apse. Around the monastery are four chapels: one dedicated to Mary (8th century, restored in the 11th century), one to the Holy Saviour (mid-11th century), one to St. Michael (8th-9th centuries) and one to St. Eldradus.

CHAPTER 02 CHURCH CHARACTERISTICS

left aisle nave right aisle

Three-aisled Basilica with vaults

Altar and Apse

Bell Tower

Stone Facade highlighting the two aisles of the Basilica

ABBAZIA DI NOVALESA

II. THE CHURCHES SITE USES

Church

Monastery

Chapels

Restaurant

Museum

CONCEPT

I . T H E DELPHI O RA CLE

THE DELPHI ORACLE

Location _ Phocis,Greece Date_ 510BC Architecture_ Ancient Greek Facilities_ Ancient sanctuary

CHAPTER 02

Delphi Sanctuary Site Plan

I. THE DELPHI ORACLE

Delphi (also called Pytho), is the ancient sanctuary that grew rich as the seat of Pythia, the oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the omphalos (navel). Delphi is located in the upper central Greece, on multiple plateaux along the slope of Mount Parnassus, and includes the Sanctuary of Apollo (the god of light, knowledge and harmony), the site of the ancient Oracle. Delphi is perhaps best known for its oracle, the Pythia, the sibyl or priestess at the sanctuary dedicated to Apollo. Alone in an enclosed inner sanctum (Ancient Greek adyton - “do not enter”) she sat on a tripod seat over an opening in the earth (the “chasm”). According to legend, when Apollo slew Python its body fell into this fissure and fumes arose from its decomposing body. Intoxicated by the vapours, the sibyl would fall into a trance, allowing Apollo to possess her spirit. In this state she prophesied. The oracle could not be consulted during the winter months, for this was traditionally the time when Apollo would live among the Hyperboreans. Dionysus would inhabit the temple during his absence.8

CHAPTER 02

THEATER

TEMPLE OF APOLLO

ORACLEâ&#x20AC;&#x2122;S CHAMBER

SPRING OF THE MUSES

THE DELPHIC ORACLE BUILDING USES

I. THE DELPHI ORACLE

RITUAL CHAPEL SACRED WAY

THE DELPHI ORACLE 55

CHAPTER 02

(belief (spirit)

πνεῦμα THEATER

THE THEATER The ancient theatre at Delphi was built further up the hill from the Temple of Apollo giving spectators a view of the entire sanctuary and the valley below. In antiquity, the theatre was used for the vocal and musical contests which formed part of the programme of the Pythian Games in the late Hellenistic and Roman period. The theatre was abandoned when the sanctuary declined in Late Antiquity. After its excavation and initial restoration it hosted theatrical performances during the Delphic Festivals. It has recently been restored again as the landslides posed a great threat for its stability for decades.9

SPRING OF THE MUSES The gymnasium, which is half a mile away from the main sanctuary, was a series of buildings used by the youth of Delphi. The building consisted of two levels: a stoa on the upper level providing open space, and a palaestra, pool and baths on lower floor. The spring of the muses that consisted of these pools and baths were said to have magical powers, and imparted the ability to communicate to Apollo himself. 10

κάθαρσις SPRING OF THE MUSES

(catharsis)

arsis)

THE DELPHIC ORACLE BUILDING USES

I. THE DELPHI ORACLE

(belief)

πίστις TEMPLE OF APOLLO

TEMPLE OF APOLLO The ruins of the Temple of Delphi visible today date from the 4th century BC, and are of a peripteral Doric building. It was erected by Spintharus, Xenodoros, and Agathon on the remains of an earlier temple, dated to the 6th century BC which itself was erected on the site of a 7th-century BC construction attributed to the architects Trophonios and Agamedes. nside was the adyton, the centre of the Delphic oracle and seat of the Pythia. The temple had the statement “Know thyself”, one of the Delphic maxims, carved into it (and some modern Greek writers say the rest were carved into it), and the maxims were attributed to Apollo and given through the oracle and/or the Seven Sages of Greece (“know thyself” perhaps also being attributed to other famous philosophers). 9

SACRED WAY The Castalian Spring in Delphi is not in the sanctuary of Apollo itself, but about 500 meters east of its main entrance. According to Euripides’ note visitors of the oracle went to this source first to ritually cleanse themselves. The water was also used to sprinkle the temple of Apollo. According to the Greek author Pausanias, the water had a delicious taste. There is still a belief that Castalia’s water was magically medicinal, and that it was secretly bottled for these uses. Hence through the gate, the Sacred Way runs on a gently curving course upwards and towards the southern corner of the precinct where it continues up to the temple terrace. All along the route and on both sides were placed

ἄδυτον

(inaccessible)

SACRED WAY

dozens of memorials. 11

CHAPTER 02

SAN ANTONIO DI RANVERSO TEMPLE OF APOLLO

SPRING OF THE MUSES

ABBAZIA DI NOVALESA

THE SUSA VALLEY BUILDING USES

I. THE DELPHI ORACLE

SACRA DI SAN MICHELE THEATER

RITUAL CHAPEL

SAN ANTONIO DI RANVERSO

SACRED WAY

SAN GIUSTO DI SUSA

THE TETRAD OF ORACLES

CHAPTER 02

(πνεῦμα) HYMN (πνεῦμα) HYMN SACRA DI SAN SACRA DI SAN MICHELE MICHELE

THEATER THEATER

The Theater in Ancient Greece and in the Delphic oracle, had a great cultural and spiritual importance based mostly on its location in the Delphic sanctuary. The theater could be a means of communication to God, or to its pneuma, πνεύμα (=spirit in Greek), which relates to the spiritual importance of the theater. This is translated into our project,to our intention to create an amphiteater, where people can chant or hymn to God. In terms of location in the Susa Valley, Sacra di San Michele will be used, for the amphiteater to overlook over the Susa Valley, as the Theater in the Delphic Sanctuary overlooked over the Delphi Valley.

In the Delphic Oracle, the Spring of the Muses, consisted of baths and water that said to have magical power and the ability to communicate with Apollo itself. This communication was achieved through a ritual of catharsis, κάθαρσις , where you cleansed yourself in order to communicate and regenerate yourself. In the project, Abbazia di Novalesa is chosen due to the rocky, forest landscape where baths will be created in order to communicate to God through water and cleansing.

(κάθαρσις) CATHARSIS (κάθαρσις) CATHARSIS ABBAZIA DI ABBAZIA DI NOVALESA NOVALESA

SPRING OF THE SPRING OF THE MUSES MUSES

) PRAY

NTONIO NVERSO

PLE OF POLLO

THE SUSA VALLEY BUILDING USES

I. THE DELPHI ORACLE

(πίστις) PRAY

The temple of Apollo, in the Delphic sanctuary, was the

SAN ANTONIO DI RANVERSO

Apollo, to whom they believed and did sacrifices on his

TEMPLE OF APOLLO

centre of the whole site. It was the “home” of the God name. Inside the temple , Pythia gave prophecies , talking on his regard, for the future of the people. The temple as the “home” of the God Apollo, can be related to the contemporary church where people show their pistis, πίστις (=belief in Greek) through praying. Therefore, in our project, San Antonio di Ranverso’s ex-monastery, will be used to create a new “home”, where people can live and express their belief through praying.

Inside the Temple of Apollo, existed the Adyto, where Pythia gave her prophecies, talking on behalf of God Apollo. In order to reach Pythia, you had to follow the sacred way, that went through the magical springs of Castalia, where Pythia was drinking water to gave her prophecies. The adyton, άδυτον (=inaccesible in greek), was hidden, where whatever was said there was secret something like confessions. In our project, we chose the Cathedral of San Giusto di Susa, to create a hidden space, following a sacred way, where people can confess their sins, and communicate to God this way as Pythia was used as a communication to God Apollo.

(ἄδυτον) CONFESSION SAN GIUSTO DI SUSA

(ἄδυτο

SAN G DI SUS

SACRED WAY

SACRE WAY

CONCEPT

I I . THE TETRA D

CHAPTER 02

Mind

Opinion

Science

Sense

II. THE TETRAD

TETRAD (te-trad) /’tεtrad/ [noun] = a group or set of four. “a tetrad of distinct elements”

Number 4 – A Perfect Number

The Pythagoreans believed the number four, the Tetrad, was a perfect number.

They taught that the Tetrad symbolized God.

In Pythagorean philosophy there are four parts to the soul:

mind

– opinion

–

science

–

sense. 12

CHAPTER 02

CATH AR SI S

CONFESSION

SAN GIUSTO

THE TETRAD

DI SUSA

ABBAZIA DI NOVALESA

HYMN

P RAY

SACRA DI SAN MICHELE

SAN ANTONIO DI RANVERSO

SAN ANTONIO DI RANVERSO “praying & living”

Landside

Courtyard Ruins Ex-Monastery

HYMN

SACRA DI SAN MICHELE HYMN

CLIFF

P RAY

SAN ANTONIO DI RANVERSO PRAY

RURAL

Ruins Ex-Monastery

01 66

SACRA DI SAN MICHELE “Hymn to God through chanting”

II. THE TETRAD

OF ORACLES CAT HAR S I S

CONF ESSI ON

SAN GIUSTO

DI SUSA

A B B A Z I AABBAZIA D I N O VDI A LNOVALESA ESA “catharsis of the body through water”

Landside

Courtyard

C ATH ARSIS

C ON F E S S I ON

SAN GIUSTO URBAN

H Y MN

DI SUSA CONFESSION

SACRA DI SAN MICHELE

ABBAZIA DI NOVALESA FOREST

P R AY

CATHARSIS

SAN ANTONIO DI RANVERSO

Landsid

Courtyard Ruins Ex-Monastery

SAN GIUSTO DI SUSA “Confession of your inner sins”

THE PROJECT

I . S AN AN T O NIO DI RA NV ERS O

CHAPTER 03

I. SAN ANTONIO DI RANVERSO

20 m

CHAPTER 03

Existing Situation

In San Antonio di Ranverso, the project is developed at the site of the abandoned ex- monastery which is in direct connection to the church of San Antonio. Our aim is to renovate the interior of the church while keeping the impossing exterior brick walls. This will be achieved by creating an interior structural system to accomodate the three levels of the building. In terms of programme, San Antonio di Ranverso will be the first stop at this contemporary pilgrim journey, where visitors can distant themselves and stay at the complex while being devoted to the action of praying.

Area to be re-used New addition Area to be demolished

20 m

I. SAN ANTONIO DI RANVERSO

CHAPTER 03

Revision I

Chapel Balconies Lift & Services Accomodation rooms New exterior staircase Main circulation spaces Area to be handled

20 m

I. SAN ANTONIO DI RANVERSO

A A

CHAPTER 03

Revision II

1. new staircase form 2. new service spaces 3. new facade extension 4. new rose garden added 5. new roof form

Revised/ added area Changes in circulation Changes in openings

20 m

I. SAN ANTONIO DI RANVERSO 1

CHAPTER 03

Revision III

1. new staircase form 2. new service/lift spaces 3. new facade and roof extension 4. mezzanine bridges added 5. water flowing over the chapel 6. new roof form Revised/added area Changes in circulation Changes in openings

20 m

I. SAN ANTONIO DI RANVERSO 2

2 3

CHAPTER 03

Revision IV

1. new staircase form 2. new mezzanine passage at the rear part 3. new position of the chapel inside the hill 4. new roof form

Revised/ added area Changes in circulation Changes in openings

20 m

I. SAN ANTONIO DI RANVERSO 3

CHAPTER 03

Final Design

1. new mezzanine form 2. new openings

RE-USED

NEW Revised/ added area Changes in circulation Changes in openings

JOURNEY 0

20 m

I. SAN ANTONIO DI RANVERSO

CHAPTER 03

Revisions I-V (Sections)

+19.00 +17.50 +19.00 +13.80 +17.50 +10.00 +13.80 +10.00 +5.95 +2.80 +5.95 0.00 +2.80 0.00

+17.00

+17.00 +13.30 +9.80 +13.30 +9.80 +5.95 +2.60 +5.95 0.00 +2.60 0.00

+9.80

+5.95

I. SAN ANTONIO DI RANVERSO

+2.60 0.00

+17.50

+13.30 +9.80

+5.95 +2.80 0.00

+17.50

+13.30 +9.80 +17.50 +5.95 +13.30 +2.80 +9.80 0.00 +5.95 +2.80 0.00

+17.50

+13.30 +9.80 +17.50 +5.95 +13.30 +2.80 +9.80 0.00 +5.95 +2.80 0.00

CHAPTER 03

New facade and roof

New Structure

Accomodation & Praying Spaces

Vertical Circulation

Existing exterior walls

I. SAN ANTONIO DI RANVERSO

20 m

THE PROJECT

I I . S AC R A DI S A N M ICHELE

TETRAD

OF ORACLES

THEATER

TEMPLE OF APOLLO

Wall view towards the Valley Sacra di San Michele

CHAPTER 03

II. SACRA DI SAN MICHELE

20 m

CHAPTER 03

Existing Situation

In Sacra di San Michele, the project is developed at the ex-monastery ruins which is the last part of the complex. We are aiming at re-using the existing open space by creating a new amphiteater. This will be achieved by building a new platform, where a stage will flow on water and the act of chanting, hymning towards God will happen. Furthermore, we create a new facade on the west side of the ruins. A

new â&#x20AC;&#x153;wallâ&#x20AC;?

on a corten steel structural frame will be

created, where the visitor can climb inside through staircases and steel panels will determine the view, either towards the valley or towards the new stage and the ancient ruins. Area to be re-used New addition Area to be demolished

20 m

II. SACRA DI SAN MICHELE

CHAPTER 03

Revision I

Staff spaces New wall structure New Amphitheater New addition Area to be re-used

20 m

II. SACRA DI SAN MICHELE

CHAPTER 03

Revision II

1. new wall structure 2. staircase supported on the wall grid 3. change of main stairs width 4. removal of water

Revised/ added area Changes in circulation Changes in openings

20 m

II. SACRA DI SAN MICHELE

A 2

CHAPTER 03

Revision III

1. new wall structure 2. new staff spaces

Revised/ added area Changes in circulation Changes in openings

20 m

II. SACRA DI SAN MICHELE

A 2

CHAPTER 03

Revision IV

1. new wall structure 2. new staff spaces 3. new stage circulation

Revised/ added area Changes in circulation Changes in openings

100

20 m

II. SACRA DI SAN MICHELE

101

CHAPTER 03

Final Design

1. staff spaces reorganised 2. stage moved

RE-USED

NEW Revised/ added area Changes in circulation Changes in openings

JOURNEY 0

102

20 m

II. SACRA DI SAN MICHELE

A 1

103

CHAPTER 03

+54.20

Revisions I-V (Sections) +47.06

+41.15

+35.65

+54.20

+30.00

+47.06

+41.15

+35.65

+30.00

+54.20

+47.06

+41.15

+35.65

+54.20

+30.00

+47.06

+41.15

+35.65

104

+30.00

II. SACRA DI SAN MICHELE +54.20

+47.06

+41.15 +54.20

+35.65

+47.06 +30.00

+41.15

+35.65

+30.00

+54.20

+47.06

+41.15

+35.65

+30.00

+54.20

+47.06

+54.20 +41.15

+35.65 +47.06

+30.00 +41.15

+35.65

+30.00

+54.20

+47.06

105

+41.15

+35.65

CHAPTER 03

Exterior Panels

Window Panels

Staircases

New Wall structure

Existing wall

106

II. SACRA DI SAN MICHELE

20 m

107

THE PROJECT

I I I . S AN GIU S TO DI S U S A

CHAPTER 03

110

III. SAN GIUSTO DI SUSA

20 m

111

CHAPTER 03

Existing Situation

In San Giusto di Susa, the project takes place in between the Cathedral and the attached monastery. Our aim is to re-use and re-create the existing courtyard which is mainly used as a transition space between the two. This will be achieved by opening the courtyard to create an underground “oasis” or otherwise “adyton”. By means of creating a vertical circulation system, the visitor will be guided to this new underground space through the monastery where the existing church crypt will be connected to new private confession rooms. The end of the journey will lead you to a lower underground space through a ramp, where a secret garden will be created.

Area to be re-used New addition Area to be demolished

112

20 m

III. SAN GIUSTO DI SUSA

113

CHAPTER 03

Revision I

Confessionals Courtyard Re-used space Main circulation accesses Main void

114

20 m

III. SAN GIUSTO DI SUSA

115

CHAPTER 03

Revision II

1. new lake shape at ground floor level 2. new circular confessional plans 3. stairs turned into a ramp 4.new underground connection between ramp and crypt

Revised/ added area Changes in circulation Changes in openings

116

20 m

III. SAN GIUSTO DI SUSA

+ 4

117 A

CHAPTER 03

Revision III

1. new access routes at ground floor 2. circular rooms turned into orthogonal 3. new stairs access plan 4.confessions arrangement into an orthogonal plan

Revised/ added area Changes in circulation Changes in openings

118

20 m

III. SAN GIUSTO DI SUSA

119

CHAPTER 03

Revision IV

1. one main tree at centre of the oasis 2. orthogonal rooms turned into circular 3. one stair case turned into a circular bridge and 3 cores to access the underground space

Revised/ added area Changes in circulation Changes in openings

120

20 m

III. SAN GIUSTO DI SUSA

+ 3

121

CHAPTER 03

Final Design

1. water position moved about the confessions circular plan 2. change of size of the confession rooms

Revised/ added area

RE-USED

NEW

Changes in circulation Changes in openings

122

20 m

JOURNEY

III. SAN GIUSTO DI SUSA

2 2

123

CHAPTER 03

Revisions I-V (Sections)

+17.85 +14.65 +17.85 +14.65 +10.40 +10.40

0.00 -0.75 -2.60 0.00 -4.00 -0.75 -2.60 -4.00

0.00 -0.75 -2.75 0.00 -3.75 -0.75 -4.75 -5.75 -2.75 -6.75 -3.75 -7.75 -4.75 -8.55 -5.75 -6.75 -7.75 -8.55

124

0.00 -0.75 -2.75 -3.75 -4.75 -5.75 -6.75 -7.75 -8.55

III. SAN GIUSTO DI SUSA

0.00 -2.75 -3.75 -4.75 -5.75 -6.75 -7.75 -8.25

0.00 -3.00 -4.75 -5.40 -7.50 -8.50 -9.30

125

CHAPTER 03

Outdoor garden

Confessionsals

Main Circulation routes

Adyton/ Oasis garden

126

III. SAN GIUSTO DI SUSA

20 m

127

THE PROJECT

I V. AB B A Z IA DI NO VA LES A

CHAPTER 03

130

IV. ABBAZIA DI NOVALESA

20 m

131

CHAPTER 03

Existing Situation

In Abbazia di Novalesa, the project will take place, opposite the existing church and monastery at the mountain side. Our aim is to create a new building that will host thermal baths. This will be achieved by demolishing the existing restaurant and reusing the stones into a new pavement for creating an open piazza between the existing church and the thermal baths center. The visitor will have the opportunity to visit the site and use the thermal baths to cleanse himself in order to communicate in this way to God.

Area to be re-used New addition Area to be demolished

132

20 m

IV. ABBAZIA DI NOVALESA

133

CHAPTER 03

Revision I

Open space with thermal baths Restaurant Services Main circulation access Skylights/openings

134

20 m

IV. ABBAZIA DI NOVALESA

135

CHAPTER 03

Revision II

1. stairs circulation turned into a ramp 2. multiple skylights turned into one main skylight 3. main stairs space turned into corridor with water 4. addition of an external courtyard 5.rotation of the restaurant space

Revised/ added area Changes in circulation Changes in openings

136

20 m

IV. ABBAZIA DI NOVALESA

1 1

4 2

137

CHAPTER 03

Revision III

1. one skylight turned into two skylights 2. services moved to the side of the building 3. walls division into the existing mountain and water addition in courtyard 4. circular direction of circulation at the upper floor 5. front building demolished, use of stones in a new pavement at the front of the building and the church Revised/ added area Changes in circulation Changes in openings 0

138

20 m

IV. ABBAZIA DI NOVALESA

139

CHAPTER 03

Revision IV

1. two skylights turned into one skylight 2. arches as opening at the main corridor 3. three pools turned into one main courtyard pool 4. re arrangement of staircase 5. addition of stone paved corridor at the entrance

Revised/ added area Changes in circulation Changes in openings

140

20 m

IV. ABBAZIA DI NOVALESA

3 1

5 3

141 A

CHAPTER 03

Final Design 1 1

1. re arrangement of staircase 2. change of steps inside the courtyard pool

RE-USED 2

3. extension of stone pavement into the whole 2

monastery complex

NEW Revised/ added area

Changes in circulation

Changes in openings

142

JOURNEY 15

20 m

IV. ABBAZIA DI NOVALESA

2 3

143

CHAPTER 03

Revisions I-V (Sections)

+13.35 +13.35 +8.35 +8.35 +4.35 +4.35 0.00 0.00

+12.70 +12.70

+8.60 +8.60 +3.10 +3.10 0.00

-2.10 0.00 -2.10

144

+3.10 0.00

-2.10

IV. ABBAZIA DI NOVALESA

+5.40 +3.90 +2.35 0.00 -0.70

+5.40 +3.90 +2.35 +11.70

+7.85 +4.60 +3.40

0.00 -2.00

+5.40 +3.90 +2.35 +11.70

+7.85 +4.60 +3.40

0.00 -2.00

145

CHAPTER 03

Roof

Round circulation through ramp and main corridor

Wall divisions

Ground Floor

146

IV. ABBAZIA DI NOVALESA

20 m

147

REFERENCES

C A S E S TU DIES

REFERENCES

150

I. PRECEDENTS

CASA DOS CUBOS

Location _ Tomar, Portugal Date_ 2007 Architect_ EMBAIXADA arquitectura Facilities_ Housing, Accomodation

151

REFERENCES

152

I. PRECEDENTS

SAYA PARK

Location _ Gyeongsanbuk-do, South Korea Date_ 2015-2018 Architect_ Alvaro Siza, Carlos Castanheira Facilities_ Art Pavillion, Chapel, Observation Tower

153

REFERENCES

154

I. PRECEDENTS

CHAPEL OF SOUND

Location _ Chengde, China Date_ 2019 Architect_ Open Architecture Facilities_ Concert Hall

155

REFERENCES

156

I. PRECEDENTS

FORTE DI FORTEZZA

Location _ Fortezza, Italy Date_ 1833 Architect_ Renovated by Markus Scherer and Walter Dietl Facilities_ Fortress

157

REFERENCES

158

I. PRECEDENTS

SUNKEN GARDEN

Location _ New York, USA Date_ 1961-1964 Architect_ Isamu Noguchi Facilities_ Public Square

159

REFERENCES

160

I. PRECEDENTS

WATER TEMPLE

Location _ Awaji, Hyogo, Japan Date_ 1990-1991 Architect_ Tadao Ando Facilities_ Buddhist Temple

161

REFERENCES

162

I. PRECEDENTS

CONCERT HALL BLAIBACK

Location _ Blaiback, Germany Date_ 2014 Architect_ Peter Haimerl Arkitektur Facilities_ Concert Hall

163

REFERENCES

164

I. PRECEDENTS

THE THERME VALS

Location _ Graubunden, Switzerland Date_ 1996 Architect_ Peter Zumthor Facilities_ Spa/Baths

165

REFERENCES

TEXT REFERENCES 1. “The Via Francigena – Valle d’Aosta – Aosta Valley.” Tangoitalia.Com, 2019, tangoitalia.com/valledaosta/ the-via-francigena/. Accessed 25 Sept. 2019

2. GeoRouter v2. “History.” Viefrancigene.Org, 2019, www.viefrancigene.org/en/storia-leggi-tutto/. Accessed 25 Sept. 2019.

3. “Via Francigena.” L’Antico Borgo, 2019, www.lanticoborgo.eu/english/via-francigena. Accessed 25 Sept. 2019.

4.“Piemonte Italia - Abbazia Di Sant’Antonio Di Ranverso (Buttigliera Alta).” Archive.Org, 2010, web.archive.org/web/20110720171943/www.piemonteitalia.eu/gestoredati/dettaglio/445/bauwerke/84/abbazia-di-santantonio-di-ranverso-buttigliera-alta.html. Accessed 25 Sept. 2019. ‌ 5. “Sacra Di San Michele.” Sacra Di San Michele, 2016, www.sacradisanmichele.com/en/. Accessed 25 Sept. 2019. ‌ 6. Public Srl - www.epublic.it. “Cattedrale Di San Giusto (Sec. X).” Città Di Susa, 2019, www.comune. susa.to.it/it-it/vivere-il-comune/cosa-vedere/cattedrale-di-san-giusto-sec-x-1700-1-64c9008a70ee7b1d359faf2e62589346. Accessed 25 Sept. 2019.

7. “Abbazia Della Novalesa.” Abbazianovalesa.Org, 2019, www.abbazianovalesa.org/origini.htm. Accessed 25 Sept. 2019.

8. “Once Sacred, the Oracle at Delphi Was Lost for a Millennium. See How It Was Found.” Nationalgeographic.Com, 26 Apr. 2019, www.nationalgeographic.com/archaeology-and-history/magazine/2019/03-04/ ancient-greece-ruins-of-delphi/. Accessed 25 Sept. 2019. ‌ 9.Sakoulas, Thomas. “Delphi Theater.” Ancient-Greece.Org, 2019, ancient-greece.org/architecture/delphi-theater.html. Accessed 25 Sept. 2019. ‌ 10.Delphi Archived 2005-04-01 at the Wayback Machine, Hellenic Ministry of Culture.

11. “Once Sacred, the Oracle at Delphi Was Lost for a Millennium. See How It Was Found.” Nationalgeographic.Com, 26 Apr. 2019, www.nationalgeographic.com/archaeology-and-history/magazine/2019/03-04/ ancient-greece-ruins-of-delphi/. Accessed 25 Sept. 2019.

‌ ‌ 2.“What Is the Symbolism of the Number 4? - Quora.” Quora.Com, 2016, www.quora.com/What-is-the1 symbolism-of-the-number-4. Accessed 25 Sept. 2019. ‌

166

FIGURE REFERENCES San Antonio di Ranverso: “Piemonte Italia - Abbazia Di Sant’Antonio Di Ranverso (Buttigliera Alta).” Archive.Org, 2010, web.archive.org/web/20110720171943/www.piemonteitalia.eu/gestoredati/dettaglio/445/bauwerke/84/abbazia-di-santantonio-di-ranverso-buttigliera-alta.html. Accessed 25 Sept. 2019. ‌ Sacra di San Michele: “Sacra Di San Michele.” Sacra Di San Michele, 2016, www.sacradisanmichele.com/ en/. Accessed 25 Sept. 2019. ‌ Cattedrale Di San Giusto- www.epublic.it. “Cattedrale Di San Giusto (Sec. X).” Città Di Susa, 2019, www.comune.susa.to.it/it-it/vivere-il-comune/cosa-vedere/cattedrale-di-san-giusto-sec-x-1700-164c9008a70ee7b1d359faf2e62589346. Accessed 25 Sept. 2019.

Abbazia di Novalesa Abbazianovalesa.Org, 2019, www.abbazianovalesa.org/origini.htm. Accessed 25 Sept. 2019.

Delphi OracleDelphi Archived 2005-04-01 at the Wayback Machine, Hellenic Ministry of Culture. Casa Dos Cubos: “Casa Dos Cubos / EMBAIXADA Arquitectura.” ArchDaily, 27 Jan. 2012, www.archdaily. com/202783/casa-dos-cubos-embaixada-arquitectura. Accessed 26 Sept. 2019.

Saya Park: “Saya Park / Álvaro Siza + Carlos Castanheira.” ArchDaily, 12 Nov. 2018, www.archdaily. com/905540/saya-park-alvaro-siza-plus-carlos-castanheira. Accessed 26 Sept. 2019. ‌ Forte di Fortezza: .“Walter Dietl, Markus Scherer, René Riller · Forte Di Fortezza.” Divisare, 2009, divisare. com/projects/124396-markus-scherer-walter-dietl-rene-riller-forte-di-fortezza. Accessed 26 Sept. 2019. ‌ Chapel of Sound: Schires, Megan. “OPEN Architecture’s Chapel of Sound Reimagines the Concert Hall.” ArchDaily, 19 Feb. 2019, www.archdaily.com/911615/open-architects-chapel-of-sound-reimagines-the-concert-hall. Accessed 26 Sept. 2019.

Sunken Garden: “Community Board 1 Waits to Vote on Controversial 28 Liberty Modifications.” Archpaper.Com, 29 Sept. 2016, archpaper.com/2016/09/community-board-1-vote-controversial-plaza-28-liberty/. Accessed 26 Sept. 2019.

Water Temple kristinellenmartin. “Water Temple.” Tadaoandoandcriticalregionalism, tadaoandoandcriticalregionalism, May 2013, tadaoandoandcriticalregionalism.wordpress.com/2013/04/29/water-temple/. Accessed 26 Sept. 2019.

Concert Hall Blaibach: .“Concert Hall Blaibach / Peter Haimerl.Architektur.” ArchDaily, 17 Nov. 2014, www.archdaily.com/567635/concert-hall-blaibach-peter-haimerl-architektur. Accessed 26 Sept. 2019.

‌ Therme Vals“The Therme Vals / Peter Zumthor.” ArchDaily, 11 Feb. 2009, www.archdaily.com/13358/thetherme-vals. Accessed 26 Sept. 2019. 167