01PQJPQ_RESTORATION

MANUELA MATTONE

LESSON 13/03/2020

• What is Restauro?

Concept no easy to be defined:

o Quatremère de Quincy (1832): replace, reconstruct. “How many antique monuments

would be preserved if only the care was taken to put back in place the fallen materials, or
to replace a stone by another stone?”
o E. E. Viollet-le-Duc (1858): “To restore a building is not to maintain it, repair it or remake
it, it is to re-establish it in a complete state that perhaps never existed at any time”.
o J. Ruskin (1849): “restoration is the worst of the destruction, accompanied with false
description of the thing destroyed”.

CASE STUDY:

• Carcassone, France → Viollet-le-Duc, medieval castle, the interventions was to recostruction

completly the wall and the towers of the castle, the roof of the towers
• Pierrefonds, France → Castel, Napoleone lives here but the castel was totaly destoied and he
asked to Viollet-le-Duc to restor,he started with restor some part and after he decided to add new
part and restor all the castle.
• Fondaco dei Turchi, Venezia → completly restor, ricostruction by Federico Bersce, he domolish the
building and he built a new building
• Duomo di Amalfi → transformartion intervention, trasformation of the facade, Enrico Albino restor
the facade (medieval facade)
• Colosseo, Roma → Raffaele stern e Giuseppe valadier, preservation of the building, collass and
stern put an element for the stability f the structure. Valadier later put a new elemente to garaty the
stability of the building but in this case he wnat that people can see the old part.
• Arco di Tito, Roma → Raffaele stern e Giuseppe valadier, preservation of the monument, he rebuilt
the missing part, passible to identifai the old part.

DEFINITIONS

• There is no universally applicable term that covers all building measures on existing buildings.
• The degree of change, compared to the extent of the building fabric to be retained, varies greatly
(from minor repairs to total refurbishment).
• The intervention in the existing building fabric is carried out for totally different reasons (aesthetic,
technical, functional).
 • Reconstruction: rebuilding a structure that no longer exists; although reconstructions are based
on old designs, they are always new works without original parts;

• Restoration: finishing an incomplete structure; restoration is very similar to reconstruction except

that in the former original building elements are still available, which are supplemented by
appropriate additions.

• Conservation: technical intervention aimed at the preservation of the cultural heritage; aim of the
intervention of restauro

Intervention:
• of pure conservation;
• of reconstruction/restoration;
• critical and creative.

CASE STUDY:

• Palazzo della Ragione, Milano → Medieval building, during the 17 century the roof was destroied
for make a new floor. The new floor isn’t compatible with the existing building but the population
and the architect wnat to conserve the building and so the building was only clean
• Convento dei Minimi, Roma → conservation intervention, pore conservation, no replaicing the
missing part, only consolidation of the material
• Zisa, Palermo → the building crash down, a palace of ferdinando II, at the first time consolidation
the not crash, arab architecture, after that the intervention was to rebuilt the palace, possibility to
destingusc the old part
• Palazzo comunale, Saluzzo → Medieval building with a lot of trasformation in the time, during the
intervantion the buildign was riestablish the building like the medieval building
• Galleria di Diana, La Venaria Reale, Torino → restauration intervantion, Juvarra, reproduce the
gallery using the same tipe of the old gallery, all element are completly new.
• Museo di Castelvecchio, Verona → critical and creative intervation, Carlo Scarpa, medieval
building with many trasformation, restauration to garanty the preservation and the re use the
building, new element for the preservation.
• Castello di Rivoli, Torino → Andrea Bruno, decide to add new element for re use the castle,
transformation in museum, the manica lunga have some missing wall sobsitution with a glass.
Recognise the old part.
• Chateau de Lichtemberg, France
• Forte di Fortezza, Fortezza (Bolzano)
• Neues Museum, Berlin
LESSON 16/03/2020

From the monument to the immaterial heritage: evolution of the concept of cultural heritage

PATRIMOINE

• The concept of heritage is the result of historical evolution that began with the French Revolution.

• Patrimoine/inheritance: goods inherited from the family, considered almost holy, and for that reason
respected and protected.

• After the French Revolution → broader concept of patrimoine.

Patrimoine:

• assets of a nation, with memory value;

• elements which contribute to the creation of a national identity and in which each nation recognizes itself.

MONUMENT

Which assets have to be preserved?

Nineteenth century: the interest and consequently the restoration interventions were carried out exclusively
on monumental heritage.

• Aestethic value

• Expression of cultural identity

CASE STUDY:

• Notre Dame de Paris, France

• Castello Sforzesco, Milano → Luca beltrami,
• Castello di Pavone, Torino → Alfredo deandrade
• Palazzo Re Enzo, Bologna → Rubiani

RESTORATION CHARTERS

Since the thirties of the twentieth century, the so-called restoration charters have been written. They are
documents, a set of recommendations, concerning restoration discipline, developed by experts and
technicians, in order to provide guidance for professionals committed in restoration activities

ATHENS CHARTER, 1931 → The Athens Charter is actually considered as the first restoration charter. It
declares the need to preserve: Artistic and archaeological heritage (not uniquely defined) and, in particular,
artistic and historical monuments.
CULTURAL PROPERTY

• Hague Convention (1954): the concept of cultural property to mean heritage appears for the first time
concerning the protection of this property in the case of armed conflict;

• the convention considers cultural property, both movable and not movable, of great importance to the
cultural heritage of every people;

• the convention states that it is necessary to protect the cultural property of all humanity.

VENICE CHARTER, 1964

The definition of historic monument applies:

• not only «to great works of art»;

• but also «to more modest works of the past which have acquired cultural value with the passing of time».

• «the concept of historic monument embraces not only the single architectural work but also the urban or
rural setting in which is found the evidence of a particular civilization, of a significant development or of
an historical event».

It also says that:

• The common responsibility to safeguard them for future generations is recognized.

• It is our duty to hand them on in the full richness of their authenticity.

UNESCO Convention (1972):

• cultural heritage;

• natural heritage.

Cultural heritage includes:

• Monuments: architectural works, works of monumental sculpture and painting, elements or structures of
an archaeological nature, inscriptions, cave dwellings and combination of features, which are of
outstanding universal value from the point of view of history, art or science;

• Groups of buildings: groups of separate or connected buildings which, because of their architecture,
their homogeneity or their place in the landscape, are of outstanding universal value from the point of view
of history, art or science;

• Sites: works of man or the combined works of nature and man, and areas including archaeological sites
which are of outstanding universal value from the historical, aesthetic, ethnological or anthropological
point of view.
Natural heritage includes:

• natural features consisting of physical and biological formations or groups of such formations, which are
of outstanding universal value from the aesthetic or scientific point of view;

• geological and physiographical formations and precisely delineated areas which constitute the habitat
of threatened species of animals and plants of outstanding universal value from the point of view of science
or conservation;

• natural sites or precisely delineated natural areas of outstanding universal value from the point of view
of science, conservation or natural beauty

The convention calls for the preservation of such assets because they are cultural heritage of humanity.

• Washington charter (1987): need to protect historic cities, because of their role as historic
documents and ecause they embody the values of traditional urban culture.
Novelty: Attention to both material and spiritual values

• Cracovia charter (2000)

• A monument is defined as «a clearly determinated entity, the bearer of value, which represent a
support to memory. In it, memory recognises the aspect that are pertinent to human deeds and
thoughts, associated with the historic time-line».
• It’s impossible to define beforehand what heritage is;
• Each community is asked to identify the values which characterize its cultural identity and has to
ensure their preservation.
• Objective criteria → Subjective criteria

• Historic gardens italian charter (1981): it is defined historic garden «a multi-material collection,
esigned by man and accomplished by living material, which insists on and changes a natural
landscape. As a material artifact, it is an artistic work and a cultural, architectural and
environmental heritage belonging to all the community».
• European Landscape Convention (2000):
• Landscape: essential component of the people’s environment, an expression of the diversity of
their cultural and natural heritage, and foundation of their identity;
• Protection: landscapes, that might be considered outstanding, are both landscapes of everyday
life, and degraded landscapes which represent a value for the people who live there and/or attend
them.
• Do.Co.Mo.Mo. (1988): institution for the documentation and preservation of the products of the
modern movement.

Main goals are:

• Bring the significance of the modern movement to the attention of the public, the authorities, the
professionals and the educational community concerned with the built environment.
• Foster the development of appropriate techniques and methods of conservation and disseminate
this knowledge throughout the professionals
• Oppose destruction and disfigurement of significant works of the modern movement.

• Nizhny Tagil Charter (2003)

Definition: “Industrial heritage consists of the remains of industrial culture which are of historical,
technological, social, architectural or scientific value. These remains consist of buildings and
machinery, workshops, mills and factories, mines and sites for processing and refining, warehouses
and stores, places where energy is generated, transmitted and used, transport and all its
infrastructure, as well as places used for social activities related to industry such as housing,
religious worship or education”.
Values of industrial heritage: “the motives for protecting the industrial heritage are based on the
universal value of this evidence, rather than on the singularity of unique sites”
 CASTELLO DI RIVOLI

Unesco in 1997.

It’s a part of “corona delle delizie”, some residence near Turin.

The Savoia built different castle.

At the end of 16th century Emanuele Filiberto move the capital from Chambery to Turin and called some
architects to project his heritage in Turin that was a quite little Roman city.
He decided to starts a great architectural political project, the Castello di Rivoli
Turin became also the capital of the Savoia monarchy.
The main architects was Juvarra.

Savoya built some different avenue, Corso Marconi is an example, and the other was Corso Francia (it’s the
longest street in Europe and it mirage the city center to Castello di Rivoli. It was called “The Stradone del Re”).
It was a simple way to connect Palazzo Madama to Castello di Rivoli.
Some years later Juvarra built a street that nowadays is Corso Stati Uniti and Corso Orbassano to connect also
the Castello di Stupinigi.
Juvarra’s Pensiero
Juvarra made a lot of sketches that are called “Pensieri”.
This drowning is a part of collection of Palazzo Madama and is interesting because
we can see the Castello di Rivoli, the River Po, Monte dei Cappuccini, Gran Madre
and Superga on th hill.
The intention was to show an ideal line from Rivoli to Superga.

The Castello di Rivoli had a very important role for Savoya Family from 1147 to 1883 and it was the symbol of
the family.
Superga was the Royal cemetery.

Clemente Rovere
This drowning is by Clemente Rovere in 19th century.
We can see the long line Stradone del Re to Castello di Rivoli and at the end Superga.
The architecture symbolise the power of the family.

Bartolomeo Debbene Civitate Veri Sive Morum, 1609

Castello di Rivoli at the beginning was a very simple building with different houses and
in the middle a tower.
There was the garden.
We don’t have a lot of remain of this first period.

Image coming from Theatrum Sabaudiae

This is the view of Castello di Rivoli from Torino to Susa Valley, infact we can see the
Sacra di San Michele.
The castel has been transform.
The idea was to host a part of the collection. The architect added a new part that
was called Manica Lunga. It host a lot of painting.
It is very similar to Castello del Valentino, with tower and church dedicated to S. Carlo
Borromeo. We can see also the garden.
The other side
The other side of the Castello
The architect were Carlo ed Amedeo di Castellamonte that after the Castello di Rivoli
they moved to Castello del Valentino.

The Crowning Room

The painters worked inside the Castello.
The Crowning Room was the only room painted by Isidoro Bianchi (that also painted
the Sala delle Colonne in Castello del Valentino).
This room is dedicated to Amedeo VIII and the painting represent the life of Amedeo
VII.

Manica Lunga
Rivoli was important because was a symbolical place. It was the space of celebration.
We suppose that this image was the manica lunga in 1693 that connect the castle.
In this manica there are al lot pain of Tiziano, Van Dick or other important painters.

This is the manica lunga nowadays and host contemporary art exhibition.
Andrea Bruno restored the manica lunga.
The roof is in steel. Manica lunga was the last part restored by Andrea Bruno because
inside there was homeless and family that needed a home.
In 1996 they start to work and change completely the roof.
The roof isn’t the only thing that Bruno changed, in fact he open some windows.

Manica Lunga before and after Bruno’s work.

Inside
Inside there are old walls and new stairs of Bruno.
He decided to use modern and simple material because the Castello di Rivoli host
contemporary art.
Andrea Bruno’s Project is very modern.
The steirs was in steel and glass.

Restaurant
Near the manica lunga today there is a Michelin restaurant.

On the rest we have a long terrace to see the view to Turin.

Giovanni Paolo Pannini Facciata del Castello di Rivoli verso Mezzogiorno

The painting by Giovanni Paolo Pannini (the most important painter of the Pope).
Juvarra’s project came after the Spanish war that stopped in 1712 with the sign of
Utrecht.
Garove started to restore the Castle.
Vittorio Amedeo II was the first king of Savoya dinasty and want to restore the castle.
Rivoli was rebuilt after the war and became more important.
The image show the project of Juvarra.
Maquette
Juvarra restored the manica lunga and become an other wing of the castle .
The medieval part of Rivoli have to be destroyed because Corso Francia have to
arrived on the top. It wasn’t realises because buy all the houses was too expensive.
The wooden maquette by Carlo Maria Ugliengo show the project of Juvarra also
inside (it can be opened) because the major part of. The project wasn’t realised.

Giovanni Paolo Pannini Prospetto

This are the Castellamonte Tower.
This structure wasn’t realised but Andrea Bruno drew the shape of it on the floor.
This painting now is in Palazzo Madama

The plans of Bruno

6 5
1. Drowing of the Juvarra project on the floor (by Bruno)
3
2. Medieval part
7 4 2 1
3. 1620: Castellamonte terrace
4. Bruno
5. Juvarra part
6. Manica Lunga
7. How has to be
Atrio
This was the atrio between manica del castello e manica lunga.
The French army in 1693 destroyed a part of the castle, so Garove and Juvarra remove
the bricks and they collocated the main entrance.
Bruno to remember what wasn’t never realised create a grid with whiter marble and
grey stone to remember.

When Bruno arrived to Castello di Rivoli he had to remove some pillars.

The idea was to refuse the structure that wasn’t an historical one, and come back to
the Juvarra work.
This is why the castello and manica lunga are not connected.

This is the nowadays situation.

he want to show the Juvarra project.
Bruno decided to create the situation of Juvarra stopped project.

Bruno put a mirror door.

This is for evocate what the project should be if it hadn’t been stopped.

New stairs
These are the new stairs, and Bruno drew on the wall the oldest stairs to evocate it.
Panoramic point
Andrea bruno added a panoramic point with glass and steal at the end of manica
lunga.

The project of Bruno started at 1979 and finished at 1984.

In December 1989 was opened the museum of contemporary
art (the first in Italy).

In 1994 Andrea Bruno decided to no recreate the ideal project but to freeze the
situation and not repainting the wall.

Nowadays all is restored by Rava that decided to cover some part.

Paviment
The paviment is original:
2 different marble.

In tho rooms Bruno remade paviments.

Bruno’s idea was not only to restore the building, but to create a space to host
contemporary collection.
He planned also a theatre and a cafe.
He create a space where you can view collection, but not only.
Summary
The building in 1978 was in disastrous condition, the infiltration of water had damaged the walls, the vaults, the
paintings, the stucco, causing the first collapses.
On the second floor the collapse of the past will cause the Piedmont Region to decide to take charge of the
building for 30 years, committing to restore it and then open it to the public.

The work began in August 1979 and ended with the inauguration of the Museum of Contemporary Art on
December 18, 1984.

The choice of restoration was to keep the surviving testimonies giving importance to all the moments of the
life of the Castle, starting from the interruption of the Juvarrian construction site, through the work of the late
eighteenth century by Carlo Randoni up to the interventions for the military.
Andrea Bruno avoids to realize falsifications and completions, respecting the architecture, that becomes
real image of the history and the vicissitudes of the structure. And so externally as internally were preserved
stucco, frames, paintings damaged by the insults of time and neglect of men.

The restoration, to provide visitors with a sense of the finished Savoy residence, provides for two rooms the
example of integration. The choice fell on a room on the first floor belonging to the Juvarrian period, where
the floor is made following the archival projects, the other placed on the second, belonging to the Randonian
season of the late eighteenth century.

Bruno then goes to enhance the unfinished atrium, to install the panoramic sporto that comes out of the large
brick wall of the Castle, the large suspended staircase, as well as the walkway that allows you to pass over the
large vault of room 18, putting into dialogue past and contemporaneity.

Part of the rooms does not have any decoration, and gives way to those characterized by the environments
that possess rich decorations and that refer to the splendor of the dynasty and the important moments lived
by this in Rivoli.

At the same time, some time later, the Manica Lunga was restored, the place for the exhibition of the painting
collections of Carlo Emanuele I. Unlike the Castle, here the stairs and elevators are located outside, are
conceived transparent to allow the visitor to observe the unfinished structure from above.
Andrea Bruno, pioneer in conceiving its reversibility, employs ex-novo modern materials, underlining once
again this relationship between contemporary and past
 PALAZZO MADAMA

It is located in Piazza Castello and it has been called Civic Museum of Ancient Art.
Palazzo Madama can be considered a synthesis of all the Turin palace during the Risorgimento period.

Julia Augusta Taurinorum is the maquette of the ancient city of Turin.

Turin was at the beginning a village and the became in the 28 b.C. a Roman colony,
with theatres, walls and gates.

This is one of the gates: the remaining Porte Palatine.

Porte Palatine are one of the most important and best
preserved example of Roman gates all over the world, not
only in Turin. It’s very important because is totally similar to
the Roman gate that are inside Palazzo Madama.

This is one of the first image of Turin and of the gates.

Thanks to the briks inside Palazzo Madama you have the possibility to distinguish
the different period of the palace: inside we have the Roman gate, two different
Medieval buildings behind, the Baroc facade (by Juvarra) and the Museum of the
City.

Piazza Castello Roman remains

On the right it’s possible to see Palazzo Madama.
In the middle have been find out the first Century walls that surrounded the city.

Seven years ago has been started the renovation of Piazza Castello.

Theatrum Sabaudiae
This is the Caraca map one of the first image of Turin. Now it’s Palazzo Madama but
at the beginning was the Castrum.

The Marble Gate_Giuliano da Sangallo

This is one image by the Renaissance architect Giuliano da Sangallo of another gate
of Turin, the Marble Gate.
This is quite interesting that Turin in the Ranaissance period wasn’t so important. It
became the capital of duchy of Savoy in the 1564.
Turin wasn’t so important and wasn’t one of the Savoja capital and that’s why Turin
has the same Roman dimension also in Medieval period.

This is one of the summarize of the Porte Palatine:

In 19th Century thanks to Alfredo D’Andrade (he built the Borgo Medievale del
Valentino) has been demolish and cames back the original state.
Palazzo Madama Roman Period as a gate
This is the Roman gate with its cavedium, the structure with the courtyard that was
before the entry of the gate. There are two gates for the pedestrian.
The remains of the cavedium are nowadays possible to see in the main entrance of
Palazzo Madama.
During the last renovation the works wanted to take care of the different moment of
the building.

Some parts have been destroyed during the years because they need more space.
Palazzo Madama had different use and so now it’s very difficult to show all the trasformantion of the palace.
Porta Decumana
This is now the main entrance but now everything is covered by a glass.
The Madame were two women who made a strong development in society and
artistic culture in the Savoy state between 1600 and 1700: Cristina of France and
Maria Giovanna Battista di Savoia. They decide to live in this castle. Madama Cristina
decided to cover the Medieval courtyard with a volt because she wanted a big hall
for her own parties.
Porta Decumana remains
This is the last part visiting Palazzo Madama.
During the 20 years ago works they decided to show and discover the bricks of the
Roman period:
AVANZI DEL MURO DI CINTA DI AUGUSTA TAURINORUM.

Porta Fibellona walls

This is an archeological stratification. After the falling of the Roman Empire and from
10/11 Century we have step by step a transformation of the buiding.
The Monferrato family decide to built a castle between the two towers, so they need
to oper another door called Porta Fibellona because the Roman gate is occupied by
the Roman structure (1108). Now we are quite down.

During the archeological survays they find out 10 different levels of the roods from the
Roman period until nowadays.
Here it’s possibile to see the finger prints of the man who built the wall.
They decided to create some stairs to cover the differnt levels.
Everything we can see now it’s a product of the demolition during the 20 years ago
works.
Palazzo Madama was closed in1978 and reopen in 2006.

This is PORTA PRETORIA with the Roman walls, the two towers and than PORTA FIBELLONA as new entrance
Roman walls inside the Egyptian Museum
This are another part of the Roman wall inside the Egyptian Museum.
The walls continuous in Piazza Carignano and they pass through the Museum.

Sala del Voltone

This is now the space we see when we enter in Palazzo Madama.

At the beginning, when everything has been opened after the Olympic Games
(2006), because Palazzo Madama has been used empty without collection, it’s the
space for the International Olimpic Committee, after the collection came back.
In the recent years they decide even to use this space for exibition, so it’s not possible
to enter freely and to observe la Sala del Voltone or the Roman remains.
All around you see the bricks of the Medieval period.
 This are the Roman archades and it’s possible to see the different windows caming
from the different period.
1884-1887 Everything was covered because of the different needs of the people
living inside Palazzo Madama ( Royal Residence, Museum, ... )

Acaja’s Castle
After the 1180 Turin became part of the Duchy of Savoy.
The capital was Chambery and Turin was one of the cities, but not the most important
at that time.
In the 1195 the castle started to be remoderned and became part of one of the site
of the Acaja.
The castle remains a symbol of power and it was a prison, a diplomatic building, ... .

Stairs inside Roman tower used by Savoja to reach the second floor.
The wall was clean and restored to be opened at the public.

Acaja’s Towers
The round towers were made in 1415.
Nowadays they are the Roman symbol.

The Juvarra facade:

the two Roman towers have been covered by the strucures and the other two are
nowadays visible.

Step by step Palazzo Madama became an elegant residence.

The Madame Reali

left: Madama Cristina
right: Maria Giovanna Battista
They decided to live in Palazzo Madama and not in Palazzo Reale of Turin.
Madama Cristina when became widow started a long war against the brother of her
died husband, Tommaso and Maurizio.
It was a very bloody battle in front of Valentino Castle in 1630, a sort of civil war.

Madama Cristina was a French princess, the sister of the king of France.
Maurizio and Tommaso were the brother of the Duke was died and the sons of a Spanish princess so they
didn’t wont that Turin could enter in the influence of France.
Madama Cristina won and she decided to live in the castle because it was more safe and more easy to
protect.
This is one of the internal rooms but now all the furnitures are lost.
Beaumont Gallery
To enter inside Palazzo Madama, the castle, was possible to enter from the groudfloor
and gone to the second floor thanks to the stairs or enter from the Royal Palace,
because we had a very important gallery connecting Palazzo Madama to the Royal
Palace. It was an important art gallery and a space for celebrations.
Nowadays the gallery doesn’t exist.

We can see the important symbolical decoration of the gallery.

The gallaery was completely damage twice because of fire:
1. in the 17 Century
2. during the celebration for Napoleon
so it’s complitely destroyed.
In the space with the archades there were private shops.

Piazza Castello
Volo d’uccello view with the gallery that connect Palazzo Madama and Palazzo
Reale.
So in that time the palace wasn’t completely alone. Nowadays it is.

Catalina Micaela
She was Catalina Micaela the wife of Charles II. She was a Spanish princess.
This is a very famous paint inside Palazzo Madama with Palazzo Madama on
background.

Antonio Tempesta
This is a pavillon made for the tribute to Madama Cristina.

The facade
This is a drowing by Benedetto Alfieri.
The project of FIlippo Juvarra it’s completely new and particular because we don’t
have a lot of project. Only this one and another one. Juvarra made a maquette that
was put outside the building during the construction.
So we don’t know the different sketches by Juvarra.

The facade is split in three. The material is very similar to Travertino Marble used in Rome and studyed by
Juvarra.
The works for Giovanna Battista started in 1684 anf finished in 1718.
For the facade ath the beginning the architect was Carlo Emanuele Lanfranchi, than arrived in 1708
Michelangelo Garove and he died in 1713 when arrived Filippo Juvarra.

Turin at that time was touched by two wars:

1. the 7 years war
2. the war for the trone of Spain (1713)
so, some works continued, others not, especially because Turin, for ten months, was completely surronded by
a siege in 1706, so the works stopped.
 The palace was not surrounded only by the square, but there were the gallery.

Juvarra’s Pensieri
Entrance with three archades, double columns and the two stairs (a copy from
Castello di Rivoli).
Few times Juvarra could project a building from the beginning.

Juvarra’s hall
Nowadays to visit also the stairs you have to paid a ticket.
Everything it’s light and speculiar.
The entrance was very similar to Castello di Rivoli.
Even the materials were similar: the colour of the stucco convey the light. The light it’s
different in the hall and in the stairs.
The stairs have been demage during the Second World War: Palazzo Madama has
been bombed, but the renovation’s work replace and recreate the same effect from
Juvarra.
White, jellow, light gray and light blue are the colour of Juvarra.
From the darkness downstairs, step by step, you join the first floor (Piano Nobile), with
decorations and light.

The stairs were created not for the king, Vittorio Amedeo di Savoja but for his mother
Maria Giovanna Battista. She decided to have a more important stairs.

Carlo Bossoli, Opening of the first Italian Parliament

Painting of Carlo Bossoli.
This is the first opening of the Italian Parliament.
It’s possible to see the light enter inside the building.

Palazzo Madama was the first Italian Senate of the Italina united, 1861. This is the
reason of it’s important.
You can see the king going down and the Prime Minister Cavour.
There is also the dog, a simbol of fidelity.

The Italian Job

It’s a very famous film, with the minicars all over Turin, also into Palazzo Madama.
The facade
Behind the dramatic and imposing facade, there is only a big room created for
Madama Cristina and remoderned by Juvarra.
Nowadays the room is udes for exibitions so it’s not so easy to see it.
The style of the columns is classical and there is a sense of emptyness.

Reproduction of the first Italian Senate

It’s the reproduction of the first Italian Senate.

The Medieval Garden

This is the Medieval garden you can find nowadays and it’s one of the recent part
has been restored.

Palazzo Madama has three different levels:

1. the groundfloor that nowadays is devoted to the Medieval period
2. the first floor that is devoted to the Baroc period, with the Madama Reale apartments. Maria Giovanna
Battista created a huge apartment all around the big room: when she became widow she lived in a small
aparment in the Church of Santa Croce in Piazza Carlina. At the end of her life she becames very religious
and so she decides to live with the nuns in a little but beautiful apartment made by Juvarra.
She used Palazzo Madama ad a rapresentative space
Madama Reale antichamber
This is Madama Reale antihamber, a room called the Circol Room.
The circle was a moment especially during the evening when all the ladys play cards,
chatting, ... .
All the decorations were made by Juvarra.

Madama Reale antichamber

This is the round rooom: the connection between the long gallery coming by Palazzo
Reale and the apartment.
Here we have a selection of painting.

Madama Reale bedroom

Also in Madama Reale bedroom we have lost all the furniture and the decorations by
Guido Bono painter.

Guido Bono room

The first room you can reach at the first floor.
There was the Castello di Rivoli maquette, but now it’s in Venaria Reale.
The facade
In the towers there is only an entrance space called Torre Tesori. It’s a space with few
works, but very important.
There are new materials and so the renovation’s works are very imposing.
Even the light is different.

Sala Staffarda
When you enter the visit, the very first room you see is Sala Staffarda.
Staffarda is a very beaufiful Medieval monastery in the countryside. From Staffarda
coming a part of the furniture.
The archades are Medieval.

Lapidario
All the Medieval decorations are put together.
The decorations coming from different places.

Palazzo Madama Cafeteria

At the second floor now we have a new space created 20 years ago.

Storage
Down we have the storage.
Even when from 1978 to 2006 the museum has been closed they continued to buy
and to enlarge this collection. It’s a very huge collection.

Renaissance garden
It was restored.

Sala Feste
This is the Baroc apartment created in 1920.
In 1921 they need a space for party so they destroyed the wall that separate the
rooms to create the celebration room.
In 2006 it’s used as a space for exibitions.
Nowadays this room is used from congress, meeting, ... .
Veranda
Nowadays in Veranda there is an exibition.

Decorations
Some decorations by Juvarra.

The stucco has been restored.

It’s the motto of Maria Giovanna Battista: she rules in her own family.
A particular flower as symbol of her kingdom.
LESSON 30/03/2020

CONSERVATION PROJECT

Three fases:

• knowledge;

• conservation;

• adaptive reuse

Knowledge through:

• historical analysis of the building;

• geometric-dimensional survey;

• analysis of the constructive characteristics;

•analysis of the static/structural aspects;

•analysis of the building materials;

•analysis of the functional aspects and of the interior distribution.

LESSON 17/04/2020

DECAY OF THE MATERIALS

ALTERATION

• physiological → due to causes inherent in the building;

• pathological → due to causes extrinsic to the building.

INTRINSIC CAUSES

• Intrinsic causes due to the site;

• Intrinsic causes due to faults in the building design;
• Intrinsic causes due to faults in the building construction;
• Intrinsic causes due to no longer use of the building.

DESIGN DEFECTS → Wrong choice of materials and / or incorrect sizing of structures.

DEFECTS IN BUILDING CONSTRUCTION → Construction not “workmanlike” built.

EXTRINSIC CAUSES

• natural, long-acting;
• Natural, due to a sudden action;
• human action.

NATURAL and LONG-ACTING CAUSES

• water;
• atmospheric factors;
• biological attacks;
• subsidence phenomena

NATURAL CAUSES DUE TO A SUDDEN ACTION

• seismic action;
• tsunamis;
• floods;
• fire.
CAUSES DUE TO HUMAN ACTION

• air pollution;
• acts of vandalism;
• intervention not correctly carried out;
• vibrations due to vehicular traffic. (parts of buildings subject to vibration damage)→ the part of the
building that are interested by the vibrations decay: the mortar, caratterising the wall, renderings,
because vibrations can cause the detachment of plasters, ceilings

CONSTRUCTION MATERIALS DECAY

Methodology divided into three stages:

• knowledge → identification of the material, of its physical, mechanical, structural and/or figurative
characteristics, and of the way it was worked.
• diagnosis;
• therapy.

NATURAL STONE DECAY

• type of processing;
• peculiar environmental conditions;
• frost;
• salts crystallization;
• air pollution;
• biological attack

Damages to the surfaces may be easily inflicted in any of the following operations:

• extraction from the quarry (some techniques produce more defects than others);
• chisel work of the surfaces.

1. When the temperature drops below 0°C, the ice

formation inside a wet porous solid may cause
serious damage to some materials said to be
frost susceptible.

2. The difference in behavior of building materials

with respect to frost damage is due in part to their
mechanical properties, stronger materials are
obviously more resistant, but the most important
factor is actually the pore size distribution.
3. Salts crystallization causes the formation of efflorescence or subefflorescence due to the presence
of salts in porous stones, whose surface is subjected to the wind action. In the treatment of deep
corrosion of porous materials caused by salts, the filling material should be at least as rich in
capillary pores as the adjoining original one; it is even desirable that the future decay (which is
unavoidable unless water circulation in the pores is controlled) should first affect the filling, which
should sacrifice itself to preserve the original material.

4. air pollution that contributes to the formation of black crusts. The most common products of the
reactions of the acids with the calcarous stone of the façades are:calcium bicarbonate and calcium
sulfate. In the drying phase they are brought to the surface by the evaporating liquid and deposited
as calcium carbonate and gypsum.

The result of this chemical process is:

- some weakening of the internal material that was affected by the acids;
- some consolidation of the particles that were deposited on the surface by dew condensation

5. Biological attack → plants, lichens can damage the surface, in samo cases it’s just an estetical
damage, in other it’s a very chemical attack
PLASTER DECAY

Possible causes:

• separation of the layers;

• presence of cracks → caused by a too rapid drying of the plaster or by a sudden withdrawal of the
layer under the finishing one.

• formation of calcinelli due to the presence of quicklime not slaked within the plaster.
• salts crystallization causes the formation of efflorescence or subefflorescence.

• frost action → freeze / thaw phenomena of the water whose changing volume can cause loss of
cohesion and disintegration of the material.
 • Chemical reaction between sulfur dioxide and calcium carbonate resulting in the formation of
gypsum and black crusts.
• biological attack.

CONCRETE DECAY

• Corrosion and deterioration due to sulphates;

• corrosion and deterioration due to sodium chloride;
• carbonation;
• incorrect processing methods.

Corrosive and disintegrating action exerted by sulfates combined with calcium hydrate or calcium
aluminate and consequent formation of gypsum. Corrosive and disintegrating action exerted by sodium
chloride, associated with the phenomena of pop-out and pitting corrosion.

The growth of crystals inside the pores of the concrete results in stresses and damages.

Carbonation causes the reduction of the degree of alkalinity of the concrete and the dissolution of the
passive layer naturally formed on the steel

METAL DECAY

• Mechanical degradation:
1. Abrasion, erosion, frictional wear: surface
damages are caused by the action of foreign
elements, sand, liquids;
2. Overload: damage is caused by a stress which
is greater than the mechanical resistance of the
metal;
3. Fatigue: damage due to cyclic stress actions;
4. Impact: damage due to the application of a
sudden significant load
• Corrosion → involves the chemical or electrochemical modification of the metal. It can occur in:
dry way or wet way.
- generalized corrosion → it occurs on smooth surfaces, fully exposed to aggressive atmosphere and
it proceeds with uniform velocity over the entire area affected by the phenomenon. It causes a
progressive and homogeneous thinning of the metal.
- localized corrosion → it leads to a deep spotting attack to the material. It may result in a net
reduction of the resistant section of the structure.
- selective corrosion → occurs when in a non-homogeneous material one of the elements, that
constitutes it, undergoes an attack more evident than the others, especially in an aggressive
environment.
• aggressive environment.
 DESIGN MEANS PROJECT

Design comes from the latin projectus to indicate an activity that contains in itself the idea of forward
projection of the future.
Designing means looking at the future and the idea is to mix:
- humanities
- economy and management
- technology (really important because internet is the natural extension of the daily life)
- fine arts

Papanek, 1971 ‘Design for the Real World‘

A book written by 4 professors from the MIT School.
In 1971 there was a new idea of the design, also a new perception of our planet earth.
In an age of mass production, Papanek said:
when everything must be planned and designed, design has become the most powerful tool with which man
shapes his tools and environments.
In this short sentence he explain how the designer design the environment but also the society.

Another important topic is that design moves from PRODUCT to PROCESS:

es. gastronomy open kitchens --> Edit: interesting place in Turin where you can eat, drink with innovation.
online masterclass --> Gordon Ramsey who teach how to cook online
fabrication laboratory (fab lab ) --> 3D printer, laser cutter, ...

Moma
For years ago Museum of Modern Art decided to open its archives.

Euro Milano
Uptown smart discrict in Milano. Living apartment so people can enter and tauch also the product. In this way
it’s possible to understand the quality.

Design today is something connecting with different things.

It’s possible to design
- products
- services
- strategies
- systems
- experiences

Cultural and environmental heritage

The concept of cultural heritage has evolved in the last 20 years.
It has been extended from specific artistic products to a more expanded and complex dimension including
cultural identities and material traditions of entire territories and landscapes.

Compasso D’Oro
The Compasso d’Oro is an award.
It is the recognition of the excellence of Italian design in a broad sense.
Since 2004 the Historical Collection of the ADI Compass has been recognized as something of National
interest and placed under the protection of the MiBACT (Ministry od Goods, Activities, Cultural and Tourism
ad a Cultural Heritage).

The idea of cultural heritage enlarge is territory and the phisical products (cars, ...)

What does the designer for cultural heritage do?

The designer for cultural heritage could:
1. identify and model strategies, tools and design methodologies to enhance a territory, a historic building, a
landscape;
2. design of a product, up to the intangible heritsge (traditions, crafts ... )
Design for Cultural heritage is an interdisciplinary area of research involving:
- Systems
- Products
- Strategies
- Communication

Research methodology
1. IDENTIFICATION OF THE TOPIC
2. DEFINITION OF OBJECTIVES AND ACTIONS
3. INDIRECT RESEARCH ACTIONS (desk research)
4. DIRECT RESEARCH ACTIONS (field research)

Design for cultural heritage

1. PRODUCT DESIGN-SERVICE DESIGN
2. DESIGN FOR BEHAVIOURAL CHANGE
3. SYSTEMIC DESIGN - STRATEGIC DESIGN

Case studies

1. Museo all’aperto di Architettura moderna di Ivrea - MAAM, 2001

The problem was there was too many architecture and the idea was to provide visitors with specific guides.
They designed a map with all the contents and with the description of every architecture. Example with clear
services.

2. The renaissance of Gaudenzio Ferrari

The exibition was about the painter Gaudenzio Ferrari.
They need to design the communication (diffused exibition because the painting were in different churches:
Varallo, Vercelli and Novara) and the experience.
They used website and app ‘il magnifico mondo di Gaudenzio Ferrari’
 RESTORATION INTERVENTION

Intervention methods:
- Preconsolidation
- Cleaning
- Bonding
- Grounting
- Filling of cracks and void
- Consolidation
- Protection
1. Preconsolidation
Intervention needed if the materials are so deteriorated that they risk being
irremediably compromised during cleaning intervention.
You can apply the consolidation material with a brush or inductions.

2. Cleaning
Characteristics of the cleaning intervention:
- Irreversible
- Controllable
- Slow and gradual
- Selective
- Effective and harmless

Is a very dangerous intervention for the materials: important to choose the correct techniques to not damage
the material.

Methods:
- Mechanical cleaning methods
- Water washing
- Chemical cleaning methods
- Special cleaning system (laser)

Mechanical methods
The instruments are:
- Scalpel and brushes
- Microsandblaster
- JOS method
- Gommage process
- Sponge jet
1. Scalpels and brushes:
They are used when you have to clean very fragile surfaces: in this way you can
proceed very slowly and selective, remove the material gradually.
It’s very expensive because you work very slowly and it need a lot of time.
This method is normally adopted when you have to clean little surfaces.
You have to choose what scalpel you have to use for a good job: there are
different materials.
For the concrete material (carbonate concrete) yo can use a dreal.

2. Microsandblaster
This techniques is characterised by the adoption of different type of inert which
are chosen according to the instrument that you have to use for the material they
you remove.
You can choose the inerts and the morphology and size of the particles.
This cleaning intervention is done in:
- Wet way: easy to clean the surface for the action of the water, but water can damage the material if you
don’t pay attention to the correct evaporation of the water that you spray (water can cause many decay
like complete evaporation of the water)
- Dry way
3. JOS method
You use very thin powders of dolomite, you have to associate the power of powders and water: the pressure
is very low (0.5-1.5 atmosphere).
Sand is projected in a specific manner in order to produce a sort of vortex to prevent any damage on the
surface: it became a sort of brush because there isn’t a direct impact on the surface.
4. Gommage process
Was invented in France.
No water is use for this (dry method)
This make possible to adopt this techniques all the year long, winter too.
It’s characterised by the adoption of thin powders: it’s similar to JOS method.
No direct impact. Create pitting corrosion to clean the surface: sand diverges in
a specific manner in order to prevent damage.

5. Sponge jet
Adopted in a
- Dry way
- Wet way
Used when yips have to clean concrete surfaces.

Water washing
Different techniques:
- Water spraying
- Nebulous spraying
- Poultices or compresses

Water is an efficient cleaning agent for architectural surfaces in polluted cities’ atmosphere because it can
dissolve the gypsum crystal that consolidate the dark crust.

1. Water spraying
You can use mains water or deionized water with a pressure lower then 2-3 atm.
Whenever needed you can add some chemical products to water: make easer the cleaning intervention.
This techniques is better if is done in the hotter period of the day +.

2. Nebulous spraying
When you can not adopt high pressure (lower than 2-3 atm).
You have to nebulise the water on the surface and with a tooth brush or sponge for clean the surface.
This is adopted to clean smooth surfaces.
Used to clean the facade of Palazzo Carignano.
Whenever you clean very white surfaces you may have to set-up the scuffle deck. Then you have to produce
tiny droplets that after reaching the surface falling down. If water is not enough you can use soft brushes.

3. Poultices or compresses
In this case you use deionized water with paper pulp, cottonwool, absorbent clays that have an higher
absorbing power.
You have to apply them to the surface and press it.

Limits of water washing

- the soiling can move to an adjacent surface
- Staining or efflorescence may occur
- Loss of the material, especially if affected by pulverisation phenomena
- Biological degradetion of wooden material
- Possible ponding of water
- Cleanup actions performable only in the warm periods of the year
- Corrosion of metal elements may occur
Chemical methods
- Application of poultice or compress soaked in chemical formulation specifically designed
- The chemical mixture and the application time must be chosen depending on the type of dirt to be removed,
through the execution of cleaning tests. Test on a little part of the facade you have to clean for find out the
best material and less damage material that you can use.

The chemical cleaning methods characterised by some advantaged and disadvantages:

- Possibility of formulating the poultice according to the specific needs
- Choice of the time of application
- High precision in the position of the application
- Possible use even with very deteriorated material
- Need to avoid the evaporation of the solvent
- Possible loss of contact between the mixture and surface to be cleaned
- Possible to pull away the surfaces in the removal process

You can adopt chemical products with problem related to biological attach (roots, lichens etc).
You have to spray the product and you late it work killing the roots, lichens etc and after you can remove all
with a brush.
Then you wash with water the surfaces to remove the chemical product from the surface.

Then there are special cleaning system:

Laser
Cleaning methodology which is based on a different energy absorption of the laser radiation between the
area of dirt, usually very dark and absorbent, and the surface to be cleaned.

This methodology is used on surfaces of great historical and artistic value, carved or decorated, or in case of
severe decohesion: this techniques is very expensive.
The laser beam make the dirt evaporate.

The laser techniques advantages:

- great controllability and extreme ability to adjust the cleaning parameters (great precision)
- Ability to act without damaging surfaces extremely degraded and without th ended to do preconsolidation
of the surface
- Velocity of the operation
- Absence of by-products to be removed at the end of the cleaning intervention

When you have to clean extended and not valuable surfaces there are other techniques:
- dropping spray at mains pressure (2-3 atm)
- Water spray at law pressure (2-3 atm)
- Wet or dry sandblasting (5 atm) with aggregates whose particle size is less then 1.15mm and whose hardness
is comparable to the one of the surface

Pay attention because normally people during this kind of intervention use bigger particle: remove the decay
but also damage the surfaces.

Bonding
The bonding has the aim to reduce as much as possible the loss of material.
It can be carried out using non-structural adhesives or pins.
In both cases, attention should be paid to the problem of compability of materials and their behaviour due
to changes in temperature and humidity conditions.
For little vertical elements or horizontal elements you can use non-structural
adhesive.

For heavy element you have to use structural bonding and a pin, that it must be
of stainless steal or glassreinforced polyester (not steal).
Grounting
The product adopted should be characterised by:
- Homogeneous mechanical characteristics in respect to the material in which it is injected
- Chemical and physical stability
- Good adhesion to the surface

Whenever you have detachment of the plaster you can inject behind the plaster a grounting mix.
Or you cane use it in a cracks.

Normally you have to makes little holes , clean the surface behind the plaster, wet the surface, fill all the
cracks of the plaster and inject the mix.
For a good contact between the grounting mix, the plaster and the masonry you may apply a sort of loud on
the surface, bat this is not aimed to guarantee planarity of the surface because you risk to crack the surface.

Filling of cracks or voids

Intervention used to restore a natural stone material.
Restoration of continuity of the surface by sealing is normally due to the fact that:
- The surface discontinuity reduce the readability of the architecture
- Cracks may let water get inside the material accelerating degradation mechanisms: freeze phenomena

Filling all cracks and voids in the surface of deteriorated materials is very important for the conservation of
architectural surfaces.
Any discontinuity of the surface is the prime cause of mechanical and chemical damages due to the
concentration of stress and the penetration of acid water.

The main characteristics of the mixtures used to fill cracks and voids are:
- adequate curing time to allow modeling
- Minimal shrinkage during the setting phase
- Homogeneous mechanical characteristics in respect to the material on which they are
applied
- Chemical and physical stability
- Good adhesion to the surface

In some cases you need only a microfilling: if voids and cracks are very little you can use a lime mortar and
pay attention to the characteristics of the material.
In other cases, maybe you have to had a pozzolanic or hydraulic mortar to fill up the voids and you can use
the lime mortar for the superficial layer.

Consolidation
The consolidation involves the impregnation of the decay material it’s a product that, penetrating deeply,
improves the cohesion of the material and it adhesion to the substrate.
It allows a greater resistance of the material to alteration processes.
It’s function is mostly mechanical.
The consolidation intervention has to be carried out only when really necessary: it is an irreversible intervention.

The requirement of the consolidation intervention are:

- deep penetration of the product in order to allow the filling of the excess of porosity caused by degradation
phenomena
- Restore of mechanical characteristics of the material similar to those which it had before degradation
- Preservation of the original mechanical and optical characteristics of the surfaces
- Prevent the release of by-products harmful for the stone material
- Obtain waterproof surfaces while ensuring the water vapor permeability of the stone

You can use:

- organic products —> more easily altered but more elastic and adhesive (resins)
- Inorganic products —> more durable bur more fragile and inelastic (ethyl silicate)

Is important that the product that you apply enter in the material.

The method of application:

- Percolation
- Wrapping
- By brush
- Spray
The penetration
Is very important
If the product can’t penetrate the sound core, the consolidation intervention form a crust and the detachment
of it: the result is a damage of the surface.

Protection
Normally it’s an intervention that you always do such as the cleaning intervention whenever you intervene for
the conservation of the material.
It is an intervention aimed to guarantee a better conservation of the material that you have restored overtime.
It’s an intervention that should be don every 7-10 years and you apply on the surface a product that is similar
in some way to the consolidation product but in this case it doesn’t penetrate in the material.

The characteristics of this products are:

- Water repellent
- Vapour permeable
- Not visible
- Colourless and brightless

For the restoration of stone tjis document are very important:

- Normal 20/85 - interventi conservativi: progettazione, esecuzione e valutazione
preventiva
- E. Doehne, C. A. Price (eds), Stone Conservation. An overview of current research,
ghetto institute, 2010
LESSON 27/04

NON DESTRUCTIVE & NON INVASIVE testinng technique= infared thermography

- video camera= infared – detects IR emitted by the objects (with temperature above absolute zero
according to black body radiaton)
- Converts IR into an image (thermogram) = in false colors
- displays temperature values across a scene (thermal map)
- temperature measured tells us about the state of objects only if there is an appropriate heat flow
- PASSIVE WAY WITH NO SIGNIFICANT INFORMATION, without additional thermal source.
- ACTIVE WAY= modify thermal condition, with artificial heater and gain heahlow,and able to read
wall texture.

USAGE OF INFAREDTHERMOGRAPHY

• In supporting historical research

• In technological investigations
• In supporting diagnosis analysis
• In monitoring

NON DESTRUCTIVE & NON INVASIVE testing technique = REMOTE VISUAL INSPECTION

Boroscope-RVI systems-videoprobe (can see image on screen and record) -fiberscope

- Indirect technique that uses probes to conduct inspections inside cavities which are not directly
- accessible.

Typical application = inspect mansory wall, air spaces and flues and wooden beams

Resistograph testing

- ND & invasive technique to evaluate deterioration of wooden structures

- drill with tip that rotates and advances in the wood at constant speed.

- it is based on principle that resistance which the wood offers to the drill bits advance is proportional to
density of material in the area being drilled, it is very punctual.

- very little hole,smaller than 3mm, similar to hole made by termites

- make it possible to identify presence of decay,but not to qualify it.

NDT-implementation stage (verification-check-planning)

• Lack of document In archive, as we need preliminary information, Verification of architecture Layers

→ to analyze different historical phases, this technique helps us to see the unseen,using infared we
can see layers of plasters. The construction (identification of building technology & decay & cracks
& technical installations)
• Check (after the intervention) -verification of effectiveness of intervention (comparison of data
acquired before,during and aXer restoration)
 • during normal operation=analysis of thermal losses & monitoring state of conservation

• Planning- gettng useful info to forecast and decide in advanced such actions shall be done with
greater urgency in terms of time and costs with objective to avoid the risk of loss and damages.
1995. Objective priority of intervention of preservation or maintenance.

Features and limits

Features

• Respect of substance object

• Reading under external layer
• Flexibility of use under normal operating condition
• Save time and costs.

Limit

• Sensitivity of some method to environment- for exp: thermography cannot be carried out during
rainy or snowing and also windy day as it will change the temperature on object,causing false in
data collection.
• they can not be foreseen with certainty,can cause slippage of time and sometimes not acceptable
to clients.
• Qualitative results- for most of the techniques- we can record down the numbers of cracks or
 REGGIA DI VENARIA

Is the biggest renovation work in Europe and it was construct before Versailles.
Dating in 1668, Charles Emanuele II wanted it.
The savoys bought some territory and decided to built some palaces.

Venaria Reale has been even in the last 10 years one of the most imposing visiting museum in Italy: insides
there are a lot of materials coming from a lot of royal residences.
20 years ago Venaria was condamned to be destroyed.

Castellamonte was the first architect that project the Venaria Reale (also Rivoli, Superga, etc) and he
projected also the village (plan of all around).
The ancient village
In the middle there is a square.
There are two churches: one a church and one an hospital.
There were a lot of spaces for workers.

Castellamonte made plans and wrote a book dedicated to Bernini imaging to tell
how the palace should will be.
Room of Diana
Inside, the Room of Diana is the main and most important room.
Stucchi are from Lugano.
On the vault there is a decoration on the middle, in which Giove give to Diana the
empire. The painting of the room, during the last century, were removed and they
were in Turin, in Racconigi but now are in their original place.
There are two still missing painting that are in Rome in the Quirinale.
During the war, people played volleyball in this room.
Now the situation is quite different after the restoration.

During the XX century, Venaria was adapted for soldiers: everything has been restored, only some parts have
been lefts before the renovation.
The mission was to have the new Museum of the Monarchy.
One of the room
They replaced it with the same colour of the time.
All the painting coming from others collection.

All the stucco and the pavements were restored.

The decoration has been well kept because the soldiers cover the stucco’s decoration
with an other vault for some temperature problems in winter.
Inside there is a reconstruction of a bedroom of the duchess Giovanna Battista.

The garden
There are beautiful gardens.
There is the Hercules Fountain that was destroyed at the mid of XVII century but
nowadays they are restoring the fountains and it will appear like an archeological
work to recreate and show the remaining of them.
In the middle there are some parts in glass made by Giuseppe Penone to recreate
the water.

In Venaria they decided to work on the past and restore in a new way.
Diana’s temple
At the other side of the garden there was the Diana
temple, that was really built but nowadays there are only
some remains.

Michelangelo Garove’s project: the King’s Palace

Michelangelo Garove works in a lot of savoya’s building
Venaria become a Royal Palace.

He projected a King’s palace.

Nowadays the building is not finish.

The white part is the Castellamonte project.

The brick part is the one that start to be restored by Garove.

The two parts are so different because it’s important to

show the two steps and the two different life of the building.

The decoration around the windows changes because changes the moment.

This is before.

Church of Venaria
Juvarra worked at the church of Venaria.
Some parts needed substain.
The church has to be decorated with stucco outside but it never been finished.

And also to the stables and citroniere that was finished when he was in Spain but
part off the facade was falling down and he wrote a letter to Benedetto Alfieri
saying “you don’t read my indications!”
LESSON 8/05/2020

READABILITY IN ARCHITECTURE

Readability coherence are essential requirements to comprehension

The human mind organises information from the environment through mental schemes, well organised
scenes are better remembered than this organised ones when they are remembered this organised scenes
are modified in order to be transformed in more common seems, irregular or unexpected objects are more
easily recognisable.

Gestalt School Principles

At the beginning of 20th century the Gestalt school status on principle about the way the human side system
would elaborate sensorial information. In this case the relation subject background in which elements are
reconstructed an ordered following an acquired path or proximity the second one in which closed elements
are grouped according to their own mutual similarity or closure in which side system usually reconstructs
from continuous shapes even if they are not or commonality in which similar elements are reconstructed
as a structure.

Through conceptualization operations, project produce knowledge

The concept is one of the operation through which the project activity elaborates ideas uses and ring
surface ideas coming from other fields, take the distance and transforms the contingent, asks questions on
the general value of its own statements also when they are related to here and now

Beauty comes from shape

the purpose of beauty can not be reduced to pleasantness related to this answer dimension and material
data with an objective goal which is suppose that the determination of a concept and consequently an
ambition of knowledge that would confuse it with an idea of perfection.

To overcome this alternative and past and formalise a finality without scope can't use formal virtue, “beauty
or finality uprooted as it is from every determine its scope which inevitably would make satisfaction fall in
the interest aroused from one or other side”

The shape on its own essence and protecting it saves it on all fronts it isolates you keeping a pure the
assential for beauty is to take away from every kind of extraneous involvement such as attractions influences
uses functions and emotions too the shape of beauty parades the world without compromises with it without
inhabiting it without integration an reminding unrelated

SYNTHESIS → schemes and concepts are conceptual instruments which allow the human mind to organise
the reality that makes daily pressure an individual schemes and concept art conceptual instruments use
again producers of knowledge applied to the project, schemes and concepts are conceptual instruments
which use geometric tools for the con creation of architecture, formal dimension an aesthetic.
Art property and Architecture specificity

The need of readability, on wich uman satisfaction depends, makes some contact in art a matter of contrast
and/or pause.

Assuming that architecture is for geometry what is for armony, the pause in music is a moment of separation
that links the before with the after with continuity solution.

• La jeune mèere à la grotte → Auguste Rodin, two figure in the middle of the composition.
The rubik cave embraces the mother and child that contrasts with the background for
the smooth surface of their naked bodies. In this case we talk about direct intrinsing
contact. The grotta isolates the bodies from the outside the rubik cave separates an
isolated the figures becoming background in this case in direct contact.

• Ritratto di Jan Six → Rembrandt, the black isolate the figure

• Il giro del mondo in 80 giorni → Aldo Spoldi, each part of the artwork is
independent from yoghurt meaning an structure frames are the link between
the different sections of the direct generation.

WHAT ABOUT ARCHITECTURE

Architecture is made for humans.

Human not belong to architecture, architecture has not made character, it is made by buildings of tangible
and measurable human actions which can be experienced with both three and two dimensional.

Differently from sculpture and painting which are art architecture is fragile because it leaves into a contest
an environment in contact with other architecture, architecture has to adapt to reality.

Achitecture is human, critical and material expression that does not follow linear processes

The choise that the architects have to be done oscillate between:

- Architectural program
- Project intentions
- Context
- Adaptive capacity of the existing

The shape is always the shape of the time of a city, the city is an imperfect artwork made of the proximity
of buildings a layered item of different meanings and when the meanings are gone the building remains
each intervention on the city will necessarily come from itself with a pre existing condition.
THE METHOD

- No judgment
- Focus on formal results
- Two categories of observation
o A → contact 1:1
o B → contact 1:n

CATEGORY A – contact 1:1

A building, with an important role in the urban scene, is transformed or is juxtaposed by new building. a
stratification of projects taking place through time like Venaria Reale when the need of erasing and radically
transformed existence is combined with the urge to use the new project as a link between the parts.

the intervention on what is already built had to be visible an readable, each part will reveal its own nature
and history

Three types of intervention for different relationship between the parts:

- new project with materic and geometric continuity with the old building
- new project with materic and geometric discontinuity
- new project with materic continuity and geometric discontinuity

Casi studi

• Clore Gallery, London, james E. Sterling → The new facade is a mediation between the stone
building of the state and the bricks building of the Queen Alexandra Hospital, All the projects bring
surface big system formal elements the square module of the neoclassical composition and the
new crowning elements that continues the old one but with gas and bricks, also there is a
interpretation of the bifora element

• Archivio general Y real de navarra, Pamplona, Rafael moneo → New intervention of a old building
for the document archivio. The new building have three floor, respect of the dimension of the old
building, continuity with the old building in particular using the same material of the wall.
 • Sarphatistraat office, Amsterdam, Steven Holl
• Tate modern gallery, London, Herzog
• Archives departementales de la mayenne, Laval, Perrault → intervention where are built a new
building near an old one, new document archivio, same geometry between the new and the old
building but with different material and technology,

CATEGORY B – contact 1:n

Autonomous buildings, with no functional connections with the old surrounding structures in direct contact
with more building in an environment with multiple references.

Casi studi

• Pedraglio House, como, Terragni → this building is insert in the surrounding building in a perfect
way, respect the surrounding building, alternated of the balcony and the window.

• Bottega di esrasmo, torino, isola → contact with the near building with the diagonal of the bottago
building that enfasad the entrance, a sort of wall separate the building with the other building.
 • Apartaments building, paris, Herzog → new façade it’s completely different between the tipal
façade of the sorrounding building (tipical Parisian building), there are tho element that contrast
with the surrounding building: the movement of the façade and the choise of the material with his
coulor.

THE FRAME OF ARCHITECTURE

If we agree that no place building is equal to another and achitecture is a materila critical act that doeas
not follow linear processes, knowledge has be used with a conscious approach because no intervention
on preexisting building is equal to another.

Two different family:

• SEPARATION → correct distance or interposition of a neutral element

• CONTACT → geometrical contrast or meterical contrast