Improving the Accessibility of the Cathedral in Milano by Collegio Borromeo

I_AM_Duomo Workshop and Higher Education Activity 22 June - 4 July 2015, Pavia

Promoters

Veneranda Fabbrica del Duomo di Milano

Almo Collegio Borromeo

UniversitĂ di Pavia

Partners

THM - Technische Hochschule Mittelhessen University of Applied Sciences (GieĂ&#x;en, Germany)

Universidad Central de Chile (Santiago, Chile)

QUADERNI DELL’ALMO COLLEGIO BORROMEO Publication realized with the contribution of the Veneranda Fabbrica del Duomo di Milano Editorial coordination: Alessandro Greco and Valentina Giacometti Graphic design: Valentina Giacometti ISBN 978-88-941763-0-8 Copyright © 2016 Almo Collegio Borromeo Pavia - Piazza Borromeo, 9 www.collegioborromeo.it Printed in Pavia May 2016

Contents

Presentations Gianni Baratta - don Paolo Pelosi - Carlo Ciaponi

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion Alessandro Greco

Accessibility and historical heritage Valentina Giacometti

Chasing an emotion Simone Fanti

Restoration in the Cathedral of Santiago, Chile Jaime Migone Rettig

Starting with a building research and a critical analysis to end up in a design project Nikolaus Zieske

Architecture and Elevators: a short history of technical development & architectural meaning Dietmar Brilmayer

Accessibility for a democratic Museum Dario Scarpati

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

119

Projects Introduction: the accessibility of the Cathedral of Milan Valentina Giacometti 129

G1 G2

New volumes for inclusive connections Valentina Giacometti The Timeline Filippo Condorelli

Diffused Connections Filippo Condorelli

Step by Step Matteo Locatelli Changing Side Matteo Locatelli

137

149

161

173

187

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

On behalf of the Veneranda Fabbrica del Duomo di Milano I would like to thank you for the work done. We appreciate the result obtained, having promoted and supported the project together with the Almo Collegio Borromeo and the University of Pavia. This initiative is very important because pays attention to an actual problem: to make a great heritage accessible to all as a civil and moral responsibility. During its constant work, which ties together the last six hundred years of its history, the Veneranda Fabbrica del Duomo is animated by the same awareness: it is necessary to pay attention to each aspect, that increases as the time goes by, revealed by such a great Monument. I would like to thank all the people who have enriched the project with professionalism and competence. I also thank all the young designers who developed the proposals and identified ideas with passion and enthusiasm. Best wishes for a successful work.

Prof. Gianni Baratta Director of the Veneranda Fabbrica del Duomo di Milano

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

This publication is the result of the collaboration between the Veneranda Fabbrica del Duomo di Milano, the Department of Civil Engineering and Architecture (DICAr) of the University of Pavia and the Almo Collegio Borromeo in Pavia; it is the synthesis of Italian and international (European and nonEuropean) synergies, among the University of Pavia (Italy), the THM Technische Hochschule Mittelhessen University of Applied Sciences of GieĂ&#x;en (Germany) and the Universidad Central de Chile of Santiago (Chile). This book results from the work, the ideas, the passion for engineering and architecture and the creativity of students, with different geographical origins, who worked together for two weeks to develop architectural solutions for the accessibility of one of the most important artistic and religious monuments in the world. I am pleased to recall that speaking about accessibility means speaking about inclusion, overcoming the architectural and prejudice barriers. These words can be found also in the statements of Pope Francesco (Audience of March 29, 2014): â&#x20AC;&#x153;Here are two opposite cultures. The culture of unity and the culture of exclusion, the prejudicial culture (...). The sick or disable people, starting from their own fragilities, their limits, can become witnesses of the unity: the meeting with Jesus, who opens to life and faith, and the meeting with the others, with the communityâ&#x20AC;?. I found this desire for inclusion, for making community, for witnessing an effort to share spaces and places both in the design process and in the life experience in the Collegio of these students, who concentrated on the workshop, coordinated and led by prof. Alessandro Greco with his wisdom and method, and his tutors, ing. Valentina Giacometti, ing. Matteo Locatelli and ing. Filippo Condorelli. To all of them I extend my appreciation for the professionalism, availability and familiarity with which they daily developed the initiative together with the visiting professors, who participated in the educational activities: prof.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Jaime Migone Rettig from the Universidad Central de Chile, prof. Nikolaus Zieske and prof. Dietmar Brilmayer from the THM of GieĂ&#x;en, who were appreciated and honourable guests of the Collegio Borromeo. To the Veneranda Fabbrica del Duomo di Milano, to prof. Gianni Baratta (director), to prof. Angelo Caloia (president), to the engineer Francesco Canali (construction sites director) and to all the staff, our most sincere gratitude for having financially and operationally supported the initiative: a concrete sign of commitment on the issue of accessibility of a remarkable place. I am very grateful to the Faculty of Engineering and the Department of Civil Engineering and Architecture for having believed in the Workshop I_AM_Duomo, providing academic support and confirming the solidity of the system UniversityColleges for the city of Pavia. Finally, I thank the students of the Collegio Borromeo, who have welcomed and participated in the initiatives and shared an international exchange experience with students and professors, and I thank the staff of the Collegio Borromeo for the efforts in the implementation and management of the Workshop.

don Paolo Pelosi Rector of the Almo Collegio Borromeo

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

This volume, which collects the results of the Workshop “I_AM_ Duomo” organized by the Veneranda Fabbrica del Duomo di Milano, by the Almo Collegio Borromeo and by the Department of Civil Engineering and Architecture of the University of Pavia, forms both the synthesis of an international didactic activity and a bridge towards new experiences. This workshop (held from 22 June to 4 July 2015) testifies the open and proactive attitude of the Faculty of Engineering of the University of Pavia, whose professors have been involved for years in offering formative opportunities characterized by a strong international approach, which are different from the traditional teaching activity, looking for appropriate forms also considering the changes that are characterizing the profession in the recent years. Therefore, the different skills, active in the Faculty, have established many productive working relationships between Italian and foreign universities, enabling interdisciplinary training activities, which are concentrated on short but intensive working periods during which students and professors live in close contact for all day, as it occurred when Universities were born. The organization of the design workshops, promoted in Pavia also thanks to the network of the University Colleges, requires months of preliminary and preparing activities in order to let participants work in the best possible way during the real period of the initiative. It is a formative moment not only from both the technical and human points of view, in which the participating students confront each other and work together to find solutions to real problems, experiencing the professional approach typical of the modern designer, who moves and works in a world without geographical barriers and with innumerable technological potentialities. Another significant aspect which emerges from the activity of “I_AM_Duomo” is the research of the valorisation of the historical and architectural heritage, through new ways of use, guaranteed to all the categories of users respecting

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

the cultural and formal values of the building. In fact, the topic of accessibility and usability of the historic architecture represents a complex challenge, to which the workshop has definitely offered a contribution in terms of possible solutions for the terraces of the Duomo in Milan, but especially in terms of methodologies and design approaches. The ideas developed by the students represent not only possible solutions to access and use the Duomo terraces in conditions of autonomy and safety, but also the result of a multidisciplinary and multi-professional approach (among the professors of the workshop there were not only technical engineers and architects, but also journalists, supervisors of museum exhibitions, sociologists, etc.). All this is essential to find appropriate answers to the needs of a complex society like the present one.

Prof. Carlo Ciaponi Dean of the Faculty of Engineering UniversitĂ di Pavia

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Alessandro Greco

Professor Università di Pavia (Pavia, Italy) DICAr - Dipartimento di Ingegneria Civile e Architettura

Introduction The Higher Education Activity “I_AM_Duomo – Improving_ Accessibility of Milano_Duomo” is born from the constructive cooperation between the Veneranda Fabbrica del Duomo di Milano, the University of Pavia and the Almo Collegio Borromeo in Pavia. These three institutions identified in a design experimentation activity, focused on the accessibility and the usability of the Cathedral (Duomo) in Milan, a chance to fulfill its cultural and statutory purposes and, at the same time, to contribute to the spread of an inclusive culture. The Veneranda Fabbrica del Duomo di Milano was founded in 1387 by Gian Galeazzo Visconti and since that time it is responsible for the implementation, the management and the maintenance of the Cathedral. For several years it has been engaged in the search for solutions to improve the usability

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

of the Cathedralâ&#x20AC;&#x2122;s and Museumâ&#x20AC;&#x2122;s spaces. In particular, it is aware of the difficulties visitors may encounter in reaching the Duomo terraces and in moving on them. The University of Pavia is one of the oldest Italian universities, characterized by the presence of professors and researchers from different disciplines (distributed in 18 departments). Its main strength points are the multidisciplinary and the vocation for the internationalization, also thanks to the heritage of about 1,500 beds distributed in 16 students colleges (12 managed by EDiSU, the institution for the right to university education, and 4 colleges of merit legally recognized by MIUR, the Italian Ministry of University, Education and Research), with the aim to offer students an appropriate teaching program to meet the new millennium challenges. The Almo Collegio Borromeo is one of the 4 colleges of merit. It was founded in the Sixteenth Century to allow students with talent but lacking money to attend the University of Pavia; officially opened in 1581, over nearly five hundred years of history, it has always combined the promotion of cultural activities complementary to the academic training, with the residency and the related services. The synergy between the three institutions led to organize a residential design workshop with architecture and engineering students coming from three different universities (the University of Pavia, the Technische Hochschule Mittelhessen University of Applied Sciences in Giessen, Germany and the Universidad Central de Chile in Santiago de Chile). The Veneranda Fabbrica del Duomo di Milano financed the initiative, covering the expenses for foreign delegations travels and for the didactic material; the Almo Collegio Borromeo managed the accommodations of the foreign participants, the lunches for all the participants and the spaces and logistics for the teaching and design activities; the University of Pavia provided the skills of the research group active on the theme of the historical buildings accessibility and usability for all users.

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Alessandro Greco

The cultural basis and the working method The theme of accessibility and usability of the historical buildings, with particular attention to the heritage with specific architectural values, in recent years has become more and more important, even after the UN Convention on the Rights of Persons with Disabilities in 2006, which has firmly established a new explanation of the concept of disability, no longer considered as a static condition owned by an individual, but as the result of the interaction between the individual and the environment in which he/she lives, works, studies etc. and in relation to a specific moment. In its 50 articles, the UN Convention underlines the importance of ensuring to people with disabilities the right to liberty and safety, freedom of movement and nationality, independent life and community inclusion, personal mobility and education. But above all, the whole Article 30 is dedicated to the “Participation in cultural life, recreation, leisure and sport”. The Paragraph 1 of this article is extremely significant and at the Letter c it is underlined that the States Parties shall take all appropriate measures to ensure that persons with disabilities: “Enjoy access to places for cultural performances or services, such as theatres, museums, cinemas, libraries and tourism services, and, as far as possible, enjoy access to monuments and sites of national cultural importance” - Article 30 | Paragraph 1 | Letter c. This is one of the principles underpinning the work of a research team of the University of Pavia, started in 2006 by prof. Gian Luigi Pietra and now coordinated by prof. Alessandro Greco, which deals with the theme of accessibility and usability at both the urban scale and the single architectural product, with special attention the historical ones. Among the projects developed by the research group these works have to be underlined: the map “Pavia for all” (first edition in 2008 by the Municipality of Pavia, updated and

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 01 Timeline of the experiences about the accessibility and usability for all, developed at Department of Civil Engineering and Architecture (DICAr) of the University of Pavia.

implemented in 2014 with an English version), the tactile maps for the Main Building of the University of Pavia (201012) and the elevator for the Collegio Cairoli (2013). For further information: http://updatepavia.wix.com/accessibility. The activities of the research group do not finish in the basic and applied research, but they aim to guarantee the diffusion and dissemination of the knowledge and the conscious working way, according to the principle, always fundamental for the University of Pavia, which sees the research as the foundation for a higher education activities. Also for this reason, every year starting from 2012, international design workshops are organised to bring the students to face with the issue of accessibility and usability of historical buildings, according to a multidisciplinary approach, not limited to the research of the â&#x20AC;&#x153;technicalâ&#x20AC;? solution for the accessibility problem, but framing and solving the usability with an overview of the whole building and its surroundings.

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

The international design workshops organized by the University of Pavia in collaboration with other partners (public and private), usually lasting ten/fifteen days, see the participation of students and professors from both Italian and foreign universities. For the whole duration of the workshop, participating professors and students (divided into mixed groups to promote the cultural exchange) work together to develop ideas and projects to improve the accessibility and usability of a building or an urban area preliminarily identified. The laboratory activity is complemented by specific lessons according to the workshop theme, held both by the professors of the Scientific Committee (composed of one professor for each participating university at least) and the external experts, invited to address particular issues to help participants to deepen their knowledge also by different experiences. The attendance of the workshop is enriched by a shared life experience: participants are accommodated in the university colleges, living together with the academic community of the

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Alessandro Greco

FIG. 02 Preliminary sketches. Photo by Valentina Giacometti.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 03 The workshop participants on the Duomo terraces during the visit to the project area. Photo by Antonio La Valle.

city, having the real opportunity to broaden their knowledge. Within the framework of these initiatives, the international design workshop and higher education activity “I_AM_Duomo – Improving_Accessibility of Milano_Duomo” was held from June 22 to July 4, 2015, addressing the specific issue of the accessibility of the terraces of the Cathedral of Milan (Duomo).

The purposes of “I_AM_Duomo” “I_AM_Duomo” aims at studying and analysing the accessibility of the terraces of the Cathedral of Milan (Duomo) and its Museum, with the main purpose to develop inclusive design solutions able to answer the needs of all users, and enhance its historical values. The topic is of great interest for the Veneranda Fabbrica del Duomo di Milano, which in 2013 already made a proposal

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Alessandro Greco

for an elevator linking the square to the Duomo terraces, to face the new arrivals of many tourists and visitors for EXPO. The project was not approved, leaving unsolved the issue of accessibility and usability of the Duomo terraces by people with disabilities. This theme is therefore extremely topical and also very delicate, due to the historical value of the building. Three main objectives to be achieved were given to the participating students: • ensuring the access to the terraces by people with mobility impairments (who currently can’t reach the last level of the terraces, which hosts several public events especially in summer); • increasing the possibilities to use the last level of the terraces, whose sloping roof makes problematic the movements of all users, especially in conditions of high humidity; • finding architectural solutions to unify the “urban system” composed by Duomo Terraces - Square - Duomo Museum, at the moment rather disconnected despite being a single urban area, due to many interventions without proper coordination during time. The purpose to design the Duomo terraces’ accessibility and the possibility to valorise their more extensive use than the current one, is extremely complex to be fully addressed and solved in only ten working days and, in addition, by students who have not yet completed their degree course. But the real challenge of the Workshop was precisely to take advantage from the fresh ideas of the students and their desire (and audacity) to experiment and search for innovative solutions. For this reason, students were not prevented from even daring proposals (as discussed in the next chapters dedicated to each project idea) in order to see the limit to which they would have had the courage to get with the purpose to let the greatest number of people reach the Duomo terraces.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

During the presentation of the three main objectives of the project activities, the importance of the Cathedral (Duomo) in Milano was emphasized from different points of view (cultural, architectural, materic, religious, etc.) and the Italian regulations were reminded both in terms of the cultural and architectural heritage preservation and in terms of the accessibility and usability in case of constrained environments. However, the speech presented also some solutions (the new entrance to the Louvre in Paris and elevators system of the Reina Sofia Museum in Madrid) where new architectural elements were introduced, without fear, adjacent to buildings with architectural and historical value, in order to solve the access and the vertical connections by changing their original image but, at the same time, becoming architectural expression of a new period, characterized by new technologies and new materials.

The activities of â&#x20AC;&#x153;I_AM_Duomoâ&#x20AC;? The workshop was held in Pavia, at the Almo Collegio Borromeo, which hosted the participants for all the duration of the initiative and gave them the work spaces and the teaching materials. The University of Pavia participated by providing the expertise of the working group coordinated by prof. Alessandro Greco, identifying the most appropriate partner universities and participating in selecting the students of the Master Degree Course (one cycle) in Building Engineering and Architecture who could take part in the workshop (with the recognition of ECTS valid for the degree career). As mentioned, the project activities focused on finding solutions to improve the accessibility of the Terraces of the Duomo in Milan and also to improve the usability of the square and the Cathedral Museum. In order to enable students to deal with such a complex theme, the information material about the Cathedral and the Museum (plans and historical documents) was made available and a site inspection was carried out with

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

a guide of the Veneranda Fabbrica del Duomo, who provided information also about the different activities that usually take place on the terraces. The lessons given by the participating professors concerned the possible ways to improve the accessibility and usability of the historical buildings and they gave students different approaches to the subject. The three schools (Italian, German and Chilean) start from different points of view but move in the same direction to find solutions “for all”, without any kind of ability-based discrimination, with the knowledge that accessible cities and buildings represent an added value to the social sustainability of our heritage.

Alessandro Greco

FIG. 04 Participating students at work. Photo by Valentina Giacometti.

Together with these lessons there were also the contributions by guest speakers: Simone Fanti, senior editor at RCS Mediagroup and editor of the blog of Correrie della Sera “Gli Invisibili” (http://invisibili.corriere.it), and Dario Scarpati,

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 05 Professors and Students during the first general revision. Photo by Filippo Condorelli.

coordinator of the Museum Accessibility Commission of ICOM Italia (the International Council of Museums). They offered their socio-cultural point of view about the importance to improve the accessibility and usability of urban spaces and museums. In fact, this particular and difficult theme can’t be adequately addressed unless a multidisciplinary approach, reminding the “technical designer” that the final goal is the research for solutions raising the life and living quality. During the design activity there were also two afternoons for the general revisions of the works, during which the groups of students showed to colleagues and professors of the Scientific Committee their approach and ideas. These presentations and discussions are always extremely profitable, because the debate and the critics reveals new ideas for the project activity. According to the tradition for the workshop organized by the University of Pavia, the general revisions were also attended by professors from other universities: Francesco

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Leoni (Università Politecnica delle Marche di Ancona), Michéle Pezzagno (Università di Brescia) and Fabrizio Astrua (Politecnico di Torino). Their participation in the revisions was very helpful because it forced the students to summarize in a few minutes the work of several days, checking the coherence between the analysis and design synthesis, not always easy to achieve when the working group is composed of students who come from different schools, have to know each other in a few days and find a shared way to work.

Alessandro Greco

FIG. 06 Final presentation of the projects during the closing ceremony. Photo by Matteo Locatelli.

The participants presented their projects at the end of the workshop (on Saturday, July 4) at the Sala Bianca of the Almo Collegio Borromeo. The final drawings (4 boards in A1 format for each group) were hung under the porch that from the main staircase leads to the Sala Bianca. Each group had ten minutes to present their projects, with the support of a short presentation in slides, with sketches, schemes and images taken from the boards.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 07 Delivery of the attendance certificates by the Rector of the University of Pavia prof. Fabio Rugge, the Rector of Almo Collegio Borromeo don Paolo Pelosi and the Director of “I_AM_ Duomo” prof. Alessandro Greco. Photo by Matteo Locatelli.

This presentation, open to the city, was attended also by the engineer Augusto Allegrini, President of the Engineers Order for the Province of Pavia, prof. Marco Morandotti, President of the Master Degree Course in Building Engineering and Architecture of the University of Pavia, and don Paolo Pelosi, Rector of the Almo Collegio Borromeo. The closing ceremony ended with the intervention of the Rector of the University of Pavia, prof. Fabio Rugge, who observed the five final projects and rewarded the best one selected by the Scientific Committee. In fact, at the end of each design workshop, the Scientific Committee usually selects the project that interpreted in the best way the proposed theme and framework of needs, with a coherent and conscious approach.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Conclusions The final outcome of this experience can be considered extremely positive for all the subjects involved. The Veneranda Fabbrica del Duomo di Milano can count on five innovative projects, maybe not â&#x20AC;&#x153;easily realizableâ&#x20AC;? as they were designed and presented by the students, but certainly based on principles of social inclusion and attention to the values of the Duomo, achieved at the end of ten days of intense work (approximately 1,430 hours/man of design activities can be estimated) during which the students have fielded all their creativity to find solutions to answer the needs of the largest number of people.

Alessandro Greco

FIG. 08 Project exhibition under the porch on the first floor of the Almo Collegio Borromeo. Photos by Matteo Locatelli.

In addition, it can be assumed that also the city of Milan can find important insights from these projects. In fact, in all of them, the Duomo is not considered as an isolated element, far away from the urban context, but rather it is seen as part

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 09 Professors, tutors and students during the closing ceremony. Photo by Davide Griffini.

of a complex system (Duomo - Square - Museum) that has to be thought and solved in a uniform way and that interacts with other key elements of the city (the metro system, Corso Vittorio Emanuele, the Gallery, etc.) to which it is related and, in case of reorganization and urban regeneration projects, they should be considered together. The University of Pavia and the Almo Collegio Borromeo supported a higher education activity with an international dimension, confirming their centuries-old traditions of Institutions, able to produce and spread culture. The training of design professionals can not ignore an open and dynamic vision, that has to be fed through the constant comparisons and dialogues between different schools. The professors and the professionals involved, from the Scientific Committee to the participants during the revisions and the final exhibition, could discuss and exchange information

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Workshop and Higher Education Activity: a full experience for a new idea of accessibility and inclusion

Alessandro Greco

and knowledge on the theme of accessibility, strengthening their collaborative relationships, that represent an essential sap in the current university panorama, increasingly turned to the studies course internationalization. For the students, â&#x20AC;&#x153;I_AM_ Duomoâ&#x20AC;? represented a higher education activity that put them in front of the theme of accessibility and usability, which too many times in professional practice is considered to be on a second order in respect to the distributive, compositional, formal and static aspects, but that should be thought in the same level, due to not only the technical implications but also the social and cultural ones that characterize it. Certainly, addressing this issue using an important and significant building as the Milan Cathedral as case study made the design work extremely complex. In addition, the limited and concentrated time of the workshop helped to make particularly difficult this academic experience. The achieved projects demonstrate an approach and an analysis and synthesis capacities that express care and respect for the historical building, but not afraid to propose innovative solutions, even unprejudiced, to answer to the demands of accessibility and usability. The hope is that these guys, who are the designers of the near future, can continue to operate with the same courage that they fielded in this experience, accompanying it with the right knowledge that must support the design choices aimed to improve the accessibility and usability of the cultural heritage.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Accessibility and historical heritage Valentina Giacometti

Engineer, Ph.D. UniversitĂ di Pavia (Pavia, Italy) DICAr - Dipartimento di Ingegneria Civile e Architettura

Introduction In recent years we have seen a conceptual change about the meaning of disability. This term refers no longer to the impairments coming from a disease or a physical problem, but rather to the result of the interaction between the individual skills and the environmental features. In all the cases in which the environment creates dangers or difficulties to the user it has to be considered disabling, and any person at any time and in any condition is in that environment, turns out to be a disable person. Thanks to this new approach, introduced by the ICF model (WHO, 2001) and reiterated in the â&#x20AC;&#x153;Convention on the Rights of Persons with Disabilitiesâ&#x20AC;? (United Nations, 2006), the issues related to the accessibility and the usability for all acquire a universal meaning, both for urban environments and for buildings.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

In addition, since an accessible world for people with disabilities is a simpler and better world for all, the need to carry out researches and projects aimed at the development of inclusive solutions is further stressed. The accessibility has to be considered not only a regulatory requirement but an important design opportunity to improve the environmental quality for everybody. In case of historical heritage, the accessibility for all users has to be considered as a necessary condition for its conservation and valorisation. Taking into account as many users and visitors as possible (including children, elderly and people with mobility, sensory or cognitive impairments) helps to improve the cultural and social meanings of the heritage, stressing the need to preserve its values, tending towards the so called accessible tourism.

Normative framework It is difficult to define a numerical framework for the disability in the world, because this term includes various physical, sensorial and mental conditions. According to the United Nations there are 650 million of people with disabilities in the world (10% of the world population). In addition, the integration of elderly people, bound to specific needs, represents a real challenge for the society. This raises the need to design new urban environments and buildings, studying elements and features which are easily suitable to as many users as possible. The Italian normative framework concerning the overcoming of architectural and sensorial barriers is composed of complete and detailed laws and regulations, but still without wideranging policies aiming at conscious social inclusion of people with disabilities, elderly, children and weak people in general (ORNATI, 2000).

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Accessibility and historical heritage

Valentina Giacometti

The first law in Italy for the abolition of architectural barriers is the Law 118/1971, which deals with the architectural barriers and public transport for people with physical impairments. With the Law 13/1989, and the requirements included in the DM 236/1989, the basic concepts are defined, both for the terminology and the design features. In DM 236/1989 (art. 2) the architectural barrier is defined as: â&#x20AC;˘ the physical obstacle, source of discomfort for the mobility of anyone and in particular of those who, for whatever reason, have a reduced or impaired mobility capability in a permanent or temporary case; â&#x20AC;˘ the obstacle that limits or prevents anyone the comfortable and safe use of parts, equipment or components; â&#x20AC;˘ the lack of measures and signs that allow the orientation and recognition of places and sources of danger for anyone and especially for blind, visually impaired, deaf and hard of hearing people.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 01 Examples of architectural and sensorial barriers: thresholds with steps, pedestrian crossings with steps and unclear, cobbled pavement, unclear sign system. Photos by Valentina Giacometti, Pavia, 2014.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 02 Ramp for Piazza Duomo in Milan in the 1960â&#x20AC;&#x2122;s. It is one of the first intervention for the removal of the architectural barriers in Italy. In Picone, R., Conservazione e accessibilitĂ . Il superamento delle barriere architettoniche negli edifici e nei siti storici, 2004.

As we can notice, the DM 236/89 includes in the definitions not only the physical obstacles for people with mobility impairments, but also to obstacles of perception for people with sensorial impairments, due to the lack of information and design features. In the same decree, the concept of accessibility is defined as the possibility for people with reduced or impaired motor or sensory capabilities to reach the building and its individual units and environmental, to enter easily and to use spaces and equipments in conditions of adequate safety and autonomy. In this definition it is important to analyse both the three different actions included (to reach, to enter and to use) and the personal features in which they have to be ensured (safety and autonomy). In particular, the condition of autonomy involves also the human rights of equity and inclusion.

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Accessibility and historical heritage

Valentina Giacometti

Another Italian key-law is represented by the Ministerial Decree DM 28 March 2008 â&#x20AC;&#x153;Guidelines for the overcoming of the architectural barriers in places of cultural interestâ&#x20AC;?. It contains a performance approach justified by the singularity of the cultural heritage that does not allow the definition of standard solutions. Together with the temporal evolution of the national and international normative framework we can appreciate a conceptual and terminological evolution of the term disability and its related issues. This evolution is marked by the WHO meetings in 1980 and 2001 and their classification models. From the concept of handicap as a physical impairment that creates invalidity, it switches to the concept of mobility and sensorial disabilities as a linear result from the disease, until reaching the bio-psycho-social approach, which combines the condition of disability to the environmental and personal contextual factors (ICF model, 2001).

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 03 Italian normative framework and conceptual evolution of the approach to the disability.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 04 Together with the concepts of equity, legitimacy, participation, cultural identity and institutional stability, the accessibility is one of the essential conditions to ensure the Social Sustainability.

Thanks to this approach, later developed in the “Convention on the Rights of Persons with Disabilities” (United Nations, 2006) we see a cultural change, according to which any person, at any time of his/her life, can be in disabling conditions if placed in an adverse environment. The disability has to be considered an evolving concept, created by the “interaction between people with impairments and environmental barriers that prevent their full and effective participation in society based on equality” (United Nations, 2006). The disability is no longer a personal failure but it becomes a temporary problem, which can be solved through the design of proper environments, accessible to as many users as possible. In addition, it is important to emphasize that the accessibility, together with the concepts of equity, legitimacy, participation, cultural identity and institutional stability, is one of the essential

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Accessibility and historical heritage

Valentina Giacometti

conditions to ensure the Social Sustainability, that is defined as the ability of the environment and the society to ensure humans welfare conditions (safety, health and education), equally distributed by classes and gender (KHAN, 1995).

FIG. 05 The seven principles of the Universal Design.

That’s why the role of designers, architects and engineers, who have the knowledge to study and modify the environment, becomes fundamental. The technical answer is represented by the so called Universal Design, an inclusive approach born in 1998 thanks to Ron Mace, and made up of seven principles: • • • • • • •

equity in use; flexibility in use; simple and intuitive use; perceptible information; tolerance for errors; low physical effort; size and space for approach and use.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Technical guidelines are associated to each principle. If properly applied, they allow to form accessible environments in inclusive ways, by the largest number of users, regardless of the individual abilities. The Universal Design approach was deepened during the following years and in 2003 the European Concept of Accessibility (EuCA) defined the six features to create an accessible environment. These features are: • respectful - it must respect the diversity of users. Everyone must be able to access it. Nobody should feel marginalized • safe - it must be free of risks for all users. The design must have as main purpose the safety of all users. • healthy - it must not cause any risk to health or be a source of problem. It should promote the healthy use of spaces and products. • functional - the space must be designed to bring out the function for which it was designed, without any difficulty. • understandable - all users must be able to use the space independently without problems: spatial distribution must be clear with clear information. • aesthetically pleasing - the result should be aesthetically pleasing to be more accepted by everyone. In particular, an accessible environment should provide useful information for the orientation also for users with sensorial disabilities. In fact the blind and visually impaired people are able to create cognitive maps and mental representations useful to move independently in the space. The main task of the designer must be to increase these clues and to integrate them with specific aids, such as paths and tactile elements, relief maps, information in Braille, acoustic traffic lights, etc. Therefore, it is necessary to study design solutions that take into account all the perceptive senses, because the conscious use of multisensory references leads to a real integration and autonomy of weak users and it improves the quality of the environment for all.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Accessibility and historical heritage

Valentina Giacometti

Accessibility and historical heritage The instances of conservation and accessibility are not to be considered in contrast, but as the expression of the same purpose: the heritage valorisation. The accessibility has to be considered as one of the necessary conditions to obtain the conservation and the valorisation of the historical and architectural heritage. The concepts of valorisation is defined by the Italian Code of Cultural Heritage and Landscape as â&#x20AC;&#x153;exercise of the functions and regulation of the activities aimed at promoting the knowledge of the cultural heritage and ensuring the best conditions for public use and enjoyment of the heritageâ&#x20AC;? (D.Lgs. 42/2004, Art. 6, Codice dei beni culturali e del paesaggio) even by people with disabilities, in order to promote the development of culture.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 06 Accessibility of the historical heritage has to be considered as one of the necessary conditions for its conservation and valorisation.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 07 Cinema Museum. Mole Antonelliana, Torino, Italy. Panoramic elevator in the middle of the dome, tactile model of the building. Photos by Valentina Giacometti, 2013.

Designing the accessibility of historical buildings means also ensuring the right to the culture, with the opportunity to visit the heritage and to experience the society in all its parts, in safety and autonomy conditions, regardless of physical, sensorial or cognitive impairments. This approach has also the meaning to transmit the values and the memories of the past for future generations, involving as many users and visitors as possible, regardless of their physical, sensorial or cognitive capabilities. The main aim is to guarantee people the right to use buildings and spaces easily, safely and independently, because “we have several difficulties […] trying to imagine a building which is not made for men, which is preserved in itself, like an abstraction, and not to be used. […] the mere contemplation does not belong to architecture” (BELLINI, 1998).

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Accessibility and historical heritage

Valentina Giacometti

This concept doesnâ&#x20AC;&#x2122;t mean obtaining the maximum level of accessibility in every circumstances and in an indiscriminate way: there are cases in which interventions turn out to be a real forcing, altering the architectural elements, and obtaining as result to draw a widespread sense of rejection by the public opinion (ARENGHI, 2000). Ensuring accessibility and usability of the historical heritage involves complex aspects: any adjustments to the built environment implies more restrictive constraints than in case of new architectures. It is important to underline that the provisional solutions obtained with poor quality materials, easily vulnerable to deterioration phenomena or not integrated with the environment, canâ&#x20AC;&#x2122;t represent the right answer. Therefore it is necessary to give designers the possibility to read the context in a critical way, studying design solutions case by case, based on detailed analysis, also with the

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 08 Tactile model of the historical centre in Munich (Germany). Urban sign system in Bregenz (Austria). Tactile guide in the stone paving in Copenhagen (Denmark). Photos by Valentina Giacometti, 2013.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 09 Petit Palais, Paris. Removable connective ramp to overcome barriers. Photo by Valentina Giacometti, Paris, 2011.

contribution of experts, coming from different disciplines. The requirements of flexibility and reversibility, allowing future modifications or replacements, represent the key features for proper inclusive solutions, guaranteeing the heritage conservation and improving its valorisation. The resulting methodological approach stresses the need to avoid priori positions on behalf of flexible solutions, adaptable to the specific context, combining together the theoretical studies and the practical experiences. In this context it is clear how the investigation of the accessibility of a historical building means not only the analysis of its architectural and sensorial barriers, but also the understanding of its architectural values and its historical transformations.

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Accessibility and historical heritage

Valentina Giacometti

References Bellini, A. (1998). La pura contemplazione non appartiene all’architettura. In TeMa, n.1, Le barriere architettoniche nel restauro. Como: Edizioni New Press. Baracco, L., Pane, A., Virdia, E., Caprara, G., Agostiano, M. (a cura di, 2008). Linee Guida per il superamento delle barriere architettoniche nei luoghi di interesse culturale. Roma: Edizioni Gangemi. Greco, A. (a cura di, 2013). Studiare e progettare l’accessibilità degli edifice storici. Winter School in Accessibility with ThyssenKrupp Encasa. Monfalcone (Gorizia): Edicom Edizioni. Gulli, R., Greco, A. (a cura di, 2012). Intervenire sul costruito. Norme tecniche e progetto per la riqualificazione del patrimonio esistente. Monfalcone (Gorizia): Edicom Edizioni. Khan M. A. (1995), Sustainable development: the key concepts, issues, and implications. Sustainable development. Ornati, A. (2000). Architettura e Barriere. Storia e fatti delle barriere architettoniche in Italia e all’estero. Milano: Franco Angeli Edizioni. Picone, R. (2005). Conservazione e accessibilità. Il superamento delle barriere architettoniche negli edifici e nei siti storici. Napoli: Arte Tipografica.

Web sites http://www.progettarepertutti.org http://www.un.org/disabilities/convention/conventionfull.shtml http://www.who.int/classifications/icf/en/

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Chasing an emotion

Simone Fanti

Senior Editor, Professional Journalist RCS Mediagroup (Milano, Italy)

Sight, touch, hearing, taste, smell, what would we be without our five senses? Probably we would be primitive-life forms, more backward in evolution than we are today. Our brain, deprived of one thousand of stimulations hitting it each second, would be less structured, receptive and creative. In that case, never having tested and felt the “senses”, we would not feel the lack of them. But, imagine if you’d be deprived of all the five senses at the same time. Do this occurrence give you the feeling of losing “the meaning of life”? Looking around, touching something, putting a candy in your mouth... everything generates a response. Everything starts up your brain that processes the signals received from its visual, olfactory, auditory, tactile and gustatory receptors, and it returns as a feeling, an emotion. We live with emotions. And this sets us apart from the rest of the animal world. The animal-human being, as well as all the other animals, was programmed by Nature to reproduce itself, to create an increasingly evolved copy of itself, generation after generation.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Darwin tells us that we came from a primate. The gap between us and a monkey is that animals do everything for the species survival, we do for pleasure. We are feeding up by food and emotions. The human being builds and beautifies his home for the sheer pleasure (some birds do it to attract the partner). And he is the only one that gives shape to their hedonism creating works for the only purpose to create beauty. For centuries, painting, sculpture and architecture supported the function they were born for: the aesthetic function. Could we live without the art and the beauty? Yes, surely. But we can evolve only through them. Surprisingly, the art is also one of the few contact points between all the inhabitants of the planet. It’s something universal because it does not communicate through a language constructed by man (often the words used to describe an object destroy its magic charm). But through our senses, the art hits the emotional hemisphere of our brain. Directly. Without mediation. The brain does not have to decrypt. It sees, hears, tastes, touches, smells and creates a chemical cascade, that spreads throughout the body. Good, bad, bitter, sour, shocking... it doesn’t matter what is the result. It is now pure emotion. And the emotion is universal because it is inherent in our humanity, and also because the art is able to communicate to everyone, from the children to the elderly, from people with sensory disabilities to those with cognitive disabilities. And the art is used as a rehabilitation therapy. During the project “I_AM_Duomo” - “Improving_Accessibility of Milano_Duomo”, I reasoned around the Right of the enjoyment of the beauty. The roof of the Cathedral of Milano (Duomo) is not accessible. It was not made available. A first proposal, including a lift and a ramp, was rejected few years ago. The intangibility of the historical building, its preservation and integrity prevailed on the right of everyone to enjoy the beauty of the place. The same approach happens in Pompei, in many medieval castles, and in most of the Italian Cultural Heritage.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Chasing an emotion

But it is not only a problem of architectural barriers, which, as can be seen in many other buildings (for example the Santa Giulia Museum in Brescia), can be overcome without disfiguring the architectural work. There is, at least in Italy, a very strong cultural barrier that connects people with disabilities to the concept of bad and unworthy. Do not look for a rational explanation, the motivation comes from anthropology and is rooted in the European history. Who had a disability was not always suitable for hunting and therefore, in primitive tribes, was left on the societyâ&#x20AC;&#x2122;s sidelines.

Simone Fanti

FIG. 01 Santa Giulia Museum in Brescia, Italy. Source: http://www. bresciamusei. com/detgal.as p?n=25&num =4&t=Museo +di+Santa+G iulia.

A similar concept can be found in the ancient Greece, where many children with disabilities were launched from the Tarpeian Rock. Sparta versus Athens: the form changes, but not the substance. If Sparta didnâ&#x20AC;&#x2122;t try to find forms to soften this custom and just killed the disabled child, in the homeland

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 02 Scuola di Atene, Raffaello. Source: https:// it.wikipedia. org/wiki/ Scuola_di_ Atene#/ media/File: Sanzio_01. jpg.

of the beauty, the difference from the standard and the ideal of beauty justified the expulsion of those people who were not born according to the stylistic canons appreciated at that time. The mythology reflects this way of thinking. Hephaestus, who was born deformed, was thrown from Olympus, brought up by the Nereids and became the god of fire. Scrolling through the centuries, we can quickly find examples of this exclusion. Even for the Catholic Church the deformed and the crippled were “children of the devil”. Although it has been a long time, in our society, which is self-referential and projected into the latest fashion, it is difficult to talk about overcoming this prejudice. The “other” is removed. Who does not fit or is not within the standards established by the society, is out. Why am I talking about the society in a technical document that presents numerous projects to improve the accessibility

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Chasing an emotion

of one of the landmarks in Milan? Why am I introducing sociology and anthropology in a text that will be read mostly by architects and engineers? Because if you skip these few pages, you may not understand the rest of the project. Who is a “disabled person” in your opinion? If you think only to those few thousand people sitting comfortably on a wheelchair, you are a bit “out of the way”. They are only a small part of the totality: paraplegics and quadriplegics are just over 200,000 units of the 2.6 million of disabled people (data for Italy). We have to add those people with a genetic disease, a sensorial or cognitive disability, but also an elderly man walking with difficulty, or a person who has a limb temporarily blocked. At certain times of our life we have all been disable: just a sprain playing football can make your life more difficult. For these reasons, designing for people with disabilities means designing for ourselves. Where a person with dwarfism can

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Simone Fanti

FIG. 03 Hephaestus, Greek god of fire. Source: http://greekgodsandgoddesses. net/gods/ hephaestus/. FIG. 04 The Beggars, Pieter Bruegel the Elder. Source: https:// en.wikipedia. org/wiki/The_ Beggars.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

see, even a child is able to see, where a wheelchair goes, a stroller goes. An elevator is a tool that everybody uses willingly: do you prefer running along ten ramp of stairs with shopping bags or taking a lift? A simple example of this concept is the remote control that each of us has at home. Did you know that it was born to give the possibility to change programs to the bedridden people, who could not get up. In the 80’s we had to change the few channels directly on a keypad on the front of the television. Then the remote control was introduced, such a useful object that nobody could lack. Designing “for all” is easy if you start with a white sheet. But the reality is made up of old buildings which often host the best examples of human’s intelligence. For thousands years the churches have been designed with a staircase access, an idea taken up by the Roman temples. That small rise had a strong symbolic value: going up to God. Today the preservation of these buildings is most important than offering preferential access to all. It seems that the two elements can’t coexist. Why? In this game we have two players: people with disabilities who claim the right to participate in the fair of beauty and, on the other hand, a distracted, egocentric society. A fragmented society. Starting from the family, the extended family of the twentieth century, including more generations, has been reduced to couples or couples with children. Or maybe just two people who share a certain path for a limited period. Everything revolves around the “self”. Which is an additional obstacle to the beauty sharing. The fruition of something changes. Take for example the living room, intended as a space where some people gathered to watch the television. It is “narrow” and it is collected in a mobile phone. The fruition of something becomes ubiquitous and cancels the meeting,

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Chasing an emotion

Simone Fanti

the appointment. We can see all where and when we want. Breakdown and fragmentation are the words that describe this new way to “enjoy” something. Similarly, the way we enjoy the beauty and the art becomes personal. Go for a visit in a Museum and take a look at the visitors: all watch the works with earphones of audio guide in to the ears, they do not comment, except for the elderly people, they do not exchange any impressions or sharing details and discoveries. If it’s possible, they spend more time to do selfies only to say: “I was there”. Only at home, perhaps, they notice the details of what they have photographed. In a world where reigns the dictatorship of the ego there is no space for “us”. People lose value in respect to the objects. We can try to disclaim this concept back to reality, to the famous terrace of the Cathedral. We can try to enter into the head of a capable person who can climb the stairs to enjoy the view from the roof of the Cathedral. Why should you grant this privilege to another person? Once you satisfied your pleasure why should you have to spend the money for the community for making accessible the roof? Why should you risk that the modification might clash with its historical values and spoil the view and the architecture of the Duomo? On paper, this behaviour feels hurt anyone. But it is what happens every day. In fact, if laws, rules and the common sense are pushing to promote the social inclusion for all, removing the physical and moral obstacles that hamper it, the reality says the opposite. It’s better to think as selfish: “applying my rights, even if they clash with those of the others”. The word “Rights” is immediately connected to the rules. It would be so simple to say that applying the rules is enough. So simple that an archistar as Calatrava built a bridge on the Grand Canal in Venice forgetting to make it accessible with adequate ramps. The bridge was later modified with elevators that dissatisfied all.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 05 Bridge on the Grand Canal, Venice, Italy. Santiago Calatrava. Photo by Valentina Giacometti, 2008.

But, even assuming that they comply with all the rules, are you sure that you are really designing for all? I bet not. Letâ&#x20AC;&#x2122;s take a simple bath, and more precisely a sink with a lever faucet. The standard provides for a long lever that can be manipulated by those with little strength, or residues few movements in the arms. Right hot, left cold water... Have you ever thought that same levers could be dangerous for a blind person who stoops to wash his/her face? Those who think that there is a standard suitable for all must take a bath of humility. Disabled people are different from each other. Each person with a disability is like a person who wears glasses: each has his/her own pair. The solution? Heart and reason, as well as for the art. A painting did with perfect technique but no passion does not transmit an emotion. A painting with passion but no technique

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Chasing an emotion

Simone Fanti

equally. Neither case creates the so called “wow effect” , that is what allows billions of people to appear before the picture of the Mona Lisa remaining fascinated. The “wow effect” is the mysterious ingredient that enchants. Heart and reason constantly interacting and supporting each other to arrive at the best solution. Not the most simple, that often does not satisfy.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Restoration in the Cathedral of Santiago, Chile Jaime Migone Rettig

Professor Universidad Central de Chile (Santiago, Chile) Facultad de Arquitectura

Historical background

Cathedral construction phases 1746 - 1779: from Matías Vásquez de Acuña to Francisco Antonio de Barros In 1746 the venerable Council, chaired by the Bishop Juan Gonzalez Melgarejo, decided to build a new Church to replace the one built in 1687, which suffered serious damage in the earthquake in 17301, but still in use after some repairs. The plans for the new building are entrusted to the Jesuit vicar Peter Vogl, to whom was later added Juan Hagen, also vicar of the same order2. The execution of the works was led by Matías Vásquez de Acuña, who occupied this position from 1747 to 1770, when he died3.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

It was decided that the new Cathedral would be located perpendicular to the old one, changing the direction from south to north, in order to look to the square. For this reason it was necessary to buy two properties located in Calle Catedral, between the old church and the corner with Calle Bandera4. The work would started precisely from this part, deciding that during the construction, the old Temple would remain, in order to continue the liturgies of the Bishop’s venue5. On July 3, 1747 the first stone was placed. The dimensions planned for the new building were 41 varas wide (27.27 m) and 120 varas long (97.83 m), of which only 92.5 were built6, from Calle Bandera up to the old building, still in use as said before. The proportion used for the elevations was 12 to 90, as required by the architecture teachers, according to the premises of the Bavarian teachers. It was established that the length and height for building proper proportion should be 17 varas, but finally they made 16 varas, which was the minimum number not to fear the earthquakes7. The walls would be made with flat masonry, except for the bases, the capitals and the cornices, that should lead to the Tuscan moldings, being the work of lower cost than could be done with this kind of material8. The construction began quickly, Mateo Fuentes went to Buenos Aires to take the iron, the contracts were signed with the lime kiln factory and the transport of materials, sand of Pudahuel and lime of Polpaico, were managed. In Valdivia the cutting of the woods was ordered, and the greatest stonemason master, Juan Álvarez, began the demolition of the stones for the foundations9. According to the chronicles, the Acuña’s foundations were conceived in an excellent manner, constituting a perfect mesh, connecting together all the pillars in a row, forming a grid10.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

In the archaeological studies conducted during the Metro construction, it was discovered that they are formed by quarried large stones, coined by the small plate and tied with lime mortar11. The width dimensions of the foundations vary with the elements which must withstand. Under the walls they have a width of 2.3 m, and under the pillars 3.35 m, the depth is 2.8 m under both the walls and the buttresses12. The walls around the Church perimeter have a nearly constant width of 1.6 m, the only change is under the towers, that would be built by Toesca, where the dimension is increased of 0.5 m13. In 1751 a strong earthquake caused serious damages to the ancient Church, which was finally destroyed by the fire in 1769, opening the construction of the new building14. In 1775, without waiting for the end of the work, the twothirds which were built were delivered, opening an entrance from the current Calle Bandera15.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 01 Harmonic proportion of the plant of the Cathedral.

FIG. 02 West facade of the Cathedral before remodelling by Cremonesi. Oil on canvas at the National History Museum.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 03 Toesca’s facade reconstruction. Guarda, Gabriel O.S.B. El Arquitecto de la Moneda: Joaquín Toesca 1752-1799. Una Imagen del Imperio Español en América.

After Vásquez de Acuña’s death in 1770, he was succeeded by many people: the last before Toesca was Francisco Antonio de Barros, named in 1779, who later was relieved of their services because of his health conditions.

1780-1799: Joaquín Toesca On March 29, 1780 Toesca signed the contract as the architect of the Cathedral. It remained to build the perimeter walls until the square, ten interior pillars with their arches and the full coverage of this section, together with all the facades16. The architect does not modify the project designed for the Jesuits, but he executes it in the classical language by adjusting the parts to the proportions given by the treatise writers. The front of the Church, built under the direction of Toesca, is distributed in only three modules. The main lines

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

focus on this clear tripartite division and their distribution in the same number of framed arches separated by pairs of fluted Doric pilasters, arches similar to the ones used for the naves, unload the forces on four main pillars, which are nothing more than real buttresses covered and decorated by fluted pilasters; each module has a door framed by columns and topped by circular gables17. On the cornice there are some boxes with all the profiles and the moldings usually used in these places during the nineteenth century18. The architect couldn’t execute the two towers planned for the temple in both the corners of the front. He made only a temporary bell tower, which probably corresponds to the one shown in a photo in 1865. After the death of Joaquín Toesca, Juan José Goycolea became the director. He followed his teacher’s guidelines19.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 04 The facade of the Cathedral, the Sanctuary and the temporary bell tower designed by Toesca. Early nineteenth century. Guarda, Gabriel O.S.B. El Arquitecto de la Moneda: Joaquín Toesca 1752-1799. Una Imagen del Imperio Español en América.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 05 Overview of the Cathedral, with tower and facade modifications designed by Chelli. It’s possible to see the buttresses, built by Vasquez de Acuña and Toesca. Photographic Archive of the National History Museum.

1854-1895: Eusebio Chelli and others After the death of Joaquín Toesca, different architects, such as Vicente Larraín Espinaza (1845), Eusebio Chelli (1854), Fermín Vivaceta (1861), Juan Murphy (1874) and Ángel A. Herrera (1874) worked to fix the internal and external details of the Cathedral. Among the proposals and the executed works it’s possible to find additional information about the works of Eusebio Chelli and Fermín Vivaceta. The first, who was named “Scientific Director of the works of the Metropolitan Church” in October 1854, is known for his repair plan and the coverage of the central nave, presented four years later. It was a project aimed to give greater visibility to the nave and get more light. We don’t know if that model was entirely applied, as the remodelling of the late nineteenth century changed this part, but certainly this initiative indicates the safety of the structural work on the Cathedral, and the

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

attention starts to move towards the artistic details20. In 1857 he presented a remodelling project for the facade, of which only one part was implemented: he lowered the height of the eastern facade, removing the part with boxes and replacing it with a balustrade, and on the two pairs of pilasters of the central module he built a tympanum crowned by a small attic, with a coping standing on it21. In 1874 Juan Murphy built a tower for the Cathedral, designed by Chelli on the module located between the Cathedral and the Temple (Sagrario). It was 24 m high, from the tabernacle top it was vertically divided into two octagonal modules of similar height, which were separated by a central module very similar to a parapet, absorbing the decreasing diameter of the upper module. In the two main modules it has large openings topped with an arch on each of its faces. In the lower module they are alternated with the smaller rectangular ones, the arches openings has balusters as railings and rectangular

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

FIG. 06 View from the corner between Calle Ahumada and Calle CompaĂąĂa, with the Palacio Arzobispal, the tabernacle and the Cathedral with the towers and the changes by Chelli, 1875. Photos archive of the heritage photos centre.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

opaque parapets. The two columns on each side are in the Ionic order for the lower module and in the Corinthian order for the upper one. The dome that covers the tower has ribbed edges, ending in a small lantern which acts as a pedestal for the cross. The tower was built in lime and bricks on the stone walls of the Cathedral and the tabernacle.

1897-1906: Ignacio Cremonesi In 1897 the Archbishop Don Mariano Casanova, called a little contest in order to make the plans for the reparation of the Metropolitan Cathedral: Emilio Doyere and Ignacio Cremonesi participated in this competition and the latter was the winner22. On February 14, 1898 the Church renovation started, with the demolition of the old tower23. In the eastern facade renovation, Cremonesi eliminates the balustrade by Chelli, creating a ledge and a new basis for the towers he will build on both the side of the facade, on the lateral modules. Keeping the appearance of the box by Toesca and the gable by Chelli, he doesnâ&#x20AC;&#x2122;t perform big changes in the rest of the facade, only small modifications, such as the for the parts over the entrance doors curved by triangular pediments, and garlands and baroque ornaments were added in the three modules. The Doric capitals were replaced by the Corinthians ones. Circular elements between the pillars and on their top were added. On the gable by Chelli a new cornice was built, the interior of which was decorated. The biggest intervention in the facade corresponds to the addition of the two towers. In 1899 they are 41 m high, vertically formed by a pedestal, the first square module with octagonal corners, a parapet, a higher more stylized octagonal module and the domes with their lanterns, which act as pedestals for the crosses. On September 27, 1897 Cremonesi delivered the following structural foundations, ensuring that Toesca had planned to build two towers on the facade of the tabernacle:

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

â&#x20AC;˘ he started the foundations, which had to bear the towers greater magnitude than the rest of the foundation. This was observed by burying the bishop Eyzaguirre; â&#x20AC;˘ the only two strands of the central nave which differ from the others correspond to the bases of the towers, which must be stronger and thicker than the others; â&#x20AC;˘ the walls of the sides, that in all the naves have niches for the altars, in these areas they are suppressed. To increase the solidity the walls have an almost double thickness than the others24. However, Cremonesi finds difficulties with the towers designed by Toesca, characterized by a bigger section than desired. He solved the problem in this way: the current bases for the towers have 7 m span, so that after putting iron double beams of 30 cm in the four corners of the bases, to perform the function of straps and at the same time to consolidate the existing walls, in each base side they form four arches in

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FIG. 07 Ignacio Cremonesi: repair project for the Cathedral. 1898. Cathedral Archive.

FIG. 08 Views of the north east facade and in the first half of the twentieth century.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

bricks, 1.6 m thick each, so that the span of the towers bases is significantly reduced (enough to support the new towers). The missing part in height of the sides is planned to be done in bricks mixed with lime, sand and cement. For more safety, an iron scaffold and leaded is placed in the stone walls, which would be armed during the construction25. On this bases Cremonesi places the towers in concrete and iron structure, with decorations and plasters. In every corner of the lower module, he puts a grooved column in its first third, with Corinthian capitals and square base. The windows of the big faces, fall within a tabernacle made up of two columns supporting an arch, with a circular metal frame. In the north facade Cremonesi removes the relief granted by the buttresses, bringing the facade outside until the external line. The gesture of the outgoing buttresses is replaced by incoming arches, in which, following the shape of the arch, there are the lunette already renovated. In the upper part a greater height is given with a balustrade and gables in the external line, which appear alternately on each arches module. The module containing the door is topped by a circular pediment with a coping on it, reaching the highest point of the facade.

Latest interventions Much later than Cremonesi and almost at the end of the twentieth century, in 1987, the Cathedral returned to be object of interventions, because of the visit of the Pope to the country, and the damage for the earthquake in 1985, which mainly were the decorations and the plasters, both the internal and external ones. On this occasion the internal plasters were removed, returning to see the stones and conservating them only on pillars and moldings.

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

Finally, between 1999 and 2000, because of the extension of Metro Line 5, an intervention for the Cathedral consolidation was done, especially on keystones and arches. This intervention also took into consideration the strengthening of parapets placed on the walls of the north facade and the separation of the west facade of the building, which is met in its side.

FIG. 09 Overhead view of the Cathedral area in the centre of Santiago.

Restoration project for the independence bicentenary For the celebration of the Chile 200 years of independence and within the framework of the valorization of the heritage, the Ministry of Public Works called a competition to restore the Cathedral of Santiago. The contest was won by a multidisciplinary team led by the architect Jaime Migone Rettig. For the first time this team developed a comprehensive project for the valorization of the

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

building, on which the last global intervention was by Ignacio Cremonesi in the nineteenth and early twentieth century. The project focused on the restoration of the two towers, the east facade and the north facade, also developing a design looking at the public access to the roof of the Cathedral, including the internal part of the two towers and the panoramic ascent till their first balcony. This project was completed in January 2010, approved on this date by the Council of Monuments without comments. On February 28, 2010 there was the earthquake that devastated the central Chile, reaching 8.8 Richter of magnitude. This meant the need to update the project according to the increase of the damage and the appearance of new problems not initially covered, solvable by reformulating the restoration project. This project was approved in 2012, the execution of the works began on February 16, 2014 and the Cathedral was inaugurated in July 2015.

About the sculpture iconography of the east facade During the remodelling made by Ignacio Cremonesi, three sculptures were incorporated in the eastern facade, which represent the Virgin Assumption (dogma dedicated to the Cathedral), the apostle Santiago (patron of the city), and Santa Rosa de Lima (patron of the New World). The Virgin Assumption sculpture represents Mary on a cloud carried by a little cherub, ascended to heaven. For the Catholic dogma Mary, the mother of Jesus, is taken up, body and soul, into heaven by the God’s angels, without having gone through the body corruption. Santiago sculpture represents him as an apostle, dressed, as this Saint category, with mantle and robe in the style of the Jews at Jesus’ time; but also he has another attribute,

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

the stick with the pumpkin, symbol of the pilgrim, alluding to the pilgrimage made by the Saint preaching from Jerusalem to Spain, and to the famous Camino de Santiago or Ruta Jacobea26.

FIG. 10 Cathedral front.

Santa Rosa is represented as usual with her Dominican habit, belonged to the third order of this religion, she also has a roses crown tight on her head, symbol of the thorns crown that she had hidden under the cap in life. She brings also a branch of roses together with a crucifix, symbol of her mystical marriage with Jesus Christ27.

Historical conclusions Since the Cathedral of Santiago is in the original location from which Pedro de Valdivia traced the city, it stands as one of the most important architectural landmarks of the city, and through

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 11 The front overlap of the Cathedral by Cremonesi on the one by Toesca.

the history it demonstrated to be one of the most emblematic religious temples in Chile. It forms one of the main facades of Plaza de Armas, which constitutes the foundation space and the historical city centre where the main civic, cultural, trade, recreation activities and the inhabitants expansion of Santiago were developed. The present church dates from the eighteenth century, and since that time until today it has undergone several interventions, made by various architects, as Toesca, Chelli, Vivaceta, and others, due to which it was constantly modified. This process of change continued until today, also incorporating elements of the current cult, as requested by the liturgical reform of Vatican II Council. Gabriel Guarda points out, in his book about JoaquĂn Toesca, that the architect Ignacio Cremonesi, in the late nineteenth century, was the one who finally gives unity to this work,

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

because until that date it was heterogeneous and not completely finished. Thus in the architecture of this temple elements from different periods coexist together: from the end of the colony, when it begins to be constructed, through the Republican period, and the independence centenary, with the main renovation by Ignacio Cremonesi, the building is concluded and it represents the testament of the desire to depart from the Spanish aesthetic reference. This historical stratigraphy into the Cathedral becomes one of its most important values, reflecting in its architecture the quality of unquestionable witness of the historical development of the city and the country. For this reason it was recognized Historical Monument in 1951. The public interest to give the city a temple worthy as Cathedral is a sign of its importance and significance, because it represents a contribution to the urban development of the capital, from its foundation to the present days.

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FIG. 12 The lateral overlap of the Cathedral by Cremonesi on the one by Toesca.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 13 Cathedral injuries analysis. Index. Team led by the architect Jaime Migone Rettig.

Diagnosis The current situation of the towers, the east and the north facades of the Cathedral of Santiago can be summed up essentially in a series of injuries that are associated with the null maintenance of the building and the succession of earthquakes that happened in the twentieth century. The damages, accumulated during the years, are now manifested by a generalized loss of facades ornamentations and the danger of detachment of same parts of them or the decorative elements from the upper parts of the monument, with also the risk for users. This situation deepened as a result of the earthquake in February 2010 and the damages of the building increased in magnitude and extension. But no new damages occurred, except for some points requiring additional structural consolidation which were identified and resolved.

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

All these problems can be addressed in two main issues in relation to the damage that the building presents: â&#x20AC;˘ damage for the facade skin and all the external decorative elements. These damages are extended, covering the entire property. The building skin is composed of three types of stone (red, yellow and green) down from the cornice and of plastered mortar in the upper part, in the case of the eastern front. It is fully plaster on the north side and the towers. In the case of the stones, which are part of the Cathedral executed by Toesca and its predecessors, and the lower base in northern and eastern facades made in green stone by Ignacio Cremonesi, there are damages mainly for the dirty and the null maintenance, associated to the acid rain. In addition, minor damages for breakages and poor reparative interventions. The plaster has lost the coherence of the material and the ornamentation rupture is caused by oxidation of the metal elements of

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FIG. 14 Cathedral injuries analysis. Detail n. 1. Team led by the architect Jaime Migone Rettig.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

the structure and that anchored them to the building. The lack of protection for all the heads of the walls and of many roofing elements that are damaged or missing, let rainwater enter into several parts of the Cathedral damaging stones and plasters. Being the most important cause, it is contemplated to seal and repair; â&#x20AC;˘ structural damages. There are moderately important damages in some parts of the building, but they need to be addressed. This is the case of the eastern facade pediment, which is cut. But since its thickness is more than 3 m, equivalent to its high, it remained without collapsing. Also in the case of the towers bases, there is a minor damage to the bricks arches, which also require interventions, as well as the attic of the north facade that needs to be consolidated. These structural damages, with minor importance but high incidence in case of falling from the top, especially for the decorative parts, need to be reinforced in various magnitudes and emergencies, in order to overcome the insecurity and their total loss. All these problems have already been mentioned, identified and detailed in the abolition of the damage, as well as the solutions will be specified in the restoration project, where the deficiencies are remedied and the actions urgencies are organized into hierarchies. Several conclusions related to the different issues addressed in this study, which especially refers to the towers, the east and north facades of the Cathedral, and for this reason it is partially specified.

Conclusions and diagnosis of damages This diagnosis gives as general conclusions the assessment of the identified damages, establishing a hierarchy of their effects on the conservation of the architectural elements, considering their activities and their level of impairment considering the

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Restoration in the Cathedral of Santiago, Chile

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extension and the distribution. The recurring causes of the detached damages are also highlighted, in order to attempt a systematic analysis of the alteration agents. These conclusions provide relevant information on the material and technological needs and requirements, that must be considered into the strategies to develop the proposal for the intervention. With the earthquake in February 2010 all the damages increased in breadth and depth, but no new ones or with new causes.

FIG. 15 Details of the damages of the decorative elements of the Cathedral of Santiago.

The most serious injuries are: • • • • •

cracks in the concrete plaster and in the brick masonry; unstable protection for the sculptures; missing moldings and decorations in concrete; missing plaster with loss of cohesion; high humidity with loss of cohesion and/or increased porosity in stones and bricks.

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These injuries are serious because they are very large, their agents are active and/or are going to be active or produce new lesions. In the case of existing lesions in the concrete decorations and plasters, there is a fast degradation process and the presence is very extensive. The effect produced is clear in disrupting the aesthetic reading. The loss of cohesion in the bricks masonry and in the natural stones is less widespread, but it compromises the stability of the decorative elements and the substrate of moldings and plasters in concrete. It is caused by the water and the high humidity coming from the rainwater flow and storage. Its origin is the collapse of the rainwater evacuation system, worn and inadequate due to lack of maintenance. The moderately serious injuries correspond to: • missing moldings and decorations in concrete and natural stone; • missing bonding mortar for the stones and the bricks masonry; • plants proliferation; • humidity with loss of cohesion and/or increased porosity in natural stones, concrete plaster, bricks masonry. These are moderately serious injuries because their agents are active but are characterized by less and/or controllable aggressiveness. In case of humidity with loss of cohesion, the presence is still not extensive, its agent can rapidly progress. The proliferation of plants is not extensive and apparently only settled on a substrate of accumulated dust. The effect they produce is clear in disrupting the aesthetic reading. Also its cause is the high humidity coming from the rainwater flow and storage. Its origin is the collapse of the rainwater evacuation system, worn and inadequate due to lack of maintenance.

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Restoration in the Cathedral of Santiago, Chile

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The less serious injuries are: • • • •

unintegrated additions in the stone; front additions as metallic elements; sores; adhering dirt for pollution, salt, pigeon droppings, graffiti.

These injuries are less serious, since agents are active but with less and/or controllable aggressiveness. Also the proliferation of plants is active, but not very extensive and apparently only seated on a substrate of accumulated dust. The effect they produce is clear in disrupting the aesthetic reading. Its a direct human cause for some injuries as the graffiti, the repairs and the additions; it is indirect human cause in the form of lack of maintenance.

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FIG. 16 Details of the restoration project for the Cathedral east facade. Team led by the architect Jaime Migone Rettig.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Conclusions and diagnostics of the structure • Towers are damaged by cracks in fillings of the rolled sections frames, caused by the shear stress occurring when the rectangular frame is deformed by the seismic force and tends to a rhomboid shape, which has less space and breaks the fillings. They do not constitute immediate danger. There are no deformations in the rolled steel double-T profiles of the resistant skeleton of the towers, and its section is not impaired by corrosion. Their position is not altered, they are completely embedded in the walls in their original positions. • Pediment cracks. It was noticed that this pediment was cracked in its basement and in the central part of its masonry. It constitutes a risk of total or partial collapse toward the square or into the nave. The two cracks are undoubtedly the product of the pediment vacuum thrust by the Virgin statue and the seismic effect. • The team confirmed that the Cathedral structure resisted, with damages but without collapsing, the extraordinarily active seismic environment of Santiago, for over a century. The scientific relevance, also empirically demonstrated, concerns the good structural design, good construction and good materials. • Foundations don’t show any deformation or settlement, they resisted well and were also reinforced in the Calle Catedral side in 1999, as described in the text. • Cracking damages of the secondary ornamentation elements have reached the point of disintegration, for their abundance they have a higher probability of occurrence and due to the their height, the drop of a small piece may cause injure or even the death of people. • Cathedral behaviour with the earthquake dynamic stresses in February 2010, concerning the east and north facades and the towers, was as planned and without causing further damage to change the previous choices or the proposed solutions. Solutions was added to reinforce the north wall and the points where the damages were accentuated.

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Restoration in the Cathedral of Santiago, Chile

Jaime Migone Rettig

Conclusions and diagnostics of roofs and rainwater disposal The roofs of the north and south towers are with a medium deterioration, with oxidation and lack of maintenance, being the loosening of the moldings joints with the masonry. The gutters are deteriorated in equal conditions, with garbage obstructing them, also for the lack of maintenance. The rainwater disposals for both the towers have makeshift and unsightly solutions, without attention during their installation. They not serve their purpose and they are in poor conditions. Therefore, the maintenance on the roofs of the towers is necessary: changing the rainwater gutters and repairing the walls joints, the total replacement of rainwater descendants, finding a solution to meet the aesthetics and the harmony of the Cathedral.

FIG. 17 Type solution for the towers. Team led by the architect Jaime Migone Rettig.

After the earthquake in February 2010 there were no changes to this project.

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Conclusions and diagnosis of the electrical network The electrical panel of lighting is in medium conditions, but it can be reused making a proper maintenance. The important thing is that the electrical panel is fed directly from an electrical connector (Chilectra) with its own counter, separated from the other electrical systems (general distribution panels), therefore the consumption is independent. There is a capacity for 40 Amperes, which will assess if it is sufficient, with the new lighting project. The lights reuse must be given by the lighting specialist, however all the equipment work. The Philips reflector-type lighting equipment are operative, but in medium condition, because there is also a lack of maintenance. The pipes of the equipment are not regulated both in their paths and safety. They can not be reused because they are deteriorated, and in the new lighting project the pipes and the safety should be regulated. After the earthquake in February 2010 there were no changes to this project.

Conclusions and diagnosis of the lighting system All the reflector-type lighting equipment are working and they are made by Philips. However, they require a detailed review and maintenance for their possible reuse, if the design criteria for the new project justify it. The maintenance of this equipment should consider the following points: • clean equipment casing; • lamps replacement (all of the same brand); • revision of the electrical equipment and components. The reuse of the north facade lanterns is suggested. They require a proper restoration and revision of the lamps, the

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Restoration in the Cathedral of Santiago, Chile

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electrical equipment and the internal paths. The pipes of the existing equipment work but they are not ordered according to the criteria of an architectural restoration. These criteria, to be adopted in the new project, will be decided in accordance with architects and electrical and other related specialities. After the earthquake in February 2010 there were no changes to this project.

Closing remarks Having made a complete analysis of the current situation of the Cathedral of Santiago, we can say that we are facing a monument of clear and singular aesthetic and historical value. Centuries of evolution and development have given the monument a stratification of interventions and values associated with the different periods and actors. Going back throughout the history the reading of the building changes becomes more difficult and more complex. Its artistic wealth and historical values reside in the quality of the monuments. It is possible to see, with relative clarity, the last intervention made by the architect Ignacio Cremonesi on the previous building designed by Joaquín Toesca. We can also identify the building systems and the materiality made in both the two consecutive construction steps. In Toesca’s building there is fundamentally a structure made of stone masonry of various qualities and features. In addition, the decorations form an integral part of the structural system. It is an architecture with Spanish roots in a particular style that we might call “quite simple and austere neoclassic”, but with a very good structural design and high solidity. Today this architecture can be viewed till the frames of the facade. During the centuries, the building didn’t suffer big structural problems and it held up well to the earthquakes.

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 18 Current image of the Cathedral.

On the other hand, in Cremonesi’s building we find an overlay architecture, where the concepts are totally changed, dissociating the decorative elements from the structural ones. The towers, the architectural contribution of this architect, are made with steel elements structure, mostly in double-T profile, which is filled with various types of masonry and covered with plaster, using an ornamentation hanged on this basis. This proposal developed by Cremonesi aims to detach and change the Spanish colonial image. His aesthetic proposal makes the Cathedral more Italian, freeing it from Spain. The structural concept and the technological system are a complete innovation for the time and they are a very interesting architectural proposal of the author. Cremonesi’s Cathedral is an European image, but in a forefront structural system for the time. This constructive system is not tested at that time, it originates many of the current problems of the building. Especially in the building anchorage with the Toesca’s part.

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The main damages of the monument originate from the earthquakes and also from the lack of maintenance, especially those related to the evacuation of rainwater and protection of all the ornamentations and skins of the building.

FIG. 19 Current image of the Cathedral.

The earthquakes have systematically ravaged the building and caused medium damages at several points, as noted above. Moreover, the rainwater have entered the skin of the building reaching its metal structural elements, which started an irreversible oxidation process, with the consequent increase in volume and break of the stone elements and mortars. All the ornamentation is badly damaged by the water and oxide effect, as well as the air pollution and the acid rain. The damage associated to the skin and ornamentation can also be differentiated in their materiality design, stones and mortars. The first with damage and dirt, but serviceable and cleanable. The latter are much more compromised to their

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 20 Current image of the Cathedral from the top.

physical integrity and in some cases in their total disappearance, as for the balconies pinnacles in both the towers. All these themes will be addressed in the second stage of the work, where the criteria and the alternative solutions for each of the existing problems will be proposed. After the earthquake in February 2010 there were no significant changes in the conclusions of this project. The damages increased and deepened, but they already were previously identified. These damages were accentuated and they spread throughout the building skin and the ornamental elements. Regarding the structural consolidation, solutions were applied to reinforce the areas and the points with increased damage due to the earthquake.

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Restoration in the Cathedral of Santiago, Chile

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Notes 1. Guarda, Gabriel O.S.B.. El Arquitecto de la Moneda: Joaquín Toesca 17521799. Una Imagen del Imperio Español en América, p. 168. 2. Ibid. 3. Op. cit. p. 169. 4. De Ramón, Armando. Santiago de Chile (1541-1991), Historia de Una Sociedad Urbana, p. 126. 5. Ibid. 6. Pereira Salas, Eugenio. Historia del Arte en el Reino de Chile, p. 122. 7. Op. cit. p. 126. 8. Pereira Salas, Eugenio. Historia del Arte en el Reino de Chile, p. 122 9. Ibid. 10. Iglesias B., Augusto y Enrique Porte F. La Catedral de Santiago de Chile; Estudio Monográfico. 11. Prado, Claudia. Investigaciones arqueológicas del Metro. 12. Ibid. 13. Ignacio Cremonesi. Memoria de refacción de la Catedral. Archivo Histórico del Arzobispado de Santiago. Leg. 27. n.57. 14. Guarda, Gabriel O.S.B.. El Arquitecto de la Moneda: Joaquín Toesca 1752-1799. Una Imagen del Imperio Español en América, p. 170. 15. Ibid. 16. Guarda, Gabriel O.S.B. El Arquitecto de la Moneda: Joaquín Toesca 1752-1799. Una Imagen del Imperio Español en América, p. 172 17. Op. Cit., p. 175 18. Op. Cit., p. 176. 19. Guarda, Gabriel O.S.B.. El Arquitecto de la Moneda: Joaquín Toesca 1752-1799. Una Imagen del Imperio Español en América, p.181. 20. León León, Marco Antonio. Una “digna morada para el Altísimo”: evolución histórica y espacios de conmemoración en la Catedral de Santiago de Chile: (1784-2005), p. 87-88. 21. Ibid. 22. Iglesias B., Augusto y Enrique Porte F.. La Catedral de Santiago de Chile; Estudio Monográfico, p. 20. 23. Archivo Histórico del Arzobispado. Sobre la Iglesia Catedral, sobre su embellecimiento. V de Legajo 85, n.2 & Legajo 160, n.6. 24. Documentos sobre la Catedral. “Cartas , presupuestos y Documentos Varios”. Archivo Histórico del Arzobispado de Santiago. Leg. 27. n.57. 25. Ignacio Cremonesi. Memoria de refacción de la Catedral. Archivo Histórico del Arzobispado de Santiago. Leg. 27. n.57. 26. Schenone, Héctor. Iconografia del arte Colonial: Los Santos, p. 673. 27. Op. Cit. P.681

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo References Barna, J. (1998). Ignacio Cremonesi, El Proyecto para la Catedral de Santiago. Seminario de Investigación, Facultad de Arquitectura y Arte, Pontificia Universidad Católica de Chile. Benavides, A. (1961). La Arquitectura en el Virreinato del Perú y en la Capitanía General de Chile. Santiago: Editorial Andrés Bello. De Ramón, A. (2000). Santiago de Chile (1541-1991), Historia de Una Sociedad Urbana. Santiago: Editorial Sudamericana. De Ramón, E. (2002). Obra y Fe: La Catedral de Santiago 1541 – 1769. Santiago, DIBAM, Centro de Investigaciones Barros Arana, LOM Ediciones. Greve, E. (1938). Historia de la Ingeniería en Chile. Comisión Organizadora del Primer Congreso Sudamericano de Ingeniería. Guarda, G. O.S.B. (1997). El Arquitecto de la Moneda: Joaquín Toesca 17521799. Una Imagen del Imperio Español en América. Santiago: Ediciones Universidad Católica. Guarda, G. O.S.B. (1978). Historia Urbana del Reino de Chile. Santiago: Editorial Andrés Bello. Guarda, G. O.S.B. (1986). Centros de Evangelización en Chile: 1541-1828. Santiago: Ediciones Universidad Católica. Iglesias B., Augusto y Enrique Porte F. (1955). La Catedral de Santiago de Chile; Estudio Monográfico. Santiago: Publicaciones del Instituto de Historia de la Arquitectura, Universidad de Chile, Facultad de Arquitectura. León León, M. A. (2005). Una “digna morada para el Altísimo”: evolución histórica y espacios de conmemoración en la Catedral de Santiago de Chile: (1784-2005). Santiago: Ediciones Seminario Pontificio Mayor. Migone, J., Pirozzi, A. (2001). Catedral de Santiago, Monumento Nacional en Riesgo. Santiago: Ediciones Universidad Central. Montandón, R.. Monumentos Nacionales de Chile. MOP Dirección de Arquitectura, Ficha 16. Olivares, M. (1864). Historia Militar, Civil y Sagrada de Chile. En Colección Historiadores de Chile, tomo IV. Peña Otaegui, C. (1944). Santiago de siglo en siglo. Santiago: Editorial ZigZag. Pereira Salas, E. (1965). Historia del Arte en el Reino de Chile. Santiago: Editorial Universitaria. Pereira Salas, E. (1992). Estudios sobre la Historia del Arte en el Chile Republicano. Santiago: Ediciones de la Universidad de Chile. Roa Urzúa, L. (1929). El Arte en la época colonial de Chile, Santiago, s/e. Secchi, E. (1941). Arquitectura en Santiago: siglo XVII a XIX. Santiago: Comisión Organizadora del IV Centenario de la ciudad. Schenone, H. (1992). La Iconografía del arte Colonial: Los Santos. Buenos Aires. Fundación Tarea. De Ovalle, A. (1969). Histórica Relación del Reino de Chile: y de las misiones y ministerios que ejercita en él la Compañía de Jesús. Santiago: Instituto

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Restoration in the Cathedral of Santiago, Chile

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de Cultura Chilena. Graham, M. (1972). Diario de mi Residencia en Chile en 1822. Santiago: Editorial Francisco de Aguirre.

Documents, Chronicles, Memories Archivo Histórico del Arzobispado de Santiago: • Cartas de Obispo Al Rey, 1736-1804. • Cartas, presupuestos y documentos varios, Documentos sobre la Catedral, Legajo 27, n.57. • Sobre la Iglesia Catedral, sobre su embellecimiento. V de Legajo 85, N°2 y Legajo 160, n.6. • Memorial (reservado) de la Comisión nombrada por el venerable Cabildo Metropolitano de Santiago de Chile para estudiar las cuestiones pendientes entre el I. S. Arzobispo y la Iglesia sobre el palacio Arzobispal. Santiago, s/e, 1882. Archivo de la Catedral: • Libro de acuerdos del Cabildo Eclesiástico, Vol. 3. 1767 -1799.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Starting with a building research and a critical analysis to end up in a design project Nikolaus Zieske

Professor THM - Technische Hochschule Mittelhessen University of Applied Sciences (Gießen, Germany)

The refurbishment is a complex issue. At first it supposedly seems much simpler because some conditions are already set. You don’t have to think about urban planning. The building is already in its place. The entrance is clear – because it’s already there. And also the staircase, as the vertical circulation, is already given. But nevertheless you as an architect will be asked as obviously not everything is working well. The reason may be structural damages due to a lack of building maintenance, or the building was used in a not intended or planned way or there is a construction flaw longing back to the construction time. Another point can be that the conditions of law have changed. For example extended rules for energy saving or the desire for accessibility. These all are planning criteria, which did not influence the original design in a dominant way at its construction period.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Also the original usage of the building has changed or the building got abandoned in the meantime. And now the building needs to be adapted to these new requirements of a today’s usage. Often these new requirements are added in an additive manner to the original building. Usually this is architecturally and aesthetically an unsatisfactory solution. And often we are not the first to make adjustments. In historic buildings we are perhaps someone in a series of hundreds. But did all of them made a bad job? And suddenly we are in the middle of the field of historic preservation, which unequivocal demands that all these different layers and supplements are telling their own story of this building. And none of these layers is more valuable than the other. The portfolio of refurbishment does not automatically imply adjustments and subordination, but it requires a serious, careful and critical examination of what is available. The special kind of default of the contextual binding can fuel distinctive, inimitable creative ideas. Often you will find complete reshaping, so that the original image and the original story are no longer comprehensible at its first sight. Remember the Athena Temple in Syracuse or the Porta Nigra in Trier. In the following I would like to show an approach in order to demonstrate a method to achieve a sustainable design. You can compare this procedure with an exam in the field of medicine, the steps of Anamnesis, Diagnosis and Therapy, defined as1: • Anamnesis - the Anamnesis (from the Greek “memory”) is the systematic identification of the passion of the patient, i.e. the history of the damage. These are the events that (could) have contributed to the development of the damage. • Diagnosis - the Diagnosis (from the Greek “distinction, decision”) is the assignment of the causes of the damage, with precise distinction between the causes and consequences.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Starting with a building research and a critical analysis to end up in a design project

Nikolaus Zieske

â&#x20AC;˘ Therapy - the Therapy (from the Greek â&#x20AC;&#x153;service, care, cureâ&#x20AC;?) is the act eliminating the damage, at first the cause of the damage and then the subsequent damage. And you have to follow up these 3 steps in two ways, with different perspectives. The first approach should be objectbased, purely independent to the usage. And, in contrast to that, the second step is a project-based, purely usage-based view to the building.

Anamnesis Starting with the first step, the object-related, the useindependent one. With the anamnesis the factual knowledge of the existing building has to be developed: the architectural history, any historical conversions, the building material (possibly the place of its origin), the monumental and preservation features with its justification, the previous and todays urban integration, structural damage, structural analysis, etc. Diagnosis The assignment of the causes of the damage, with precise distinction between the causes and the consequences. Therapy The act eliminating the damage, at first the cause of the damage and second the subsequent damage. Now we achieve the second question, the project-based, the purely usage-based view to the building. Searching for answers to questions concerning the new use of the building or dealing with the adapting of new legal framework conditions, such as the increase of the thermal protection or the desire for accessibility.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Anamnesis Developing of facts of the project. Concerning the questions about accessibility itâ&#x20AC;&#x2122;s the identification of thresholds in the circulation. Concerning the thermal insulation you need to generate an energy balance calculation for a new building with the same geometry, cubic volume and exposure areas as the existing building. Diagnosis This means the assignment of the causes of the problems with exact distinction between the causes and the consequences. It is the evaluation of the existing circulation, horizontally and vertically. Is, for example the entrance, in urban context at the right position? Do the staircases and corridors fit in position and assignment and in which area could an elevator be placed? Does the orientation of the building correlate to the cardinal direction? Thermal bridges have to be identified by comparison with the energy balance calculation. Use deficits have to be assigned in the existing building. Therefore, design studies should take place to assign possible compatible uses to any rooms of the existing building, which do not damage the building unnecessarily. Typical areas in the building, which identity should definitely be handed down, have to be identified. Therapy Development of an idealized counter design project to the existing building to accommodate the new, current usage requirements. Also including requirements for the current urban development. After these two different analytical studies the actual creative work of an architect is starting. Synthesizing both approaches in a final draft, thereby taking account the importance between tradition and renewal. This delicate balancing process is the typical performance of an architect. An architect, who is facing preservation and dissemination of cultural heritage, cannot end constantly seeking after reconciliation between

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Starting with a building research and a critical analysis to end up in a design project

Nikolaus Zieske

preservation and renewal. This synthesis implies the great challenge. By working with old buildings, you must familiarize yourself with its characteristic style, its spirit, its character and eccentricities, not to copy them, but to respond adequately with the new or to act with it. The familiarity with the place and the substance releases creative forces, energies and fantasies for the new added elements. I would like to illustrate this approach using some examples: • two coming from design seminars at the THM - Technische Hochschule Mittelhessen University of Applied Sciences (Refurbishment of Reichensand and Old Post Office and Telecommunications Office); • one coming from a personal project out of my practice Architekturbüro Zieske (Ice-house).

Refurbishment of Reichensand in Gießen

Anamnesis Creating a survey and a building measurement. Diagnosis In awareness of this survey it reveals that unfortunately maximal only three external walls could be obtained. Therapy Reconstruction and upgrading of the remaining external facades, by an energetic encouragement of the facades with internal insulation and the replacement of windows. Anamnesis Finding a new use. The urban expansion potential of the rest of property was explored. Facade analysis of the existing facade: the position of the window allows only a high, inefficient utilization in the room height.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 01 The abandoned building at the corner between Reichensand and Bahnhofstraße in Gießen.

Diagnosis Only in the area of the remaining walls the room height is adjusted with the position of the slab to the previous edge, in the area of the new construction today’s economic room heights are proposed. A typical building corner in the urban situation and in the curved road in Reichensand was developed. Due to the facade design a newly created staircase was confirmed at the position of its origin place in-between the remaining facades. Therapy Creating an idealized counter-draft to the existing building to accommodate the new, current usage requirements. Even the requirements of the urban development with the closure of the entire building gap could be included (Fig. 02).

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Starting with a building research and a critical analysis to end up in a design project

Nikolaus Zieske

FIG. 02 The model of a studentsâ&#x20AC;&#x2122; project with the urban extension. Source: THM, Udo Kreiling. FIG. 03 Proposal for the design of the facade. Source: Meurer Architekten, Frankfurt.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

Unfortunately the existing building has been completely demolished in the meantime. With the proposed modern facade with a relief image of the historic facade in the plaster structure the old building is to be reminded. For reasons of urban heritage conservation the floor heights and the height of the existing building has to be to adopted (Fig. 03).

The old Post Office and the Telecommunications Office in Gießen

Anamnesis Survey of structural damage. Facade analysis of the existing buildings. • Old Post Office Building: the monumental and preservation value is the reds sandstone facade. • Telecommunications Office Building: the monumental and preservation value is only the door frame from the 1930’s.

Diagnosis The assignment of the causes of the damage, with precise distinction between the causes and the consequences. Therapy • Old Post Office Building: reconstruction and upgrading of the existing facades. • Telecommunications Office Building: a relatively free solution for the design of the facades is possible.

Anamnesis Finding a use. Identification of urban expansion areas. Diagnosis Evaluation of the existing circulation, horizontally and vertically. Are the entrances in urban context at the right position? Do the staircases and corridors fit in position and assignment and in

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Starting with a building research and a critical analysis to end up in a design project

which area could an elevator be placed? The urban expansion potential in the rest of property was explored. Suggestions for the use of the courtyard were developed. Identification of thermal bridges by comparison with the energy balance calculation. • Old Post Office Building: energetic upgrading of the facades with internal insulation and replacement or upgrading of the windows and insulation of the roof. • Telecommunications Office Building: external insulation and replacement of windows. Assignment of use deficits in the existing building - design studies took place to assign compatible uses to the rooms of the existing building, which do not damage the building.

Nikolaus Zieske

FIG. 04 Old Post Office Building, without any use since many years. FIG. 05 Telecommunications Office Building in the Backyard. Source: Stadtarchiv Gießen.

• Old Post Office Building: groundfloor for foyer, lobby and restaurant, first floor for rooms. Typical areas, which

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 06 A students’ project with the urban extension. The Old Post Office Building in front. Source: THM, Petra Mais, Julia Herrmann, Stefanie Kurzidim.

identity should be handed down, should be identified. • Telecommunications Office Building: what usage can happen in the existing double-high space? Finding urban solutions for the free space in front of the parking garage.

Therapy Creating an idealized counter-draft to the existing building to accommodate the new usage requirements. • Old Post Office Building: due to the building structure in most projects, a new staircase with the elevator was provided in the middle of the building. Even the requirements of the urban development with the closure of the property empty space could be included.

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Starting with a building research and a critical analysis to end up in a design project

The Ice-house in Gießen

Anamnesis The two ice-houses, together with a later extension of a residential house are listed as preservation monuments. At first the two ice-houses where build, in which in former times in winter the ice from the river Lahn was stored to use it in the summer in the refrigerators. Therefore, the typology of this ice-houses has thick outer walls without any windows.

Nikolaus Zieske

FIG. 07 The icehouses on the left hand site with the extension from the 1930’s.

The extension of the ice-houses, with the typical architectural style of the 1930’s with references to the steamboatarchitecture, also relates the location close to the river Lahn with its boathouses. The historical brickwork of the steal beam ceiling was partially replaced by concrete fields due to war damage. Also the upper floor was renewed with the atypical staggered saddle roof due to war damages.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 08 An elevation with the extension on top. Source: Architekturbüro Zieske. FIG. 09 Section through the ice-houses with the skylights. Source: Architekturbüro Zieske.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Starting with a building research and a critical analysis to end up in a design project

Nikolaus Zieske

Diagnosis and Therapy Except for the correction of minor damage, caused by the lack of building maintenance, no significant action is necessary. Anamnesis Presently the ice-houses were used for storage purposes only. Because of the attractive location to the river Lahn the desire arose to build two residential units into. The thick outer walls, which were built as thick for the same reason, must not be upgraded energetically. Diagnosis and Therapy The entrances and filling openings for the ice usefully were placed in the direction of the river Lahn. The orientation of these openings was questioned, since it was preferred to orientate the living spaces to the river Lahn and not the entrance. The road and a noisy railway line are situated on the east side, so the orientation of the entrance to this direction appears reasonable. In order to illuminate the interior and to maintain the typicality of the ice-houses with less openings, only a few windows are cut into the thick walls. Therefore, the main exposure is carried out by a large skylight, which lightens up the ground floor. Therefore however, in both houses, more than half of the historic ceiling has to be removed. Firstly, the clear room height of this ceiling with 3.80 m was not well suited for two storeys. A new structure on the mezzanine, together with the vertical circulation and a light shaft in this area is justifying the partial removal of this ceiling, which was already disturbed by the post-war additions. This new cube contains the bathroom and also an on top extension of the children’s room with a wide view into the river meadow of the Lahn.

Notes 1. Denkmalpflege für Architekten und Ingenieure: vom Grundwissen zur Gesamtleitung/ Thomas, Horst. - 2., überarb. Aufl. - Köln: Müller, 2004, Seite 40ff.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Architecture and Elevators: a short history of technical development & architectural meaning Dietmar Brilmayer

Professor THM - Technische Hochschule Mittelhessen University of Applied Sciences (GieĂ&#x;en, Germany)

Abstract Elevators are a comfortable means of transportation in all buildings types, especially in multi-storey ones. We are so familiar with elevators that we sometimes forget to wonder about how they are working, what is the technique behind, and what were the development steps over the times. Even as architects, using them constantly in our designs, we forget how they once entered into the architectural sphere, about 150 years ago. But more and more, it is realized that they are an absolute necessity to promote the accessibility for disable people. This is not at least a result of legal requirements and regulations for all new multi-storey buildings of a certain height, but all the same for public facilities of whatever kind, without any distinction between new and old premises. Besides the mere technical aspects, we should not forget that elevators once had a significant impact on the development of high-rise buildings, and that the conquest of the vertical dimension was close to a competition between technical and

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

structural possibilities, efforts and improvements, and that today they belong to the symbolic repertoire of architecture, not at least dating back to the beginning of the high-tech era.

Introduction If we think about the buildings of our everyday-life, the ones we use to go in and out, we must admit, that we don’t pay too much attention to all the details. Elevators, if necessary, are supposed to be there and do their job. Sometimes, in particular buildings, we are even surprised by one more spectacular solution. All are the same, we don’t care too much about if they are comfortable, fast and save. But, like so many other inventions, strictly connected to the buildingtrade, e.g. concrete construction, central heating or air supply, it is dating back not really more than 150 years. All these new possibilities lead to new kinds of building’s solutions. They became fundamental within the modern movement of architecture and are still the basis of our present work. To get closer to our topic, we should start with a very simple question: what are elevators good for?

What are elevators good for? The old dream of comfort Right from the start, when people, not to speak of engineers at all, thought about technical solutions to improve every daylife, hoisting systems of any kind came into consideration. So we must not be surprised that Vitruvius, in his “Ten books about Architecture”, told us about Archimedes, the great Greek mathematical, who already described his plan for some kind of lifting or hoisting facility about 235 B.C. Perhaps it looks like a kind of game, but the following illustration of a pre-industrial hoisting system, designed by the German engineer Konrad Keyser in 1405, shows clearly these comforting intentions.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Architecture and Elevators: a short history of technical development & architectural meaning

They were seen as a comfortable means of transportation, to carry heavy loads throughout the building, and more often to evade the effort of climbing the stairs, especially in multistorey buildings. This is roughly spoken the main focus until today.

The new dream of a barrier-free world

Dietmar Brilmayer

FIG. 01 Pre-industrial elevator designed by the German engineer Konrad Keyser in 1405.

In recent years, throughout the western societies, there has been a strong change in looking on the world, realizing that an increasing number of people will be suffering of different kinds of disabilities, unable to participate in the offerings of our time. Fortunately, meanwhile in our societies there is a great sensibility with regard to these demands and even students wonâ&#x20AC;&#x2122;t forget about it in their design projects. The conclusion is that every effort should be undertaken, to guarantee, as far as possible, the accessibility to all public facilities. All the hope

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 02 The Cathedral of Milan (Duomo).

to succeed was burdened on the old fellow, called elevator, and all the different kinds of lifting devices available. This was nothing less than creating a new dream of a total integration and a social responsibility. Nevertheless, if you are seeing the world with sensitive eyes, you detect so much to improve, so much to do to get rid of all the barriers to “desired” places of life, like houses, schools and universities, but also cinemas, theatres and pubs, or whatever there is to think of. But we have to admit, that they can be improved a lot, but in the end it will remain a dream, not to come true; otherwise we would have to tear down buildings and cities that can’t be transformed in an adequate way. Here we come to the aim of the workshop “I_AM_Duomo” and some decisive questions: will it be possible to realize a barrierfree access to the roof-top of the Duomo in Milan, one of the most important tourist attractions? Will there be adequate

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Architecture and Elevators: a short history of technical development & architectural meaning

technical solutions? What will be the visual consequences of the, accepting that it is a national monument, nearly sacred, that means with an untouchable profile?

Elevators and their different aspects in architecture

The social, constructional and technical backgrounds When at the beginning of the industrial revolution, cities were growing larger and larger, and density became a demand within the existing urban structure, buildings were reaching for the vertical dimension: initially in New York, but soon very strongly in Chicago. After the great fire of the Downtown-District in 1871, when the centre of the city, the so-called â&#x20AC;&#x153;Loopâ&#x20AC;?, was completely lost, there was an opportunity to rebuild the city in modern terms, that meant, combining the recently achieved progresses in building technology: on one hand, there was a

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Dietmar Brilmayer

FIG. 03 The great fire in Chicago in 1871. FIG. 04 The day after the fire in Chicago in 1871.

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 05 FlatironBuilding , New York 1903. Arch.: Burnham & Roots. FIG. 06 Seagram Building. New York, 1958. Arch. Mies van der Rohe.

new efficient material, as cast- iron and steel, that made it possible to gain on height, and on the other, the elevator as an absolutely necessary and complementary technical device. So in the following years there was a competition between construction achievements and the improvement of elevators to realize taller buildings, so high to scratch the sky.

The functional aspect - circulation within buildings As everyone can experience by him/herself, buildings with more than 5-6 storeys can’t be done without elevators, otherwise it is a problem to walk all the height by stairs. But the impact on the organisation of floor-plans did not show at once. Up to the period after World War II the scheme was all the same more or less conventional, as can be seen in comparison between the typical floor-plan of the Flatiron Building in 1902 and Mies van der Rohe’s Seagram Building in 1958, both in New York. The

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Architecture and Elevators: a short history of technical development & architectural meaning

Dietmar Brilmayer

overall shape of the building could not distract from the fact, that elevators are grouped together in king of passageway, situated in the centre of the floor-plan.

Elevators and the meaning in the architectural language With the elevators, a completely new element entered into the field of architectural composition, representing and symbolizing such meanings like movement, velocity or dynamics. This should ask for a special articulation and, in the end, a particular expression. But before architects could go so far, there had to be solved a lot of technical problems and to be worked on the standardisation of the main elements.

Main elements of an Elevator

Elevator definition - Roughly spoken, elevators are technical devices to move people or goods within buildings from one floor to the other. At the beginning they had simple platforms, that were raised or lowered. Now, we are accustomed to enclosed cabins, moving in a vertical shaft. A large variety of equipment (technical, electrical and informatics) work together automatically, to provide a comfortable and safe use.

Main elements Cabin and doors - What is primarily experienced as elevator, from the passengers point of view, is the cabin, also called car or cage. Nowadays, many cabins are even made out of glass, to provide the possibility to experience the vertical movement within or outside a building. To shut the cabin in a safe way, there are sliding doors in double version: one fixed on the cabin, to protect the passengers while moving, the other at the shaft preventing people falling into the void.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo

FIG. 07 Typical section through an elevator shaft with the main elements. FIG. 08 Minimum cabin size for wheelchair use. Horizontal section.

Minimum size for wheel-chair use - To realize the accessibility and the barrier-free circulation within any building the cabin should have a minimum size of 1.40 x 1.10 meters, with a door width of 90 cm. Shaft - The shaft or hoist-way is the space where the cabin runs. Since it has to go straight through all floors and itâ&#x20AC;&#x2122;s mostly as a massive construction in concrete, these tubular volumes are used to stabilize the building. On the other handside, the massive construction is able to give shelter from the noise and shutterings, that are produced by the running cars. To avoid claustrophobic feelings, there is the tendency to keep them transparent, both the shaft and the cabin. In that case, steel frame construction is a suitable solution as substitute for the massive shaft. Drive system - To move the cabin, a drive system is needed. Presently, there can be chosen between traction drive,

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Architecture and Elevators: a short history of technical development & architectural meaning

Dietmar Brilmayer

hydraulic solutions or self-climbing elevators - each of them with its own components, like wheels, sheaves, steel ropes or pistons. However, for all of them, electrical power is the main source, used in a direct or indirect way. As we learn in a chapter later on, each solution has its own advantages and handicaps, so it matters a lot which one to select.

Engine room - Besides the necessary space for the shaft there is to reserve a volume to store the engine or drive facilities. If the engine-room is on top of the shaft, it may come out of the roof, disturbing the architecture. A major trend with smaller buildings, or in case of revitalizing historic structures, goes into direction to use elevators that donâ&#x20AC;&#x2122;t need engine rooms. These MRL (motor-room-less) elevators carry the engine attached to the cabin and offer a greater flexibility for the design. Counterweight - Elevators are consuming, like many other technical installations within buildings, a lot of energy. What is significant with elevators, is the weight that has to be lifted up, either of the persons or the freight, but of the cabin itself all the same. Whenever it is possible to make use of a counterweight, to equal the hoisting work, energy efficiency is improved. Information systems - Waiting for the arrival of an elevator is a boring experience, as anyone knows. For this reason we want the maximum information: where the cabin is, if it is moving up or down, etc. A variety of optical and acoustical signals, inside the cabin and in front of the door, helps to increase the acceptance of the installation in general. Fuzzy logic or computerization of elevator technology - With larger buildings and several elevators working in a group, there is the need to organise the cooperation between them, to provide the best of â&#x20AC;&#x153;teamworkâ&#x20AC;?. Along with the functional diversification of the floors and the special movements of the users, according to their timetables, the automatic steering

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control enacts a self-learning programme, called “fuzzy logic”, sending the cabins, in anticipation, to different waiting positions. Thus, efficiency is once more improved, bit at the same time, users are more contented.

Elevators in the history of Architecture

The beginnings in the industrial era Despite the early beginnings, as told above, the real development of elevator technology started with the industrial revolution in general, and in combination and mutual interchange with technical progress. In this period, there was a significant need for movement of raw material and goods as well as persons. The overall use of water- and steam-power enhanced a variety of applications, including elevators. In 1823, the “ascending room” was the most challenging tourist attraction in the centre of London, nothing more than a steam-driven platform that lifted paying customers to a considerable height, allowing them a magnificent view over the city. The technique became more and more refined, so that in 1835 steam-operated, but belt-driven devices came to use. It was also for the first time to bring in counterweights as a principle for saving energy. Some ten years later, the hydraulic drive was invented by Sir William Armstrong, primarily for use at the docks for loading cargo, and quickly supplanted the earlier stream-driven lifts, as they were able to provide a much greater force. In 1845, the Neapolitan architect Gaetano Genovese realized in the Royal palace of Caserta the “Flying Chair”. In spite of its name, it was more a precious and comfortable cabin, covered with chestnut-wood outside and inside with maple-wood, together with a light and two benches. Even technically it was ahead of its time, because of a motor mechanic with toothed wheels and not at least with a first safety system.

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Architecture and Elevators: a short history of technical development & architectural meaning

Safety aspects of the first elevator era It was then in 1852, that Elisha Otis succeeded in realizing one of the most important inventions by introducing the safety elevator, which prevented the fall of the cab, if the cable broke. It is somewhat similar to one type still used today. To promote his idea he demonstrated it in a self-defying presentation at the World Exhibition Fair in the Crystal Palace of New York in the Year 1854 (Fig. 09).

Dietmar Brilmayer

FIG. 09 Otis demo of the safety brake. New York, 1854.

With that decisive invention, the series of tragic elevatorincidents came to an end, and the Otis Company installed the first of these safety-elevators in March 1857, within a commercial building in New York, of five floors only. This commercial store, known as Houghwout Building, was meant to be a customerâ&#x20AC;&#x2122;s attraction, more than really as of use for interior circulation and turned out to be a great success. Besides the special effect of an elevator, people were queuing

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FIG. 10 Houghwout Building on Broadway in New York, 1857-59.

for, the building presented itself as a cast-iron construction. Fortunately, plans to demolish this very early example were abandoned, and instead a complete restoration was undertaken to be preserve it as a national heritage.

Elevator and the High-rise Buildings In the development of high rise buildings, two features were entangled one to the other: the cast-iron structure to provide the constructional means, and the elevator to ensure the comfortable use of the floors up in the air. One could not be successful without the other. In 1870 followed the first high-rise office building with an Otisâ&#x20AC;&#x2122;s elevator in the history of architecture. Up to this time, most of these elevators were driven by steam-pressure, operating a driving belt. This technique should be in use until the construction of the famous Flatiron-Building. This icon of high-rise architecture,

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Architecture and Elevators: a short history of technical development & architectural meaning

situated on New Yorkâ&#x20AC;&#x2122;s Lower Broadway, was realized in 1902, strangely enough both the investor and the architects, Burnham & Roots, came from Chicago. The 22 storeys with an overall height of 87 m was the maximum, that could be achieved with the steam-pressure driven elevator. So this technical principle was no longer sufficient for the ambitions of sky-scraper construction, and so fell out of use.

Dietmar Brilmayer

FIG. 11 Present restoration of the Houghwout Building. FIG. 12

It should be the German engineer Werner von Siemens to realize the first electric elevator in 1880. Improving the use and the application of electricity as power was one thing, on the other hand side remind the question how to move the cabin in the shaft. In the end, traction elevator with its steel rope turned out to be the best solution, and in combination with the electrical motor drive it started to take over command and made possible the conquest of new vertical dimensions. But the way to this solution shows the creativity of engineers on their path of trial and error, and this is worth following.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Flatiron Building. New York, 1902.

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FIG. 13 Synopsis of drive systems for elevators: 1. Pneumatic 2. Hydraulic 3. Climbing 4. Winding 5. Traction 6. Paternoster

Technical principles of Elevators drive system

Survey of possible drive solutions Following the history of elevators, a wide range of technical solutions can be found (Fig. 13). That some disappeared and the others survived, in some way can be seen parallel to the Darwinist theory of species’ selection.

FIG. 14

Abandoned drive systems

Presently used drive systems: - Traction - Hydraulic - Climbing

Three out of six solutions are actually “out of the game”, because of technical or operating disadvantages mostly. As just said above, the pneumatic drive solution (1) had its limits in height, but also in terms of precision. The winding solution (4) created problems with the durability of the rope, and therefore it was supplanted by the traction drive system.

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Architecture and Elevators: a short history of technical development & architectural meaning

Dietmar Brilmayer

The paternoster (6) is legally allowed only as an existing installation, but canâ&#x20AC;&#x2122;t be installed any more. All the same, it is an interesting solution, because of its efficiency, and can still be found in a number of old buildings. These elements are tricky with their permanent moving like a merry-go-round. It seems just a kind of adventure to get in and out, and the demanded accessibility for wheel chairs is not at all provided.

Present drive solutions and their technical features. From the large variety of drive solutions, there remained three to be used presently (Fig. 14). To achieve a great flexibility of solutions for any building demands it is possible, and even necessary, to combine the different elements from one with the other. So advantages or disadvantages of the systems are compensated, as we will see in the following chapters.

Traction systems Principle - The most flexible drive system for elevators is the principle of traction. A steel rope is hanging loosely over the sheave, the cabin on one end and the counterweight on the other, keeping the system in a kind of balance. The movement of both generated with nothing more than the traction between rope and sheave. The use of a counterweight normally stands for a high energy-efficiency. Configurations - The best performance will be guaranteed, when the motor is placed in an engine-room just on top of the shaft (Fig. 15.1). Other configurations are possible, like engine-room top sideways (Fig. 15.2) or even sideways in a bottom down position (Fig. 15.3), but the effect on the rope is extremely negative: firstly because of the necessary length, and secondly because of the changes of direction its life span will be reduced.

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Features - They are fast going, at a normal speed with 3-4 m/ sec. There is no limit in respect to the height of edifices. In recently realized skyscrapers, like the Burj Khalifa at Dubai, express-elevators run with a top-speed of about 10 -15 m/sec, covering a height of more than 500 meters to the panoramaplatform. Because of the velocity, traction-elevators produce massive vibrations and shutterings, so that it is advisable to let them run within a shaft of concrete, to minimize the effect on the building’s structure. In the context of historic buildings (if this type of elevator is to be inserted), there should be carefully paid attention to this fact. As a substitute for the massive shaft, steel frame structures could be used, thus providing transparency if wanted.

Hydraulic systems Principle - The main element of a hydraulic drive system is the piston or cylinder to raise and lower the cabin with pressure, as a means of hydraulic power. In the beginning, water pressure was used, but soon oil became the preferred liquid for this purpose. Configurations - There is no limit to the number of combinations thinkable. The piston itself can be positioned in-ground or above ground. It may be central under the cabin or in a sideways position, or even suspended from above, and last not least, the hydraulic drive can be combined with robes and sheaves, together with the support of counterweights, too (Fig. 16). Features - Hydraulic elevators have two very positive features: first, they are the “strong” ones, perfect for heavyweight transport, and second, they are working in a smooth way, perfect for sensible structures like historic buildings. Besides that, hydraulic elevators stand for economic solutions. Only that it must be accepted that the speed is rather limited, more or less running “slow motion” with about 1 m/sec. The

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maximum height that they can cover reaches up to 7-8 storeys, but there are seldom historic buildings with more than these number of floors. In case of hydraulic oil leaking out, dramatic environmental contamination may be caused, but since the safety regulations are severe and the technical measures are advanced, this is not a problem anymore.

Dietmar Brilmayer

FIG. 15 Configuration of traction driven elevators. FIG. 16

Climbing systems Principle - A climbing elevator is a self-ascending elevator with its own propulsion, mostly an electric motor directly attached to the cabin, transferring the power onto a guiding rail. Formerly used in different context, like in any kind of mines, in industrial settings or, as for reasons of maintenance, in guyed masts and towers, today climbing solutions gain more and more importance in the â&#x20AC;&#x153;traditionalâ&#x20AC;? field.

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Configuration of hydraulic driven elevators.

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Configurations - Even with the climbing elevator a certain number of variations can be realized, depending on which particular technical drive solution is used, for example working with toothed wheels on an endless chain, are counterweights applied, etc. Features - There are some striking advantages with climbing systems: first of all the engine room is no longer necessary. Second, instead of a concrete shaft, a steel construction as supporting frame is enough. Moving smoothly, it is similar to the hydraulic elevator, with little effects on the structural system of the building. So this system is recommendable for use in the historical structures. The Elevators and the autonomous elements in the architectural context

Futurism - in search for a new expression While the French and then the industrial revolution turned over nearly everything in every day life, the arts and architecture stuck to more or less classical principles, like living some centuries ago, avoiding even to learn by so very striking examples like the Crystal Palace for the World Exhibition of 1951 in London, or later the Eiffel-Tower in Paris, this daring steel construction realized by the French engineer Gustave Eiffel. The first to look for a new expression representing the dynamics of the present time then, intending to establish some kind of new architectural language, were a group of young artists and architects in Italy, writing down their perspective in the so-called “Futurist Manifesto” from 1909 by Filippo Marinetti. It was the young architect Antonio Sant’Elia, who succeeded in his designs to visualize perfectly, what the new world could look like, and remained a major inspiration for all architects to follow this path throughout the whole twentieth century.

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Russian Constructivism - expressing the new reality A strong influence went over from Antonio Sant’Elia’s unbuilt designs to the Russian futuristic movement, that is better know as “Constructivism”, how it is called after the Communist revolution in 1917. This influence can easily be seen in the design of the Vesnin Brothers for the NKTP - Building in 1934.

Dietmar Brilmayer

FIG. 17 - 18 Illustrations from “La Città Nuova”. 1912-14. Arch. Antonio Sant’Elia (1888-1916).

But one of the most remarkable designs, that could and must be read as a lecture about meaning in architecture, is their project for the Russian newspaper “Prawda” in Moscow, already dating back from 1924. The Vesnin Brothers, all three of them became architects (Alexander, Leonid and Victor Vesnin) gave an example, how architecture could function as an interpretation of cultural phenomena.

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FIG. 19 Project for the NKTP Building. 1934. Arch. Vesnin Brothers.

The small building, that can be seen in Fig. 20 (groundfloor) and Fig. 21 (photo of the model) is supported by a steelframe, the facade consisting of nothing but glass - everything is transparent, nothing is hidden, or better, within this structure nothing can be hidden. And this is, up to now, the idea how newspapers should function in our democratic societies. The one and only task should be to inform the public in a frank and free manner, without control of anyone. In this context the design is symbolic, creates a special kind of meaning and gives expression to a new society’s vision. It is furthermore interesting how the elevators take part in this concept. Normally, instead of being enclosed into a dark narrow shaft, out of any public control, the elevator would be the perfect place for secrets, for hidden conversations and so on. So, the Vesnin Brothers take the elevators out of the building’s core, where it usually had its position, and put them to the exterior, in front of the facade, within a shaft of mere

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glass, symbolizing all democratic virtues like, open access to information and public control. But besides that there is another aspect: this small building doesnâ&#x20AC;&#x2122;t really need an elevator with its five floors only, but displayed like that the elevator-car, going up and down along the facade, will stand for movement, dynamics, and express the aspirations of the new society.

Dietmar Brilmayer

FIG. 20 - 21 Project for the newspaper â&#x20AC;&#x153;PRAWDAâ&#x20AC;? Building. 1924. Arch. Vesnin Brothers.

Considering this, and realizing how these hopes got disappointed by the following night mare under Stalin, it is easy to understand that the features of this design were revitalized once and again, whenever there was searched for an optimistic view into the future. So this little project with its perfect visualisation of a better world became a major inspiration for architects to follow this path throughout the whole twentieth century.

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FIG. 22 Centre Pompidou View of the main facade directing to the square. Paris. 197177. Arch. Renzo Piano & Richard Rogers.

High-tech Architecture - elevators and the realisation of the a new, this time a popular architectural language Finally in 1971, when Renzo Piano and Richard Rogers won the world-wide competition for the “Centre Pompidou” in Paris, the High-Tech era had an incredible take-off. As it can be seen in Fig. 22, this vital building served as a blue-print for so many others, having a strong influence on a whole generation of architects. Although being the first, it was all the same an outstanding masterpiece, that could not be topped really. All that came afterwards, were mere variations on the same theme. Everything was assembled right from the start: the exhibited construction, the technical installation all open, and the dynamics of the vertical elements of transport. 2000 years after Vitruvius set out the holy trinity of Firmitas Utilitas - Venustas as architectural criteria, Piano and Rogers succeeded to realize a new vision of what could architecture

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be: melting away the massiveness of heavy stone walls, wiping away the sternness and rigidity of the classical canonization. They opened up a vision to lightness, openness and colourful serenity, and not at least giving an image of an open access for everybody to all kind of cultural achievement. And again the elevator, but here even another step ahead, elevators together with escalators are playing the leading role, in realizing these ideas, working as a perpetuum mobile, allowing ever changing perspectives while accessing the structure and looking down on the public space in front of the building, more even a stage, for a self enjoying audience.

Conclusion Installing an elevator in an existing building, primarily means to find a suitable place for the elevator shaft, in general cutting through all the floors of the building. Besides that, elevators, as moving elements with all their accelerating and stopping within a still standing structure, are responsible for disturbing movements, like vibrations, shutterings, etc., and by that might create structural problems. One possible reaction could be to choose the right structural measures to prevent that the elevator drive mechanism might create damages, the other possibility is to choose a smooth going one, in other words, choosing the softest of all available technologies, so that no harm will be done. Architects, therefor, should know a little bit about the main properties and features of these technical devices.

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Improving the Accessibility of the Cathedral in Milano: approaches and results of the workshop I_AM_Duomo Index of Images Fig. 01. Pre-Industrial Elevator Design by the German engineer Konrad Keyser (1405) Illustration from a Renaissance Manuscript, 1405 / Source + ©: wikipedia Fig. 02. Dome of Milan / Photo from 2009 - Source + ©: en.wikipedia.org Fig. 03. The great fire of Chicago in 1871 - Source + ©: en.wikipedia.org Fig. 04. Aftermath of the fire, Chicago in 1871 - Source + ©: en.wikipedia. org Fig. 05. Floorplan Flatiron-Building, New York / 1903 Arch.: Burnham & Roots Source + ©: en.wikipedia.org Fig. 06. Floorplan Seagram Building, New York / 1958 Arch.: Mies van der Rohe Source + ©: imagestack.co Fig. 07. Typical vertical section through an elavator shaft with main elements Source + © : Pistohl, W.: Handbuch der Gebäudetechnik - 2, 2009 Fig. 08. Minimum cabin size for wheelchair - use / Horizontal section Source + ©: Pistohl, W.: Handbuch der Gebäudetechnik - 2, 2009 Fig. 09. Otis’s demonstration of the safety brake at the World Exhibition Fair in New York / 1854 Source + ©: wikipedia Fig. 10. The Houghwout Building on Broadway, New York / 1857-59 Source + ©: https://nyhistorywalks.files.wordpress.com / Courtesy of the Library of Congress Fig. 11. The Houghwout Building - after a present restauoration Source + ©: en.wikipedia.org Fig. 12. Flatiron-Building, New York / 1903 Arch.: Burnham & Roots Picture of present condition Source + ©: wikipedia Fig. 13. Synopsis of drive systems for elevators - historical survey Source: Simmen+Depper: Der Fahrstuhl, 1984 - Page 41 Fig. 14 Presently used Drive Systems Source: Simmen+Depper: Der Fahrstuhl, 1984 - Page 41 Fig. 15. 1-3. Configurations of Traction Driven Elevators / Source: Streng, H. - DAB 5 /1993 Fig. 16. 1-3. Configurations of Hydraulic Driven Elevators / Source: Streng, H. - DAB 5 /1993 Fig. 17. Illustration from “La Città Nuova” / 1912-14 - Arch.: Antonio Sant’Elia (1888 -1916) Source + ©: https://upload.wikimedia.org/wikipedia/ commons/4/4f/Stazione_Sant%27Elia.jpg Fig. 18. Illustration from “La Città Nuova” / 1912-14 - Arch.: Antonio Sant’Elia (1888-1916) Source + ©: http://www.unknown.nu/futurism/ images/architecture.jpg Fig. 19. Project for the NKTP - Building / 1934 - Arch.: Vesnin Brothers / Source+©: constructivisme.blogspot.com Fig. 20. Floorplan - Project for the newspaper “PRAWDA” - Building / 1924 - Arch.: Vesnin Brothers Source + ©: https://betterarchitecture.files. wordpress.com

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Fig. 21. Perspective View - Project for the newspaper “PRAWDA” - Building / 1924 - Arch.: Vesnin Brothers Source + ©: https://betterarchitecture.files. wordpress.com Fig. 22. Centre Pompidou / View of the main Façade - directing to the plaza - Paris / 1971-77. Arch.: Renzo Piano & Richard Rodgers Source + © 2015 : http://www.aviewoncities.com/img/paris/kvefr4023s.jpg

References Simmen, J., Drepper, U. (1984). Der Fahrstuhl – Die Geschichte der vertikalen Eroberung. (The Elevator – The history of the vertical conquest). Munich: Prestel. Lampugnani, V. M., Hartwig, L. (1994). Vertikal. Aufzug, Fahrtreppe, Paternoster. Berlin: Ernst & Sohn. Detail n.5/2004. Treppen und Aufzüge. (Stairs and Elevators) Review of Architecture. Munich: Institut für Internationale Architektur Dokumentation. Pistohl, W. (2009). Handbuch der Gebäudetechnik – Band 2. Köln: WernerVerlag. SPIEGEL-online (January 2013). Die Schnellsten Aufzüge der Welt. (The Fastest Elevators in the World). Hamburg. Böhm, Werner A. (October 2004). Aufzugstechnik für den Altbau. (Elevators and historic buildings). Published in DAB. Streng, H. (May 1993). Aufzüge in Wohn und Geschäftshäusern. (Elevators for Residential and Commercial Buildings). Published in DAB. Streng, H. (September 2000). Neuartige Aufzugslösungen. (New solutions for elevators) Published in DAB. Weigele, M. (October 1990). steuerung mit fuzzy logic. (Steering with fuzzy logic). Published in ARCH +.

Web sites http://www. en.wikipedia.org/wiki/elevator http://www.de.wikipedia.org/wiki/Aufzugsanlage http://www.otisworldwide.com http://www.en.wikipedia.org/wiki/Elisha_Otis http://www.aufzugforum.de https://de.wikipedia.org/wiki/Centre_Georges-Pompidou

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Accessibility for a democratic Museum Dario Scarpati

Archaeologist ICOM-Italia Coordinator of the Museum Accessibility Commission

Introduction Nowadays it is necessary to consider, without prejudice, which is the function of the Museum. Only in this way we can face directly to some current questions. The Museum is a square to meet people and cultures, to share emotions and knowledge, it is not a commercial product; of course, we can get “money” from it, but this is a secondary product, not the yardstick reserved to a common good. The Museum is an open place: the ideal “owner” is the “user”, not the “builder”. Of course, the builder is user too, and therefore, an owner. We have to feel the Museum as an open place, because the stories, the feelings and the evoked tales by the objects can converge in it. ICOM (International Council of Museum) defines the Museum as “a non-profit, permanent institution in the service of society and its development, open to the public, which acquires,

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FIG. 01 Left: Sight / Taste / Smell. Bread and oil: you can “eat” it by eyes and by nose, before bringing it to the mouth. Right: Touch / Hearing. A hand pinches a violin, experiments the hardness of the string and the sound.

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conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment”. I want to underline the words “communicate” and “enjoyment”, because these are the keys which involve directly the relationship with the majority of the visitors; if we consider this meaning as the starting point, we must allow them to enter the Museum, make experiences, confront positively with the structure and exposure. Furthermore, we have 5 senses: let’s use them! Individuals don’t form their experience only through the sight, often the sense used during an exhibition visit. They take objects with the hands, they recognize tools from their sound, they savour, smell and taste. Therefore, in order to get a shared and participated (democratic) Museum, the prerequisite is to work together (all the “users”) to build the exhibition! The

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organizers, directors, curators, etc. must understand that the first barrier, which is also the most difficult to overcome, is the “threshold”. It is not important how many steps divide the street from the door of the Museum; the important thing is to make this path warm and inviting. In our experience, how many times did we define the Museum as “boring”, understandable or rejecting? But, with our presumption, how many times did we ask the others “why don’t the visitors enter?”. Instead we have to ask ourselves: “why should they enter?” We have to learn to respect who enters the Museum, because we work for them. Art, environment, history, etc. are common goods (as the water, or the air we breathe) and we are lucky to work to defence, preserve and transmit them to the future generations. Now we have to learn how to let the others participate, whoever will be the “other”.

The Museum of Duomo in Milano The Museum of Duomo in Milano is perfect for this kind of analysis: it has many points of strength and some points of weakness. In this paper, as in the lecture during the workshop, I take into consideration only some of them, because I think it is more important to work about the idea of accessibility than to propose solutions: there are many ways and different points of view that help us to find solutions (better than mine). Furthermore, we must consider as unique every situation, every Museum. The beauty of this work is the endless of the study, of the knowledge, of the relationships, of the comparisons, of the projects. The starting idea is that the Museum must consider every person who “uses” it as the “very important person”. In this case, a strength is represented by the way outside the Museum. To “use” the Museum and to enjoy it, I have to be able to enter: here I can, easily. It is true: there is a little step,

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FIG. 02 The main entrance of the Museum of Duomo in Milano. To enjoy, I must be able to enter the Museum. Photo by Valentina Giacometti.

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but we must give value and use what we have and, where we can, modify it! The basic idea is to make most accessible everything, but reasoning on what we find. The way inside the Museum has some points of weakness: • the darkness; the exhibition path is organized with a low light: design, suggestion, beauty, but does it work? It is necessary to light well the way. We can “play” with the lighting of the objects to remove the dangers; • arrows and direction signs are often written in white on gray, and they produce difficulties in reading. We must always use contrasting colours (e.g. white on black and yellow on blue); • where is the indication system? The indications must be easily seen; if we put an arrow behind the corner of the wall it is not immediate to find it; • during the visit, people meet some bars which seem to be

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used to support statues and other objects. They are not well lighted and they are put directly on the ground; therefore the public can not see them easily: they complicate the paths and are dangerous. We must pay attention to the safety of those who enter the Museum. We must pay attention to the safety, mainly for devices. I read on the device for the fire prevention, in Italian and in English languages: “follow loudspeaker instruction”. It is correct, but what about the deaf people? Actually in the Museum of Duomo the whole antifire structure has the warning lights also. This is correct and useful: lights and sounds!

Some tips About seats: the exhibition is long and very interesting; to enjoy it fully you have also to have moments of rest. In the Museum of Duomo there are some seats but they are hidden and hard to find: they seem less than they are. About lighting: as written before, the entire way is too dark. The choice of this kind of lighting and of the light points is questionable; some of the statues are partially lighted and often their faces are in the shadow, but some bellies are very lighted! Furthermore, the alternation of light and shadow probably creates suggestions, but also unseen areas. In addition, mainly the captions have few light. About background: behind a sand colour statue (especially if dimly lighted) cannot be put a yellow/brown background. We need to work always with contrasting colours: we will see better! When we manage an exhibition, we must consider two kinds of measure: the height of the visitor’s eyes and the original position of the object (e.g. a statue). About height: we will put correctly the main object of the exhibition, which is the most representative, at the height of

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the eyes. But, the eyes of whom? The Directorate of Museum has to know properly the public who enters it. Most of the Italian Museums are Civic Museums, not very big, with a strong rootedness in the territory. So, the greatest number of visitors comes from the schools. If we consider the height of the eyes of a 10 years guy we discover that it is the same height of the eyes of the user of a wheelchair: if we put the best object at one meter from the ground we make a good service for both! Moreover, we have to consider the height of the original location of objects (the perspective): the point of view changes in relation to the height in which the object was thought. We must consider if we can respect this point of view, otherwise we can “explain” the difference. About displays cases (fortunately in the Museum of Duomo there are few of them): when it is possible it is better to not use the display cases because they “divide” the public from the objects. One of the main tasks of the curator is to realize a relationship between public and object, to give the visitors more confidence with the tales of the Museum. We must make our Museums more comfortable. For example, if we put on the display cases too many objects, for the so called “fear of emptiness”, do we help the visitor to choose the most important one? Or do we force him to make a great effort to divide what he might remember from all the other objects? A Museum must propose few important things and many tales! About keys and captions: in order to make the Museum more comfortable we have to work hard also on the works’ keys and captions. Their readability and availability and the choice of terms to write. The key is the litmus test for the reception capacity of the exhibition. We have to write them using contrasting colours, large and readable fonts, using uppercase and lowercase letters. Keys, captions and posters must be short and clear. We must invite the people to read them. The same object can be defined “in a correct way” with many terms, but we must choose. How can we define this? Οινοχοη / Oinochoe of the Dipylon / Jug for liquids - from the Greek

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HOW DO YOU CALL IT

cemetery called “Dipylon”. When we use a “term”, we choose which is our target. And we choose who we want exclude from the Museum! Moreover, in order to make a Museum and its exhibition easier to be remembered, we have to use some “tricks”: if the exhibition includes a “funny” object, use it always! For example, in the Museum of the Duomo there are some particular and funny statues, representing mice and monkeys. They are put in the centre of a room. This is a good choice because they attract attention. If we manage also to tell some stories about them, surely we can attract the attention of many visitors. The symbols are always a problem: it is very easy to slide in a sort of discrimination. What do you want to highlight?

FIG. 03 How do you call it? Οινοχοη / Oinochoe of the Dipylon / Jug for liquids - from the Greek cemetery called “Dipylon”. Keys, captions and posters must be short and clear.

There are many analysis forms to study the accessibility in the Museums. Also ICOM Italia produces some of them. In

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Person Disability Self-determination Exclusion

FIG. 04 Symbols for people with disability. What do you want to highlight: the person? the disability? the selfdetermination? The exclusion?

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particular I want to focus on a small part of the last record that we organized. We wanted to highlight not only the characteristics of the Museum about the accessibility, but also the “perception” of the worker of the Museum, mainly of the curators. Some of the questions from the form created by the Thematic Commission “Accessibility Museum” of ICOM Italia, are: • the accessibility level of the museum is insufficient sufficient / good / excellent; • the accessibility level of the web-site is insufficient sufficient / good / excellent; • the museum way is easily recognizable, insufficient sufficient / good / excellent; • the visibility and legibility of the apparatus explanatory insufficient / sufficient / good / excellent; • the lighting is insufficient / sufficient / good / excellent.

/ / / is

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

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This job was very helpful to underline the issue to the exhibition workers. Too often, it is not the bad will or the shortage of funds that affects the choices. They donâ&#x20AC;&#x2122;t have in mind the advantages that the wide accessibility brings: improving the accessibility of our Museums benefits everyone!

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Introduction: the accessibility of the Cathedral of Milan Valentina Giacometti

Engineer, Ph.D. Università di Pavia (Pavia, Italy) DICAr - Dipartimento di Ingegneria Civile e Architettura

The Cathedral of Milan (Duomo) and its Museum The case study for the Workshop and Higher Education Activity “I_AM_Duomo” - “Improving_Accessibility of Milano_ Duomo” is identified in the Cathedral of Milan (Duomo) and its Museum, together with the urban space they are located in. The Cathedral, besides being an artistic monument, is a privileged place of prayer. With its internal surface of 11,700 m2 it represents one of the biggest Catholic Church in the world. It is visited by 5,000,000 people per year and its top terraces are used, especially in summer time, for public events, such as movies projections and concerts. It is calculated that 75% of foreign visitors come to Milan to see the Duomo. Together with the monument, the study includes the Cathedral Museum. It is located in Palazzo Reale, in the south site of the Duomo. The Museum opened in 1953 by the art critic Ugo Nebbia. In 1948 the Veneranda Fabbrica del Duomo obtained

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FIG. 01 The Duomo top terraces. Photo by Valentina Giacometti.

the concession from the State Property Department for nine rooms on the ground floor of the oldest wing of Palazzo Reale, renewed by the architect Giuseppe Piermarini in the eighteenth century. In the Sixties the Museum was expanded with the addition of ten rooms, completely redesigned by the architect Ernesto Brivio, who organized the exhibition in historical and chronological sequences. In the year 2013 the Museum reopens after the renovation project made by the architect Guido Canali (for more information: http://museo. duomomilano.it). Taking into account the Italian legislation about the architectural and sensorial barriers, the theme of accessibility is addressed as the opportunity even for people with reduced or impaired mobility or sensory capabilities to reach, to enter and to use buildings and urban spaces in conditions of safety and autonomy (DM 236/1989). In addition, together with the physical barriers, the design of the accessibility and usability

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has to take into consideration also the lack of measures, signs and information that allow the places orientation and recognition. During the first analysis of the Cathedral and its Museum some critical points have been identified. These problems affect not only people with disabilities, but the safe and easy access and use for elderly, children and, in general, for all visitors.

FIG. 02 The view from the top terraces of the Duomo looking at the Museum. Photo by Valentina Giacometti.

The preliminary analysis of the Duomo and its surrounding underlined the following architectural and sensorial barriers: • presence of differences in level and uneven pavings; • lack of a proper sign systems, clear paths and shaded rest areas in the square and the urroundings; • lack of lifts from the metro to the square near the Duomo main entrance; • lack of uniform links between the Duomo and the Museum;

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FIG. 03 The project area for the workshop: the Cathedral (Duomo), its Museum and the urban space. Picture elaborated from Bing: www.bing. com.

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• difficult way to reach the Duomo terraces; • difficult path on the terraces, which are often used for public events (concerts, theatres and movies), characterised by thresholds with steps, sloping and slippery floors and several narrowings; • unclear sign system and without multisensory elements. The preliminary analysis focused on the Museum underlined the following architectural and sensorial barriers: • • • • • •

not sufficient punctual lighting system; presence of narrowings along the exhibition path; wrong height from the ground of some exhibited works; wrong dimension and position of some of their captions; lack of benches, rest areas and handrails along the path; lack of multisensory elements for visually impaired people, or measures for visitors with cognitive impairments, elderly and children.

Veneranda Fabbrica | Almo Collegio Borromeo | Università di Pavia

Introduction: the accessibility of the Cathedral of Milan

Valentina Giacometti

The five projects developed by the mixed groups of students and daily followed by tutors from the University of Pavia, propose five different ideas and concepts. In the following five chapters the design results are collected: the tutors will describe the approaches and the project strategies of each group in detail.

FIG. 04 Duomo surroundings and temporary services. Photo by Valentina Giacometti.

FIG. 05 - 06 Web sites http://www.duomomilano.it http://www.eca.lu/ http://www.ncsu.edu/ncsu/design/cud/index.htm http://www.progettarepertutti.org http://www.un.org/disabilities/convention/conventionfull.shtml

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Details from the preliminary analysis. Photos by Valentina Giacometti.

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Introduction: the accessibility of the Cathedral of Milan

Valentina Giacometti

http://www.who.int/classifications/icf/en/

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New volumes for inclusive connections

Valentina Giacometti Università di Pavia, Italy - Tutor Group 1 GROUP 1 Daniele Cervello (Università di Pavia, Italy) Michael Thomas Eisenmann (THM, Gießen, Germany) Giulia Leone (Università di Pavia, Italy) María Paz Prado Flores (Universidad Central, Santiago, Chile)

Analysis and Concept Before starting to study the accessibility of the Cathedral of Milano (Duomo) and its Museum, the analysis took into consideration the viability and the pedestrian paths from the metro level to the surroundings of the historical buildings. The main problems detected concern the presence of differences in level and uneven pavings and the lack of a proper sign systems, clear paths and shaded rest areas. Moreover, there are no lifts from the metro to the square near the Duomo entrance and the historical buildings are not linked each other. These environmental features create problems not only for people with mobility and sensory impairments, but also for elderly, children and, in general, for all visitors. The analysis focused on the Duomo underlines that the way to get on the terraces and the terraces themselves, often used as public space for events, such as concerts, conferences or

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FIG. 01 On the left: analysis and problems detachment. On the right: project concept to solve the connections to the levels of the metro, the square and the Duomo terraces.

movies, is characterised by the presence of several steps, sloping and slippery paving and narrowings. In addition, the sign system is unclear and incomplete. Considering the Museum of Duomo, renovated and reorganized in 2013 according to the project of the architect Guido Canali, the study highlighted problems about the lighting system, the height of some cases with works, the dimension and the position of the worksâ&#x20AC;&#x2122; captions and the lack of rest areas and supports along the path. In addition, the devices for visually impaired people have to be improved designing multisensory elements and inclusive solutions for visitors with cognitive impairments, elderly and children. All the problems detected during the analysis can be summed up in main questions, that have been the main guidelines to developed the project, preserving the design coherence. These questions are:

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New volumes for inclusive connections

• • • •

Valentina Giacometti

how to solve the pedestrian mobility in the square? how to connect the Duomo and the Museum? how can all people get easily on the Duomo top terraces? how to improve the accessibility of the historical buildings, preserving their image?

In order to answer these questions, solving the accessibility problems, valorising the historical buildings and improving the quality of the tourism services for all visitors, the project provides new volumes and functions: • two elevators, one from the metro to the square, closed to the main entrances of the buildings, and one from the square directly to the top terraces of the Duomo; • concentrated services for the tourists; • a uniform and multisensory sign system. The new functions are all concentrated in a defined area, between the Duomo and its Museum and the valorisation of the surroundings is generated thanks to five additional volumes, with small dimensions, aimed at improving the sign system, with multisensory elements and rest areas.

Project The elevator getting from the metro to the square and the new public functions is designed in a uniform volume between the Duomo and the Museum. The new functions (a ticket-office, an info-point, a bookshop and toilets) are provided to answer the need to organise the visits and the services for tourists. In order to solve both the differences in level and the lack of identity in the area between the Duomo and its Museum, a new paving is designed: it is thought in precast concrete blocks with a strong chromatic contrast with the existing elements and with the new volumes. This choice, together with the new tactile guide on the ground, is provided in order to improve the accessibility for blind and visually impaired

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FIG. 02 General plan of the new path on the top terraces of the Duomo.

people. The tactile guide, designed in pieces of metal knobbly on the paving, continues on the existing square both around the Duomo and to the Museum. The panoramic elevator for the terraces is designed at the end of the new paving, on the south side of Duomo. It allows visitors to get from the square level directly to the top terraces. The structure of the catwalk from the elevator to the roof is solved with open steel trusses, allowing the panoramic view of the surrounding. In order to preserve the historical image of the building, the small part of pinnacles which has to be removed to let the connection, is kept and shown to the visitors, and a 3D model of this part is built for blind and visually impaired people. On the roof the project provides a flat path with two main covered rest areas. These boxes, planimetrically oriented according to the main views of the skyline of Milan, offers to

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New volumes for inclusive connections

Valentina Giacometti

the visitors shady spaces with benches, tactile maps and signs in augmentative and alternative communication. In these two points the connection with the historical roof is possible thanks to new stairs, with railings and handrails. A new flexible public space is organised, with the possibility to pick up or hide the benches as needed. Finally, the new path allows to improve the safety of the final part of the existing way to climb to the terraces, forming a flat exit with a continuous handrail.

FIG. 03 Sections of the panoramic elevator and the path with boxes on the roof.

This system of paths and boxes is completely recognizable and reversible: it is thought in aluminium dry mounted, lightweight and leaning on the sloping roof, which can be glimpsed through the texture of the material. The structure is completed with glass railings and handrails. The volumes on the square are solved with the same language and materials of the interventions for the top of Duomo. In particular, the five small volumes around the Duomo are

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FIG. 04 Views of the interactive boxes in aluminium, in the square and on the top of Duomo.

thought in order to be seen from the distance, declaring the new interventions. Each interactive volume underlines one perceptive sense (sight, hearing, smell, taste, touch) with the aim to involve visitors in new experiences. In order to respect the historical image of the square, the new volumes are located around it and not in the middle: this choice also allows to guarantee to the tourists a continuous and clear circulation in the urban space. Concerning the Museum, the visit is thought as a new interactive experience that involves the five senses and easy to be understood also by children or people with cognitive disabilities. These particular attentions are developed by the project of easy-to-read signs and works captions, with tactile and auditory information, able to create an accessible museum for everybody, where visitors are the active protagonists of the experiences. In particular, the lighting and the sign system is improved, the works on show are organised respecting the

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Valentina Giacometti

maximum height from the ground, new benches, rest areas and handrails are designed along the path. They are thought in aluminium, according to the project approach of all the interventions.

FIG. 05 Group 1. Photo by Davide Griffini.

Conclusions The materials chosen for the new buildings and paths underline the need to stress the difference between the old and the new, and the possibility to remove the intervention preserving the old image. The approach shows the possibility to transform the normative constraints into design opportunities to valorise the historical buildings and spaces. The strategy considers not only people with disabilities but all users, guaranteeing new possibilities for everybody, regardless of their physical or sensory capabilities, to experience and enjoy the historical heritage.

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I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Valentina Giacometti

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The Timeline

Filippo Condorelli Università di Pavia, Italy - Tutor Group 2 GROUP 2 Carolina Bottazzi (Università di Pavia, Italy) Federica Crivelli (Università di Pavia, Italy) Benedikt Möller (THM, Gießen, Germany) José Joaquin Torreblanca Salazar (Universidad Central, Santiago, Chile)

Analysis In the first part, the study focuses on the analysis of the current situation of the complex context of the Cathedral of Milan, the Duomo. A solution for the reduced accessibility to the Piazza Duomo, to the Cathedral with its terraces and Museum must take into account the historic and artistic relevances and the importance of the site as a node of touristic, social and cultural flow. The criteria used to analyse the site was to assess the squaresmuseum-cathedral system, and to evaluate the accessibility for citizens and visitors, also in case of mobility and sensory, permanent or temporary, disability. The critical points which emerged from the analysis define these main problems: • reduced accessibility of the squares, due to difference in height in paving, lack of ramps and recognisable pathways for blind people;

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FIG. 01 Analysis.

• • • • •

unsatisfactory connection with the public transports; poor connection between the Cathedral and the Museum; poor touristic and urban services; unsatisfactory accessibility to the terraces of the Cathedral; limited possibility of intervention due to the historical relevance of the buildings; • lack of a recognisable touristic route.

Project - Concept Stemming from the analysed context, the proposal aims to integrate the unexpressed potential and to solve the problems inherent to the historical buildings through a strong architectural gesture. This approach allows to read the whole area as a “museum system”. The purpose becomes the necessity of designing a touristic route connecting each part of the site, easily recognisable and accessible for all users.

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The Timeline

The main theme of the touristic route is about the architectural history of Milan, focused on the Cathedral, its history and its visit up to the terraces. The tourist is projected into the artistic, architectural and historic evolution from the past to the future: hence the name â&#x20AC;&#x153;Timelineâ&#x20AC;?. Within this system, the aim is to create a high accessibility and interactive route, in which the visitor can entirely navigate and experience through.

Filippo Condorelli

FIG. 02 The Timeline: concept of the project.

The design takes into consideration the universal design, in order to make the path accessible for people with mobility or sensory disabilities, both temporary and permanent. Some technical and architectural devices are distributed all along the route. These devices, which are tactile guides on the pavings, 3D models, benches along the paths, tactile maps and auditory information, allow to overcome the architectural and sensorial barriers and enrich the touristic experience.

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FIG. 03 General plan of the new paths.

Project - New paths The main architectural element of the project is a pedestrian path which goes down until - 4,5 m below the street level. This new route is placed between the Cathedral and the square in front of the Museum. On this level all urban and tourist reception services are located, such as the info point, the ticket office, the auditorium and the toilets. Thus the image of the square remains free from any volumetric hindrances. The access to the subway station is improved through an underground passage, which is directly connected to the central pedestrian path. From the museum, it is possible to access directly to the main path, which is the TIMELINE touristic route, through an internal lift. The access to the terrace floors is guaranteed by a system of two lifts, one going up, the other going down in order not to

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The Timeline

break the single touristic route and to make it more usable. A new paving surrounds all the intervention and joins the two squares, resolving the differences in height of the ground and the seamlessly, connecting the Museum to the entrance of the Cathedral, where through two lateral ramps, the visitor can access to the Duomo.

Filippo Condorelli

FIG. 04 Plan and section of the underground level.

On the level of the Duomo terraces the project focuses on the side of the building, where there are three usable floors. On these levels the touristic route winds as it is enriched by the presence of tactile maps, illustration panels and a system of seats oriented according to the interesting spots along the â&#x20AC;&#x153;Timelineâ&#x20AC;? path. To facilitate the visit to the terraces, the floor area is detached from the stone covering of the Cathedral roof through a metal structure: in this way the paving becomes safer and the space usable by the visitor is enhanced.

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FIG. 05 Section of the new elevators, from the square to the top of the Cathedral. Plan of the terraces.

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The Timeline

Conclusions The design of a system of suitable spaces for all users comes from a different way of thinking the single spaces. The squares and the historic monuments maintain their respective peculiarities, but at the same time they are conceived as a unique touristic system. The choice of materials and technologies used for the interventions on the Duomo took into consideration the possibility of a total reversibility. It was chosen to work with steel and aluminium for the load-bearing structures, with glass and marble for coatings, all strictly mounted and bolted with dry construction systems. It also involves the use of totally removable exhibition stands. The only non-recoverable starting configuration is the one of the basement. For this reason, it was designed to be used as the tourist reception floor of the Piazza Duomo in Milan and to provide full accessibility to all the surrounding monuments even in case of disassembling of the upper floors interventions.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Filippo Condorelli

FIG. 06 Group 2. Photo by Davide Griffini.

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The Timeline

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

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Diffused Connections

Filippo Condorelli Università di Pavia, Italy - Tutor Group 3 GROUP 3 Neira Huric (Università di Pavia, Italy) Ariane Mardones Marchant (Universidad Central, Santiago, Chile) Matteo Martini (Università di Pavia, Italy) Nadine Seidensticker (THM, Gießen, Germany)

Analysis and Concept The preliminary study of the area identifies all the problems that the visitor encounters when entering in Piazza Duomo, in Milan Cathedral, in the Museum, up until arriving to the floor of the terraces. In summary, it is possible to enclose them in: • lack of differentiated paths, according to the different modes of movement; • lack of vertical connection services with the subway; • lack of different type of seats, according to the user; • lack of information services and recognizable itineraries for the tourist; • difference in heights in the floor of the two squares, which limits the accessibility for users with physical and sensorial limitations; • the visit of the floor of the terraces is characterized by the presence of many stairways, and no seats, paths, and appropriate tourist information on the top.

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FIG. 01 Analysis.

In order to resolve the identified problems and to create a better tourist service, as well as to ensure a high standard of accessibility, the project is focused on a type of “diffused architecture”, i.e. made of different modules. These modules are differentiated according to the location, the function and to the problems to be tackled. They create a new physical, sensory and perspectival continuity within the different spaces. The physical continuity between the different levels of the crypt, the floor of the subway, the square, the Cathedral and the level of the terraces, is reached through the use of lifts, located outside and inside the cathedral. The sensory continuity is designed according to the proposed touristic itinerary, which is articulated starting from the underground level, going through the Duomo and up to the level of the terraces.

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Diffused Connections

The perspectival continuity is guaranteed by the position and shapes of the volumes and of the outdoor installations. In order to improve the accessibility of the square, these architectures are designed for providing different touristic functions, and therefore must be easily identifiable.

Filippo Condorelli

FIG. 02 Concept: physical, visual and sensorial connections.

The entire side path, that surrounds the square and the Duomo and links them to the square in front of the museum, is unified by a new pavement, designed to improve the usability of the outdoor spaces.

Project - The diffused volumes The diffused architectures included in the project invade the outdoor spaces, with a higher density by the main affluence points of the square and close to the accesses to the Duomo itinerary.

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FIG. 03 General plan of the new volumes.

The access points are placed within the most easily recognizable volumes. These are characterized by two glass prisms located symmetrically to the sides of the Cathedral; they are built with aluminium and steel profiles, cladded with modular glass and aluminium panels. Within these volumes there are an info-point, a ticket office, toilets and a lift, which connects the ground level of the square with the subway and the crypt. Starting from the level of the subway, through a system of stairways and ramps it is possible to visit the crypt. A doubleelevator system placed inside the cathedral connects directly the crypt to the upper level, and then to the level of the terraces. The chosen materials for the design of the two panoramic elevators are steel profiles and glass panels for the cover. The

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Diffused Connections

elevators position was chosen finding the best way to maintain the current main access to the Cathedral and to respect the structure of the roofing. On the level of the terraces the project is structured in different functional areas, all connected by a central path positioned on the top of the roof. The first resting area is located by the two elevators. This represents the starting point of the touristic itinerary, which continues following an explanatory interactive handrail, designed for the use of tactile maps and 3D models. The standing area is studied in order to facilitate the crossing of the wheelchairs, with specific resting areas. It is possible to access the original roof floor through two side terraced steps, which can also serve as a seating and resting spot for observing the city landscape. In proximity of the dome a shaded interactive area is positioned, which includes a resting area and most of the tourist information, conceived for the various types of users.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Filippo Condorelli

FIG. 04 General section and sketches of the new elevators and the new volumes on the square.

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FIG. 05 Plan of the terraces. Perspective section of the terrace.

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Diffused Connections

Conclusions The choice of using various types of architectures, further differentiated in shapes and positioning, allowed to shape a punctual resolution of the problems highlighted in the analysis phase. The result is a grid of functions with different densities, which is articulated in outdoor spaces, squares and terraces and underground spaces, the crypt and subway, providing new ways of living urban and historical monuments. The accessibility becomes an opportunity for contemporary architecture to create new functions in public spaces and to relate to historical heritage in an innovative way, thus bringing it closer to all types of users.

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

Filippo Condorelli

FIG. 06 Group 3. Photo by Davide Griffini.

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Diffused Connections

I_AM_Duomo | 22 June - 4 July 2015 | Pavia

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Diffused Connections

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Step by Step [winner project]

Matteo Locatelli Università di Pavia, Italy - Tutor Group 4 GROUP 4 Enrica Belloni (Università di Pavia, Italy) Evelyn Luz Bersano Santibáñez (Universidad Central, Santiago, Chile) Michela Sichel (Università di Pavia, Italy) Christian Thomas Zeckler (THM, Gießen, Germany)

Analysis The project aims to establish a physical and ideological link between the cathedral, the surrounding space and the museum. The analysis was carried out considering two levels: the first is the accessibility of the Cathedral from the outside to the inside in all its elements; the second level concerns the relationship between the museum, the square and the terrace. The accessibility to the Church is quite compromised by the typical elements that are part of the building: stairs, narrow passages, different levels, historical materials, etc. Although it is accessible through the front door with a ramp on the square, but the path to get inside is not thought for all users. The ground of the square is located at a level slightly higher than the streets that surround it, so crossings are complicated, also the amount of information to be provided is large, this

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FIG. 01 Concept and schemes of the idea.

implies a particular focus on providing pathways that may help everyone to orientate. The second point concerns the terrace, or rather the terraces of the Cathedral. The existing elevator, although of suitable size, has the access on an high staircase and this problem can not be solved in terms of accessibility, but also, most importantly, it arrives to a level much lower than the roof, reached by a path dotted of steps and passages of less than 70 cm. It is therefore essential for the project to create a unique system that allows to use the area of the museum as a starting point and the terrace as an arrival point, using the intermediate portion as a learning and accessible path. The issues can be divided between critical points of the Square, the Cathedral and the Museum. The critical points of the Square are: different levels, difficulty in finding information; the critical points of the Cathedral are: places to stop, information, presence of a shop inside the church, paths; the critical points of the

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Step by Step

Matteo Locatelli

Museum are: steps, lack of information, lighting. The project will therefore try to solve, where possible, these critical points using the qualities of a project area of such great importance. In particular the issues on which the project will focus are: • the terrace as an element to know the city, taking advantage of the view of the new skyline that is growing in Milan in these years; • the Cathedral and its square, that today is a tourist attraction, to be used as a meeting point both social and cultural; • the museum and its spaces have become one thing with the surrounding and with the Cathedral.

Idea The idea that comes directly from the analysis is to create a starting point and an ending point. The project can be ideally divided into parts: departure, path and arrival. The departure is characterized by a volume that attracts the visitor’s attention and become a distinguishable and representative element, and at the same time ticket office, info-point and entrance to the path towards the terrace of the cathedral; the path is a cognitive space and consists of an underground place that provides alternatives to the permanent exhibitions in the museum and in an intermediate terrace to keep the similarity with the current path to access the terrace. The arrival is the terrace, designed to offer resting places for contemplation and space for exhibitions, in line with existing features found on it.

Project The project involves the start of the path in the portion of the Piazza del Duomo in front of the museum, with a small volume whose shape comes from the shape of the square, in which are located the ticket office for the terrace and for

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FIG. 02 Definition of the intervention area.

the museum, a ladder to reach the underground level and a small platform lift to allow disabled people to go down to the temporary exhibition and to the elevators for the terrace. A double-height brings light below the entrance, creating visual and spatial continuity between the two levels. The new space, kept underground, does not change in any way the design of the square. It is for a temporary exhibition space, deposits for the latter, some wardrobes for backpacks and clothes and a toilet for staff and visitors. At the end of the exhibition space there is a small waiting room for the arrival of the elevator. People without disabilities can use the existing path and people with disabilities, or elder, or pregnant women can use the new elevator safety.

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The materials chosen for the flooring change considering the type of path inside: wood for exhibition routes, concrete for the path that leads to the elevator, stone for the exposure in front of the stairs and terracotta tiles for storages and bathroom. The elevator shaft that houses two cabins, is characterized by an octagonal mechanic castle on which are fixed brushed aluminium plates that can be easily removed or even changed according to the event which takes place in the city or in the square. The end of the structure of the lift is without aluminium plates to leave the structure visible to make it less impact, as if to remind the narrowing of the spars of the spiers.

Matteo Locatelli

FIG. 03 The project. Ground floor with the new entrance (left) and underground floor with the exhibition and the path to reach the new elevator (right).

Using the first elevator the visitor can reach an intermediate terrace that is a resting place for those who want to stop to admire the buttresses and the steps of the terraces and to reach the second elevator shaft, which leads to the top.

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FIG. 04 Section of the project.

The terrace is partially covered by a new lightweight aluminium structure on which it is placed wooden flooring with LOGES (guide lines on the floor for blind people). This element, which covers the space in a symmetrical manner, allows two types of paths connected between them with a system of ramps that work on different levels. The arrival on the terrace takes place at a higher level than the current floor level, this is due to the presence of the elevator, so it delineates a platform that can also host benches. From here, ramps descend in two directions at a lower level, the level of the existing balustrades, from where visitors can watch the skyline of Milan. Here there are also benches and information points with tactile maps that explain what portion of the city is developed in front of an observer, and provides all the necessary information to the blind people in order to live a full experience.

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Step by Step

Two ramps lead back to the same level of the arrival platform. Here you find a great stage for any performances and some benches backed curved to provide shadow and shelter to visitors. On the opposite side, the current paths are connected to the current terrace with a wooden deck and a new step in order to allow the visitors entering from the existing path.

Matteo Locatelli

FIG. 05 Plan of the terrace on the top of the Dome.

The flooring is not placed on the central area, where the white marble is kept visible. The info box with tactile maps, the seats and the floor are made of wood so there are not uncomfortable during the summer season and are partially covered, freeing up the portion of the view that it has represented on the three-dimensional maps. Very interesting is the study on the light, emphasizing the evening illumination of the exposed portions of the existing roof and entering the pass-marks on the floor sides and under the seats to allow the visitors to watch the night skyline.

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FIG. 06 Sections of the new terrace.

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Museum The building re-opened in November 2011 after the intervention of the architect Guido Canali, presents interventions regarding the mobility of the individual. However some decisions especially related to furnishing and lighting may be lacking in respect of an issue of full accessibility. Therefore the project proposals mainly concern an increase of lighting that allows a clear vision of the exhibits also from people who have a different perspective. Beyond that one small change could affect those small â&#x20AC;&#x153;barriersâ&#x20AC;? of irons that identify the path and avoid that the observers can get too close to exhibits. Their size and their height from the ground, in the absence of a clear illumination transform these elements into obstacles, sometimes dangerous if we think for example to people with mobility problems. Transforming these elements into seats, of which the museum is highly deficient, may be an idea not to change the current system and to improve the environment.

Veneranda Fabbrica | Almo Collegio Borromeo | UniversitĂ di Pavia

Step by Step

Conclusion Intervening on historical buildings is complicated, sometimes it may be impossible. This project aims to create a strong and solid system able to support the impactful as a lift on the Duomo facade. Put only one lift on it without asking the question of what happens in the surrounding and which services can be provided to expand the offer for people with disabilities and for the whole city would be a mistake. The intervention aims to create a new coherent but innovative system, trying to fit with the surroundings into a balanced way (recognizable entrance and elevator, underground connection). The terrace is perhaps the biggest challenge of this project and it wants to be an architectural and functional element, clearly in contrast with the current coverage materials and forms, but it can provide, thanks to its temporary nature, an opportunity to raise the level of the square to the portion of the roof, creating, if possible, a new square for the Cathedral enjoyed by all.

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Matteo Locatelli

FIG. 07 Group 4. Photo by Davide Griffini.

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Step by Step

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Matteo Locatelli Università di Pavia, Italy - Tutor Group 5 GROUP 5 Catalina Renee Narváez Martin (Universidad Central, Santiago, Chile) Roberto Ricotta (Università di Pavia, Italy) Nadine Yasemin Theiss (THM, Gießen, Germany)

Analysis The basic idea is to work on improving the accessibility of the square and then to move to the problems of the building. The analysis, which wants to have also an urban point of view, has considered both the elements as objects of study. The first step is to study all the subway paths considering the level of accessibility for satisfying the request. The next one is to evaluate the spaces in the square: the current design provides for two types of spaces: the first one can be defined as a “commercial” space characterized by Galleria Vittorio Emanuele and the shopping area of central Milan; the second one is the most representative with the museum of the ‘900, the Cathedral Museum and the headquarters of the Superintendence of Cultural Heritage. This analysis suggests that the position of the new volumes should be on the side of the shopping area, and on the north

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FIG. 01 Concept of the project.

side of the building, visually and conceptually close with the city and immediately recognizable from most of the people. In addition, the different sections of the open space allow different approaches to the project on the both sides. On the north side, the small size of the space suggests that an intervention could be less visible and interestingly connected with the commercial spaces; the south side instead, with its larger cross-section, makes any intervention more visible, considering the cardinal point, it is the most enlightened facade of the building. Moreover analysing the accessibility of the square, it is essential to create a sort of small hub that would allow disabled people to reach the level of the square directly from the subway. The key points on which the project will be based can be summarized in:

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• • • • •

recognizability; confrontation with the surrounding; relationship with the new skyline; urban accessibility also reported to the public transportation; new hub for services and information.

Approach and project

Matteo Locatelli

FIG. 02 From the left to the right: west facade; north facade; position and shape of the project.

Following the analysis, the approach is clear: the intervention should be in close contact with the current flow of people coming into the square. In this project are three basic points: • • •

connection with the subway; visual and ideal connection with shopping area; compared to the current image of the square.

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FIG. 03 Functional layout of the new volume.

The northern location also allows to use most of the underground paths with minimal modification for the access to the new structure, in this way from the metro the visitors can access in a protected area with a lot of information. Unlike the current situation in which is not clear where is the elevator to go to the square, the access from the underground area is instantly recognizable by users. The location of the intervention has been chosen to create a light volume of glass and steel, extremely recognizable both by day and night thanks to the lighting. This volume is on two levels: the first is characterized by the path that comes straight from the subway, toilets and a small space for exhibitions, trade events, etc. Visitors can reach the second level with a small elevator and the staircase: here there are all the information about the city and the Cathedral, the exit to the square, how to reach both the existing stairs

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of the Duomo and the new elevator to reach the terrace. The paths are clearly separated to avoid confusion: a path leads directly to the square, another, separated from the previous one by iron rods and marked on the ground by marking lights, leads directly to the current elevator so that people without disabilities can use paths and elevators already available, and a third one for a small space for waiting to use the new lift.

Matteo Locatelli

FIG. 04 Section and Ground floor of the project.

In the elevator shaft there are two cabins, a lift, which starting point is inside the volume, and one for the descent, the output of which takes place directly to the outside to guide the visitor immediately in contact with the square. The volume is detached from the building to approximately 1.50 m, allowing the visitors to exit from the path descending from the terraces. It is connected directly to the Duomo only in correspondence to the existing elevators access, to provide shelter and protection to those who are waiting.

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FIG. 05 Plan and view of the terrace.

The shape of the building comes from the section of the Cathedral and the roof has a single flap, following the trend in the facade of the inclinations of the roofing of the church. The structure is light with thin and circular elements of steel at a constant distance (1 m) with a glass coating, as well as for the castle of the elevators. The elevator goes to the top of the Cathedral, that it is completely redesigned. The new terrace is composed of an element made of polycarbonate and lightweight concrete reinforced with glass fibers, and it is on two levels. The first one is the level of the existing balustrades and provides two views to the north side and one on the south side, connected each other by a passageway that passes below the middle ramp. The latter has the function of connecting this level with the level of arrival of the elevator that is also a stage for performances. The first level is totally viable, even below the stage, it can have shadow areas that can be used for

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exhibitions and as places to stop and also there are seats that allow visitors to have some rest watching the city.

Conclusion

Matteo Locatelli

FIG. 06 Group 5. Photo by Davide Griffini.

The project wants to solve the accessibility to different scales, not only to create something related to the disability, but also to design something useful for the city. Connecting the intervention to the subway is a courageous choice, but this allows having a new element that is immediately recognizable from the underground. The building design combines the elements of the project area conceptually linking them in a visual communication. Any intervention is related to Corso Vittorio Emanuele, perhaps sacrificing a little the link with the museum, but providing a very important cue design that solves almost perfectly the relationship between the new and the existing and their conceptual relationships.

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