Personal skills
Period from/to (09/2017-09/2020) Bachelor degree: Architecture Politecnico di Torino
Linguistic knowledges
· Highest score(30L/30) in class for History and Design Studio and Restoration theory, history, and technique · Edisu Scholarship 2017-2020
Period from/to (09/2016-06/2021) Double Bachelor degree: Architecture Harbin Institute of Technology
Mother tongue Chinese Other languages English B2 Italian A2 Certificates China Foundation For Poverty Alleviation & Association California Institute of Earth Art and Architecture
· Renmin Scholarship 2016
P e rs o n a l i nf o r mat i ons Gender Date of birth Nationality
M 01/06/1998 China
Address Telephone Mobile
Yulin, Shaanxi Province, China +86 19829025362 +39 3278225044
Wo rk e x per i ences
Period from/to (08/2020- now) Master degree: Architecture Accademia Adriana di Architettura e Archeologia Onlus
Period from/to (07/2020-07/2020) Summer School Institute for Advanced Architecture of Catalonia · Learned how to translate the design into robotic processes and design flexible protocols for material manipulation · Constructed three kinds of wood structures by executing the project controlling from remote IAAC robots
Period from/to (07/2019-08/2019) Summer School Universidad Politécnica de Madrid
· Assisted in the preparation of workshops, training, meeting, and research related to heritage conservation in Asia and the Pacific region.
· Worked with models, plans, and collage to represent the experiences and individual sensations of architecture heritage · Made a travel notebook including images, quotes, drawings, references, and significant experiences of cultural heritage in the city of Madrid during
· Took part in heritage conservation and creative renovation design of folk house in rural China and provided main design concepts and exhibition models, design work published on major Architecture medias and are under construction process · Assisted with the research and modelling of competition “Future Shanshui City · Dwellings in Lishui Mountain International Urban Design Competition” which was selected as the best 45 out of 650 participating companies
Microsoft: Word, Excel and Power Point Adobe Suit: Photoshop, Indesign, Illustrator, Audion 3D Modelling: Sketchup, Rhino Video Editting: Davinci Resolve
· Design competition work selected as Piranesi Prize - Fiaba · Piranesi Scholarship 2020
9/2020Design intern WHITRAP-Shanghai under the Auspices of UNESCO
6/2020-8/2020 Intern DA! Architects
Software knowledges
Driving licence
Chinese Driving Licence
Other experiences and competencies China Foundation For Poverty Alleviation & Association of Public-Spirited Architects · Cooperated with teammates to make a Business Plan for the Tourism Development of Natural Valley Park in Tianba Village · Designed and constructed a wooden bridge with groupmates and workers in Tianba Village · Made a presentation of wooden bridge design to local government members
the participation in the workshop
Period from/to (07/2017-08/2017) Summer School Harbin Institute of Technology · Took part in Frank Gehry’s Architecture and Construction Methods Innovation and 3D Printing lecture · Learned Grasshopper, Rhino Python Programming basics and Shape Grammar · Finished the concept design of the Student Activity Center of Shenzhen Southern University of Science and Technology from the perspective of site-specific, function-driven and experimental space-making
Awards and acknowledgement · Villa Adriana International Architecture and Museography Competition First Prize, 8.2019 · Tongji University International Design and Construction Competition Second Prize, 6.2017 · Harbin Institute of Technology Design and Construction Competition Third Prize, 7.2017
Zihao Zhang
Architecture student specialising in architectural sustainbility with a strong interest in architectural heritage and construction digitization. Hoping to apply technology-driven expertise to the study and preservation of heritage as well as make the construction process more creative.
Education
Bachelor programs Architecture A.Y. 2019/2020
Zihao Zhang
“Architecture is the yearbook of the world. When the songs and legends are silent, it is still telling.” Architecture is the story-teller, more over it is the direct dialogue between past and present. When we start to discuss a trend of architecture style or movement, we may notice that we are trying to act for or against some other trend or movement in history. Rationalism is apparently against the sophisticated decorative elements and the discrepancy between facade and I. It is true that two aspects are essential from architecture point of view. They have both similarities and distinctions. And my projects will mainly show how I understand them, and how they are affecting and shaping my design choices.
The History and Design Studio 2018-19 was led by Professor Luca Barello, Chiara Devoti, Elena Gianasso, Maria Vittoria Cattaneo, Rachele Vicario, Luca Malvicino, Danilo Marcuzzo and Corrado Scudellaro. There are nine keywords are highlighted during the whole studio which are Observation, Measure, Space, Place, Context, Materiality, Synthesis, Teamwork and Curiosity. As Jean-Pierre Giordani said: This is pre-eminently the architect’s and painter’s observation mode. Open to all possibilities the walker’s glance first looks for all the summits from which he can encompass large horizons (…) The walker’s eye possesses all the means for going deep into the study of the site (...) Sensorial Pleasure also perceive the environment with our senses: sight, hearing (voices, people at work, children playing, cars, fountains, steps, silence, bird song), smell (cooking, vegetable stalls, cars, trees in blossom, bakeries), touch (different kind of surfaces, stone paved, asphalt, lawns, building façades, wind and temperature) and kinetics (the experience of our body position and movement) Architectual Construction Studio 2018/2019 Build in the built environment The project is aiming at emphasizing the horizantality instead of verticality in a co-housing project. By imitating and transforming road-square system inside a building, we wish that communication and collaborative living will be promoted in the indoor neighborhood. The selected part of this project will show technical solutions of it, as well as how detailed construction technology used can create lively feelings in a space.
Restoration theory, history and tecnique This course will examine the contemporary approach to preserve our architectural heritage through a comprehensive overview of the history, theory, and techniques of architectural restoration. The class format will be structured into three parts: the first intends to provide students with grounding in the history and theory of restoration, and its development over the centuries. The second part will survey the latest tendencies and advances regarding strategies, international guidelines and restoration techniques. The final part will focus on the intricate topics associated to the preservation of modern architecture. Supported by readings, lectures and class discussions, students will be encouraged to explore how laws, public policies and cultural attitudes define the way we preserve or not our built environment. Students will then be required to evaluate given historical buildings – their design, context, history and their relationship to the collective identity – with an informed and critical eye. Each week, at least two students will be in charge to start a discussion over the assigned readings, briefly introducing the significant issues and conclusions of each piece and raising critical questions. The development of these informal weekly presentations intend to encourage teamwork, firmly convinced that an open and collaborative environment, that encourages diverse approaches and conclusions, is essential in the learning process.
Strategic design and innovative management of archaeological heritage In the context of an ever more demanding and inclusive program of sustainable design in the management of archaeological heritage, and in support of the political decisions maximizing the cultural offerings on the part of the institutions that are charged with their tutelage, the Itinerant Master’s Degree in “Architecture and Museum Design for Archeology – Innovative Design and Management of Archaeological Heritage” is conceived as a program of study for specialization and professional development. Its goal is the creation of competence, both specific and interdisciplinary at the same time, such as to facilitate the development of an operative, analytical, design and management relationship between architects and archeologists. The key hinge in such a relationship is Museography, or Museum Design; a design discipline who’s goal is the improved awareness of, and utilization of cultural heritage, and in particular, archeological sites.
Zihao Zhang
In my opinion, architecture is always a subject containing multi-disciplinary knowledge and considerations. Here we extract two perspectives from the complex of architecture study, history and technology, as our main discussion.
History and Design Studio 2018/2019 Living: inside/coutside
Bachelor programs Architecture A.Y. 2019/2020
Introduction
Zihao Zhang
Bachelor programs Architecture A.Y. 2019/2020
Zihao Zhang
Bachelor programs Architecture A.Y. 2019/2020
Green Roof Structural Detail 1:10 1 Render 2 Vertical railings 3 Technical cavity 4 Ribbed reinforced concrete slab with perforated blocks 5 Vapour barrier 6 Cork insulation 7 Waterproof layer 8 Anti-slip tees 9 Eco mat protection layer 10 DSE 40 drainage layer 11 Filter fleece 12 Engineered soil 13 Seeded vegetation
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- Cell confinement - anti slip tees - Lintel - Wood frame - Blind frame - Rain drainage channel of palnter - Concrete infill of lintel - Plywood external cladding - Adjustable paving pedestal - Skirting - Mechanical fixings - Reinforced conrete beam
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Axonometric View of Planter 1:10
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15 mm Wooden cladding 80+ mm FT14 In-situ concrete planter wall Waterproofing layer Bauder intensive substrate (NBS 28 mm Q28/124) Bauder filter fleece (NBS Q37/111) Bauder DSE 60 drainage mat filled with 20 mm mineral drain Outlet pipes for drainage Drainage channels -
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SECTION OF CLAY BLOCKS 1:10
Load-bearing wall
Earth Backfill Waterproof layer Thermal insulation (cork panel) Vapour barrier Reiforced concrete slab Screed Acoustic insulation Wooden Parquet
Non Load-bearing wall
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Zihao Zhang
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Bachelor programs Architecture A.Y. 2019/2020
Horizontal Section I-I' 1:20
Zihao Zhang
Bachelor programs Architecture A.Y. 2019/2020
CATHEDRAL AND THE CHAPEL OF THE HOLY SHROUD
Being a philosopher, he published a mathematical-philosophical tract Placita Philosophica defending the geocentric universe against Copernicus and Galileo.
DESIGN PROCESS
GENERAL BACKGROUND
Being an architect, he used complex geometric figures to create a wonderful effect in his architectural works. The reason why he can surpass other architects is that he used the geometric composition to pursue the infinitely extended ceiling space of Baroque art. In Cappella della Sacra Sindone, the bottom part of the dome is dim while the top part is bright. This effect is done with light going through from the gap between geometry structural elements, which makes the dome dynamic and changeable. The decoration and contours of the arches, as well as the gorgeous thresholds, are beautifully decorated. Introduction of background for Cappella della Sacra Sindone: The Cappella della Sacra Sindone is a Baroque-style Roman Catholic chapel in Turin in northern Italy. The chapel is located outside of the Turin Cathedral and connected to the Royal Palace of Turin. During the end of 17th century, which was the region of Charles Emmanuel II, Duke of Savoy, Guarini was commissioned by Carlo Emmanuel to design and construct the chapel. The chapel was constructed to house the Sindone di Torino, which is a religious relic believed by many to be the burial shroud of Jesus of Nazareth. In the church, people made an altar for the Shroud of Jesus and created a sacred box with silver and crystal. On the floor, we can find the geometry colored marble with bronze stars. On the wall, we can see the tombstones of the members of Savoy family. Design process of the Cappella della Sacra Sindone: Beginning of the 17th century: Carlo di Castellamonte designed the project, but the design didn’t meet the Savoy’s wishes and the work interrupted quite soon. 1657: The work restarted according to the design by Bernardino Quadri 1665: An inspection of the structure revealed that the walls were badly made and too thin. 1667: Guarini took the place of Quadri as Ducal Engineer of the Chapel 1687: The work was almost finished.
Zihao Zhang
Being a mathematician, he was a lecturer in mathematics in Messina. He wrote four mathematical books in both Latin and Italian, of which Euclides adauctus is a work on descriptive geometry.
Main parts of Cappella della Sacra Sindone: Cylinder: The cylinder was almost completely defined by Quadri, while Guarini simply fortified the walls, but leaving the cylindrical shape as it was. Bacino Tronco: This part was designed by Guarini, the levels are characterized by some structural elements hidden or not visible from the interior of the chapel. Drum: The drum is characterized by an internal circular boundary and an external 12-sided shape, seperated by a gallery. It consists of six rounded arches and six massive piers. A tie ring plays the role of restraining the thrust of the drum which is placed at the level of the window frame and therefore not evident. Dome: 36 arches in 6 superimposed levels make up the internal system of the dome. The internal plan shows a serious of six rotated hexagons, each one inscribed inside the previous one at a 30 degrees turn. At the base of each arch, there is a masonry cornice and, along the cornices and ties are connected with the behind masonry of the ribs. Arches: Due to the weight of the upper levels of the basket, the arch is loaded by a significant point load at the keystone. Consequently, the thrust line is not entirely lied in the arch. Similar results were found at each level of the basket. The arches are able to support both the self-weight and the weight of infills. Ribs: It is plausible that Guarini, great expert on the static of the structures, knew elliptical arches not to be funicular of a point load at the key stone and, consequently he thought, since the beginning, another system co-operating with the arches: the step-shaped buttresses, visible in Guarini’s section, which then were transformed in the current ribs.
Bachelor programs Architecture A.Y. 2019/2020
Introduction of Guarino Guarini Guarini is not only an architect but also a mathematician, writer and philosopher. Guarini was born in Modena in 1624, he was accepted as a Theatine novince in 1639 and spent his novitiate at the monastery of San Silvestro al Quirinale in Rome, where he studied architecture, theology, philosophy and mathematics.
MAIN PARTS
GUARINO GUARINI
GABRIELE LIPSKYTE ZIHAO ZHANG
Built in Turin city center, by Guarino Guarini between 1667 and 1694 for the Dukes of Savoy. ‘Earthy’ and ‘sacred’ areas to distinguish the contrast between the unstable and clashing elements of the former and the luminous atmosphere of the latter, located at a higher level.
1997 on the night between 11th and 12th of April the Chapel underwent a fire. Thanks to a black marble quarry Frabosa, decorations which were destroyed now are recreated.
The rapid placement of temporary stirrups prevent further settlement.
Restoration intrervention
INTERIOR PART
RIBS PART
With the work on the structure of the Chapel now complete, work began in 2016 on the restoration, material reintegration and finishing treatment of the internal surfaces. This was funded by the Compagnia di San Paolo, with a construction of about 2.7 million, restoring the volumes and shapes of all the original parts damaged by the fire and thus returning the architecture and decoration of the Chapel to its original glory.
integration of the ashlars with fluidized mortar to pour in correspondence of the ribs
Integration at the premises with form mode
Cracks on the long ribs of the dome
Placement of temporary stirrups to prevent further settlement
The cathedral has been rearranged many times along the years: the nave has been rebuilt in 1656, the frescos have been extended in 1834 and removed during the restoration between 1927 and 1929, but the most important change made to the original project is the inclusion of the chapel in the religious complex that keeps the Linen. Most famous restoration periods: 1. Interventions after 1706 2. Demolition of the staircase 3. Restorations between 1926-28
The ancient staircase built by Bernardino d 'Antonio and Bartolomeo de Charri built when the cathedral was first done in 1498 (done after the façade had already been built). Undoubtedly the stones of the churchyard and the steps were badly measured due to the time of the action, but the side parapets and the course of the ramps were still those of the classical temple, closely linked to the clear design of the base of the side walls. The staircase was subjected to numerous restorations because of natural degradation but also the damage suffered during the siege. Further, after the replacement of the floor inside the church and in the entrance portals, it appeared no longer appropriate. In 1879, the problem was to either repair or to remove the stairs, due to a bad state. In fact, in the areas surrounding the Duomo they were at the same time facing problems of traffic linked to the arrangement of the accesses towards the noble area of the city and the Palatine towers, so the staircase is decided to be rebuilt.
Interior decoration of the dome was influenced by high temperature and fell down to the ground. Catalogue the 3000 stone fragments. Mapping the material and areas of the decoration. Identify the mosy secure parts of the building. Use molding technique to remake every fragments that were damaged by the fire.
This restoration, due to lack of funds, can be seen to be finished later when the heating system was completed. The façade was not restored, the work was suspended on the southern front, the altars were not restored, only cleaned from the dust of the building site, because the priority of this phase was a creation of a heating system. In July 1927 and, as usual, it starts from a preliminary project, made by the engineers Squassi, Cottino, Ferrari and Santarelli, the latter technical consultant of the Commission- the idea of building a plant with hot air to be placed in the center of the church is born. The façade was finished in a similar time as the new staircase was done. This will lead to the gradual deterioration of the stone apparatus. The comparison with the current state clearly attests the impoverishment of the Renaissance sculptural findings and in some points the exfoliation and the superficial detachment of the outer layers of the slabs. In mid-spring the works were also completed inside the church: the floor of the presbytery was connected to the floor of the transept with two small ramps (similar to the previous one but more advanced) and to the floor of the central nave with the great staircase that went from pillar to pillar. The floors of the nave and of the presbytery were integrated into the missing parts with marble similar to the previous ones and the existing wooden balustrades were adapted to the new transept. The church was finished in 1928 for the wedding of Savoia-Arember.
Conclusions: The chapel of the Holy Shroud is characterized by a complex, fascinating dome consisting of two structural systems: twelve massive ribs and thirty-six elliptical arches, organized in six superimposed levels. The big fire in 1997 caused terrible damage to the chapel, not only for the interior finishing decoration layer, but also for the structure of the chapel itself. So before the restoration process, it is more important and difficult for restorers to detect the damage of the chapel caused by fire and understand the structural system of the dome in order to create a better restoration technique solution in terms of different kinds of the degredation. It is essential to verify the epoch and the character of each part of the building, and only if restorers put themselves in the shoes of the original architect, which means acquiring complete knowledge of its function and structural logical, the restorers could have the most suitable method to deal with the damaged part considering it is linked to the given time and period.
WEBSITES: 1. http://www.duomoditorino.it/ 2. https://en.wikipedia.org/wiki/Turin_Cathedral 3.https://www.lastampa.it/2018/08/28/esteri/guarinis-masterpiece-returns-to-turin-the-shroud-chapel-reopens-after-the-fire-oROOZYxPbNUXjWl25tDcOM/pagina.html
CONCLUSIONS
Restoration intrervention
Damage after fire
4.http://www.ansa.it/english/news/vatican/2018/09/27/turin-shroud-chapel-reopens_7679c042-fef5-4126aec9-550fd0a06b90.html 5.https://www.theartnewspaper.com/news/turin-s-chapel-of-the-holy-shroud-reopens-21-years-after-disastrousfire
LITERATIRES: 1. Maurizio Momo, Il Duomo di Torino : trasformazioni e restauri , Torino, 1997 2. Paolo Napoli，A Structural Description of the Chapel of the Holy Shroud in Torino，2009 3.Alessandra Mazziotti, Giuseppe Brandonisio, Giuseppe Lucibello & Antonello De Luca，Structural Analysis of the Basket Dome in the Chapel of the Holy Shroud by Guarino Guarini，2016 4.Sylvie Duvernoy，Guarino Guarini’s Chapel of the Holy Shroud in Turin: Open Questions, Possible Solutions，2007 5.John Beldon Scott ,Architecture for the Shroud: Relic and Ritual in Turin, 2003 The red brick bell tower known as Saint Andrew is outside the cathedral, was completed around between 1468 and 1470. In the twenties of the eighteenth century, architect Filippo Juvarra designed a new crowning element for the simple fifteenth century structure. The project only partly completed between 1720 and 1723 and it proposed an innovative solution which inspired other similar projects throughout the 18th century. It underwent some changes, especially in height, during the reign of Vittorio Amedeo II.
Zihao Zhang
17TH CENTURY
After demolition of the three churches, the cathedral was rebuilt between 1491-1498. Amedeo da Settignano (Meo del Caprina) was the architect, he brought new forms of Renaissance in Turin.
Restoration intrervention
Integration of the ashlars with fluidized mortar to pour in correspondence of the ribs. Reopen of the original quarry in Frabosa Soprana to provide the stone needed to replace about 1420 load-bearing pieces that were lost.
Scaffolding was put up in order to provide working platform for workers
The masonry of the ribs showing the stepped profile originally planned by Guarini and the curved profile added later
Large cracks formed in the long ribs
Siege which has caused evident damage to the Cathedral, which still shows today on the marble face of the exterior, on the façade and on the north side the marks of the cannonade. After the storm, it was immediately decided to rebuild the three doors of the façade, which obviously showed signs of breakage. The main door was replaced, which was built according to the design of the engineer Pietro Paolo Cerutti. The architecture of the door and the construction techniques with which it was built are a significant example of the Piedmontese carpentry of 17-18th centuries. Furthermore, work was also carried out in the crypt, where the large lunette vault beneath the right transept was consolidated. The intervention is carried out with the construction of a transversal reinforcement arc, (still visible now). Antonio Bertola was the one who supervised the works on the Cathedral. In 1713 Bertola prepared the instruction for restoration works on roofs. The works included: replacing the degraded wooden warps of the lead converse and tiles. Later, the works in 1713-14 includes fixing the damaged glass, floor interior, rebuilding extra staircase. 1715-16 the entire southern front of the Duomo was reshaped with the formation of the new entrance atrium and the renovation of the archive room. Reviglio is the one to solve this problem: he plans to lower the level of the parvis by two rises and consequently insert two steps in correspondence with the portal. This involved a connection of three risers between the floor of the church and floor of the churchyard, but above all the alteration of the lower order of the decorative party of the façade, this was unbalanced due to an insertion of a base more than thirty centimeters high. Therefore, this suggestion was welcomed negatively, but steps of connection between church and churchyard remained present in all design solutions and so it was realized.
Interior decoration of the dome was influenced by high temperature and fell down to the ground.
Damage after fire
In 2000, when the structural stability of the dome had been assured, work started on removing the rubble, scaffolding was put up, and systems to monitor the behaviour of the structure were put in place. At this point, a knowledge centre was started up, with survey work, the cataloguing of about 3000 stone fragments, historical studies and chemical, physical, and structural analyses. It involved mapping the materials and areas of deterioration, and identifying the most secure parts of the building.
Damage after fire
The rib’s behavior after the fire also confirms that they were not conceived as a loadbearing system. Immediately after the fire it was possible to see that large cracks had formed in the long ribs, followed by minor lesions in the short ones. All of the stone brackets that join the long ribs to the modillions are broken, while none of those of the short ribs are. This behavior can be explained if we assume that, before the fire, the weight of the dome was essentially borne by the system of arches, and only in small part by the ribs. Because of the effects of the high temperatures due to the fire, the hexagonal metal chains present at each level of arches probably lost their rigidity; because of the sagging that followed in consequence, the stone arches transferred a great part of the weight they carried to the ribs, via the modillions and brackets. It was mainly the long ribs, more rigid, which were the first to crack and whose modillions are all broken, and to a lesser degree that of the short ribs.
Restoration intrervention
Interior decoration of the dome was influenced by high temperature and fell down to the ground. Remove the rubble Scaffolding was put up in order to provide workplatform for workers, systems to monitor the behaviour of the structure were put in place
Bachelor programs Architecture A.Y. 2019/2020
In the same place where the renaissance cathedral stands now, there used to be three churches built in the fourth century. The Diocesan Museum, open in the basement of the Cathedral, shields the archaeological remains of these ancient buildings.
After the 1997 fire, the plaster of the ribs, which even before the fire had flaked off in large areas, was completely removed, allowing the fabric of the masonry of the ribs to be surveyed and photographed. It is thus possible to note several very significant aspects: – The ribs were originally built with large steps as shown in the drawing by Guarini. The curved profile, added later, besides being only roughly adapted to the pre-existing profile, is not embedded or tied into this; – The fabric of the masonry, in addition to being of the poorest quality, is laid in horizontal courses. It is thus clear that these elements were not constructed to function as arches, and do not therefore play the role that the “rib system” attributes to them.
Damage after fire
BIBLIOGRAPHY
Mental ring going through the arches and modillions
The cathedral of Turin, built in the last years of the XVth century (between 1491 and 1498), lies in the place where three paleochristian churches dedicated to the Holy Saviour, Saint Mary of Dompno and St. John the Baptist were located. Built at the behest of Bishop Domenico Della Rovere, the existing building is in Renaissance style and the project was assigned to Meo del Caprina da Settignano from Florence. The interior of the church is arranged in the form of a latin cross and dominated by a spacious nave defined by Susa stony columns and bordered by two minor aisles along which the exterior walls hide thirteen chapels (six along the right aisle and seven along the left one). The second altar in the right-hand nave has a great artistic value, it hosts the works of the painter Defendente Ferrari dedicated to the saints Crispino e Crispiniano. The façade comprises a tympanum and three doorways decorated with reliefs and is covered with white marble. Its traits reveal the lines of the naves that divide the internal spaces. The triangular pediment is on the central and higher part while some volutes overlap the two lateral ones to hide the roofs pitches. A stairway leads to the parvis of the church.
20TH CENTURY
15TH CENTURY 4TH CENTURY
Broken mental ring due to the high temperature smoke
CATHEDRAL
TRANSFORMATION
GENERAL BACKGROUND
Rapid placement of stirrups and prestressed ring prevent further settlement
Hot smoke coming out of the windows during the fire
Dome of the Holy Chapel of Shroud with mental ring going across the large windows
Survey and photograph the fabric of the masonry of the ribs
RESTORATION DONE IN 1926-28
In the Chapel of the Shroud, the masonry ring at the base of the cupola is broken by the six great windows of the drum, and cannot therefore exert any forces of containment. This role is entirely entrusted to the metal rings. During the fire of 11 April 1997, burning hot smoke issued from the great windows. The rings of the drum were broken in two places, and as a consequence a series of serious lesions occurred in the arches, the ribs, and at the stone vaults of the drum Settlement was due to the outward displacement of the pilasters of the drum, which form a frame with the architraves and the stone vaults. The rapid placement of temporary stirrups and of a pre-stressed ring made of four cables prevented further settlement.
Dome of St. Peter's with masonry ring
Restoration intrervention
BELL TOWER
A fundamental structural role is played by the ring placed in correspondence to the cornice of the drum. This is difficult to see because it is camouflaged by the mullions of the great windows. The essential role of the rings is connected to the unique typology of the Chapel of the Shroud. In traditional typologies, at the base of the cupola there is always a continuous masonry ring, which resists the radial thrusts of the cupola. Often this masonry contains a metal tie ring. In any case, even where the metal tie is not present, the horizontal traction resistance of the masonry is an effective resistive force.
After the 1997 fire, the plaster of the ribs, which even before the fire had flaked off in large areas, was completely removed
RESTORATION PHASES
The rapid placement of pre-stressed ring made of four cables prevent further settlement.
Damage after fire
INTERVENTIONS AFTER 1706
Restoration intrervention
During the fire of 11 April 1997, burning hot smoke issued from the great windows. The rings of the drum were broken in two places, and as a consequence a series of serious lesions occurred in the arches, the ribs, and at the stone vaults of the drum
DEMOLITION OF THE STAIRCASE
RESTORATION INTERVENTIONS DRUM PART
Damage after fire
CREATION PROCESS
Acropolis stands in a hill of around 156m that rises in the basin of Athens. Its overall dimensions are approximately 170 by 350m. All the sides are rocky and steep except the western one, which has nearly flat top. The Acropolis have been surrounded by strong fortification walls which have kept it steady for over 3,300 years Section of Acropolis
Geological section of the Acropolis hill simplified; 1: artificial earthfill, 2: Upper Cretaceous limestones, 3: conglomerate, 4: the upper marly unit of the formation of the Athenian Schists composed of sandstones, limestones and marls, 5: limestones interbedded in the marly unit.
The monuments were carried out by an extraordinary group of architects (Iktinos, Kallikrates, Mnesikles) and sculptors (Pheidias, Alkamenes, Agorakritos). This hill is the birth place of Democracy, Philosophy, Theatre, Freedom of Expression and Speech, which provide the intellectual and spiritual foundation for the contemporary world and its values. In between twenty-five centuries the monuments in Acropolis have survived wars, explosions, bombardments, fires, earthquakes, sackings, interventions and alterations, it has adapted new functions and new civilizations, myths and religions which went developed in Greece through the time.
Penteli Mountain. Marble quarry
Cultural criteria used by the World Heritage Committee to inscribe the site CRITERION (ii): The monuments of the Athenian Acropolis have exerted an exceptional influence, not only in Greco-Roman antiquity, during which they were considered exemplary models, but also in contemporary times. Throughout the world, Neo-Classical monuments have been inspired by all the Acropolis monuments.
CULTURAL CRITERIA
Restoration theory, history and tecnique 01OUALU Docenti: Arch. Daniele Dabbene Arch. Francesco Novelli
CRITERION (vi): The Acropolis is directly and tangibly associated with events and ideas that have never faded over the course of history. Its monuments are still living testimonies of the achievements of Classical Greek politicians (e.g. Themistokles, Perikles) who lead the city to the establishment of Democracy; the thought of Athenian philosophers (e.g. Socrates, Plato, Demosthenes);and the works of architects (e.g. Iktinos, Kallikrates, Mnesikles) and artists (e.g. Pheidias, Agorakritus, Alkamenes). These monuments are the testimony of a precious part of the cultural heritage of humanity.
267 A.C.
6TH CT
Management measures provided for the site The property is under the jurisdiction of the Ministry of Culture, Education and Religious Affairs, through the Ephorate of Antiquities of Athens, its competent Regional Service, which is responsible for the site’s security and protection, as well as the implementation of an efficient site and visitors’ management system. Moreover, the Ministry of Culture, Education and Religious Affairs implements the legislative decrees concerning the safeguarding of the property and its peripheral zone (which corresponds to the boundaries of the ancient city of Athens and its surroundings) and ensures the visual integrity of the site. Especially for the restoration, protection and monitoring of the property, an advisory body, the Committee for the Restoration and Conservation of the Acropolis Monuments, was founded in 1975 and is responsible for planning, directing and supervising the interventions. The Committee for the Conservation of the Acropolis Monuments (ESMA), is an advisory body: its jurisdiction consists in scheduling and setting guidelines for the restoration works on the Acropolis. This is an inter-scientific committee with members from various scientific fields of the Ministry of Culture and from the academic world. In 1999, the establishment of the Acropolis Restoration Service allowed to increase the academic and technical personnel and made the immense development of the restoration works possible, under the supervision of the before mentioned Committee and in cooperation with the competent Ephorate. The extensive research program and the methodology implemented are innovative in this field and act as a reference point for other restoration projects. The financial resources for the works on the site are derived from the State budget as well as from European Union funds. It organizes and carries out the works of conservation and restoration on the Acropolis. All the interventions are imbued with the spirit of the Venice Charter (1964). They are based on clear theoretical and high scholarly criteria respecting the authenticity and integrity of all cultural goods. Very important restoration projects have already been carried out and received international recognition and awards. They are co-funded by the Greek State and the European Union. The indicator to monitor progress will be the number of completed restoration works and the initiation of new ones. Special attention has been paid to the accessibility of the site, to pathways and to visitor facilities, especially for disabled people. Furthermore, emergency plans for visitor security and scientific studies for the protection of the site, such as monitoring of earthquake activity, are being carried out. The New Acropolis Museum (inaugurated in 2009), in which most of the original sculptural and/or architectural pieces of the monuments are conserved, the on-going project “Unification of the Archaeological Sites of Athens”, as well as the long-term conservation works will enhance the protection and the presentation of the property.
The second extensive restoration
Restoration of Parthenon
1687
1898-1902 1922-1933
1984
AIMS
Great fire at the Roman period occurs in the 267 A.C. The city is destroyed by the warriors who are coming from the North, they also burn the Parthenon. All the wooden constructions, especially the huge wooden beams of the roof were destroyed during the fire. The catastrophe lasted for many days and destroyed all the inner faces of the cella, the roof and the inner faces of the exastyle colonnades of the short elevations.
END OF 19TH CT
Answerable to an oversight committee which controlled all the decisions. Resetting of the column drums on the Parthenon’s still.
AFTER 1920’S
Ideas of moving monuments into their original position (suggested by Theophile Homolle, 1905) members on the ground floor (the ones which were removed during the Pittakis restoration) are identified and moved to their original place (anastelosis programme for the north facade).
In the 6th century the Parthenon was transformed into a Christian church. The entrance from the east door is cancelled and in its position the using blocks from the east wall semicircular apse was built,. Windows were opened breaking marble members. About 9-10 windows on the sidewalls and 6 on the freeze area. In 1687 the Venetian forces, fought the Turks right in the place where the Acropolis fortification was standing. A bomb exploded the gunpowder, stored by the Turks inside the Parthenon. The temple was split in two and except the walls of the cella, 14 columns of the North and South side gunpowder collapsed. The extensive restoration effort starts in 1898-1902 and continues in 1922-1933 by the civil engineer Nikolaos Balanos.
1.conserve the structure of the monument 2.correct the positions of the stones restored earlier 3.complete the restored areas with original fragments laying on the ground 4.replace all the chip concrete completions with marble ones 5.stop the continuous action of the of the corroded iron 6.protect the original sculptures from the pollution 7.clean and protect the exterior surfaces of the
FROM 1923 TO 1930
The fillings of the drums were constructed of Piraeus limestone reinforced with a metal mesh encased in cement, over which he then laid a waterproof coating. The metal mesh and clamps between blocks were made of hard industrial iron. Although highly resistant to stress, this material also had a high Sulphur content and was particularly sensitive to rusting that is, it had minimal resistance to moist weather conditions. Freshly cut or reused marble was employed on the upper part of the colonnade, including the column capitals, architrave blocks and triglyphs. To complete the form of partly preserved members, the broken edges of the original material was cut away to create suitable surfaces for stabilizing and joining the new marble fillings. He also hid strong reinforcement within architraves, cornice blocks and other ancient members in many cases in very ingenious ways.
His approach may have solved the problem of the static durability of the heavy members, but it also shows the ignorance of the new materials. Using reinforced concrete, Balanos seems to have ignored its qualities and, consequently, have overestimated its resistance to moisture. He added iron clamps to secure the masonry. Unlike leaded iron, used by the ancient Greeks, the metal clamps used by Balanos were exposed to the elements and eventually corroded. The expansion of rusty iron has caused irreparable damage to most of the cracked building materials. The result of Balanos invasive method was that in some cases the original ancient material was transformed into a cover for the encasement of modern reinforcements. Such an approach caused serious, irreversible loss to the authentic material within the interior of the restored members.
Suggested facade of the medieval Parthenon, which has been converted into a church.
Mnesikles
Pheidias
Alkamenes
Agorakritos
SCULPTORS
The second extensive restoration effort starts in 1898- 1902 and continues in 1922-1933 by the civil engineer Nikolaos Balanos. Characteristic of Balanos’ intervention on the north side of the Parthenon was the dynamic resolution of static problems and the use of methods derived from contemporary construction techniques which, however, were previously untested on ancient monuments. Misplacement of member in the Balanos restoration (each column should be one colour matching its adjacent entablature). Of a total of 185 members, 153 changed position so to be reset in their original place. (Digital drawing: P. Kostantopoulos, 2009, ESMA Archive)
A high quality classical clamp from the south wall, preserved in entirety
Defenders of the modern heritage believe that Balanos is responsible for more damage to the Parthenon than good. Although, he was aiming to reset the members in their original positions, he was not able to achieve this. The misplacement of column drums and entablature members was one of the most serious failures of his work. The negative aftermath of the Balanos intervention created a desire for a new approach, particularly on a technical level, planned and executed by multidisciplinary teams.
A classical clamp from the northern wall almost totally disintegrated
People used cast lead to prevent the corrosion in ancient
Fitting a new marble filling to a column capital of the north colonnade of the Parthenon
Criticism for Intervention of Balanos In 1984 starts the final present extensive restoration work. The result of the strong earthquake that took place in 1981 affects the corners of the east side and obligates the authorities to take action. Fortunately, the first study for the restoration of the Partenon by the architect Maolis Korres, already exists. The works are under the scientific supervision of the Committee for the Conservation of the Acropolis Monuments.
Kallikrates
The reposition of the capital of the 4th column of the north colonnade by Balanos in 1929. (Reproduced by kind permission of the Archaeological Society, Athens)
Iron beam hidden in a marble beam
Zihao Zhang
SITE’S LEGAL STATUS MANAGEMENT MEASURES PROVIDED FOR THE SITE
Nowadays, the property is strongly protected under the provisions of Law No 3028/2002 on the “Protection of Antiquities and Cultural Heritage in general”. Moreover, the Acropolis and its surroundings, which constitute monuments per se, are protected by legislative decrees (Ministerial Decrees F01/12970/503/25.2.82 concerning the designation of its buffer zone; and F43/7027/425/29.1.2004 concerning the designation of the peripheral zone of the city of Athens and imposing obligatory control before issuing any building or development permit within its boundaries). The fact tat the property’s buffer zone is a protected archaeological area itself, along with the implementation of the strict legal framework – especially for the urban tissue in the historical center of Athens since 2002 – and the intense monitoring by the competent Ephorate, ensure that urban development pressures are adequately addressed. Special protection is provided by the Presidential Decree No 24/2007, which declares the Acropolis area a no-fly zone.
Ictinus
CRITERION (iv): The Athenian Acropolis is an outstanding example of an architectural ensemble illustrating significant historical phases since the 16th century BC. Firstly, it was the Mycenaean Acropolis (Late Helladic civilization, 1600-1100 BC) which included the royal residence and was protected by the characteristic Mycenaean fortification. The monuments of the Acropolis are distinctly unique structures that evoke the ideals of the Classical 5th century BC and represent the apex of ancient Greek architectural development.
Gabriele Lipskyte Zihao Zhang
Site's legal status
ARCHITECTS
Bachelor programs Architecture A.Y. 2019/2020
REASEARCH REPORT OF ACROPOLIS, ATHENS
CRITERION (iii): From myth to institutionalized cult, the Athenian Acropolis, by its precision and diversity, bears a unique testimony to the religions of ancient Greece. It is the sacred temple from which sprung fundamental legends about the city. Beginning in the 6th century BC, myths and beliefs gave rise to temples, altars and votives corresponding to an extreme diversity of cults, which have brought us the Athenian religion in all its richness and complexity. Athena was venerated as the goddess of the city (Athena Polias); as the goddess of war (Athena Promachos); as the goddess of victory (Athena Nike); as the protective goddess of crafts (Athena Ergane), etc. Most of her identities are glorified at the main temple dedicated to her, the Parthenon, the temple of the patron-goddess.
The third extensive restoration
Concrete completion
damages due to the corroded iron
Marble completion
North elevation rearrangement of architectural members
North wall: 1.Correct and complete the stones which is at the base of the North wall with original material. 20 stones were restored wrongly at the base of the North wall. 2.Dismantle the restored walls and gather all of stones (which is dismantled and scattered on the ground) to look for their original position. Restorers developed a lot of techniques to approach the solution of how to find the original position of each stones and a special computer program is one of them. Finally they used the excel tables and know the original position of 450 stones.
West inner exastyle colonade: 1.At the beginning, stop dismantling the area above the architraves and conserving the original members in order to keep the stability of the original columns, which are seriously damaged by the fire. 2.After many tests which lasted two years, restorers developed special grouts (to put a thin line of mortar in the spaces between tiles), which is capable to pass through the cracks of the burned marble 3.The heat from fire weaken the mortar of the stone--A few stones shift--uneven strain on the rest of the wall--stone will collapse--Stones of the building will be scavenged for other purposes. Stones are heavy and the ones at the top put a lot of stress on the bottom. So stone wallshad to be much thicker at the bottom, and any shortcuts you take will weaken it.
lowering an ancient metope from the north side of the monument
South elevation: Remove and rotate a complete column of the South elevation. The 5th column in south elevation which weights 50 tons presented a strong inclination to the south. Raise the complete column some millimeters--Remove and slide it on a concrete basis--Complete the lowest drum with a new marble which is more resistant--Rotate the column by some centimeters
From installation and equipment point of view: To a great extent, this technological knowledge is based on ideas and hoisting systems already known and employed in antiquity for building the monuments The project started with the installation of a crane at the SE corner of the Acropolis. With this crane we transport all the necessary materials to and from all monuments. A small chariot moving on rails connects the crane with the site. A portal crane with a capacity of 12, 5 tons continues the transportation of the materials and the marbles along the long south side of the Parthenon. On this side the main workshops of the marble are situated, exactly on the same location as in the antiquity From the beginning of the project, a crane was installed inside the Parthenon, and recently in 2000 another one was installed on the exterior of the north side of the monument. Both cranes have special construction specifications. Mainly about their speed. Taking into consideration that the assembly of the cranes had to be done only by manpower and not by auxiliary cranes. All cranes are visible from the city of Athens only while they are working. We believe that the position of the crane should not be placed on the platform of the temple or even close to the temple. Although it is more convenient to transport the components to be repaired when placed close to the temple, it will affect and damage the stability of the temple foundation to a certain extent. The practice of building cranes for remote transportation outside Acropolis is now a more reasonable approach.
East elevation (major priority): Removed/conserved/replaced in position more than 300 tons of marble 1.Dismantle of the members above the corner columns and rotate them to original position. Due to the strong earthquake in 1981, the two columns in the South-east corner suffered a lot and become weaker structurally. In order to release the pressure of the columns and relax their base, restorers removed the members above the corner columns. To correct the curvature of eastern architraves caused by the earthquake, they designed and executed the rotation of the SE corner column to its original place successfully. Considering that the total weight of column is 60 tons, it is completely a prototype work. 2.Restorers replaced all the original statues and “metopes”(the really original one is in theGreat British Museum now) with concrete copies and rearranged some members to their original position. At the same time, newly found ancient fragments were added to the pediment.
Detail of the sliding installation of rotating the column drum
Detail of the sliding installation of moving the column
Mending joining fragments of an architrave block of the north side of the Parthenon with titanium rods
Dismantling the column capital of the Propylaea west hall
ATTITUDES TOWARDS EXISTING RESTORATION OBJECT
Parthenon bird’s eye view, there is a crane standing in the center of Parthenon
Rotation design of the south-east corner column. (Drawing: M. Korres)
Pronaos before the restoration
In our view, The aspiration to duration and continuty should be guaranteed in the restoration process . From the current point of view, the restoration activities of the ancestors themselves have actually become part of the historical process and historical value of the temple. Perhaps from the current point of view, the use of materials and the application of technology are not mature, but if we look at the timeline of the entire historical process, for our modern restoration activities, future restoration experts will also consider the current restoration activity in the same way. However, we still believe that there are some certain standards existing: 1. The use of metal components to connect different elements during the Balanos restoration period was a very avant-garde and modern solution at the time, but it was destructive to the temple itself. So in order to let the temple continue to stand for a long time, people choose to replace the metal components and repair the damaged part of the column. This in itself is a manifestation of the sustainability and continuity of the restoration activities that we cannot change. 2. For the position of the different stones in the Balanos period, the modern people removed the reorganization, which I think is unnecessary. Because the removal and subsequent reorganization of the stone itself is destructive to the existing structure of the temple, not even mention the location of the demolition is located in the bottom part of the wall. So I think: If the damaging impact of the current repair activity is greater than the potential impact of the existing problem itself in the future, we better choose to maintain the status quo of the cultural relics to be repaired.
Bibliography
Pronaos after the restoration
Recombination of the existing stones
The stone is located at the bottom part of the wall
1. Charalambos Bouras, Maria Ioannidou (2012), Ian Jenkins, Acropolis Restored 2. M. Ioannidou (2006), Principles and methodology of intervention for structural restoration
The ancient crane of the Parthenon. (Drawing: M. Korres)
3. Jayoung Che, Nicholas C.J. Pappas (2011), The traditional Mediterranean: essays from the ancient to the early modern era 4. F. Mallouchou-Tufano, Y. Alexpoulos, Digital Management of the documentation of the Acropolis restoration 5. Nicolaos Papachatzis (1989), The Cult of Erechtheus and Athena on the Acropolis of Athens
RESTORATION MATERIALS
The corrosion resistance of the Titamuim is 500 times of the steel’s one.
East inner hexastyle colonade: New program Quantities of the new marble A lot of discussions and proposals rose between the members of the committee This program will mostly affect the final appearance of the monument.
Criticism for intervention of third period of restoration
CRANES
Concrete completion
6. Eustathios Chiotis (2011), Water supply and drainage works in the Agora of ancient Athens
Now, the repairers have chosen to replace the iron as a component of the connecting member with titanium. We can’t deny that the corrosion resistance of titanium is 500 times that of iron because it can form a metal oxide film on the surface to prevent water corrosion, but if we look at it from a long-term perspective, I believe that with the development of materials science and technology, there will be More and more alloys with better corrosion resistance have been developed. I believe that the repairers at that time will look at us in the same way that we look at Balanos’ iron components, so what we can do is to repair them with the most suitable technology and the most suitable materials. This is enough.
Websites: 1. https://ysma.gr/en/restoration/history-of-older-interventions/ 2. https://whc.unesco.org/en/list/404 3. https://ayoqq.org/gallery.html 4.https://athenianarchitecturenz.weebly.com/buildings-on-the-acropolis.html Resetting of the titanium clamps in the ancient cuttings
Structural restoration of a beam with titanium rods
5.http://hallwaysaremyrunways.com/acropolis/ 6.http://www.visitgreece.gr/en/culture/monuments/acropolis_fortification_wall 7.https://www.inexhibit.com/mymuseum/acropolis-museum-athens/
Zihao Zhang
Dismantling the north-east corner
In 1984 starts the third extensive restoration work. The result of the strong earthquake that took place in 1981 affects the corners of the east side and obligates the authorities to take action. Fortunately, the first study for the restoration of the Partenon by the architect Manolis Korres, already exists. The works are under the scientific supervision of the Committee for the Conservation of the Acropolis Monuments
Bachelor programs Architecture A.Y. 2019/2020
Preparation of the restoration site: 1.Collect the marble members of Parthenon. Collect all marble members around the Parthenon on the Acropolis as well outside of the Acropolis area. 2.Transportation of marble members. Because of the irregular soil of the area, they use a flexible system of metal beams and metal tubes and a lifting machine. 3.Install the carne on the concrete working floor at the interior of the Parthenon to transport the marble members
North elevation: Most extend and difficult one. 1.Restore the damages due to the corroded iron. It is obvious that the previous restoration was done under pressure. Greece at that time was involved in a war. The money for the restoration works was not enough and the authorities accepted financial assistance by the Greek-Americans. 2.Restore the colonnades using marble completions but not concrete ones. 3.Rearrange the positions of the drums between columns succeed to the correct position for the drums and the correct height for the columns.
C = 33, M = 28, Y = 39, K = 1
C = 21, M = 39, Y = 42, K = 0
C = 7, M = 17, Y = 25, K = 0
C = 21, M = 27, Y = 35, K = 0
C = 9, M = 26, Y = 22, K = 0
C = 34, M = 33, Y = 32, K = 0
Goudy Old Style ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The visual communication project: logotype
The visual communication project: mockups
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The visual communication project: social media
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Zihao Zhang
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Bachelor programs Architecture A.Y. 2019/2020
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The visual communication project: color combination
In the Buffer Zone: the project area
The Buffer Zone design: masterplan
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The Buffer Zone design: prospetic view
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Zihao Zhang
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Bachelor programs Architecture A.Y. 2019/2020
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In the Buffer Zone: designing axes
The Thermal-Exhibition Pavillion: the design approach
The Thermal-Exhibition Pavillion: roof plan
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The Thermal-Exhibition Pavillion: axonometric diagram
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Zihao Zhang
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Bachelor programs Architecture A.Y. 2019/2020
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The Thermal-Exhibition Pavillion: the design approach
The Thermal-Exhibition Pavillion
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The Thermal-Exhibition Pavillion
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The Thermal-Exhibition Pavillion: longitudinal section
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The Thermal-Exhibition Pavillion
The Thermal-Exhibition Pavillion: transversal section
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The Thermal-Exhibition Pavillion
Zihao Zhang
GROUP 06
Bachelor programs Architecture A.Y. 2019/2020
The Thermal-Exhibition Pavillion