SKATEHAUS
OLD SPACES FOR NEW GENERATIONS
N. Chierichetti, A. Petrovska
AUIC - School of Architecture, Urban Planning and Costruction Engineering Master’s Degree in Architecture and Urban Design A.A. 2019|2020
Architectural Preservation Studio Teachers: Francesco Augelli, Andrea Garzulino Tutors: Alessandra Battistelli, Matteo Rigamonti
Realized by Nicolò Chierichetti - Msc in Architecture and Urban Design - nicolo.chierichetti@mail.polimi.it Angela Petrovska- Msc in Architecture and Urban Design - angela.petrovska@mail.polimi.it Politecnico di Milano Dipartimento di Architettura e Studi Urbani Department of Architecture and Urban Studies Credits for Error Kolektiv, Skopje to Llija Stefanovski, rights to use-granted
INDEX
PART ONE DIGITAL SURVEY AND MODELLING
1. ABSTRACT
10
2. ORTOIMAGES
12
2.1 Managing Vectorial files 2.2 Edition process 2.3 Reflelctions
3. GEOMETRICAL DRAWINGS
24
4. 3D MODELLING
34
3.1 Process with Autodesk AutoCad 3.2 Reflections
4.1 Bucentaur House on Sketchup 2019 4.2 Texturizing the surfaces 4.3 Venetian Arsenale on ArchiCad 4.4 Final detailing 4.5 Reflections
5. RENDERINGS
68
5.1 Rendering with Enscape 5.2 Gallery of rendering attempts
6. CONCLUSIONS
86
PART TWO ARCHITECTURAL PRESERVATION
FOREWORD
92
1. LOCATION CHARACTERISTICS
94
2. HISTORICAL INFORMATION
106
3. THE BUCENTAUR’S HOUSE
114
4. THE MATERIALS
130
5. CAUSES AND EFFECTS OF DETERIORATION
158
6. PRESERVATION INTERVENTION
186
7. REUSE PROPOSAL
198
8. CONCLUSIONS
236
9. BIBLIOGRAPHY AND SITOGRAPHY
238
PART ONE
6
Survey and Digital Modelling
INDEX INDEX
INDEX
PART ONE DIGITAL SURVEY AND MODELLING
1. ABSTRACT
10
2. ORTOIMAGES
12
2.1 Managing Vectorial files 2.2 Edition process 2.3 Reflelctions
3. GEOMETRICAL DRAWINGS
24
4. 3D MODELLING
34
3.1 Process with Autodesk AutoCad 3.2 Reflections
4.1 Bucentaur House on Sketchup 2019 4.2 Texturizing the surfaces 4.3 Venetian Arsenale on ArchiCad 4.4 Final detailing 4.5 Reflections
5. RENDERINGS
68
5.1 Rendering with Enscape 5.2 Gallery of rendering attempts
6. CONCLUSIONS
86
ABSTRACT |
ABSTRACT In the framework of the Architectural Preservation Studio, the activities of Modelling and Digital Survey have been the foundations of the whole investigation process that allowed us to proceed in wth the design steps. Also, referring to the didactic module itself and condidering the emergency situation that we are facing at the moment (ndr. Covid-19) - that forced us to work in distance mode, the tasks of the digital survey acquired even more importance. The whole procedure iter constituted the replacement on the insite surveying activities that would have allowed us to collect the photogrammetry and information about the interested zone: the Venetian Arsenale, and more in deep, the “Casa del Bucintoro”. This can be seen both as a positive and as a negative aspect: negative because the direct surveying and observation of the area and historical building would have allowed us to be more “in touch” with the material aspect, but on the other hand the provided material forced us to have a more focused view on them, allowing us to better explore and try to understand the site, basing on the given documentation. Day by day, Week by week the observation process permitted us to discover more and more detailings and information, maybe even more than what we would have reached with a regular survey. A meticulous operation that seems to reveal additional secrets every time we have a new look on them, never ending.
Nicolò Chierichetti Angela Petrovska 11
ORTHOIMAGES |
ORTHOIMAGES CHAPTER 2
Our first step in tackling the geometrical survey was to improve the characteristics related to the ortho-images we were given, in order to highligth and have a first understanding on the building surfaces. Such precious information were the first and most important ones, in order to touch the reality of the interested scope, providing us the fundamental knowledge for the design process. The goal was simple: unifying the colors of the images in order to have a more correct visualization of the surfaces, with a focus on obtaining the same color information on the corners of the building, where 2 orthoimages meet. The modification of the images also permitted us to try to improve the images in order to remove the disturbing elements, such as the ones given by the environmental conditions (sun, shadows, surrounding volumes, etc...) We also improved other parameters in order to better highlight the details of the provided survey, always in respect of the quality of the provided documentation to try to keep the highest possible resolution, even through the following steps in which they will be used.
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Architectural Preservation Studio - Survey and Digital Modelling
MANAGING VECTOR FILES To start with the management of the geometrical drawings and ortoimages, two softwares have been used: one is Adobe Illustrator and the other one is Autodesk AutoCAD.The operations on the first software has been to open the pdfs provided managing only one page each time, as the documentation contained different pages with all the drawings on a different one. We immediately noticed that some information were missing, for example some details about the font used for the text, issue that we could solve changing the defined font or downloading the assigned, but missing, one. Checking the layer palette we could also retrieve some informations about the layers used on the file, for the a better management - even if we will handle these later. In relation to this last statement, it has been useful to hide the hatch of the sectioned wall that could have caused compatibility issues on the second software. Once checked everything, we exported the panel in the .dwg format, and provided the scale 1mm:1unit in the exportation options panel, being also sure that the resizing of lines thickness was switched off. The same process was then repeated through all the different available drawings, and has been the same for both the two typologies of documentation: • Geometrical Drawing and Ortoimage of the inner surface: North elevation • Geometrical Drawing and Ortoimage of the inner surface: East elevation • Geometrical Drawing and Ortoimage of the inner surface: West elevation • Geometrical Drawing and Ortoimage of the inner surface: South elevation • Geometrical Drawing and Ortoimage of the outer surface: North elevation • Geometrical Drawing and Ortoimage of the outer surface: East elevation • Geometrical Drawing and Ortoimage of the outer surface: West elevation • Geometrical Drawing of the floor plan • Geometrical Drawing of the ceiling plan 14
ORTHOIMAGES | Fig 3. Imported pdf page into Adobe Illustrator View on the working panel and the available layers at opening
Fig 4. Exportation view in .dwg format
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EDITING PROCESS The editing process started in Adobe Photoshop. It is key to note that the pdfs were imported into the highest possible quality in terms of size (something we will reflect upon afterwards). The images were divided into separate files in the cases there were two facades on one layout. Afterwards, using the magic wand tool, we removed the white background and improved the boundaries of the images where some black portions were left around. In order to preserve the quality the files were saved in the tiff format. This choice was made in because tiff is one of the few formats Adobe Lightroom supports and has 0 compression to the file. It is easy to edit afterwards as it retains all the layer information. After importing these files into Adobe Lightroom, the actual editing process began. The first color corrections we focused on were the ones in the white balance and tone panel. With this simple step, you can notice how the facade immediately brightens up, the colors are much clearer and more vibrant. To deepen the contrast, we worked with the tone curve. We applied the medium contrast curve preset Adobe Lightroom offers and bumped up the lights, while decreasing the highlights, darks and shadows. With this step we can see how the detail in the Istrian stone is increased due to the lowered highlights, while it still remains white-ish and light. (Fig. 6)
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ORTHOIMAGES | Fig 5. White balance and tone panel East elevation
Fig 6. Tone curve East elevation 17
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Finally, for the outside facades, we worked with the HSL sliders, more precisely the Luminance sliders. Our goal was to lower the oranges, so the brick’s color deepens, while increasing the greens, teals and blues to add detail both to the bricks and to the stone and glass elements. Of course, the HSL sliders vary in their values depending on the facade, as well as its placement- interior versus exterior. In the interior facades. On the interior, the previously mentioned greens, teals and blues were left at 0 value, as the bricks were rarely seen and did nott to be as highlighted here as in the exterior facades. On the other hand we decreased the reds, oranges and yellows so that the highlights of the paint were as overpowering. A critical step was the use of the brush tool in segments of the corners on the North facade, so as the Istrian stone decoration has the same hue in as in the West facade. This part of the process was made more intuitively, having the West facade image locked in a small second window and with intellectual guesses on how to obtain a similar hue. You can see the full specifics, as well as the area in which the brush was used (red segment) on Fig 9. The biggest struggle was with controlling the tint on the West facade and on the image of the section D-D. The West facade had a more teal/green tint in the beginning than the other 2 exterior facades. Also the Istrian stone around the entrance arch was low in contrast when set next to the white background, making it harder to both obtain the correct colors needed and retain the detail of the arch. The same segments were an issue regarding the image of section D-D. The entrance arch was intensively backlit, and thus much of the decoration around it was low in detail. The tint on the other hand was also more on the magenta side of the hue slider. At the end, it was once again necessary to import the images into Adobe Photoshop, to remove the white background, as we learnt a bit late that Adobe Lightroom does not support transparent backgrounds in images.
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ORTHOIMAGES | Fig 7. HSL slider East elevation
Fig 8. HSL slider Inner surfaces of the North elevation 19
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Fig 9. Adjustment brush use to improve the colors of the edges North elevation
Fig 10. Comparison of colors in the corners North elevation 20
ORTHOIMAGES | Fig 11. White balance to correct the magenta tone of the orthoimage West elevation
Fig 12. White balance to correct the magenta tone of the orthoimage Inner surface of the west elevation 21
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REFLECTIONS The reflective stage of our work with the ortho-images begins with a feedback on the material given. All in all the original photos were correctly taken and pre-edited in terms of perspective transformations, as all edges were perpendicular. It is important to say that due to the emergency situation that is currently affecting us worldwide, it was not possible to have a live and direct survey; for this reason, the survey was provided as an initial resource. The choice of the white background may have been a small mistake. We would suggest using a color which is not close to the color of the materials used. A neon green may be overpowering to the eyes and dominating, but would be much easier to quickly remove in Adobe Photoshop without the fear of loss of details in the decoration of the facades. A very technical issue was located in the lighting setup surrounding the West facade and its interior counterpart- section D-D. We would suggest 2 steps which may be taken separately or together. First is the use of a dark background roll to cover the opening in the facade, stretched on the side which is not photographed. The material (usually paper) can be stretched out using tripods and put up without even attaching anything to the façade itself. This way, we would lose the problem of the backlighting, as well as have the arch’s details be more prevailent against the dark background. The second suggestion is an artificial lighting setup on the inside. This way, the amount of light will not vary and will be controlled easily. The setup can include several softboxes which are placed on equal distances. This second suggestion can also apply to all interior photographs, because even though the lighting setup may take a bit of time to be put up, it does save a huge amount of editing time. The colors will be as true to one another as possible. In terms of our work, we located an issue in the steps taken when it comes to the order of software used. The choice to first use Adobe Photoshop to remove the background proved to be ineffective, due to our lack of knowledge about Adobe Lightroom’s inability to read transparent backgrounds and 22
ORTHOIMAGES |
transform them in solid white. This problem was located after we exported full-sized jpeg files of our work, and had to once again open Adobe Photoshop to remove the background. The other issue related to using Adobe Photoshop was the import phase itself. Choosing the highest possible size of the images deemed to be a mistake as the files were very heavy afterwards. Accordingly the choice to export a tiff format may be seen as an error due to the fact that the files became so heavy that they crushed Adobe Lightroom several times upon importing, took a long time to be exported (hours) and even made the editing process much longer than necessary. In our humble opinion the editing process in Adobe Lightroom was quite correct, as we succeeded in finding the critical areas where colors could be wrongly presented and fixed them. We also made key choices regarding to the presentation of the materials in the faรงades, aiming to have the brick color as a focal point and thus making small alterations to how it is displayed. If we would go back through the process, we would firstly lower the size of the images, to one more rational to the size in which they will be presented. Also if possible we would export the images from Adobe Photoshop in a different format, because we never actually went back to editing in the tiff format, and a different format would both save space and editing time. We would also skip the step of taking out the background before actually editing the images, and leave it as last after exporting the edits from Adobe Lightroom.
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GEOMETRICAL SURVEY |
GEOMETRICAL SURVEY CHAPTER 3
In parallel with the ortho-images elaboration, the geometrical survey followed the same preliminary operations in order to retrieve an operative file. The initial material for this process comes from the initial exportation of the dwg Autocad files from the provided vector documentation. Once completed and loaded into the Autodesk software, the first operation was to perform a general cleaning and explosion of the blocks and additional information that were not useful for our activity, such as the intersecting crosses on the drawings. Another preliminar operation was to understand the unit used on the drawing and eventually change it into a more useful and proper one, also referring to the orthoimages to be sure that the correct dimension was set - as well as to start dividing the lines of the architectural drawing into more proper layers for a better management. Going to the more operative process, managing the supplied drawings proved to be a bit of a Herculean task, especially when it came down to aligning the small details and cross referencing them between different views. It was also defined in a preliminary meeting that the average tollerance level for the dimensions was set to 0.010m.
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Architectural Preservation Studio - Survey and Digital Modelling
Our first issue was in terms of locating the exact height for which the plan of the ground floor was drawn up for. We meticulously observed the segments around the stone decoration on the East and West facade so as to figure which were sectioned and which in perspective. After a process of trial and error and checking the details of each facade versus the plan, we decided to state than the section level was at +3.16m. (Fig. 14) In order to better understand the reflected ceiling plans, we chose to present them in such a way that they are as if seen from above and in the same way as the plan. For this reason we rotated and mirrored them. Accordingly, we made all lines with a dotted typology, so that the viewer can understand that the beams are actually seen from a horizontal section made bellow them. (Fig. 15) It may be a small detail, but we noticed that the top terracotta tile was missing or incorrectly drawn up in the original drawings, which is why when aligning the exterior facades next to each other, we projected this element’s outline points in regard to the North facade, and drew this element on the top of the roof of the North facade. For the section inside we hypothesize that it would be the same for both views as they are indicated with one line in the original floorplan, so we deem the terrain line of the section B-B as correct and just mirror it for section A-A. The same applies to the sectioned walls and the timber beams (only the sectioned part, the ones seen in view are deemed different). For the perspective of the timber beams, we first confirmed the positions of the ending of the beams (the point where they intersect with the inner line of the walls), and then connected the section edges with the beam-ending edges. Later on when we looked at the drawings more in depth, we noticed that in section D-D the beam endings are in fact higher than the part where the longitudinal section line is placed. Thus we drew reference lines of the beam ending heights form section D-D and cross referenced them with the beam endings in section A-A and 26
GEOMETRICAL SURVEY | Fig 14. Understanding of the horizontal section line and alignemnt
Fig 15. Relation and process of roofing beams section and projection
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B-B, optaining a more realisting representation of how the beams of the roof function. The timber elements on the sloped segment (ramp) in the plan are arranged following their position in the plan, which is deemed as the correct size of them. Reference lines are drawn from where they are positioned on the longitudinal section line in the plan, and section A-A is modified accordingly. (with it the terrain line for section B-B is modified too by default). The same principle of editing was used for the outside stairs. To the longitudinal sections the water level was also added, as referenced for the West facade in terms of height, portraying the penetration of water inside the building, as well as the way it covers the wooden ramp placed on the inside. When it came to recognizing the geometry changes of the facades we will explain the different process on the exterior versus the interior facades. All places where elements such as bricks were missing, or had holes, were outlined and hatch with a solid gray hatch. This was due to the fact that this is one of the deepest geometrical changes the flatness of the facade can endure. Accordingly all cracks were cautiously traced. Segments where the facade had the material surrounded by a crack and a bit indented in regards to the general wall outline were hatched with a horizontal linear hatch and of course outlined. Where the facade level was increased we chose the identification with a diagonal hatch. The outline for this segments was also used to portray the different levels of this protrusion. In regards to this, the interior facades variations of geometry were identified in a different manner. Where the level of the wall was indented regarding the material texture, we chose to use a horizontal linear hatch. This also is a subtle nod to the orderly lined bricks which were the new texture of places where paint loss happened (note that the identification is not due to decay nor materiality but due to the geometry change). Cracks were once again simply traced with a polyline. Places where indentation persisted but was on a smaller depth level were identified with solid 28
GEOMETRICAL SURVEY | Fig 16. Alignment of the geometrical drawings - plan and elevation Ceiling plan and Section CC
Fig 17. Alignment of the geometrical drawings - plan and elevation Plan and North elevation 29
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Fig 18-19. Alignment of the geometrical drawings accross different elevations
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GEOMETRICAL SURVEY |
Architectural Preservation Studio - Survey and Digital Modelling
grey hatches corresponding to the smoother texture between level changing. When there was a smaller level of indentation but still a huge difference in texture, we kept the horizontal linear hatch, but with bigger transparency. On segments of the wall where the level was increased and the texture went from a smooth to a what we believe is a bit more rugged, we used vertical linear hatches, with two typologies in regards to the transparency (a darker line hatch for where the protrusion is bigger, and a lighter more transparent line hatch for where the value of protrusion is lower). In regards to elements which do not belong to the facade but were seen and present in the ortho-images which were cross-referenced for identifying the geometry changes, we simply outlined them. This can be seen mostly in the presentation of the elements in section D-D on the lower right-hand corner. When it came down to the presentation of the boards, we decided that the dimension lines should stand out from our black and white presentation style of the drawings, so we chose a navy color, more precisely one with the RGB values of 39,68,122. The linear dimensions were made in centimeters, while the altimetry in meters due to the previous educational background of the group member which did the dimensioning. We aligned the ortho-images directly in Autodesk Autocad and scaled them according to details in the drawings (this step was made before the identification of geometry changes).
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GEOMETRICAL SURVEY |
REFLECTIONS Our reflection phase begins with the material supplied. While most details were identified in the original drawings, some were different in plan and section. We believe that the places where the section lines were drawn up in the plan may have been with a bit of error, and different from the section line the tool used for the obtainment of the drawings. We dealt with a lot of struggles when it came down to correctly portraying the timber beams perspectives in sections A-A and B-B, as the supplied drawings identified the timber beams endings mostly on a level lower than the sectioned part, whilst section D-D reflected the actual situation of the endings being on a higher level than the sectioned part. With this if we were to go back and re-do the process, we would definitely look at the drawings more in depth and identify from the very beginning such weak points and the possible outcomes in regards to cross-referencing details in the cross-sections. On the other hand, we believe our process of identifying geometry changes was quite specific and in depth. A lot of time was spent on the correct tracing/outlining of the changes so that the drawings reflected the ortho-images to the best of our abilities. This part of the process may have been painstaking as it came down to a lot of zooming in and spotting of small hue changes in the photographs but proved effective. In conclusion, we believe that most of our steps and identification of critical areas were correct as well as our approach to developing the geometrical survey. We learnt a lot in regards of cross-referencing a variety of drawings and obtaining the correct details of each segment, as well as spotting the subtle nuances in geometry changes one facade can have.
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3D MODELLING |
3D MODELLING CHAPTER 4
The tridimensional modelling is the final step of the process of digital survey, in which all the previous works come together for the final product. Thanks to the geometrical drawings and the elaboration process on them, we finally got the point on which the flat bidimensional documentation gets extruded from the ground to form a solid materic environment, crossing its path with the surrounding of the area. We used different softwares because of their specific peculiarities, and finally joined everything together. In the final representation, we decided to highlight the volumes in three different methods: a detailed and texturized Bucentaur House, a middle-detailed nearby surrounding and to conclude a more volumetric and generic surrounding model, to understand the altimetries and shapes of the location where it belong. 3D modelling is actually not to be considered the end, but the beginning of the fully discovery of all the details and misteries of the Bucentaur House.
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BUCENTAUR HOUSE KEY STEPS IN THE PROCESS ON SKETCHUP 2019 The modeling of the ”Casa del Bucintoro” began on Sketch Up 2019. We imported the sections, plans and facades one by one, carefully aligning each to its correct position. (Fig. 21) After said steps, the plan’s outline for the sectioned elements was drawn up as a base for the envelope of the building. The façades were created using the push/pull tool. (Fig. 22) We were more than well aware that the actual facades were not with such a look, but it was a good preliminary starting point for our modeling. Then, following the outlines of section A-A, the arches inside the building were extruded, again using the push/pull tool. In this case we layed the outlines on the existing wall surface and just pushed in the arcs, while cross-referencing their depth identified through the floor plan. (Fig. 23-24)
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3D MODELLING | Fig 21.Alignment of the faรงades imported as geometrical dwg drawing
Fig 22. Alignment of the faรงades imported as geometrical dwg drawing
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Fig 23. Extrusion of the arches on the main walls
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3D MODELLING | Fig 24 Extrusion of the arches on the main walls
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Architectural Preservation Studio - Survey and Digital Modelling
The modelling of the terrain inside was a critical task for us. We first referenced the sectioned terrain in section A-A, extruding it up to the boundary presented in the plan (the ramp’s longer sides). Afterwards came the struggle of locating the terrain line of the rest of the building, from the projection lines in the above-mentioned section. The detailing of the ramp with the wooden beams was made by drawing up each horizontal element, first in plan and the extruding them in height. (Fig. 25) Of course after this step the sea level and protruding water was added, and everything was base colored to better reference the reality. (Key to note is that the coloring will change after many steps through in depth analysis of photographs from the interior.) We chose to first focus on modeling the inside of the object, forming the south-west rooms in the same manner as the enveloping facade. The tiny corner stairs in the south-east segment were model through the extrusion of a tracing of section B-B. (Fig. 2627)
Fig 25. Detailing of the terrain lines and the ramp of the wooden beams
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3D MODELLING | Fig 26. Modelling of the interior volumes
Fig 27. Detail of the stairs on the inside east elevation 41
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For the East facade, we first created the openings, again through tracing the outline and using the push/pull tool. (Fig. 28) The struggle with the model began with the horizontally placed roof beams. We first drew up their sectioned segments from the longitudinal section, placed in parallel the reflected ceiling plan, and traced the outline of each beam. Afterwards the height of each beam was extruded in a process beginning with the alignment of the horizontal outline with the vertical sections, and than pushing the plane to follow the depth of the sections. These 3 steps can be seen in the following image when we compare the 3 different stages of the pictured beams. We must note that the beams’ sections are crooked in the original drawings, but this task was much more complicated to figure out and in our humble opinion was delving into a tool detailed approach from what is required.
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3D MODELLING | Fig 28. Exportation view in .dwg format
Fig 29. Imported pdf page into Adobe Illustrator View on the working panel and the available layers at opening
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For the arches on the North facade (Fig. 30) we discovered that using the solid tool- subtract was a more suitable choice and an easier step to undertake. After discovering this tool, we began to use it more in our modelling work. As such we present the three steps followed for each arch. First the closed off segment was created as an extrusion from a rectangle closing the space between columns. Then the arch was extruded in another separate solid which passed through the previously created box, and afterwards subtracted. (Fig. 31-32)
Fig 30. Modelling the Arches - Part I North elevation 44
3D MODELLING | Fig 31. Modelling the Arches - Part II North elevation
Fig 32.Modelling the Arches - Part III North elevation 45
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A critical point to recreated for us was the decoration on the top of the East and West facades, as well as the capitel style decoration created with Istrian stone on the East and North facade (Fig. 33). For this we drew up the profile by tracing the longitudinal section (Fig. 34) and a segment of the North facades profiling. The profiles were than extruded using the follow me tool while referencing the roof’s edges seen in the reflected ceiling plans. (Fig. 35) We must mention that for the North facade we created only one copy of the capitel, which was then copied onto all columns as we noticed that their sizing is the same, and through this step we would lower the modeling time. (Fig. 36-37)
Fig 33. Modelling the main volumes East elevation 46
3D MODELLING | Fig 34. Design of the longitudinal section of the capitel profile East elevation
Fig 35. Final result of the capitel modelling East elevatiob 47
Fig 36. Modelling the Istrian Stone decoration North elevation
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3D MODELLING | Fig 37. Application of the modelled decoration North elevation
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Architectural Preservation Studio - Survey and Digital Modelling
The real Herculean task of the model was the precise creation of the roofing (Fig. 38), as from a technical drawing standpoint a small amount of information was given. Following section D-D’s portrayal of the diagonal beams we created the main frame of the roof, for at least the segment where the two longitudinal slopes are. Afterwards through the in-depth analysis of photographs of the interior provided from the professors, we tried to replicate the front and back segment (Fig. 39) of the roof whose diagonal beams are perpendicular to the ones seen in section D-D. In addition, the stabilizing longitudinal beams were placed (Fig. 41), resting next to the vertical segments of the main frame. Diagonals tying together the vertical elements were modeled from approximation of the size by cross-referencing the supplied photographs. (Fig. 40) To tie in the roof to the walls of the building, small curved decorations which were observed in the photographs and section D-D were created through the use of the push/pull tool for the profile. And the decoration was afterwards copied for each beam.
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3D MODELLING | Fig 38. Roofing system
Fig 39. Exploded view of the components of the wooden roofing system
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Fig 40. View on the components of the roofing system
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3D MODELLING | Fig 41. Supporting elements of the roofind system
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Architectural Preservation Studio - Survey and Digital Modelling
The final detailing on key elements in the interiors was mainly surrounding elements that spread out around the edges of the inside (Fig. 42). Thus, we needed to cross-reference all the sections several times to fully understand the span of the elements. The result can be seen in the following progress screenshots. (Fig. 4344) Accordingly the roof’s shell was created following the longitudinal section and projections of the East and West facade. The final modelling steps were lastly the definition of some additional details on the external surfaces; to achieve this we used the same features introduced before but modelling directly on the surface creating the extrusions of the Istrian stone blocks, the wrought iron chains and the other smaller information.
Fig 42. Overall view of the internal modelled environment
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3D MODELLING | Fig 43. Details on the inside volumes and iron structure
Fig 44. Overall view of the external modelled environment
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TEXTURIZING SURFACES
THE
KEY ELEMENTS OF THE PROCESS ON SKETCHUP2019 In order to texturize the model, we first imported the orthoimages we had previously altered in Adobe Lightroom and Adobe Photoshop. This step came before the addition of the final details, so we could first check our already finished work. The biggest struggle was scaling the orthoimages to the corresponding size of the model. (Fig. 45-46) Once scaled they were moved a bit away from the facade, and exploded. Using the eye dropper tool from the materials panel we sample the texture of the image. This sampled texture is applied to all the surfaces of the facades using the bucket tool. (Fig. 47-48) After this step, we checked all edged of the model, and moved some segments which were not alligning well to the texture. Then we decided to add detailing, of the Istrian stone decoration especially, and modeled each stone following the image’s outlines. With this, the final step of the 3D modelling process was reached, at least in regards to the Casa del Bucintoro as a case study building (without its surrounding). (Fig. 49)
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3D MODELLING | Fig 45. Application of the ortoimages on vertical surfaces Outside surfaces
Fig 46. Application of the ortoimages on vertical surfaces Inside surfaces 57
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Fig 47. Applied ortoimages on vertical surfaces Outside surfaces - Front view
Fig 48. Applied ortoimages on vertical surfaces Outside surfaces - Back view 58
3D MODELLING | Fig 49. Applied ortoimages on vertical surfaces Inside surfaces from West
FINAL DETAILING PROCESS The final step related to the Bucentaur House was referred in including more additional elements to the surfaces, in order to achieve a better result on the rendered views, due to the shadows effect. Thanks to the applied surface, we managed to model the details right on the surface achieving a better range of precision. (Fig. 48) In the end we returned to the texture application in order to fix the application of the texture on the new-inserted components.
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Architectural Preservation Studio - Survey and Digital Modelling
VENETIAN ARSENALE SURROUNDING MODEL ON ARCHICAD For what concerns the definition of the environment and the surroundings where the “Casa del Bucintoro” is, the choice has been to adopt Archicad software by Graphisoft. The reason why we chose such software is mainly related to the possibility to manage the complexity of layers, materials and different characteristics of the environment. Also, the BIM-Parametric design features were the best solution to manage the complexity of the Arsenale area, as well as the advantage to use 3D alignments between the tridimensional elements and the drawing references. The first step into the design process was to analyze and retrieve details about the levels in the Arsenale, for what concerns the height above the water level, the depth of the water itself and the flooring. In parallel, we sent a PEC to the territorial office of the Venice district in order to retrieve some updated and detailed .dwg documentation about the area. After receiving a response and the possibility to use the topographic material, we selected the layers we needed for our interpretation and we proceeded to create a background drawing, defining a smaller scope. The first operation was to import the documentation into the ArchiCad worksheets, align them in the different floors (levels) and scale them correctly in meters (accuracy of the drawing in 0.001m). Once the extrusion process was concluded we performed “solid operations” in order to define the boundaries between the different components of the model. Right after, we started to create some details for the surrounding, such as the safety boundaries on the edge of the water and the volumetric interpretation of the buildings along “Canal delle Galeazze”, using Google Earth Pro and Google Maps/Bing Maps visualization as reference. The following step has been the definition of some materials for the different parts, in order to better visualize the differences of the components. Lastly, we took the graphical decision to have a more detailed representation of the buildings right near to the Bucentaur House, using similar materials and recreating the openings, main volumes and roofs of them .
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3D MODELLING |
Once the descriptive model of the “Casa del Bucintoro” was finally prepared and detailed, after passing from Sketchup through Rhino we imported it into ArchiCad, using the interchange IFC format to keep all the main characteristics and information about the digital model. Imported and being assured that the boundaries from the topographic survey ere respecting the ones from the geometrical drawing, we reused the “operations with solid elements” to connect our building to the surrounding model, to provide information about the connection with the water, the green area and the slab floors around. Please also note that using the dimensions in heights of the building, we reproduced and improved the heights assigned to the surrounding volumes. The final result up to this point is a detailed 3D model of the Bucentaur House, provided within its context with three different representation modes: an accurate building, a descriptive nearby area and a more generic volumetric description of the outer space.
FINAL OPERATIONS Once the two modelling were completed, we decided to choose Sketchup 2019 as the final modelling software, in order not to lose the applied texture. We also check if such operation could have been done on ArchiCad, but it seemed that due to the complex application and shaping of the ortimages, that information could not be transferred. For this reason, we ended up exporting the surrounding model in .ifc format, and imported it into Sketchup, where we fixed the smaller connections between the two parts and saved the final result.
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Fig 50. Modelling of the surrounding
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Architectural Preservation Studio - Survey and Digital Modelling
3D MODELLING | Fig 51. Modelling of the surrounding
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Architectural Preservation Studio - Survey and Digital Modelling
REFLECTIONS In terms of the 3d modelling process, we would say perhaps the biggest mistake made was the fact that we extruded the plan as the first step. If we were to go back to re-do the work from scratch, we would be extruding directly from the facades and crossreferencing the depths with the plan, instead of subtracting and adding elements to the extruded plan. This way the surfaces would be much flatter and more regular than the ones modelled now. We had many issues trying to extrude the facades directly from the imported facades from Autodesk Autocad, due to shapes which were not properly closed or made up of smaller lines. Subsequently we ended up drawing many of the outlines from scratch, tracing the facades, which took up a lot of time. Of course an object with crooked edges is itself creates a lot of issues in terms of handling surfaces in Sketch up. We struggled with closing surfaces which seemed to have clear boundaries, only to figure out that we needed to reduce them to triangles due to millimetric differences in point location (error +/- 0.001m). Accordingly we acknowledge that this was more of a software issue than a working methodology issue. The positive of this modelling process, in Sketch up 2019 at least, is that we learnt to use a few tools of which we were not aware beforehand, so our 3D modelling skillset expanded with the duration of the course. At the same time, another issue we encountered was the lack of compatibility between the two software, because of their different complexity level. The biggest problem in the final process was in fact to join the two realized models, and adapt the connections between the two.
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Renderings |
RENDERINGS CHAPTER 5
The final output, in the form of digital renderings, has probably been the most advanced task of the whole process because it has been the first experience of rendering for the authors. After trying with different attempts and different softwares, both for modelling and renderings, the final decision has been to use Enscape, a plug-in for the most used modelling tools (ArchiCad, Rhino, Revit, ...) and also for SketchUp. The final result really satisfied us, both in terms of rendering time and quality of the same, thanks to the wide possibilities of atmosphere, lights and materials parametrization. The final renderings followed the same decisions we took for the 3D modelling, so having the detailed Bucentaur House, with a generic rendered surrounding volumes around, just using plain loyal textures for the materials of the other volumes.
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RENDERS WITH ENSCAPE ENSCAPE plugin for Sketchup allows us to modify all the parameters related to the atmosphere and to the interaction of the light with the surrounding, as well as for the materials. The first operation has been to define all the materials of the environment, which were previously defined in ArchiCad but that were not enough satisfying. After this, we followed tab by tab all the possible parameters for light and reflection in order to achieve a good level of rendering and a wide-enough visual angle. In the following pages we propose some of the initial attempts of rendering which show the final output of the 3D-model renderization process.
INITIAL ATTEMPT OF RENDERING WITH ALTERNATIVE SOFTWARE
RENDERING USING ENSCAPE PLUGIN
Conclusions |
CONCLUSIONS Considering the preliminary skills in the rendering operation, we can clearly say that we are really satisfied about the final output, also considering the fact that the 3D modelling comes from some provided material, from the geometrical survey to the ortoimages representation. It has been a challenge, a challenge that would probably have been easier with a in-site survey, but that allowed us a deeper exploration of the morphology and details of the building. Coming back we would probably act in the same way, hoping that the situation in which we worked was different, so that we could provide some additional material with a live survey. For what concerns the softwares we would follow the same iter in the same order, because we managed to develop the model through different modelling softwares, taking advantage of all the peculiarities of each of them, and the final result in terms of modelling was far more than what we expected at the beginning. The only thing we would improve is the amount of details that were not 100% accurate due to the amount of time at our disposal; a depper definition of the details would even allow us to replace the texture coming from the ortoimages in some portions of the surfaces. In conclusion, the experience has been really successfull and was well leaded thanks to the abilities of the group that worked on it, and experience that was a challenge againsts time but that, in the end, returned an output over the expectations.
Nicolò Chierichetti Angela Petrovska 87
PART TWO
Architectural Preservation
INDEX INDEX
INDEX
PART TWO ARCHITECTURAL PRESERVATION
FOREWORD
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1. LOCATION CHARACTERISTICS
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2. HISTORICAL INFORMATION
106
3. THE BUCENTAUR’S HOUSE
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4. THE MATERIALS
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5. CAUSES AND EFFECTS OF DETERIORATION
158
6. PRESERVATION INTERVENTION
186
7. REUSE PROPOSAL
198
8. CONCLUSIONS
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9. BIBLIOGRAPHY AND SITOGRAPHY
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Foreword |
Foreword Founded around 1104, the area of the Arsenale di Venezia has always been one of most important spaces of the Mediterranean Sea: it has been stage of a wide number of cultural and historical moments, it has been the protagonist of the medieval and preindustrial eras, and it’s still a inestimable place no matter all the centuries passed. Within the framework of the Architectural Preservation Studio, the Venetian lagoon and its Arsenale are the spaces that caught everyone’s attention, and in particular an amazing historical building that is filled with historical heritage as much as the arsenal itself: Casa del Bucintoro, a glorious building, representative of all the characteristics of the area, that was a symbol of the Venetian Republic itself as it was the site where the famous Bucintoro has been built for more than 3 centuries. The procedural iter has touched all the different aspects of the Architectural preservation; starting from the research of the main fundamentals of the preservation and conservation discipline we step by step moved towards the analysis of the different tools and devices useful for such project. We immediately started to analyze all the different aspects of the Bucentaur House and its location: from the geometrical and photogrammetric survey, up to the theoretical research of the historical and urban background. The following step has been to have a deeper survey strictly related to the building, thanks to the observation of the materials and the status of conservation of the Bucentaur House. These indeep analysis allowed us to start proposing some conservation interventions, and at the same time to start thinking about a possible alternative and solution for the reactivation of the building and the area itself. What follows is a detailed collection of all the analysis, information, surveys and discussions proposed about the given topic, from the very beginning until the final definition of a reuse proposal. Nowadays, the story of the Venetian Arsenale and of the Bucentaur House is not over at all, but it’s just at its new beginning as an important focus for architecture, art, and more that is just yet to come! Nicolò Chierichetti and Angela Petrovska 93
Location characteristics |
Location Characteristics Chapter 1
With its 48 hectars in terms of extension, located in the oriental side of the former city, in the heart of the Venetian lagoon the Arsenale di Venezia constitutes for sure one of the most interesting locations in the whole metropolitan area. Other than its cultural and historical value, the area is also highly important for its wide spaces of elevated architectural/landscape quality, with a spatial organization that is the deep connection between heart and water. The city of Venice is divided into different “Sestieri1”, a traditional type of neighbourhood, and in the mapping on the side (Fig. 1) we can see highlighted the sestiere where the Arsenale is located: it is the Sestiere Castello, name which was given due to the existance of the Castello di San Giorgio, that belongs to this area too. The Arsenale area is constituted by four main areas, starting from the north arsenale and going towards the south arsenale, the sea military properties and in the end the historical shipyard museum. The first of the list, centered around the Torre di Porta Nuova, and open only during some specific events, the south Arsenale mainly used by the Foundation La Biennale di Venezia and accessible during the exhibition period (may-november) that included the beautiful gardens of La Biennale. The sea military areas belong to the Institute of Sea studies Maristudi as well as the fourth spot which is a huge complex extended in 42 exposition spaces and the only of its kind. Beyond the monumental entrance, the Arsenale appears as an immense open-air museum, where every building (Fig. 2) and dock is part of the collection. Among various sheds and squeri overlooking the docks of the old Arsenale, the Istrian stone of the “Casa del Bucintoro” exudes charm, used for the storage of the dog ceremony boat, from which every year, on Ascension Day, the Doge2 threw a ring into the lagoon as a symbolic sign of the “marriage” of Venice with the sea.
Each of the six parts in which some Italian cities were or are divided, including Florence and Venice; today the term is preserved above all in the Venetian toponymy
1
Doge; “Head of state in the Venetian Republic starting, according to tradition, from Paoluccio Anafesto (726-27) until the end of the century. XVIII, and supreme magistrate of the republic of Genoa starting from Simon Boccanegra (1339).” from Treccani Dictionary, 2020
2
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1
1 1
6
3 4
7
PRODUCED BY AN AUTODESK STUDENT VERSION 13 11
12
14
Buildings and water's expansions:
15 16 9
17
8
14
6
3
Compartment of Galeazze
2
Compartment Foundry (Tese at the Nappe)
3
Compartment of St. Christopher
4
Tese of Novissima
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Area of Casermette
9
4
7
13 12
6 Area of Laminations Fig 2. Main historical buildings in relation to their heritage Personal elaboration 7 Porta Nuova Tower
15
9
1
5 2
D BY AN AUTODESK STUDENT VERSION 11
9
10
1
10
5 2
16 17
8 Area of Submariners Buildings and water's expansions: 9
Dry docks and space for shipbuilding
1
Compartment of Galeazze
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Darsena of Galeazze
2
Compartment Foundry (Tese at the Nappe)
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Darsena Vecchia
3
Compartment of St. Christopher
12
Darsena Grande
4
Tese of Novissima
13
Buildings Gaggiandre
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Area of Casermette
14
6
Area of Laminations
15
Sheds of the Darsena Grande
7
Porta Nuova Tower
16
Building of Artillery
8
Area of Submariners
17
Building of ropes
9
Dry docks and space for shipbuilding
10
Darsena of Galeazze
11
Darsena Vecchia
12
Darsena Grande
13
Buildings Gaggiandre
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
8
Land Gate
PRODUCED BY AN AUTODESK STUDENT VERSION
Architectural Preservation Studio - Design Report
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PRODUCED BY AN AUTODESK STUDENT VERSION Land Gate
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Sheds of the Darsena Grande
16
Building of Artillery
17
Building of ropes
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AUTODESK STUDENT VERSION
14
PRODUCED BY AN AUTODESK STUDEN
Location characteristics |
Other magnificent structures connected to the production chain of the boats are: the Squadratori building, in the Canal of Galeazze, where the timber was cut, and - in the area of the Arsenale Nuovo - the Corderie della Tana, where hemp was stored and twisted hawsers for ships, now home to temporary exhibitions, including the “Art Biennale”. In the northern area of the new Arsenale, where the large dock is called Arsennale Nuovissimo, there are the Gaggiandre, two grandiose water yards with particularly fine architectural features, built from 1568 to 1573 according to a project attributed to Jacopo Sansovino3. Today the grandiose Arsenal complex is in part the seat of the “cultural pole” of the Navy, with the presence of the Institute of Maritime Military Studies and the Naval Historical Museum, which is based in Campo San Biagio, near the Arsenale, with which it acts as a pendant for an extraordinary place in memory of the Venetian naval splendor, and is the largest in Italy and one of the richest in the world of its kind. From the analysis of the land use on a smaller scale, related to the interested area for the Architectural preservation project (Fig. 1) in terms on functions we can see how this portion of the Venetian urban tissue has mainly a cultural and educational vocation which defines the character of the space, and also how the area is featured with all the principal services. From this analysis we can also highligth the importance of the military forces in the management and activation of a considerable portion of the scope, organization that owns a part of the area in common with the municipality of Venice, in a common interest. In confirmation of the previous role that the Arsenale had in the development of the city in terms of economy and growth, we can see how we have a considerable number of historical buildings that leave us an important cultural heritag (Fig. 2). Due to this, it is clear how the relevant interest on the naval and sea activities is confirmed by the functional buildings related to it: from the activities related to the shipyard construction up to the services for the management of the area and the military intervetion (Artillery, etc..)
Jacopo Sansovino, Jacopo Tatti known as Sansovino (Florence, 2 July 1486 - Venice, 27 November 1570) was an Italian architect and sculptor. He was the Proto (maximum architect) of the Republic of Venice from 1529 until his death, later replaced by the Venetian architect Andrea Palladio.
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Architectural Preservation Studio - Design Report
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Fig 4. Circulation Network Personal elaboration
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Location characteristics |
In Venice you can move on foot, or along the waterways by choosing one of the 159 boats (Fig. 3,4) (vaporetti, motorboats, maritime boats, motor ships or ferry boats) available. It is important to highlight that almost all the circulation with public transports is related with Actv, a local company that guarantees mobility on almost all the territory. Actv carries almost 95 million passengers for the only navigation service with over 120 floating stations (pontoni) and 30 lines that connect it permanently and can be reached in its entirety. There are City Center Lines, which cross Venice navigating mainly along the waterways of the Canal Grande and Canal della Giudecca. They leave from the Tronchetto or from Piazzale Roma and reach the Lido di Venezia (lines 1 and 2). There are also connecting lines along the outer lagoon perimeter of the city and they connect the most external realities of the lagoon archipelago, such as the islands of Murano, Burano, Torcello, Sant’Erasmo, S. Servolo. Mobility is mainly presented in these forms, as the whole area is not suitable for cars, but from Tronchetto it is also possible to reach Lido di Venezia by boarding your car on the Ferry-Boat. Despite this, Venice also has a reduced car circulation network; in fact from Piazzale Roma buses depart and they can take visitors to the mainland, to Mestre and its center or towards the airport of Treviso.
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Arsenale di Venezia The two towers
Arsenale di Venezia Le Gaggiandre
Arsenale di Venezia Le Gaggiandre
Historical information |
Historical Information Chapter 2
The Venetian Arsenal is a complex of former shipyards and armories clustered together in the city of Venice in northern Italy. Owned by the state, the Arsenal was responsible for the bulk of the Venetian republic’s naval power during the middle part of the second millennium. It was “one of the earliest large-scale industrial enterprises in history”4. The Arsenale became the fulcrum of the Venetian imperial power and the logistical node of the whole “Stato do mar” of the Republic of San Marco, when Venice, after the fourth crusade, became aware of its importance as a maritime power, aiming at the consolidation of the fleet of state and giving an extraordinary boost to the field of shipbuilding. Every space of this vast area was admirably exploited, with the rational location of docks, squeri, slipways, workshops for the construction, repairment and maintenance of the canal: a huge complex, still impressive today for visitors, defended by natural and artificial water mirrors and an immense wall of high crenellated walls five kilometers long, dominated by fifteen towers, where night and day the sentinels watched to protect it from prying eyes that could steal the secrets of the production of one of the most extraordinary fleets in naval history . The surrounding urban layout was also functional to the grandiose arsenal complex, with the housing for the workers, the “Arsenalotti”, the service buildings (granaries, ovens, bread depots), and the induced and connected activities, of which still remain today the traces in the fascinating toponyms such as: calle del piombo, delle vele, delle àncore, del forno, della pegola (pece), fondamenta e campo della Tana, from the ancient name of the river Don (Tanai), from where the Venetians imported the hemp for ropes. Thanks to the organization and function of the site, manteined for over seven centuries, it anticipated the concept of factory as a complex of production and specialized figures executing the manufactory process in sequence, following the ford model and it represents the most important example of a structure focused on the pre-industrial economy.
R. Cameron, W. Kenan, A Concise Economic History of the World: From Paleolithic Times to the Present, Oxford University Press, New York 1993, p. 163
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Architectural Preservation Studio - Design Report
Construction of the Arsenal began around 1104, during Venice’s republican era and the definition of the its name comes from the arabic word daras-sina’ah which can be translated as “craft house” mirroring the function and its soul. Surrounded by a 3.2 km rampart, laborers and shipbuilders regularly worked within the Arsenal, building ships that sailed from the city’s port in a outlook of a deeper development of the shipbuilding industry of the so called serenissima 5. The first nucleus of the Arsenale Vecchio is present since the second half of the XII century, with the first representation in the Chrnonologia Magna6 by Paolino Veneto7 in which the complex, surrounded by crenellated walls and constituted by two rows of squeri 8 on the two sides, connected with the Bacino di San Marco. In the former activity period the area was also used for the storage of wood and armories of 1278, and for such reaons he dimensions were limited. The first enlargment of the Arsenale Vecchio took place between 1225-1404 with the addition of a fortified area on the east perimeter and also saw the construction of the Heaven and Hell palaes which where the residences of the institutional council that had the control over the production area. This operation extended the area four times, allowing the construction of bigger and bigger shipyards. From the XIV century until the XVI the site produced the Galee9 and right after a wider and armed version that became the strength point of the venetian development after the Battle of Lepanto. The Arsenale specialized particularly in the construction of war units, and the Venetian Galee became a prototype of the medieval combat ship: its variant, the Galeazza, which played a decisive role in the naval battle of Lepanto, was a secular forerunner of the battleship, the powerful warship conceived well over three centuries later. The second huge development took place in 1325 because of the necessities of the city and it’s when the Arsenale Nuovo (Darsena nuova) was created, getting to a complete extension of 138.600m2 with the creation of a dedicated connection between the Darsena Vecchia and Darsena Nuova. Serenissima was the common name of the Republic of Venice since 5th april 1423 when doge Francesco Foscari took his role and the state saw the foundation of state councils.
5
6
It is the main historical and enciclopedic work of Paolino il Veneto
7
Known as Paolino Minorita, he has been a catholic priest, politician and italian writer
“Small construction site for the construction, repair or protection of boats, especially gondolas” from Garzanti lingustica, 2020
8
“Mediterranean ship, generally military, rowing and sailing, about fifty meters long, fast and light, with very refined bow and with two Latin sails masts, typical of the medieval period and in use until the beginning of the century. 19th” from Treccani dictionary, 2020
9
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Fig 7. Phase II (1125-1304) Land aggregation and the construction of the early “Corderie della Tana”
Fig 8. Phase III (1325) Development of the Arsenale Nuovo
Fig 9. Phase IV (1473-1573) Development of the Arsenale Nuovissimo
Fig 10. Phase V (1535-1540) Expansion of Marta di Celestia to create space for storing groundpowder
Fig 11. Phase VI (1810) Aggregation of the complex of “Convento di S. Maria della Celestia”
Fig 12. Phase VII (1872-1915) Construction of the dry docks and aggregation of the “Isola delle Vergini”
Fig 13. Phase VIII (1916) Development of the area of the Casonmotte
Historical information |
Fig 6. Phase I (1104-1200) Development of the Arsenale Vecchio
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Architectural Preservation Studio - Design Report
HI
Fig 14. Historical evolution of the Arsenale Area Personal elaboration
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HISTORICAL LAYERS 1200ca 1325 1473 1539 1620 1824 1873 1916
Historical information |
A direct description of the area is also given by the famous italian poet Dante Alighieri in the Divina Commedia, where he explains how he was shocked to see what has been for more than four centuries the most important productive comples, the real beating heart of the venetian power, and the most relevant example of the medieval era. Quale ne l’arzanà de’ Viniziani bolle l’inverno la tenace pece a rimpalmare i legni lor non sani, ché navicar non ponno - in quella vece chi fa suo legno novo e chi ristoppa le coste a quel che più vïaggi fece; chi ribatte da proda e chi da poppa; altri fa remi e altri volge sarte; chi terzeruolo e artimon rintoppa 10 The concentration of skilled workers in shipbuilding, uncomparable in quantity and quality, the meticulous organization and the amazing efficiency in the rationalization of the production cycle, represent a prodigious anticipation of centuries of the assembly line of the industrial age, and still today they arouse admiration in the naval architecture historians and are analyzed in the organization’s science studies. The authentic originality of the Arsenale’s production processes, in which the connection between the ruling class and workers represented the authentic “power factor”, consisted both in the systematic nature and concentration of the work phases in the same place, as in meticulous care at each stage of the production chain11, right from the choice of oaks in the forest land on the mainland: this allowed a speed and a quality of the shipbuilding process that was unmatched. After the falling of Costantinopoli (1453) and the threatening of the Ottoman empire the Arsenale received a further military improvement adopting the renaissance style for its architectural implementations. In 1456 the site finally completed its third step of development with the following construction of the foundations for the Darsena Nuovissima (1515) and a new dedicated canal that will see a further improvement only in the XVII century with a renovated foundation system due to the augmented military activity of the republic. 10
D. Alighieri (Inferno, XXI, 7-15)
A production chain is an assembly process used in modern industries and formally introduced by Henry Ford in the early 1900s, aimed at optimizing the work of workers and reducing the time required for assembling a complex product. 11
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The decline of the Serenissima, slow but expected, began from the seventeenth century and continued into the following one when the Arsenal also began to lose its supremacy and drastically reduced the workers and shipbuilding activities, gradually outclassed by the most modern shipbuilding criteria of the northern European maritime powers and penalized by a certain tendency towards the immobility of Venice, proudly perched on the “mude” system, which still privileged the construction of large galleys for convoys, while free navigation had now taken hold with the use of more agile and sailing isolated vessels. In the annus horribilis of the Republic, 1797, when Venice as a State ceased to exist by Napoleonic hands, the Arsenale was completely devastated by the French invaders With the Campoformio agreement12 it faced a partial distruction, restored only under the Austrian leadership, but it will not last long. During the second Napoleon government the Arsenale saw a new powerful period for the use of the construction site until 1814 when the Austrians returned back. It was necessary to wait for the Habsburg domination to record a resumption of shipbuilding activities, which, after a new brief period of French occupation, continued until 1848, when, after the advent of the ephemeral Republic Veneta by Daniele Manin13, Austria moved its shipbuilding center to Istria. The last greatest development has to be connected with the Regno d’Italia13 of which Venice became part of in 1866 during the third independence war in order to reobtain a predominant role as a naval base in the Adriatic sea. The Italian Royal Navy undertook to revitalize the entire arsenal complex, balancing the restructuring needs related to new shipbuilding technologies, with the desire to recover the historical-monumental complex. Thus the first true industrial plant in unified Italy was formed in the Arsenale. The second world war started a slow period of decline, facing the incapacity to satisfy the always increasing necessities of the naval army, until a total abandonment. As a civil ownership, only in 1957 the naval military took over that partially reactivated it. During the end of the XX century a renovated interest invested the
12 With the Treaty of Campoformio (17 October 1797) Venice lost its independence by passing with much of its territory, Dalmatia and Istria to Austria. 12 Daniele Manin was the head of the Republic of San Marco from17th March, 1848 until 22nd August ,1849 13 Il Regno d’Italia was a central unitary state proclaimed on March 17, 1861 during the Risorgimento, following the second war of independence fought by the Kingdom of Sardinia to achieve Italian national unification.
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Historical information |
area, trying to activate the space through cultural activities despite the huge extension of it. This did not stop the assingment of part of the volumes to the Biennale di Venezia for contemporary art exhibitions and minor naval activities. In 2003 the Agenzia del Demanio14 and the municipality of Venice constituted the Arsenale spa in order to promote and valorize it, having the 59% to be assigned to the municipality, which formed a dedicated office in 2003 for the management of the spaces. Today that the bases of maritime power and the great commercial flows have changed the focal point, the ancient Arsenale continues to enclose, among its red brick walls, traces of centuries of history of the Mediterranean ship: the whole family of rowing ships, galee e galeazze, brigantini, etc...; the family of round merchant ships: cocche, caracche, marcigiliane and buzi; the family of sailing ships: galeoni, fragate, sciabecchi, etc... and finally the great novelties of the nineteenth century: steamships, steamers with wheels, battleships, torpedo boats, submarines.
14 The agency, part of the italian state, is responsible for the management, rationalization and enhancement of the state’s real estate assets (real estate for government use, available assets and historical-artistic property).
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The Bucentaur's House |
The Bucentaur’s House Chapter 3
The Bucentaur was the state barge of the Doge of Venice, on which they embarked every year on Ascension Day to celebrate the Venetian rite of marriage with the sea. The name Bucintoro derives from the Venetian buzino d’oro (golden burcio), the name of a hypothetical mythological creature similar to the centaur but with a bovine body. This has led someone to claim that the name derives from a bovine head used as a figurehead of the galley, but the hypothesis is wrong: the name bucentaurus does not exist in Greek mythology, and the figurehead of the Bucintoro (as it appears in the paintings that depict them) it is Venice in the form of Justice. The Bucintoro was based in the Arsenale of Venice, first in a basin, as attested by the plan of Jacopo de Barbari15 (Fig. 16, following page) from the 1500s, later in a special covered port, called Casa del Bucintoro, where the ship was kept dry and without the decorations. It was used every year on Ascension Day up to 1798 to take the doge out to the Adriatic Sea to perform a ceremony that symbolically wedded Venice to the sea every year on the “Festa della Sensa”. There were four major barges, the first having been built in 1311. The also called Squero del Bucintoro is located in the Arsenale Vecchio, created in the beginning of the XIII and it is a single building characterized by a load-bearing brick wall in contrast with the Venetian use of the Istrian Stone that contain a Volta a Padiglione16, surrounded by a roof tiles covering system. The original project also included the building of the side, the so called Magazzino delle Vele, that was once used for sails’ storage, and for this reason the building is free only of three sides. It is characterized by an empty rectangular shape with a total free height of 10.60m in the inside, marked with the rhytmical division of a sequence of seven wide arches in brick material, today closed by brick elements.
15
De Bàrbari, Iacopo was a painter and engraver probably born In Venice around 1440-50
“The pavilion vault in architecture indicates a roofing element with a curved surface.It is also obtained, as in the case of the cross vault, from the intersection of two barrel vaults keeping - unlike what happens in the cross vault - the parts in common with these vaults: therefore the perimeter arches do not exist.” From Treccani dictionary, 2020 16
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Fig 16. View of the “Veduta di Venezia”, Jacopo de Barbari, 1500
This structure is the base of the wooden structure covering system made with the use of Palladian trusses17 (Fig. 17-18). On the other vertical side, on the base, we can notice that it is 80centimeters lower than the Darsena Grande at about 1m over the medium sea level, and this is the reason why we usually have water coming inside along the wide slode and why it is subjected to flooding due to the high tide. A stone stair (Fig. 19) has been set on the East façade to connect the two different levels, creating a short space before the main portal for the entrance as well as it happens on the North façade where we have a small passage to connect the two sides on ground and water, and where we can find a small secondary door. Michele Sanmicheli (also spelled Sanmmicheli, Sanmichele or Sammichele) (1484–1559), was a Venetian architect and urban planner of Mannerist-style, among the greatest of his era. A tireless worker, he was in charge of designing buildings and religious buildings of great value. He was the classicism-inspired architect who in 1555 he designed a new façade for the Bucentaur is built, enlarging the squero to host the famous Bucintoro shipyard. The drawings (Fig. 20-21) shown are his proposals for the facade of the Bucentaur house, build between 1544 and 1547 and represent the columns styled as doric and the characteristic arched doorway
17 A timber roof truss is a structural framework of timbers designed to bridge the space above a room and to provide support for a roof.
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Fig 17-18 Detail of the roof Palladian trusses from the inside view
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Fig 19. Detail side view of the East faรงade
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The Bucentaur's House | Fig 20. Faรงade renovation proposal for the Bucentaur House, Michele Sanmmicheli,1555
Fig 21. Faรงade detail of the arch structure and vertical supports for the Bucentaur House, 1555
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which continues its shape onto the windows and other openings. Compared with the other functional-only shelters for the ship constructions, the Bucintoro one has an Istrian stone cladding, highlighted by the rustication and with a huge sixteenth-century portal decorated on the attic by the allegorical figure of VeniceJustice. The eastern and western façades (Fig. 19-20) are characterized by a rustic flat Bugnato stone cladding that is used not only for the decorations, but also for the massive door designed by two imposing Doric columns with a Vitruvian friee on top, representing the Justice allegory of the city of Venice. About the western façade, it is possible that the Istrian stone decorations were included only in a second moment, probably in the XV century, when a new structure of the door was built inside the original one. The north elevation (Fig. 19-21) is on the other hand characterized by its geometrical variation, first of all the sequence of seven blind arches that can also be found on the inside, in a symmetrical reflection.The surface also presents two symbols of its cultural heritage: some holes in the envelope structure, closed lately, signs of some former construction elements for the staff holdings that were attached to the surface and that were probably left for maintenance interventions. We can also find some wrought iron rings that were probably used to hold thelightnings during the official cerimonies.
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Fig 24. North façade ortoimage 0m
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GROUP 02 - Students: Fatlind Collaku, Sedat Golada, Asma Kenza Hoadjli, Angela Petrovska
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Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture, Built Environment, Interiors - A.A. 2019|2020
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Fig 25. Detail side view of the North façade
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Fig 26. Façade detail of the East elevation Balcony and windows components
As well as on the shorter façades, we can find once again the use of the Istrian Stone. Another peculiar technique used for the Istrian Stone is the use of the Bugnato18 for the stones, as well as the decision to have the surfaces smooth and porous alternatively. As we can see (Fig. 26) the different components of the window’s frame are changing 1:1 in terms of dimension and type of surface, while for the basement we see quite an homogenous typology of it. The same happens with the main portal of entrance, which is higher
18 Bugnato “External wall facing of a building, consisting of protruding worked ashlars, called bugne. It can be smooth, if with bosses with clean contours and smooth surface; rustic, with roughly hewn bosses;” from Enciclopedia Treccani, 2020
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and wider, but represents the same typological and architectural features of the side windows, as well as for the door on the west elevation, along the water level. The interiors are mainly characterized by a lime plaster covering the walls and by the retaking of the outer shapes into the inside (Fig. 22-25). Some volumes can be found on the inside, on the southwest corner with a smaller and light structure above it, some kind of platform. Another detail we can notice in the inside is the presence of some chains and diagonal beams, probably an intervation that occurred after the first phase of construction, in order to restrength the roofing system. The only sources of illumination for the indoor spaces are the openings on the shortest faรงades, the smaller door on the third one and two little squared openings on the roofing. The space inside of the Bucentaur House is a contrast respect to the outer part as it is bare and lighter in terms of color contrast and with a smaller amount of details, if not for the beams on top and the wide slope with some wooden elements that faces the western faรงade with the big opening that probably in the past was the passage where the Bucintoro was lead to finally reach the water.
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Fig 20. East façade seen from the inside
Fig 21. West façade seen from the inside
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Fig 23. North Section Interior ortoimage view 0m
Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture, Built Environment, Interiors - A.A. 2019|2020
BUCENTAUR’S HOUSE IN THE VENETIAN ARSENAL - PRESERVATION AND ADAPTIVE REUSE DESIGN
Architectural Preservation Studio - Teachers: Francesco Augelli, Andrea Garzulino - Tutors: Alessandra Battistelli, Matteo Rigamonti
GROUP 02 - Students: Fatlind Collaku, Sedat Golada, Asma Kenza Hoadjli, Angela Petrovska
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BUCENTAUR’S HOUSE IN THE VENETIAN ARSENAL - PRESERVATION AND ADAPTIVE REUSE DESIGN
Architectural Preservation Studio - Teachers: Francesco Augelli, Andrea Garzulino - Tutors: Alessandra Battistelli, Matteo Rigamonti
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BUCENTAUR’S HOUSE IN THE VENETIAN ARSENAL - PRESERVATION AND ADAPTIVE REUSE DESIGN
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The Materials |
The Materials Chapter 4
In the process of recognition and analysis of the materials used for the construction of the Bucentaur House, the preliminar analysis on geometrical and photogrammetric survey has been decisive. Thanks to the in-deep observation of the ortoimages in addition with a bibliographical research, the investigation of the materials allowed us to elaborate a detailed material survey and the related material cards. It is a really important analysis because it allows us to understand the technologies and materials used for the construction of the building and provides us the information and understanding on how to interviene. Materials give us the instructions on how to interact with the existing in terms of addition and removals, permitting us to have a better management of the historical and technological value. The Bucentaur House is an historical building that shows the magnificient use of the brick of the construction of the envelope, creating a glorious contrast with the decoration in Istrian Stone19. One representative choice for the Venetian building: in fact we start seeing the employment of this material for the construction of the rising damp and canals, it was the standard material up to the end of the 13th century and is not only a really performant material, but also the symbol of the Venetian architecture. The building itself as we said saw different construction phases and modifications during the centuries and this is the reason why we can find different material types as well as incompatible materials within each other. In the following two pages it is attached a complete description of each material that can be found in the Bucentaur House, followed by a general overview on the complete surveys of the three external façade.
19
“A marble found near Trieste, from which Venice is largely built�, from Enciclopedia Treccani, 2020
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MASONRY BRICKS Red bricks are used all over the envelope and constitute the main aesthetic element of the building. The different types that we can see show different periods of the building construction, and can be referred to the different modifications, closures and reparis on the envelope. We decided to consider 4 different types of bricks in addition to a fifth label that represents a brick matrix with evident residuals of plaster material. Most of them are clearly visible in the central arc of the north elevation. Through the different faรงades we can see an homogenous typology with evident plaster residual showing us that originally the north elevation had a big opening that was later reduced and finally totally filled. In fact, we can see a different matrix of the wall with three different former openings, now closed. The first two type of bricks we identified (Brick type 1, Brick Type 2) are the newest ones and can be found on the north elevation, with a visible different matrix and coloration. The third label refers to the main structure of the envelope and for this reason it is probably the oldest of the group. A key element in the analysis, was to understand the reason of the different coloration of the singular bricks: it seemed that the darkest ones were subjected to a longer cooking process and so they came out overcooked; the opposite happened for the lightest ones. The Brick type 4, on the other hand, constitutes the upper part, right under the roof, and it is probably the result of a reconstruction of the roof after it collapsed due to the deterioration status; after some strengthening interventions, the roof was later rebuilt. Also we can notice that bricks type 5 with evident plaster residual, are all located under the arcs. This could be because the arcs have protected the plaster, while in other parts bricks have completely lost the plaster. Considering the reation between the material and its identified deterioration, it may be interesting to suggest a deeper analysis to understand if there is a connection between the deterioration and the different typologies of material, mainly due to the chrnological differences of the bricks construction.
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A hardened, rectangular, man-made block used since ancient times as a building and paving material. Brick can contain clay, sand, calcium carbonate, iron oxide and refractory fillers. They are durable, resist moisture and provide insulation. - CAMEO -Conservation and Art Materials Encyclopedia Online
Fig 27-28. Faรงade detail of the arch structure with the different typologies of mansonry bricks PRODUCED BY AN AUTODESK STUDENT VERSION
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ISTRIAN STONE The Istrian stone is a microcrystalline compact limestone rock with low porosity, coming precisely from the Istrian peninsula20. The Istrian stone is closely linked to the urbanization of the city of Venice, in fact with the Peace of Rialto in 933, the Duchy of Venice had obtained from Istria the recognition of the right to freely navigate and trade along the Istrian coast. The Venetians used it widely in structures and floor coverings, bridges, canals, houses, churches, palaces, until the end of the 18th century. The Venetians thus began to appreciate natural stones; when they finished those imported from the east, they looked for new sources. No quarry, in the territory of the Serenissima, offered a solid and resistant building material; most of the marbles in contact with the sea water ended up deteriorating. The Venetians therefore turned their attention to neighboring Istria; they fell in love with the Istrian stone for its solidity, resistance to salt, sun and frost and the large quantity available. Finally, the possibility of transporting it by sea conditioned the choice. The Istrian stone in the Bucentaur House is mainly used in the east elevation for decorative reasons covering the brick wall. As we can see this stone is used to define the basement, pillars, frames and also the sculpture that is located over the main door for the Justice allegory. It is visible that some stones have been replaced by new ones, mostly on the lower part, for example due to the surface conditions (the most recent one are incompatibile due to a smoother surface). Other than a decorative function, in the North elevation and in other points it has been used to reconnect some parts that could have been reconstructed during time, and also to reinforce the corners of the old openings that have been closed. For this reason it has both a decorative and structural function in the connection between the North and the East faรงades. In some points they also used this strong a wide element to fix some portions of the walls, and we can see these interventions mainly on the north elevatio, were some istrian stone elements can be found along the bricks.
20 The Istrian peninsula, extended in the Adriatic Sea and located between the Gulf of Trieste, the Julian Alps, the Dinaric Alps and the Kvarner Gulf belongs to the Italian geographical region and is administered by Croatia for most of its extension
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Is a dense type of impermeable limestones that was quarried in Istria, nowadays Croatia. Limestone is a biogenetic stone composed of calcium carbonate from the tests and shells of marine creatures laid down over eons. - CAMEO - Conservation and Art Materials Encyclopedia Online
Fig 29. Faรงade detail of the use of Istrian stone on the North elevations for structural reason
Fig 30. Faรงade detail of the use of Istrian stone on the East elevations as a decorative feature
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LIME PLASTER In the Squero del Bucintoro Lime plaster have been used for wall coverings, both on the inside as well for the outside elements. In relation to this last statement, we have to say that probably all the façades in the past were covered by lime plaster while nowadays only some areas are still covered by lime plaster, mainly in the north elevation. A clue of this is evident on the upper part right below the arches, where maybe because of the offered protection we can clearly see some larger area with lime plaster residual. One of the main area where we can find a discreet amount of lime plaster is also on the East façade on the upper part where we can also found the two external beams; the presence of the plaster also allowed us to identify the two different types of bricks on the external sides of the rectangles, where the materials seems to be not so connected. The areas where more lime plaster remains is also where the demolished volume was located, on the north façade. The presence of a previous building could have protected the plaster from alteration and deterioration. On the inside the preservation situation is slightly better, in fact we can still see all the plaster that covers all the interior elevations, even if the deterioration situation highly affected the surfaces. To improve the future conditions a possible solution could be to use a material called “Venetian Plaster”: it is a mortar composed of natural hydraulic lime and selected aggregates of siliceous limestone origin. Formulated for the restoration of masonry plasters with rising damp and relative saline efflorescence it could be a proposal for the preservation project. Furthermore, a possible suggestion for the interpretation of this material is that the composition of the lime plaster could be analyzed, first of all to understand the actual composition of the material, in order to find a possible way to preserve the remaining plaster.
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A type of plaster composed of calcium oxide (lime). It is prepared by heating limestone to remove carbon dioxide and convert it to anhydrous calcium oxide (quicklime). When quicklime is mixed with water, it converts to calcium hydroxide (slaked lime). Slaked lime hardens in two steps. First the water evaporates, then atmospheric carbon dioxide reacts with the calcium hydrate to form calcium carbonate. The final result is a mass of calcium carbonate crystals. (CAMEO-Conservation and Art Materials Encyclopedia Online)
Fig 31. Faรงade detail of the arches with evident plaster residual North elevation
Fig 32. Lime plaster detail under the arches North elevation
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CEMENT PLASTER Cement Plaster is mainly present on the North faรงade and in a conspicuous quantity and can be identified as a greyish irregular solid surface applied directly on the bricks. Due to an hypotetical former building attached to the Bucentaur House in the North elevation, probably it is a clue of this construction and its following removal at the end of the XIX century, leaving a wide portion of the surface with this material. Probably in the past it was also covered with lime plaster, as it happened for all the other brick surfaces on the external and internal elevations.
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Cement plaster is a mixture of suitable plaster, sand, Portland cement and water which is normally applied to masonry interiors and exteriors to achieve a smooth surface. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 33-34. Faรงade detail of the cement plaster used on the exterior elevation North elevation
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CEMENT MORTAR Cement mortar is used manly in the east elevation to fill some missing parts of the Istrian stone as well as for the repariment of some cracks. It is clearly visible because cement mortar is not a really compatible material, and they could have used lime mortar or a mixed version instead. But in this case they used just regular cement mortar. In the elevation we can find some residuals of cement mortar in between the istrian stones elements, in order to fill the gaps of the same elements, sometimes combined with lime plaster, mainly on the bricks structure. So we can find some also along the bricks, probably to close some spaces where bricks would have been too wide. Due to the strange habit of using simple cement mortar to fix the discontinuities, it would be appropriate to perform some laboratory tests in order to understand the exact composition of the such material, as it can be that the composition is actually a mixture of cement mortar and another type of mortar.
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Any cement used for mortar of masonry walls. Masonry cements usually start with a portland cement base with hydrated lime, crushed limestone, diatomaceous earth, or granulated slag additions to aid in spreading. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 35-36. Faรงade detail of cement mortar residuals within the discontinuities East elevation
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TIMBER WOOD Two different timber types are used both in the east elevation. The oldest type is used in the main entrance door, while the other type is used in the 4 beams that we can find on the same façade. Probably we need to make an hypotesis that they could have been added during the last ten years as a restrenghtening intervention of the upper part of the walls in this facade. We can assume this because wood is an organic material, and for this reason is strongly subjected to the environmental conditions and this elements exposed to the water and wind would suffer from it, but it does not seem the case: for this reason, we can think that they do not have a long life experience. Also the bolts on them confirm the age of the elements. After a brief analysis of the conditions on the door’s surface, it seems that it is actually not stable anymore. It would be relevant to understand if the former structure of the door can be fixed and reattached to the building envelope, preserving the original material and elements.
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Timber is a type of wood which has been processed into beams and planks. It is also known as “lumber” in US and Canada. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 37. Façade detail of the oldest timber type used for the entrance door East elevation
Fig 38. Beams on the main elevation used for a restrengthening intervention East elevation
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GALVANIZED IRON It is used in the north elevation faรงade, and could have been part of the roof of a demolished volume as we can also find some holes right under the interested portion. This was the shelter of a former roofing system and those were the supports for its beams; the fact that we can find some galvanized iron in this position could be to avoid the rain water to impact the surface. It just remains some residual parts that are still attached to the wall by a layer of cement mortar; the effect given on the surface is probably due to a layer of zync protection, one of the oldest techniques21, that was attached on it, even if it looks like cement plaster. Thanks to the conditions of such material we can think that the intervention was made in the later XIX century - at the beginning of the XX. We can also find this material in the upper-right part of the the faรงade, used for the rain water pipes, as well as in the upper part, right under the roof, and on the ground - as a part of the same collapsed structure.
21
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Technique used since the XVIII century
The Materials |
A thin metallic layer added to the surface of another metal for corrosion protection. Iron, steel, and tin are galvanized with zinc. Since zinc is a less noble metal, it provides a sacrificial coating that is preferentially attacked. The coatings are usually applied by electrodeposition or by dipping the metal form into molten zinc. Electroplated coatings usually provide a higher quality, more uniform coating layer that is less likely to flake. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 39-40. Faรงade detail of the galvanized iron North elevation
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WROUGHT IRON Wrought Iron in the Bucentaur House is used for the framing of the two windows on the east faรงade as well as for the upper opening in the central part, right over the main entrance; even if the decorative pattern is different both elements mantein the same technique of the beaten iron. Also in the north elevation some rings remain, and those could have been used to support a lighting system in the past, using lanterns. It is still not clear why in some points we have a dobled ring, as well as why such a fragile shape and thickness was used. Related to the openings, we can also find this material on the wooden surface of the door in the smaller scale, for the bolts and details on it. On the Northern faรงade instead, this material is mainly used for the structural supports: we can find different typologies of chains that are proably used to support some internal structural elements. In some cases we have an horizontal chain in wrought iron, for example on the upper-left segment. The fact that this chain is connected with the structural Istrian stone we saw before, may confirm that that addition was due to a restrengthening intervention and the two additions can be related. Other chains are also present in the central part of the elevation, in a diagonal form, but keeping the same structural function of supporting the internal elements.
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A malleable form of metallic iron. Wrought iron is nearly pure iron with less than 1 percent carbon and about 2.5 percent slag. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 41. Wrought iron pattern used for the frame of the two window and for the main entrance door upper-part, the so called “Sopraluce� East elevation
Fig 42. Wrought iron used for strengthening internvetions North elevation
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COPPER This material is mainly present on the East faรงade for what concerns the element on the left of the water-drainage pipe, that follows the elevation from the roofing system until the ground. The same happens for the North faรงade, where the water rain system is present on the left area of the elevation.
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A reddish-brown, ductile, metallic element. Copper is present in the earth’s crust at a concentration of 70 ppm. It occurs as a native metal and as ores of sulfide, sulfate and carbonate (azurite, malachite, cuprite, chalcocite, antlerite, chalcopyrite, etc.).
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- CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 43. Copper used for the water-rain drainage system East elevation
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Fig 44. Copper used for the water-rain drainage system, partially covered by plants residuals West elevation
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TERRACOTTA Terracotta translates from Italian as “baked earth,� and as a category of ceramic tile, it refers to tiles created from a particularly porous and easily shaped clay with a high iron content that gives the tiles their characteristic reddish/brown color. In the area of the Arsenale it also a really important and characteristic material, as we can mainly recognize it for its terracotta walls and squares towers, as a representative element as well as the Venetian use of the Istrian Stone. Due to a partial collapse of the roof due to the wars and probably fire events, the roof of the Bucentaur House was reconstructed in replacement of the original one. Looking depper on the surfaces we cannot be sure if it was actually fire because in this case we would have seen black parts; the case remains open because as we mentioned, the upper part of the brick envelope was subjected to a deep reconstruction. Due to this lack of information about the terracotta tiles on the roof, it is highly important to propose to make a survey on the actual conditions of the different elements and with the mortar, to understand if there could be any safety issue, as well as to give a proper time definition to its construction. Also, for the same reason and because of a lack of photogrammetrical survey, we do not have enough information to understand the situation and the actual shape of the terracotta tiles, that could be the Marsigliese type, as well as the Coppo di Grecia one.
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PRODUCED BY AN AUTODESK STUDENT VERSION Baked or semi-fired clay that is usally a mixture of clay, grog, and water. Some terracottas are glazed prior to firing. It shrinks approximately 7 to 11% during drying and firing. - CAMEO-Conservation and Art Materials Encyclopedia Online
Fig 45. 2D reconstruction over the ortoimage representation of the roof type East elevation
Fig 46. Terracotta roof tiles photo View from the ground
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The work on the material analysis finds its representation and expression on the material survey boards, where it’s faithfully illustrated the glossary of materials present on the building. The analysis, realized thanks to the ortoimages provided, is defined through a series of labels associated with a specific color, which is the same across survey and cards and allows the reader to clearly see the material on the surfaces. The same operation has been realized for the three façades. M14
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M07_ISTRIAN STONE
M11_CEMENT MORTAR
M15_PVC
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M12_CEMENT PLASTER
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Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture and Urban Design - A.A. 2019|2020
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This third elevation, the west façade, has been analyzed independently from the requested work. It seemed to us that it could have been important and interesting to analyze all the three sides of the building, to have a better understanding of the whole system of materials and to better act in the reuse project design phase.
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M01_BRICKS TYPE 1
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Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture and Urban Design - A.A. 2019|2020
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Causes and Effects of Deterioration Chapter 5
For the identification of the alteration and deterioration done on the facades we chose to mainly follow the “ICOMOS Illustrated glossary on stone deterioration patterns”22. Of course, we are well aware that we have materials other than stone, but believe that the glossary can be well applied to them too in a general overview on the main causes of deterioration in the Bucentaur House. We spent some time in the beginning trying to fully comprehend all the different typologies, but must mention that some may be missinterpreted, especially in regards to the Istrian stone decoration. This is due to the fact that the only images we had as references were the ortho-images, and due to the pandemic situation we had no chance to do an on-site survey, with a consequential lack of detailed information. For this reason, the main source for our identification process was strictly related to an observative and hypotetical approach. It is a really important approach, because it allows the architects and people involved to understand the overall situation of the building, both in terms of how to preserve it and also to improve its safety and structural conditions. Knowing the materials, on the side of their specific deteriorations, permits to have a 360°understanding on how to interact and manage the historical volume. Before we introduce each deterioration typology, we preface the work by stating that due to a diffused situation of erosion on the whole facade, spread on different typologies of materials, a dedicated sub-chapter will not be included. Other diffused alterations consisting of the presence of powders, salts and polluting elements on the surfaces that are mainly due to the environmental conditions of the Venetian lagoon where the Bucentaur House is located. Traces of efflorescence may also be present under the moist area we identified, but due to the unsureness, we have not dedicated a sub-chapter to them.
22 V. Vergès-Belmin, ICOMOS-ISCS: Illustrated glossaryon stone deterioration patterns, ICOMOS, Chapmigny, 2019, https://www.icomos.org/publications/monuments_and_sites/15/pdf/ Monuments_and_Sites_15_ISCS_Glossary_Stone.pdf
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CRACKS AND DEFORMATION CRACKS According to the “ICOMOS Illustrated glossary on stone deterioration patterns”23, a crack is classified as an “individual fissure, clearly visible by the naked eye, resulting from separation of one part from another”.24 When looking into the East and North facades of the Casa del Bucintoro, we notice the appearance of a few cracks, varying in depth, width and typology. They are mostly visible in the arches of the facades, bases and walls, mostly close or in areas with higher humidity. To make matters easier, we divised away to divide the located cracks in two categories: structural cracks and hair cracks. Structural cracks can be identified as ones that penetrate the wall, and show up on both inner andouter facades; the identification of this typology comes from the observation of the ortoimages references from both side of the walls. They are representations of a more dangerous type of decay. According to the “INFORM Structural cracks leaflet”25 they can be identified more precisely as diagonally runningstepped cracks. This can be especially noticed where the binding mortar of the bricks has gone missing and the crack manifests itself following the order in which bricks are laid out on top of eachother. On the other hand hair cracks can be recognised as thin cracks on the surface that haven’t damaged the material in its entirety. This is the reason for which we consider that they don’t affect the structure as much and are generally less dangerous. If we go into better identification of such cracks, we follow the “ICOMOS Illustrated glossary on stone deterioration patterns”26 which states that hair cracks are “minor cracks with width dimension < 0.1mm”. If we are to presume the causes of such decay, we would refer to: movement of the soil, or perhaps humidity which makes the materials expand or contract.
23
ibidem
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ivi, p.10
AA.VV, INFORM Structural cracks leaflet, Historic Scotland, Technical Conservation Grop, Edinburgh, October 2008 25
26
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But, these are not the only reasons such decay may occur, others we accountsuch decay may occur, others we may account for are: crushing, thrust, washed out foundations (especially in concern to the close proximity of the building to water), vibrations caused by earthâ&#x20AC;&#x2122;s tremors, weathering, as well as static problems and flaws in the material itself. The pin-pointing of one cause solely by itself is a vast task, so we would prefer to say that the cracks on the Bucintoro House are due to a mixture of causes. Of course, we are also offering a few suggestions concerning the analysis of this decay typology. The first analysis which should be performed consists of checking the correspondence between the two sides of the walls which are being analysed (interior and exterior side). If a cracks crosses over to the other side of the wall, it would mean that the damage is quite dangerous to the structure. As such the crack needs to be checked more in depth in order to figure out whether there is any impact or effect it has caused which may damage the security of the building. Another suggested analysis is a study of the cracks through taking and measuring the regular micrometer reading across a setting of three pins straddling the crack. This is a way of monitoring whether the cracks are widening in a certain course of time and if so, how this dimension grows. The timespan of such an analysis is quite longer and demands an ongoing possibility to visit the site, something that may be a problem, due to the fact that the Bucintoro House is in a military restricted area of Venice.
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DETACHMENT DISINTEGRATION AND SANDING Disintegration is defined as the “detachment of single grains or aggregates of grains”27 according to the “ICOMOS Illustrated glossary on stone deterioration patterns”. As this decay typology starts on the material’s surface, it is easier to spot and identify. As such, it is categorized into several subtypes, of which in the East facade we have noticed granular disintegration, or more precisely the sanding subtype. As such this category is “used to describe granular disintegration of sandstones and granites” (ICOMOS Illustrated glossary on stone deterioration patterns, 2019). It is key to mention that sanding, in our case study, affects the Istrian stone surfaces, especially in parts closer to the base of the building. This is also connected to the presumed causes for such decay: a combination of wind and sea salts.
Fig 48. Sanding deterioration on the East façade of the Bucentaur House
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FRAGMENTATION - CHIPPING Fragmentation is according to us, one of the most common typologies of detachment in regards to the case study of the Bucintoro House. As such it is defined by the “ICOMOS Illustrated glossary on stone deterioration patterns” as “The complete or partial breaking up of a stone, into portions of variable dimensions that are irregular in form, thickness and volume.”28 In most cases, fragmentation on the Bucintoro’s facades fall into the chipping sub-type. As such it is described as “breaking off of pieces, called chips, from the edges of a block” (“ICOMOS Illustrated glossary on stone deterioration patterns”). Chipping is mostly noticeable around the edges of the Istrian stone decoration on the East facade, as there is an evident absense of portions of the material. What is key to mention is that not all chipping is a decay typology seen by itself. For example, around the right hand arch’s decoration on the East facade we locate some bursting, which proceeds into a star crack with missing segments, presumably due to the crater created under the internal pressure of the Istrian stone. Chipping takes place when a piece of an object has come off from a rather shaper/pointed edge. These afore-mentioned chips are oftentimes caused by cracking that connects several parts of the object’s surface together to the point where there is nothing holding the chip to the surface. Our presumption for the cause of this typology is a combination of erosion due to winds, and cracks, which implies material loss along the matrix of different stones. In order to better asses chipping of the stone decoration we supply a solution in the form of an analysis. This analysis would be one that checks whether it is possible to stop the enlargement of the chipped segments. The reason behind such an analysis is the possibility that after a longer time period this decay may turn into partial loss of the material’s surface and as such reach a higher level od deterioration.
28
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SCALING Another typology identified on the Istrian stone decoration is scaling. The definition of it is “Detachment of stone as a scale or a stack of scales, not following any stone structure and detaching like fish scales or parallel to the stone surface. The thickness of a scale is generally of millimetric to centimetric scale, and is negligeable compared to its surface dimension.” (ICOMOS-ISCS Illustrated glossary on stone deterioration patterns) 29
When looking into the case study of the Bucintoto House, this alteration typology can be seen in the lower segments of the building. As such it is characterised by the forming of surface scales. The main cause would be referred to the excesssive presence of dampness on the walls. This is due to salt crystalization, connected to the close proximity of the case study to the sea. Looking at the surface, it may also seem a form of alveolization, but it seemed to us that the peculiar shape of some portions reminded of a “scale”, and so we decided to decline this deterioration under this typology.
29
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Causes and Effects of Deterioration | Fig 49. Detail of the Scaling on the Istrian stone surface East elevation
Fig 50. Detail of the Scaling on the Istrian stone surface East elevation
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FEATURES INTRODUCES BY MATERIAL LOSS ALVEOLIZATION Alveolization as decay is diffused on the stone’s surface of the East facade’s decoration. As such it isdescribed as h it is described as “Formation, on the stone surface, of cavities (alveoles) which maybe interconnected and may have variable shapes and sizes (generally centimetric, sometimesmetric) ”30. (ICOMOS) Alveoles range from millimetric to centrimetric in size, and are one of the most spread out typologyof deterioration if we look into our mappings. Possible cause for such typology is the chemicaldecomposition of the stone, as well has the interaction of salt minerals. Salt materials are ever-present on the case study’s facades due to the afore-mentioned close proximity to the sea. In thiscase the main cause may be due to the combined effect of wind and water which have partiallyeroded in an irregular pattern on the surface of the Istrian stone. As a team we propose an analysis of the overall situation of wind and rainfall throughout a year-longperiod, not only in the closer surrounding of the Bucintoro, but also in the full area of the VenetianArsenale. This would provide valuable info of the weather conditions and their effect on the Bucintoro’s structure, so furher alveolization can be stopped or at least reduced in time.
30
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Causes and Effects of Deterioration | Fig 51. Detail of the Scaling on the Istrian stone surface East elevation
PRODUCED BY AN AUTODESK STUDENT VERSION Fig 52. Detail of the Scaling on the Istrian stone surface East elevation
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MISSING PARTS With regards to the above-expressed concerns connected to chipping, it is easy to present missing parts as an issue of deterioration. This decay morphology is defined as “Empty space, obviusly located in the place of some formerly existing stone part. Protruding and particularly exposed part of scultures (nose, fingers) are typical locations for material loss resulting in missin parts”31. As such, we identify it predominantly in the lower areas of the building. The reason behind such a localization of the missing parts we believe is due to the close proximity to the base which of course is in close contact with the lagoon, as well as the mixture and interaction of external factors other than wind and rain. This is one of the few deterioration typologies regarding bricks as material, and in fact, they have fully been lost in segments such as the one bellow the left hand window arch of the East facade. They reveal an irregular surface that has been per say underneath them (in actuality, behind them if we consider the outer facade as a front). In certain segments though, it is only one brick that is missing. For some cases of missing parts we also consider that there is close relation to another deterioration typology- superficial cracks of the facade. It is imperative to mention that we were meticuolous in not misrepresenting coving as a missing part, as it’s a typology that from afar may seem like such, but is in fact only a loss of certain layers of the material, not the material in full. The moisture presence in the lower segments of the building can be regarded as a presumed cause of decay. It has a vast contribution to the general deterioration of material, as well as it weakens their structural qualities. Thus certain material segments detach and can be presumed as missing parts. The presence of structural and hair cracks can also be taken as a cause of decay, as they seem to hold some contribution to the loosness of the material from it’s original inserion plane. The main issues missing parts may cause lie in the structural safety
31
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of the building. As such, structural analysis needs to be carried out analyzing the facades and which materials have been lost, in order to maintain and restore the buildingâ&#x20AC;&#x2122;s load-bearing walls back to their full potential.
Fig 53. Detail of a portion of the brick envelope with evident missing parts North elevation
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DISCOLORATION AND DEPOSIT CRUST - BLACK CRUST Perhaps one of the most easily noticeable decay typology, at least for us, was crust, or more precisely- black crust. If we begin by trying to fully comprehend what this typology is characteristic for, it is impossible to pass by without defining crust as a term on its own. According to the “ICOMOS Illustrated glossary on stone deterioration patterns” it is defined as “Generally coherent accumulation of materials on the surface. A crust may include exogenic deposits in combination with materials derived from the stone. A crust is frequently dark coloured (black crust) but light colours can also be found. Crusts may have an homogeneous thickness, and thus replicate the stone surface, or have irregular thickness and disturb the reading of the stone surface details.”32 Whilst we cannot be precise about whether this crust is weakly or strongly bonded to the substrate, due to the possibility to only provide our observations through the use of the provided orthoimages, we are able to further delve into the description of black crust, once again referring to the same source as above. “Black crust : Kind of crust developing generally on areas protected against direct rainfall or water runoff in urban environment. Black crusts usually adhere firmly to the substrate. They are composed mainly of particles from the atmosphere, trapped into a gypsum (CaSO4.2H2O)matrix.”33 It is evident that in our case study the black crust is mainly binded to the Istrian stone surface, especially when we detect it on the East facade. The chromatic range varies if we try to make out the full scale of details the black crust alters, and this is due to the density of the exogenous materials that are deposited on the surfaces. The same situation does follow up on the other outer facadeds, and in fact mainly on the upper segments of the Bucintoro House. We believe that this is down to the fact that those areas are more exposed to the air movements.
32
ivi, p.40
33
ivi, p.42
A. Verney-Carron, M. Saheb, Y. Ben Amor, C. Balland, Correlation between black crust formation on limestone monuments and air pollution, Goldschmidt 2019, Aug 2019, Barcelone, France 34
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If we look into the presumed causes of this sub-type of decay, we would freely guess that one of main reasons may be air pollution, which leads to the formation of black crusts in sheltered zones. Besides this, we may also underline the cause of the problem to be a sulfation reaction, which is certain cases causes blackening. The research “Correlation between black crust formation on limestone monuments and air pollution”34, by professors Verney-Carron, Saheb, Amor, Clarisse Balland highlights how the quantity of sulfur on the stones (coming from gypsum) is slightly correlated to SO2 concentration in air (annual average), which highlights that black crusts are formed in polluted zones. As such an analysis of the air pollution conditions would be a great starting point for any further research that may occur regarding this decay typology.
Fig 54. Façade detail of the black crust over the Istrian stone frame East elevation
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DISCOLORATION “Change of the stone colour in one to three of the colour parameters: hue, value and chroma.“ 35 • hue corresponds to the most prominent characteristic of a colour (blue, red, yellow, orange etc..). • value corresponds to the darkness (low hues) or lightness (high hues) of a colour. • chroma corresponds to the purity of a colour. High chroma colours look rich and full. Low chroma colours look dull and grayish. Sometimes chroma is called saturation.” (“ICOMOS Illustrated glossary on stone deterioration patterns”) As such discoloration in our case study is located on the front wooden door on the East facade. Due to humidity, external agents and salinity problems, the original color has been lost, with a change of values of the color from original dark to lighter values. As we mentioned before, the presumed causes for such an alteration are soluable salts and other water dispersible materials which have come to the surface. They are induced by wet conditions, condensation, rain- circumstances which are well known to the surrounding of the Bucintoro House (the lagoons of Venice). As we can understand from the paper of Luc Hennetier “Discoloration and its quantification in building materials“36, a method to quantify discoloration was developed in order to avoid any subjectivity in the assessment of the test results. Image analysis offers an alternative for quantification of this phenomenon. Study of discoloration digital images lead to the definition of an discoloration coefficient in the three parameters (hue, value and chroma). Thus, we propose the conduction of this study of discoloration in order to better understand how to act when we reach the preservation steps.
35
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L. Hennetier, Discoloration and its quantification in building materials, British Transactions, February 2001
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STAINING Staining is not a typology all by itself, but rather considered as a sub-typology of discoloration. “ICOMOS Illustrated glossary on stone deterioration patterns” defines it as a “kind of discolouration of limited extent and generally unnatractive appearance”37. When analyzing the alterations of the East facade, this subtypology can be identified in the metal grid above the central door. More precisely we see rust stains due to staining, which in this case represents the interaction of two dissimilar materials (the wrought iron of the grid and the timber wood of the door). As causes for this alteration we identify the iron oxides which driven by water from the rusting railing induce the development of brown staining on the underlying stones. Stains in rendered facades occur very frequently in recent buildings due to various causes (efflorescence, carbonation, corrosion, cracking, dirt deposition, biological colonization and others). Most of the stains are damaging. In an initial stage, these anomalies affect the aesthetics of the façade and, some types of stains, in conjunction with the presence of water, contribute to the physical degradation of the cladding.
Fig 55. Effect of Staining of the wrought iron on the wooden door surface East elevation
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ivi, p.46
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SOILING As most other deteriorations, we notice soiling in the decorative elements made out of stone on the East facade. Before we dwelve into its characteristics, we must comprehend what this terminology entrails. “Deposit of a very thin layer of exogenous particles (eg. soot) giving a dirty appearance to the stone surface.” is the definition that comes up if we look into the manual we so deaarly ly are following for this investigation- the “ICOMOS Illustrated glossary on stone deterioration patterns”38. As we mentioned in the previous paragraphs, soiling is noticed in the stone decoration, and we believe that the shape of it is the main contributor to the easier formation of external material. This typology cannot be misinterpreted as black crust, as in this particular case we have a thinner layer of material. It is almost non-distinguishable and is just laid out on the surface instead of attached to it. We perceive the contaminatoin in the place with the presence of wind, which transports external particles to the surface where they deposit, to be the cause of such decay. We may also define the cause of the problem to be a mixture of pollution, water and dust effects.
38
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Causes and Effects of Deterioration | Fig 56. Soiling over the stone surface East elevation
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BIOLOGICAL COLONIZATION ALGAE “Algae are microscopic vegetal organisms without stem nor leaves which can be seen outdoorsand indoors, as powdery or viscous deposits (thickness : tenth of mm to several mm). Algae formgreen, red, brown, or black veil like zones and can be found mainly in situations where the substrateremains moistened for long periods of time. Depending on the environmental conditions andsubstrate type, algae may form solid layers or smooth films. On monuments, algae are constituted ofunicellular to pluricellular clusters, and they never form macroorganisms.”39. This typology hosts itself on the East facade on the Bucintoro House, near the base and therainwater pipe. It can be recognized as an almost uniform layer of biological material. Its green color can be quickly noticed, and the host of the algae is both the Istrian stone material used and themasonry. The development of algae is most likely to result from a combination of environmental factors.These include: available nutrients, temperature, sunlight, altered ecosystem, hydrology and waterchemistry. Due to the equal likeness of all this cause we cannot pin down one exact cause, or a precise combination.
PLANT Under the classification of Plant we can find that it’s a “Vegetal living being, having, when complete, root, stem, and leaves, though consisting sometimes only of a single leafy expansion (e.g. Tree, fern, herb)”.40 On the north façade of the building we can find some branches and residuals of former plants that were probably removed in the last period, mainly under the arches of which the vegetal element follows the lines.
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ivi, p.64
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ivi, p.74
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MOIST AREA
Moist areas are a product of the risen humidity level on a facade, and as such can be easily spottedon our case study building. According to “ICOMOS Illustrated glossary on stone deterioration patterns” - “Moist area corresponds to the darkening (lower hue) of a surface due to dampness. The denomination moist area is preferred to moist spot, moist zone or visible damp area”. 41 As such, on the facades of the building we can notice that a color variation is shown on the brick wall, showing the presence of a moist area. Also the same is clearly discernable due to a fictitous line represented by the risen humidity level that allows us to identify the level to which the humidity has risen from the ground. This line cannot be precisely drawn up, only down to the closest detailing we can perceive by zooming in into the supplied ortho-images. This type of decay occurs once water (of external origini, no matter if it is rain or groundwater) finds a direct path to a porous material (in our case- bricks) with the capability to absorb water. As a result formation of humidity occurs. If we delve deeper into what humidity itself can cause- products range from condensation to mold infestation and health issues. Accordingly, even structural damage may happen in the construction of the building. During the 9th Nordic symposium on Building Physics, Tampere June 2011, Phd Tor Brostrom presented a study about “Humidity control in Historic buildings through adaptive ventilation”42 explaining the different solutions for historical buildings and the related study parameters to select the best solution: Conservation heating ot Mechanical dehumidification, which is the most appropriate in buildings where heating is not needed for human comfort. According to the future function assigned to the building it is appropriate to perform the realted diagnostics to understand the best solution for humidity control.
41
ivi, p.46
T. Brostrom, C. Hangentoft, M. Wessberg, Humidity Control in Historic Buildings through Adaptive Ventilation, Conference: 9th Nordic Symposium on Building Physics, Tampere, June 2011 42
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OXIDATION Similarly to staining, oxidation is noticeable on the grid above the door on the East facade, but also spread out to all other metal elements on our case study building. The free dictionary by Farlex identifies it as â&#x20AC;&#x153;The reaction in which a metal and oxygen combine to form an oxide. In a more general sense, oxidation of a metal is a reaction in which atoms lose electrons to yield various compounds, such as chlorides and sulfides.â&#x20AC;&#x153; When identifying this deterioration typology, we had an issue pin pointing it precisely as we only had the ortho-images to look into as reference. This is why we cannot delve any deeper into the description of this typology, except to maybe also note the presumed cause- the interaction of oxygen and atmospheric moisture with the surface of the material.
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INCONGROUS MATERIAL
Incongruous material is an alteration not identified in the many times referenced ICOMOS manual. In fact, for the definition of the terminology we used the “Merriam-Webster online dictionary” which pins this down as “Incongrous- lacking congruity: such as: a: not harmonious : INCOMPATIBLE, b: not conforming : DISAGREEING, c: inconsistent within itself, d: lacking propriety : UNSUITABLE.” Thus we can easily say that this classification identifies material which is laid out on the facades butdoes not match up to the original one used. As such it is represented as cement plaster left in parts of the East facade where interventions were most likely made. These traces are smaller and locatedaround the arches of the door and windows mainly. The incongruous material is also noticeable inlarger quantities on the North facade around the arches. As a cause we identify human error made when making interventions with cement plaster. A suggestion for further interventions is to use a dedicated plaster, and to avoid organic materials such as wood, as well as glazing.
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As for the material survey, the analysis on the different alterations and deteriorations found its expression in the Decay survey. The investigation indentified in the same way different labels with colors/hatches/lines later illustrated on the ortoimage representation. In the final drawing some call-outs have been introduced to help in the identification of the smaller details that may not be visible with the overall view. D12
D04
D04
D04
0,00 l.m.p.s.
north elevation LEGENDA
D01_BLACK CRUST
D06_MISSING PARTS
D10_CHIPPING
D13_STRUCTURAL CRACKS
D02_ARISE HUMIDITY LEVEL
D07_SOILING
D11_VEGETATION
D14_HAIR CRACKS
D03_MOIST AREA
D08_SANDING
D12_ALGA
D13_DETACHMENT
D04_STAINING
D09_DISCOLORATION
D05_ALVEOLIZATION
NOTES Due to a diffused situation of Erosion on the whole façade, a dedicated label has not been included. Traces of Efflorescence may be present under te moist area (D03). Other diffused alterations consist in the presence of Powders, Salts and Pulluting elements on the surfaces. Alteration/Deterioration labels that are striked are not present on the shown façade. Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture and Urban Design - A.A. 2019|2020
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NOTES Due to a diffused situation of Erosion on the whole façade, a dedicated label has not been included. Traces of Efflorescence may be present under te moist area (D03). Other diffused alterations consist in the presence of Powders, Salts and Pulluting elements on the surfaces. Alteration/Deterioration labels that are striked are not present on the shown façade. Politecnico di Milano - Scuola di Architettura Urbanistica Ingegneria delle costruzioni Master’s Degree in Architecture and Urban Design - A.A. 2019|2020
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NOTES Due to a diffused situation of Erosion on the whole façade, a dedicated label has not been included. Other diffused alterations consist in the presence of Powders, Salts and Pulluting elements on the surfaces. Alteration/Deterioration labels that are striked are not present on the shown façade.
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Preservation Intervention
Chapter 6
Right after having completed a deep analysis of the actual state of the building, in terms of materials and deterioration, the preservation project is the starting point in order to interviene on the historical building. By preservation project, we intend a series of studies and proposals through materials and architectural technologies that highlights the interventions methods and procedures as the most appropriate solutions to limit and/or solve the causes of deteriorations and alterations, as well as to think about minimizing the future effects. The first phase is the preparation of specific drawings that explain the elements that are not considered as solvable, and that due to the absense of alternative solutions, can be sacrified. It is a really important step towards the final project, because it allows the designer/architect to define the boundaries of intervention and the grades of restraint in which we can interviene and it goes from the bigger scale, up to the detailing one. Of course, the levels of freedom we state in this intial part are referred to both the addition of elements as well as the demolishion of volumes, openings, stories, etc... and the replacement of materials, but it is important to note that the solution to these statements is highly influenced by the historical building characteristics (cultural-historical-technological impact) and also by the self-level of sensisibility and empathy of the designers: there is not a common guideline on how to face and interact with the building, but it is a sensitive decision. The different interventions have so been divided into different phases, in order to face all the necessities figured out and analyzed in the previous moments: • • • • • •
Preliminary works; pre-consolidation; cleaning; consolidation; protectives and surface finishes; additional interventions.
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INTRODUCTION In the following pages we will describe the preservation and conservation interventions that we are proposing considering the material and deterioration surveys we talked about in the previous pages, describing each operation in the chronological different phases that we need to follow to improve the conditions. Before going into details with each specific case, it is important to highlight some interventions that have to be executed generally on the surfaces, despite of the type of material and deterioration. First of all in the process of cleanings in historical buildings, we require a initial testing phase of the different surfaces in order to understand the interaction with the envelope: starting from a dry surface we test the area with different cleaning techniques using a gypsum frame in order to check how the material interacts with the technique and to understand the better solution to adopt and the level of cleanings using vacuum cleaners and brushes (normally of nylon or vegetable materials), that are usually enough to remove dust and dirt deposits. In case the layer of external material is too thick or if we have a dark deposit on the surfaces we may include to the previous operations the use of chemical wraps as well as the use of bistury if it is necessary for some stronger portions, while on lighter deposits we can rely just on the use of water. A middle situation can also rely on the use of solvents withing the used water. Of course, the use of chemical products and solvents will require a following cleaning with the use of a wet sponge and a vacuum cleaner. After this preliminary interventions, which are a general introduction before the actual operations for each specific category, the typology of further interventions is defined according to each alteration/ deterioration label.
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MOIST AREA AND DISCOLORATION
Starting from the assumption that humidity is one of main causes of deterioration in the historical buildings, the situation in the Venetian lagoon is even more relevant in terms of moist areas because of the environmental conditions, that of course we can not prevent. As a starting point we have to keep the situation monitored and understand the evolution of the humidity conditions and effects during the passing of time. The main approach we can have then is in using some water pumps that can be activated on need, that allow us to remove the water from the inside with the drainage process. In order to try to solve and prevent this issue, we normally can adopt the use of specific technological devices for draining the water residuals from the ground and the walls, that in conditions different from the Venetian one can really help us dealing with this deterioration effect, as the foundations of the buildings in the city are mainly designed as a serie of multiple poles digging into the ground. Due to the Venetian morphology, this solution can not be implemented on the Bucentaur House.
Stone drainage Water membrain Drainage tube
Fig 61. Detail on an improvement constuction technique for the water drainage in the historical building foundation system Note that due to the conditions of the Venetian lagoon, this technique can not be used, but it is just a solution in general conditions.
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EFFLORESCENCE
We can act against causes but we can not really prevent them from happening, and efflorescence is for sure one of these cases. As efflorescence is caused by humidity, we can take care of all the preliminary interventions dedicated to the moist area, so the use of drainage pumps to remove the presence of water, adding the usage of brushes for the surfaces we are working on to remove salts that can be present on them in parallel with the use of vacuum cleaners that can help us to prevent that the salts removed and fallen on the ground will be reabsorbed by the same structure. The final result, impossible to completely fix as stated at the beginning, will be to surely improve the conditions as maximum as possible.
Fig 62. Drainage pumps used for solving the water arised humidity from the flooring system
Note that due to the conditions of the Venetian lagoon, this technique can not be used, but it is just a solution in general conditions.
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STAINING AND OXIDATION COATINGS Following the same general procedure described in the chapter introduction, after having cleaned the surfaces with the use of soft sponges in parallel with residuals aspiration, we can perform the application of furnish on the surfaces and other dedicated chemical products such as some transparent material to protect the surfaces. In the specific case of the Bucentaur House, as the staining is caused by the wrought iron of the windowsâ&#x20AC;&#x2122; frames, it may also be necessary to perform the same interventions on the iron surfaces, with the addition of some chemical sprays in order to slow down the process of oxidation and alteration of the metal surfaces or to convert rust into a solid material that can easily dealed with, and in this way to prevent the future staining effect of the iron onto the wooden elements. At the end, the application of a protection of antirust will assure us an even better and longer result. For what concerns the galvanized iron, the only intervention we can apply is the replacement of such material with copper, because of its better intrinsic characteristics, of course considering the available budget because of its cost.
Fig 63. Metal surface before and after the application of an antirust chemical
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DISCONTINUITIES OF THE SURFACES CONSOLIDATION Under this wider category we decided to include different categories of deterioration, such as chipping or coving or alveolization, as the treatment of them is omogeneous. Related to different materials, it is important to note that the smoother a surface is the better intervention we can have with the material, because it will be more resistant and could prevent discontinuities without gaps. Alveolization is an example of such and we can easily deal with it using spatulas and lime mortar with the addition of an acrylic resin, which allows us to fix also discontinuities on the smaller scale, adding little portions of material which is compatible. After the application of this mix we need to finally proceede with the removal of the excess of material with the use of spatulas, followed by an additional cleaning of the surface. Erosion is quite a diffused deterioration on the Bucentaur House structure, for both the bricks and the Istrian stone materials, and after having a general mechanical dry cleaning with the use of soft brushes, we locally apply an ethyl silicate resin using the spray technique to cover the area not interested by the alteration, even if in our specific case it may be necessary generally on all the surfaces. The same can be done for in deep erosion: we start from the general cleaning, we fill the gaps to avoid the rain water from penetrating in the eroded portions with the use of the same sprayed resin with the addition of pigments, concluding with the excess removal through the use of sponges.
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MISSING PARTS REPAIRS AND PUTTIES Deeply connected with the consolidation of discontinuities, the step interventions follow the same path. Always starting from an initial mechanical cleaning, in dry conditions, we proceed with the use of soft brushes, to continue with the filling through lime mortar mixed with pigments, in order to try to reproduce the same coloration, finishing with the use of wet sponges. The use of a macro-porous lime mortar is highly suggested for the lower parts, as this specific type of material is not only compatible, but can also penetrate deeper and provide a better result with a better breath once dried out. The same procedure can be implemented for the joints repairation.
ADDITIONAL INTERVENTIONS In some portions of the Bucentaur House we also noticed some holes that do not belong to deterioration and alteration problems, but they are part of the memory of the building itself. The proposal we want to introduce, in order to avoid the effect that the rain water could cause, is to keep such characteristic, but to introduce a sort of protection right after having performed a dry cleaning.
Fig 64. Macroporous mortar used to fill the gaps around bricks. Case without the use of pigments.
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STRUCTURAL AND HAIR CRACKS PRELIMINARY INTERVENTIONS As explained in the previous chapter (ndr. Chapter 5 - Causes and effects of Deterioration) it is important to distinguish the different types of cracks we can identity in the building; for the specific case of the Bucentaur House we decided to divide them in the already mentioned two typologies, considering the structural impact they had on the envelope. The first important step is the monitoring of the evolution of the cracks, in order to understand the relation between their dimensions and the passing of time to highlight if the situation is stable or if it can evolve and cause additional damage in future. The collection of such information during fixed temporal segments will help us to define the grade of risk we have to confront with. In case the cracks are superficial (i.e Hair cracks) the operation we can do is simply reparing and fixing the discontinuity with the addition of lime mortar as it does not really consitute a structural risk. On the other hand if the crack is a deeper one (Structural cracks) it is required to perform some strengthening interventions, as already happend on the east faรงade where in the top corner, near the other faรงade, some chains have been applied. In the north faรงade the same intervention has been performed using some wodden beams (ndr that can possibly have been included almost 10 years ago). At the end of this deeper intervention, we can conclude filling the gaps with lime mortar, as we did for the superficial fractures.
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REPAIRS AND PUTTIES Before filling the gaps it is really important to use a vacuum cleaner in addition to a compressed air gun that can help us to remove all the residuals of dust and dirt while using wet sponges. Another solution that is usually used after the strengthening intervention, and only in the case that our monitoring activity does not report an evolution in terms on the structural damage and dimensions of the cracks, is the so called italian “Scuci-Cuci” that we can translate as indenting part of cracked mansonry. Starting from the definition of dedicated structures to support the area and avoid collapsing, we dismantle the portion of surface and re-assemble the same materials indenting them.
Fig 65. Representation of the italian called “Cuci-Scuci” technique for structural cracks repairment
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INCONGROUS MATERIALS
Coming from the material survey on the external faรงades of the Bucentaur House, we noticed the presence of cement mortar on the right side of the opening, that has we supposed may come from a former volume that was previously attached to it. The suggested intervention has been the complete removal of these portions of plaster that is visibily incompatible with the matrix composed by the bricks envelope; cement plaster is not compatible with the traditional constructive materials that we can find in the construction and also it is not optimal to keep it, due to the humidity conditions that may be improved afterwards. The cleaning of the traces of cement mortar, for example on the north faรงade can be manually implemented with the use of spatulas and bisturies in parallel with the use of wet sponges and the residuals removal.
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VEGETATION AND ALGA
In dealing with the biological colonization of the surfaces, as well as for moss, plants and biological patinas, the main solution is the application of biocides by spray technique, which are chemical products that allows us to deal with such problems, operation that can be followed with removal by-hand. Once completed, it is necessary to proceed in brushing accurately all the interested surfaces to conclude with a final cleaning of the surfaces with wet sponges, in order to remove the leftovers of the chemical elements as the presence of Azote and salts needs to be removed because otherwised we will cause an additional deterioration to the surfaces. In case of a massive presence of vegetation, the spray activity can be replaced with injections directly on the surfaces - but in the specific case of the Bucentaur House those kind of elements have been removed previously, but for some branches in north faรงade that can be actually removed easily by hand. In terms of preventing this type of alteration we can not actually avoid it entirely as it depends on the atmospheric conditions, the position and the exposition to the north. For this reason, it is necessary to repeat the intervention during the time, in order to monitor and mantein the desidered conditions.
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Reuse Proposal
Chapter 7
In parallel with the preservation design, the reuse project follows the same chronological moments, in order to monitor and balance the relation between the intervention in terms of conservation and reactivation of the space: the main concept behind is to avoid the contradictions of the two different parallel approaches on the historical building. For this reason, we decided to proceede on both sides at the same time, to have a deeper and specific control on the all the different aspects of the final projects. Following these two roots, the idea behind the reuse project was strictly considering an adaptive-reuse approach with the adoption of easily removable and changeable technologies as well for the architectural elements: all the components and interventions on the Bucentaur House were deeply thought to be reservible, nothing is permanent and it is easy to go back to the previous conditions and to eventually modify the reuse activity. Another key point of the approach we proposed has been to highlight a clear distinction between the existing and the renovated elements in order to mantain all the cultural and historical layers without impacting on them, proceeding with a really high level of sensibility for the site: a recognizable and also compatible list of interventions. The aim of our reuse intervention is to preserve, and also highlight, what we received from the past, that important immaterial layer of the historical building. Venice is the city of the future. Thinking of it as a â&#x20AC;&#x153;historical cityâ&#x20AC;? the sentence to extinction for the inevitable escape of the inhabitants and a city without inhabitants is a dead simulacrum. In the city of the future the quality of life is very high because the places of work are close to housing, we move mainly on foot, the street sociality is lively, culture, educational services and health they work, the houses have affordable prices, there is no shortage of work new families choose to live there willingly. It is also the place where a new driving alliance can be tested politics, private initiative and civic participation, third party between public and private. It is not a sector, but a collective, political and new civic actor. It is an emerging subject, still not understood and poorly structured, often scorned by the technocratic and elitist model of government that has prevailed so far. 199
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BACKGROUND AND FRAMEWORK
The reuse concept for the Bucentaur House centers around the goal to give the city a new unique cultural complex centered around the skateboarding community. In fact through research we have concluded that the city of Venice does not offer a space for skaters to gather, practice tricks nor hold competitions. The background idea then is to reactivate the space by providing a function addressed to the youngest generations inside an ancient and historical framework, in order to combine two different chronological aspects in one. In the latest decaded there were many projects of regeneration of historical spaces declining this theme, such as the Vans House in London which reused an historical railway underground for such activity. Also, the characteristics of the building (for example the high ceiling) and the atmosphere researched by the skating-users make this space the excellent host for it. It is a form of clture and sport at the same time, and represents a sport and cultural branch at the same time. Since the Arsenale is a cultural hub, adding a new layer of this cultural field enriches the atmosphere and openness of the are as well as the interest of the skate-users which are normally interested in the artistic field: itâ&#x20AC;&#x2122;s a mutual interaction and improvement. Other functions may require equipments and trained people, but everything related to the skating activity is light and self-referential. Accordingly, the only possible homage to the culture (if even considered such) are shops which sell skate brands. This is why we concluded to create a skate house in the Bucentaur House, with the addition of the area in front of the Bucentaur as a complementary open air segment, that has to be defined in a second step: the project is meant to be experienced following a specific timeline, divided between the preservation project, the reactivation of the building and the implementation of the external spaces in a continuous project. In regards to the interior of the building, the plan is to have the roof construction be fully visible and left raw, while the walls may undergo just a simple cleaning of deterioration and repainting; the aim of the designers is to keep the level of sensitivity the highest possible, with an incredible attention to the heritage of the space that is hosting us.
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THE CULTURAL FRAMEWORK
As mentioned in the Chapter 2 (ndr. Location characteristics), the area has mainly a cultural and artistic vocation, which makes the idea of having a skateboarding hub a perfect solution for the “Squero del Bucintoro”. The attention to all the different forms of art and urban culture of such place will for sure welcome a new aspect of the artistic field, the framework of an urban-street life character, the skating activity. Coming from an initial analysis of the needs and proposals for the Arsenale area, coming from a dedicated forum named “The Venetial Arsenale and the City – Ideas of Forum Futuro Arsenale”43, we started to underline the main features that according to this round tables may be the perfect suitable solutions to regenerate the area, after when the Municipality of Venice joined the association and started to define a complex system of guidelines on which to intervene: - ACT on the base of a long-term proposal in order to define or highlight the definition of the scope of the area, improving the quality of such spaces and providing an alternative solution to the mass-tourism that affects the area; - KEEP the unity and the historical continuity of the space, respecting the heritage of it; - PROMOTE all those functions that can improve the social interaction, art production, sport and leisure activities in a complex relations-system; - MANAGE the whole matrix with an active participation of the citizens. From the list of nine proposals underlined, the ones on which we decided to focus more are related to sport/leisure and quality of life as well as the improvement of the accessibility of the area, following the current on-going proposals that will be implemented and improve the overall access and mobility to the scope area. Considering the main functions present on the area, focusing on the ones from the Forum Futuro Arsenale44, we defined a mapping
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AA.VV, The Venetial Arsenale and the City – Ideas of Forum Futuro Arsenale, Venezia, April 2015
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ibidem
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defining the distributed museum activities, the sea-related ones, the cultural and research spots and finally the services related to sport and leisure. On this last label, we noticed how the area only has a few related services, which can be actually improved and provide some sideleisure services as an addition to the Arsenale. The other side on which the project will act is the network of connections in order to improve the accessibility and mobility inside the area, starting from the analysis of the existing ones and the routes and accesses planned by the organization.
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Fig 67. Masterplan with the definition of Accessibility and functional networks
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INTERACTION WITH SPACES AND ACTORS The square in front of the Bucintoro can be certainly an interesting point to connect the function proposal and to create a fluid connection between the inside, and the area nearby. The concept behind is that it could be used as an open air skate spot, with ramps, rails with generally bigger dimensions as well as an extension of the services provided on the inside. These of course will easily movable, so that the square can also become a meeting spot for skaters, an open air cinema, an open air cafe terrace and create in that way anew gathering point. There is also a need to provide a new path leading to it, preferably of a smooth surface, and all these connections indoor-outdoor, both in terms of functions and development, will come in a second designstep, after the initial definition of the proposal. From an analysis of the situation after the reuse project will be implemented, the second step will underline the strengthness and weaknesses of the first, and eventually implement more spaces and ways to decline such function. Due to a first analysis, it seems that such an experience could be a completely new concept for the area, an attention to a new urban life reality that could surround the Arsenale in an unifying experience and concept that firstly, but not only, will address the youngster generation. This decision comes from the statistics of the visitors and citizens around the area, that underlines how considering three different age generations the most relevant one is referred to a younger population, with an average balance between the male and female components.
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Fig 68. People ages and population needs
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CONCEPTUAL DESIGN THE PROJECT Starting with the definition of the main features and functions to include in the Bucentaur House, a schematic diagram helped us to define the subdivision of them. After realizing a grid that follows the same direction of the urban tissue, we started to highlight with different colors the relation between the different functional components of the project; this analysis clearly highlights how the idea behind is not have a straight division of them, but a penetration of them all within the others. The area strictly related to the skating activity is placed at the main entrance, not only because it’s what defines the character of the space, but also because in such way it represents the heart of the building, that can be overseen from all the directions, from the entrance and the ground floor café as well as for the upper mezzanine level: all the attention, no matter where you are, focuses on the vibrating center of the complex, the skating heart. For what concerns the café area, we decided to dedicate the space to such function of the western part of the plan in order to address the flooding and water-level issues of the Bucentaur House. With the definition of the average and maximum level of the water penetrating on the inside, we realized an elevated floating platform to make advantage of the water level and turning it into a strength point. Related to the café, the conceptual shop and the skating activity, we also decided to reuse the existing volumes on the inside to provide a service area for the provided functions. The previously existing rooms on the ground floor will be transformed into changing rooms, a kitchen, stockroom and toilet. With that instead of tearing them down, we use the rooms as an addition to the concept. Only a minor change will be implemented- the addition of a door, as well as the division of one of the rooms. Whilst the shop and skate area remain with the full height the building offers, the cafe segment will undergo changes in regards to its levels. Firstly, we need to add the platform, as a way of combatting the flooding of the building, seeing as this segment is on the western side of the house (on this subject a more in-depth description is provided later on).
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In terms of the original building, the plan is to have the roof construction be fully visible and left raw, while the walls may undergo just a simple cleaning and repainting. The ramp will be pre-made, using steel profiles and wooden planks, as well as the bar, so they have a minimal impact on the building. The flooring may be samples from the House of Vans case study, where they included a rubber flooring (key aspect of it is natural resistance of water. The skating area is the HEART of the reuse project, the focal point as soon as you enter, and the scope of interest looking from above.
Fig 69. Conceptual plan scheme of functions
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THE APPROACH CASE STUDIES The references for the design project focuses on all the different aspects and components of it, from the materials to the functions and up to the reuse approach of the space, as such experience was the first attempt in the architectural preservation design. For what concerns the use of the materials, the project of the Arsenale Tower was one of the main interesting ones, where the new architecture is separated, independent but not autonomous from the building that contains it. The common thread linking the ancient and the modern architecture is the use of a compatible but distinguishable material: the Corten steel is what is used for the construction of the modern elements, inside the existing structure. Todayâ&#x20AC;&#x2122;s technology merges with the grandeur of the past, by contrasting the texture and the background with the existing. The second case study refers both to the function and also to the use of an existing space, with the same lightning issues. House of Vans is a skate house based in London where an underground space was perfectly converted to a street-life environment. Key elements of inspiration are the rubber flooring, the division of different segments of the culture, as well as the degree of preservation of the original brick walls. Another aspect which draws attention is the lightning scheme, as the Waterloo tunnels are lacking of natural lightning, a similar condition we face with the Bucentaur House. Last but not least is the Error Kolektiv, from Skopje, a house dedicated to the culture of skating in the city, unifying an open air ramp, a clothing shop, a bar and some segments of an hostel (ndr. Which is not compatible with the Bucentaur House). The inspiration in this case comes from the whole concept of creating a safe space for skaters to gather, sate and also shop. The inspiration is more about what is not material, but immaterial, the concept itself which is the atmosphere we want to reach. Besides this, the Error Kolektiv House shows the possibility of fully functional nonconcrete elements, which can be easily used and maintained
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Reuse proposal | Fig 72-74. Error Kolektiv, Skopje Fig 75-77. House of Vans, London
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Vans House, London
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SKATE HAUS Old spaces for new generations LOGO AND SLOGAN Skate Haus comes from the association of a term related to the main character of the space (ndr. Skate) and the use of the slang term “Haus”. The name itself starts to suggest the vocation of the space and its atmosphere, an environment related to the street and urban culture in which the skateboarding activity is included. From the unofficial Urban Dictionary we see how the term Haus can be also used to define something or someone which is amazing in all aspects of life, and which better term can be used to describe the concept of the Skate Haus? Also the subtitle wants to clearly identify the spaces, actors and agents involved in such project – highlighting the connection and relation between two different chronological aspects of the ancient space and the newer population. But the adjectives can also be interchanged as new spaces for older generations, because the Skate Haus is meant to be not only for the younger generations, but for people of all ages that are interested in a new form of art and culture. The logo in the end is a schematic representation of the two main important fields of the reuse project: the old and the new. The association between the new introduced function of the skating and the historical heritage of the building is a perfect connection across time. Time is maybe the most important aspect of the whole system, and the idea to use the arches, characteristic element of the north façade, is intended to highlight the different steps of construction that come from the Bucentaur House: all the layers are clearly visible here.
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Reuse proposal | Fig 78. Skate Haus logo Fig 79. Skate Haus logo - design process
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LIVING THE SPACE FUNCTIONAL COMPONENTS Skate Haus is an innovative concept proposal for the Arsenale di Venezia, a space with an intrinsic cultural and artistic vocation; for this reason the reuse project of the Bucentaur House wants to introduce a new attention of another cultural and artistic form: the urban street life, declined into the reality of the skating hub. It is not just a space dedicated to skating, itâ&#x20AC;&#x2122;s a new reality that wants to attract citizens and people to a new dimension of the city life, a space where to practice, learn and spend time all together sharing ideas and experiences. Inside the existing volume there are three main activities that deal with the Bucentaur House spaces, three functions that are not divided but that are interacting each other in an indefined flow. Skating zone, Concept Shop and CafĂŠ Area are just three labels to define a continuous space that deals in an unique proposal. Three vert ramps, ranging through difficulty levels and accordingly varying heights, give skateboarders with different skill levels the chance to practice and improve inside the closed off space of the Bucintoro House. The skate zone offers places to stop and rest up, but also has the ramps visually connected to one another. Besides this, skateboarders can utilize the in between space to practice ground-based tricks. For people on in-between skill levels, the two bigger ramps have half a pipe connecting them. The smallest and accordingly lowest in height ramp connects to the platform of the cafeâ&#x20AC;&#x2122;, giving the possibility to skate in the middle of the lounging area in order to reach the bar. Skateboarding culture comes hand in hand with unique design concepts and often times customization. Accordingly, many skaters have their small indie brands catering to the skate public. This is why we wanted to supply a small concept store where indie brands can exhibit their creations- both in regards to clothes and accessories, as well as skateboard decks, wheels... The concept store merges in one segment to the highest ramp, utilizing the area under it as an exhibit and depot space. The area is located in between the skate and lounge zones, as the true middleground of the two.
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As with every space which caters to a generally younger public, there is a need for a gathering space, which was the main driving force for the creation of this area. Also, in order for a cultural space to be economically viable, it needs to turn in profit, so this would be one of the main spaces that capitalizes off of the visitors. In order for the visitors to fully immerse themselves in the skate culture yet remain at a safe distance from those who are practicing, we placed the bar on an interesting platform which provides both a look into the sea which comes into the building and the vert ramps. The upper ground level is provided both to expand the capacity of the space and provide an amazing view towards the skate zone and concept store.
Fig 80. Functional scheme - Skate Haus
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Fig 81. Base level floor
Fig 82. Ground level floor
Fig 83. Mezzanine level floor
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TO THE SMALLER SCALE DESIGN OF THE DETAILS Our goal is for the original structure to remain unchanged and offer visitors possibility to see all segments of it in detail. Because of this, all additions are placed with some dilatation between their sides and the walls. Accordingly, the wooden construction of the roof is left visible as a testament to the building techniques of the past. The South-west corner metal platform also remains, but is inaccessible to visitors due to safety concerns and fear of its structural instability
RAMPS For the ramp design we referenced an online site which gives dimensions for building your own ramps, and right after having a simple default-ramp, the construction and concept of those started to evolve in order to address the shape of the building and create an interaction between the different components of the project: a skating ramp that is not only that, but that can also become a conceptual shop or a seating space. From it we extracted the design of the RPO mini-standard and RPO mini-light ramp as ones suitable to be places inside our Bucintoro skate house. Of course we modified the dimensions in order to have varying heights and difficulty levels included, but kept within regulated heights for vert ramps, respecting the rules. The underneath construction is made in steel profiling, whilst the outside is covered in Okoume multiplex, a typology of playwood that is water-resistant, in order to address the humidity and flooding conditions of the Venetian lagoon. The choice of materials offers easy repairs of broken segments, as well as quick montage and de-montage time, and at the same time the perfect response to the environmental conditions. Another positive effect is related with the acoustics- we can reduce the echo inside with the addition of the furniture, cause in that way sound does not fully reflect on the walls, but is absorbed in part in the furniture, which is realized with multilayered playwood. 45 Professionally Drawn Ramp Plans from http://www.rampplansonline.com/rampplans, Last accessed: 2nd June, 2020
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Fig 84. Ramps details
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ADAPTIVE SEATINGS Our goal for the space modifications to have as minimal impact as possible is also translated into our furniture choice for the cafe/bar segment. The idea is to have so called modular cubes which can be easily re-arranged in rows to provide few rows of amphitheater seating which can be used for movie projections or following skate competitions, in order to have an always flexible space. The modular furniture also comes in compatible material to address the conditions of the space (ndr. for example organic or glazed materials would not have been a correct solution), and also in different colors to also become a play tool for the younger children. The cubes would be produced in wood with a steel base, so they would be both light and fit in with the installed ramps. The materials remain the same typology - Okoume multiplex46 and corten steel. All plywood surfaces will be additionally covered with a water-resistant coating. There will be a possibility to paint on the furniture, so it will add onto the DIY culture of skateboarding. Visitors would be encouraged to spray paint on the seating cubes, modify them as they please, and by so the spirit of collaboration in the skate house will be glorified
Fig 85. Tridimensional Diagrams of the modular furniture component
46 Okoume wood belongs to the mahogany family and a precious hardwood very resistant to mold and fungi. For this reason it is chosen to carry out the finishing of the boats. it is generally used in the navy or in all those areas where there is a need for resistance to heat, high humidity, salinity.
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Fig 86. Sectioned prospective West view
FLOATING PLATFORMS In order to design the raised platform inside the Bucentaur House we looked into the flooding levels of Venice in order to see at what height we should develop our concept. Referencing some datas which identifies the highest flood levels Venice has seen47 which categorizes the average tide levels we decided to place our platform so that the building can withstand very intense tide levels. That is why the platformâ&#x20AC;&#x2122;s base level is 140cm above sea level. The construction will be of Corten steel, whilst the covering in plexiglass, so that visitors can see the penetrating sea and we can also take advantage of the conditions of the space, turning a possible weakness into a strength point. With its boundaries it does not allow water to enter the premises of the building besides inside the platformâ&#x20AC;&#x2122;s envelope. As such the furniture remains intact and visitors do not have to worry about walking on a wet surface.
Fig 87. Floating platform detail
47 N. Berry, Venice floods: Climate change behind highest tide in 50 years, says mayor, from BBC News, 13th November 2019
Fig 88 Explosed axonometric view of the functions
Architectural Preservation Studio - Design Report
LIGHTNING SYSTEM Referring to the skating culture, the case study of the House of Vans in London addresses a perfect solution for the lack of natural lightning. In order not to impact the envelope of the walls we decided to dedicated an offset space of the indoor plan for the lightning system: all the lights are based on the floor or hanged up on other surfaces in order to supply the lack of natural light. Night-time artificial lighting does not only recreate the splendour of ancient structures around a city but also provides a refreshing view of the urban architecture and its surroundings. The art of artificial lighting also provides visitors with a welcoming and secure ambience. When strategically configured, lighting effects in cities can attract and persuade people to meet, interact and get together. In fact, we can boldly say that the art of lighting may have a role in shaping the future of a city. Large cities tend to highlight the aesthetic features in the architecture of a building by using artificial lighting. The Conservation Management Plan (CMP)48 and the Special Area Plan (SAP) were approved by Dato’ Seri Utama Dr Rais Yatim, Minister of Information, Communication and Culture Malaysia on 21 January 2011. The documents were sent to the World Heritage Committee, UNESCO and Georgetown were subsequently granted the status of Heritage City. In section 8.4 of Annexure A within, “Guidelines for the Conservation Areas and Heritage Buildings (Malacca)”, under 8-7, these five guidelines were given: - Illuminating heritage buildings must be carried out with extreme care, to avoid both ugly and damaging installations. - Drilling holes through walls in order to provide power supply, and installing light fixtures all cause damage to heritage buildings and should be kept to a minimum. - Once installed and running, the build-up of heat from lights placed too close to the building is likely to cause damage. Lighting should be considered with this in mind. - Traditionally, the lighting would have been at the ground floor entrance, on the five-foot path of shop-houses or the porch of bungalows. - Colour lighting, whether static or rotating, is not permitted.
48 Conservation management plans from https://www.qld.gov.au/, Department of Environment and Heritage Protection, Queensland Government, 2015
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The government has also recommended that lighting is installed according to the guidelines are given in Section 8.4.1, among which are: - Strings of light bulbs attached to a building, e.g. around windows and cornices, etc., are not permitted. - Spotlighting of buildings should be kept to a minimum, subject to approval on a case-to-case basis. - Floodlighting of buildings should be unobtrusive and set within the landscape, not attached to the building. - Floodlights used on buildings must be natural white light.
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Fig 89. Section AA - Skate Haus
Fig 90. Section BB - Skate Haus
Conclusions |
Conclusions
Chapter 8
The aim of this complex process has been to provide a systematic approach in revitalizing an heritage building through adaptive reuse, on the premise of conservation. It has been really interesting to manage the historic built environment and to focus on understanding how conservation thinking impacts the intervention strategy: the most important and worth result of the whole process is the positive attitude that comes the established state of mind towards the preservation and care of the historical heritage. We also understood how the built form is only a manifestation of a complex list of social interaction and process of events that defines the final result, and of which we are co-authors, including one (and not the last) historical layer, leaving the future open to further development and without superimposing ourselves. We also need to highlight that due to the emergencial situation of the current year (ndr. 2020) the whole proces of thinking and production has been completely performed online; this has also resulted in the end in being and incredible opportunity in order to improve the research attitude and at the same time to focus more on the observation of the provided material. Probably this consequence to the premise has only helped us to focus more into details, to try to catch all the possible information - and getting in the end to a much more complex result. In addition to this, also the fact that this final work comes from the analysis and discussion of two different former groups, helped us to finally obtain a really complex and detailed result, with an higher level of “resolution”. The architectural preservation attitude will leave for sure a deeper and renovated attitude on our architectural design approaches, due to the intensified interest on the heritage background that comes from the built environment, that is not a sterile materic form, but has an intrinsic value, an hidden asset that now we can see and we have the devices to understand and analyze. Quoting the same statement from the very beginning, “the area of the Arsenale di Venezia has always been one of most important spaces of the Mediterranean Sea” and it is destined to still be, because the incredible attention given by our design proposal, as well as the other teams’ is the correct and suitable approach, to give it a future. 237
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Bibliography and Sitography Chapter 9
BIBLIOGRAPHY AA.VV, The Venetial Arsenale and the City – Ideas of Forum Futuro Arsenale, Venezia, April 2015 AA.VV, INFORM Structural cracks leaflet, Historic Scotland, Technical Conservation Grop, Edinburgh, October 2008 A. C. Paone, L’Arsenale svelato: passato, presente e futuro dell’Arsenale di Venezia, 25th Jun 2012 A. F. Stella, Biblioteca italiana ossia giornale di letteratura scienze ed arti compilato da una societa di letterati, Tomo LVIII, Milano,1830, Part I A. Verney-Carron, M. Saheb, Y. Ben Amor, C. Balland, Correlation between black crust formation on limestone monuments and air pollution, Goldschmidt 2019, Aug 2019, Barcelone, France A. Zulkifli, Design Principles of Adaptive Reuse: Case studies on Dockyard, entre of Studies for Architecture, Faculty of Built Environment, Universiti Teknologi Malaysia, Malaysia, 2017 F. Minutoli, ReUSO 2018: l’intreccio dei saperi per rispettare il passato interpretare il presente salvaguardare il futuro, VI convegno internazionale sulla documentazione conservazione e recupero del partrimonio architettonico, Messina, 2018 F. Predari, Guida topografica, storica, artistica di Venezia ed Isole circonvicine, Di Colombo Editore, Trieste, pp. 162-173 G Casoni., Breve storia dell’Arsenale - note e cenni, I.R. Priv. Stabilimento nazionale G. Antonelli, Venezia, 1847, pp. 2-67 G. Casoni, Guida per l’Arsenale di Venezia, Antonelli ed. Venezia,1829 L. Lazzarini, Pietra d’Istria: quarries, characterization, deterioration of the stone of Venice, 12th International congress on the Deterioration and Conservation of Stone, Columbia University, New York, 2012 M. Sanmicheli, Le fabbriche civili, ecclesiastiche e militari di Michele Sanmicheli, ETH-Bibliothek Zürich, Morando Editore, Genova 1886 N. Berry, Venice floods: Climate change behind highest tide in 50 years, says mayor, from BBC News, 13th November 2019 238
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R. Cameron, W. Kenan, A Concise Economic History of the World: From Paleolithic Times to the Present, Oxford University Press, New York 1993, p. 150-179 S. Della Torre, RICerca/REStauro, progetto e cantiere orizzonti operativi, Edizioni Quasar, Roma, 2017, pp. 699-704 S. Zakaria, Light Art for Historical Buildings: Heritage buildings, 5th Arte Polis Conference and Workshop, Bangdung, 2014 T. Brostrom, C. Hangentoft, M. Wessberg, Humidity Control in Historic Buildings through Adaptive Ventilation, Conference: 9th Nordic Symposium on Building Physics, Tampere, June 2011 V. Vergès-Belmin, ICOMOS-ISCS: Illustrated glossary on stone deterioration patterns, ICOMOS, Chapmigny, 2019
SITOGRAPHY “Conservation management plans”, https://www.qld.gov.au/, Department of Environment and Heritage Protection, Queensland Government, 2015 “Database GeoTopografico del Comune di Venezia (DBGT), https:// www.comune.venezia.it/it/geoportale, last accessed on 8th May 2020 “GeoPortale Regione Veneto”, https://idt2.regione.veneto.it, last accessed on 8th May 2020 “Laboratorio di Cartografia e Gis Circe - Dipartimento di Culture del Progetto Università IUAV di Venezia, https://iuav.it/SISTEMA-DE/ laboratori1, last accessed on 8th May 2020 “OpenData Provincia Venezia”, https://dati.venezia.it, last accessed on 8th May 2020 “Professionally Drawn Ramp Plans”, http://www.rampplansonline. com/rampplans, last accessed on 2nd June, 2020 “Sistema Informativo Territoriale Comune di Venezia, http://sit. venezia.it/cartanet, last accessed on 8th May 2020 239
SKATE HAUS Old spaces for new generations N. Chierichetti, A. Petrovska