Traditional salinas heritage strategies challenged

SALINE DI TARQUINIA_master thesis

Traditional salinas heritage strategies challenged Spatio-cultural rethinking the lost salt extraction industry of the Tarquinia Salt Works nature reserve in Italy from the perspective of hardcore heritage design honouring the impermanence of material culture

Katarzyna Malinowska

Traditional salinas heritage strategies challenged Spatio-cultural rethinking the lost salt extraction industry of the Tarquinia Salt Works nature reserve in Italy from the perspective of hardcore heritage design honouring the impermanence of material culture

Katarzyna Malinowska kmalinowska@live.com Autonomous Master Dissertation Academical Year 2018-2019 Tutor: prof. dr. arch. Marc Dujardin KU Leuven, Faculty of Architecture Campus Sint-Lucas Gent Ghent, Belgium June, 2019

note: all the drawings and photos are by the author unless otherwise indicated

ACKNOWLEDGEMENT Non of this would happened if not travelling and my first visit in Italy when I noticed the vacancy problems the nation is struggling with. I am very pleased that university of KU Leuven and especially Marc Dujardin agree to help me explore this topic through his framework which at the end work perfectly together.

First of all I would like to thank my tutor, Marc Dujardin for being a great coach and person who inspired and motivated me to do the most of the project in unconventional manner. This leadership not only helped me to developed this project into satisfying level but gave me the confidence and open eyes on my own possibilities and skills, which I hope are visible in this work.

I would not be here if not kindness, love and support of my parents who always believed in me and let me choose my path through the architectural world. Without them I would never have enough courage and possibility to chase my dreams.

The topic of this work would be probably completely different and maybe not as much satysfiying as now without my best friend and travel companion Agata Szymula who was with me there, in Italy and everywhere else. Her support and help was invaluable.

And last but not least, my beloved friends, met in Gent but from everywhere. Without them it would be a difficult journey but with their presence, support, advices and motivation it becomes real. They were a family for me. Present in all ups and downs.

Thank you Ryan Selwyn, Bojana Rankovyc, Matthew Jones, Costanza Botti! I can not imagine this path without you.

ABSTRACT The unique landscape of Saline di Tarquinia offers an opportunity to reconsider the normal practices of restoration, preservation, and conservation by revitalising the site through a ‘hardcore heritage’ approach which extracts the very essence of a place and tells its story through meaningful architectural interventions derived from the landscape and its rich history.

The Hardcore heritage approach looks to define practices which form strong ties with the past, whilst addressing both the current and future needs so that the intervention can remain firmly grounded in its context throughout its life span. The design presented in the dissertation addresses the lost value of history in the case of Saline di Tarquinia and looks to give it new cultural importance in the modern age.

The Salt Monument is a radical response which unveils an unexpected, and the previously unexplored potential of the place through dealing within another dimension of heritage perception. ‘Built with salt’ stands as a poetic expression of the sites rich history, using the material and a story that is derived from the landscape. The intervention reintroduces the culture of salt and gives it a new relevance in this modern age. The building portrays the history, explains the many changes, and underlines the most crucial elements of the site, but rather than becoming simply another ‘salt museum’ the intervention becomes the base for a new salt experimentation laboratory where the first example of the materials possibilities are displayed in the monument itself.

Salt, The mineral that intrinsically defined the Tarquinia Landscape.

Industry, The response to the availability of this invaluable natural resource Architecture, The subsequent construction of the many purpose-built brick typology buildings for the salt harvesting industry and all those who lived and worked here.

Although this industrial and built activity was an intrusion atop of the natural landscape, it brought about a sense of life to the area, and drew people to the area, giving it a reason to exist; And even now, as the site remains an inactive drosscape, industry has left behind a unique ecosystem comprised of many specimens.

When industry halted production there was no reason for villagers to remain on site and as such the buildings became empty and the place was quickly forgotten. Nature had once again claimed the landscape and thus the sites began the conversion into a modern-day ruin. Saline di Tarquinia became an example of the many vacancies that exist throughout Italy that are without a clear strategy for their reuse. Some actions were taken, with some money being invested in their upkeep, however, ultimately nothing changed. In the effort to restore the area, the most important aspect was not considered - its purpose the true reason for its existence and subsequent ongoing care and maintenance.

‘Salt arises from the purest sources, the sun and the sea’.

—Pythagoras

how once the biggest imperium turns into the ruin?

13

4 7

mapping heptic experience of the space

57

three scale of intervention: landscape

111

unknown treasure. Saline di Tarquinia

begining of the journey

19

5 8

studies of the best treatment

75

three scale of intervention: village

153

35 6 9

salt. landscape. architecture.

89 three scale of intervention: architecture

162

then

now

before

TABLE OF CONTENT

1.

INTRODUCTION 1.1 forgotten places 1.2 hardcore heritage 1.3 thesis goal

12 13 13

2.

BEGINNING OF THE JOURNEY 2.1 focused issues 2.2 map analysis 2.3 site pick

15 22 29

3.

UNKNOWN TREASURE | Saline di Tarquinia

3.1 the salt works 31 3.2 timeline 37 3.3 positioning 38

3.4 comparison of the salt works 49 4.

5.

MAPPING THE HAPTIC EXPERIENCE OF THE SITE STUDIES OF THE BEST TREATMENT 5.1 third landscape 5.2 grid. casco. clearance. montage 5.3 monument of the resistence

74 75 78

6.

SALT. LANDSCAPE. ARCHITECTURE 6.1 salt. (hi)story 6.2 landscape. created by salt 6.3 architecture. value to preserve

81 98 104

THREE SCALES OF INTERVENTIONS:

7.

LANDSCAPE 115

7.1 types of water 115

7.2 energy path 116

7.3 path to the seaside 116

8.

VILLAGE 123

8.1 salt factory 123 8.2 housing 124 8.3 services 125 8.4 clearance 126 8.5 others 127 9.

SALT MONUMENT

9.1 building with salt 131 9.2 purpose 137 9.3 genius loci 138

9.4 building technique 142 9.5 closure 145 conclusion 146 bibliography 149

SALINE DI TARQUINIA_chapter 1

before

“Il fosso dell’Empiglione e i ruderi dell’acquedotto Anio Novus”, 1890-1900; from the collection Gruppo bancario Intesa Sanpaolo https://www.ettoreroeslerfranz.com/musei/

10 | Traditional salinas heritage strategies challenged

HOW ONCE THE BIGGEST IMPERIUM TURNES INTO THE RUIN? The fascination with the Italian heritage future was rising in my head for years. After my first visit on Sicily, I found numbers of articles that “Italy is giving castles for free� 1 which caught my attention. Seeing for the first time greatness of Italian heritage was a memorable experience but witnessing how many other amazing ones around the country exist without the idea what is going to be their future was even more alluring.

Italy struggles with many problems as any other place in the world. The fact that it is one of the oldest civilization positioned them as a pioneer country in many domains. Architects across the world still refer to the best practices of Roman architecture finding the greatest beauty through redefining statements and patterns created already in ancient times. Ages of growing developments give them time to master some topics and aspects related to architecture. Throughout history, they build many impressive buildings which remain till our times in great condition and they need to surround them with great care and best maintenance practices to prove the strength of this once great empire.

This aspect has a visible influence on the shape and structure of contemporary architecture and ongoing changes in many cities. Dense urban tissue of very old buildings has to be treated in a very delicate and deliberate way so the history and specific atmosphere of their culture will remain the most authentic.

Unfortunately quite often it requires big investments and rises economical problems to renew and maintain those buildings.

They were not designed in a sustainable and flexible way which would allow easily change their purpose to meet current needs.

This architecture was designed to endure ages in the same, unchanged form. It makes restoration very expensive and difficult but the respect for the amount of labour and costs it took to build would not let it disappear.

Helen Coffee, Italy is giving away over 100 historic castles and villas for free, https://www.independent.co.uk/, 16 May 2017 1

What is then the golden mean of their future and best preserving practice?

Katarzyna Malinowska | 11

how once the biggest imperium turns into the ruin?

1.1 FORGOTTEN PLACES To preserve means to care.

All tangible things which we surround ourselves have more or less specified lifespan. Only through the way we treat and care about it we can prelong this period. Without extentional maintenance all atificial examples will turn more or less into simplified version of its existance in nature. Every abandoned place is a perfect example, shows how all things we have around us can decay. Not only buildings, their walls, windows, floor or roofs.

Everything.

Traditionally architectural preservation has meant static defense against the forces of time and changes. Problematic side of this approach is that it becomes an endless war against the wind, rain and other agents of erosion. The attempt can be questioned weather it is crucial to maintain the physical integrity. Especially in the times when most of the aspects of our life are getting pretty well preserved in very untangible sphere: digital version of photos, satelite views, researches in internet, full scans of architecture examples. It is like a whole parallel universe full of virtual preservation.

preservation

pres·​er·​va·​tion | \ ˌpre-zər-ˈvā-shən \ Definition of preservation : the act, process, or result of preserving something: such as a : the activity or process of keeping something valued alive, intact, or free from damage or decay b : the preparation of food for future use (as by canning, pickling, or freezing) to prevent spoilage

12 | Traditional salinas heritage strategies challenged

Definition of Preservation by Merriam-Webster

1.3 THESIS GOAL Through my work, I would like to find an answer to what is the future of italian heritage and the way it will be treated. Footprint which mankind already created is enormous and it is not clear how to reuse some of the existing buildings instead of building new ones. The number of new plots still increase. I believe that a better understanding of our heritage would allow us to pick the best solution and give further guidelines on how to build more sustainable so the changes will be easier and less expensive to implement than in current situation. How to treat places that were build to fulfil requirements of one exact purpose which does not performed anymore?00

“(...) an empty structure isn’t necessarily a problem, but rather a blank canvas on which to implement a range of unique design opportunities.”

[RAAAF]

The scale of the project starts from the national point analyzing the situation and processes of changes some of the known examples of a heritage building and the unknown ones, forgotten and abandoned. Through this process, it should become visible what cause the main reason for building to maintain and survive through the years. The work will also contain the reflection around what is the value we should actually care the most and try to preserve and what is the best way to do it. Especially now, in such digitalised world.

1.2 HARDCORE HERITAGE By the framework of hardcore heritage, I understand not only finding the solution which can be implemented in an architectural manner to the heritage examples but emphasizing some problems and possible solutions as a manifest that can be more eye-opening and led to the better future solutions.

In this meaning, hardcore should be visible on many layers of the intervention. To emphasize some situation it is crucial to pick the most outstanding, particular, important example from the set of bigger case.

Katarzyna Malinowska | 13

beginning of the journey

1_tourism

2_restoration | preservation

Cities are overcrowded. Exploring them losing the enjoyable value and most of the time can be spent on standing in lines to see all the “must see” places.

Every corner of the city shows different examples of restoration and preservation treatments method.

3_vacancy

4_heritage

The whole country is covered in numbers of examples of Italian heritage from all centuries. Their long history is one of the triggering aspects of high tourist interest.

1. Square in front of Pantheon, Piazza della Rotonda, Rome 2. Portico of Octavia, Via del Portico d’Ottavia, 29, Rome 3. View over town which slowely getting abandoned, Via Vittorio Emanuele, Artena 4. View on Colloseo, Via Nicola Salvi, Rome

14 | Traditional salinas heritage strategies challenged

BEGINNING OF THE JOURNEY To explore the topic in the best possible way I went back to Italy to live within its borders and understand them. Opportunity to make an Erasmus programme in Rome was and an enormous advantage to observe and analyse the current situation in this country. Months spent in this place showed me a lot of aspects which are interesting to relate to but I was mostly triggered by the situation of Italian heritage - especially the abandoned ones.

Often mentioned problem which I also noticed by myself in this country is progressing lack of care which is visible in any aspect of life. Moving from a very organised and neat city like Gent to much bigger capital of Italy emphasized many of differences and general disorder. From faulty trash policy, through communication problems and related to its pollution and trafficks until numerous examples of buildings which really need some attention otherwise another great example of architecture can disappear from our map.

I had the ability to learn about the restoration process in both: academic and empirical way. Academic through my university courses where our knowledge was focusing on analyzing history, background, changes, current situation and conservation of the building. All those processes I was also able to observe everywhere around me considering all works which were held to restore some of the heritage examples in Rome and other cities I have visited. It probably made me realise that there is no better place and better teachers than Italians who knows how to treat old architecture in the best possible manner. A number of places they are taking care of and the next one on the list gives the great opportunity to grow the knowledge about the proper restoration approach.

Many cities across Italy are characterised by very dense urban tissue which does not create many possibilities for new, modern architecture. To remain the consistent atmosphere of the places it is often better to protect the existing building and restore them as it happened through many years while city densification was increasing. This problem of migration towards big cities is still very current and leads to creates megapolis where the life

is not easier. Unfortunately, this movement leads to another loop of accommodation needs in big cities while small villages and hard accessible towns are getting abandoned and turning into the ruins. Lack of higher education, work and social life opportunities turn them into ghost towns and other forgotten places on the map. Very often is a quite a treasure we are losing because in their honest and untouched by modernisation shape there is something irreplaceable.

Those places are also rarely noticed by hordes of tourists who visit Italy each year bringing lots of advantages but cause a lot of damage too. Venice is so overwhelmed by their number it needs lower it since in the busiest days the number of visitors is easily twice higher than residents.2 The focus on the big cities is truly disturbing especially if we considered the size of the country as a whole and all the amazing places they have within the borders.

Even the most current exhibition of Italian Pavilion at Biennale was trying to relate to this issue creating the paths through forgotten regions to raise the interest of visitors.3 Last but not least aspect that caught my attention and could not pass unnoticed, especially after analysing migration flows and city densification, was about the refugees’ problem. Italy is one of the first country based on its geographical positioned to be visited by their flows. The policy is still exploring many solutions to create them best accommodation arrangement but it is never enough to cover the needs of those waves. In relation to previous aspects, I thought that maybe many of those cities which are getting abandoned in past years could provide shelter for those who lost their own homes.

Joanna Simmons, Overtourism in Venice, https://www.responsibletravel. com/copy/overtourism-in-venice 2

Mario Cucinella Ed, Arcipelago Italia - Projects For The Future Of The Country’s Interior Territories, Publisher Quodlibet 2018 3

Katarzyna Malinowska | 15

beginning of the journey

2.1 FOCUSED ISSUES 1_tourism In short, overtourism occurs when there are too many visitors to a particular destination. “Too many” is a subjective term, of course, but it is defined in each destination by local residents, hosts, business owners and tourists. When rent prices push out local tenants to make way for holiday rentals, that is overtourism.

When narrow roads become jammed with tourist vehicles, that is overtourism. When wildlife is scared away, when tourists cannot view landmarks because of the crowds, when fragile environments become degraded – these are all signs of overtourism.

2_abandoned heritage The “UNESCO 1972 World Heritage Convention”, indicates as cultural heritage monuments, group of buildings and sites, an outstanding universal value from the point of view of history, art or science. In the modern theory of restoration, the qualities of cultural heritage are the historical and aesthetic values. A historical building is a complex system of spaces, volumes, materials, surfaces, constructive aspects, actual and past functions and configurations, degradation, etc. The whole is the result of a continuous historical process of modification and transformation.

Architectural conservation describes the process through which the material, historical, and design integrity of any built heritage are prolonged through carefully planned interventions.

16 | Traditional salinas heritage strategies challenged

A Venetian hold up his luggage in a protest that calls for the authorities to think of the local community and not just about tourists, in Venice, Italy, November 12, 2016. REUTERS/ fot: Manuel Silvestri

Katarzyna Malinowska | 17

beginning of the journey

tourism & overtourism With growing technology, the flow of tourism raised which improve the economy in many places but also a lot of damage in many aspects. Italy was always an attractive country in this matter with their long history, rich heritage, culture and traditions.

The size of this branch of economic growth to the enormous size and become irreplaceable for stability. Many places are dependent by it having the continues income and work positions.

Unfortunately this flow is focusing on the most popular places which makes life harder for permanent residents. Overcrowding, pollution, gentrification, globalisation are only a few problems related to it.

Visitors showed a tendency to concentrate on a limited number of destinations; three regions only accounted

There are many organisations and approaches to lower down the bad influence of tourism across the globe starting with educating the visitors to respect the places which are visited but the case should be tackled from many different sides to actually make it work.

One of the possible change which I found very interesting and potentially attractive is switching the focus to the other parts of the country - less known regions which has much attraction to offer surrounded by beautiful nature. By enriching the points on the maps along the roads, trails or cycle routes many tourists might consider longer staying to truly enjoy the whole picture of Italian heritage not only typical points which are only checked out from the list.

18 | Traditional salinas heritage strategies challenged

Lazio

20.6%

Toscana

9.2%

Across Italy, there are many hidden and forgotten treasures which brings the attention of many visitors who seek an honest and interrupt the experience of past and passing time.

Another aspect which could be considered is Urbex (from Urban exploration). It is another form of tourism but right now it is not framed with any law rules which makes it dangerous and illegal. The number of visitors to abandoned treasures is unknown since their entries are illegal and impossible to count. However, the growing number of virtual evidence of that exploration is a legit sign it is popular among tourists. 4

22.3%

Campania

Sylvain Margaine, Forbidden Places: exploring our abandoned heritage, Publisher: Jonglez 2013 4

Research of many ongoing touristic programmes located across the country according to the scale of focus.

Katarzyna Malinowska | 19

beginning of the journey

italian heritage heritage

her·​i·​tage | \ ˈher-ə-tij , ˈhe-rə-\ Definition of heritage 1 : property that descends to an heir 2a : something transmitted by or acquired from a predecessor : LEGACY, INHERITANCE b : TRADITION the party's heritage of secularism 3 : something possessed as a result of one's natural situation or birth : BIRTHRIGHT

4,158 museums

282

archeological sites and parks

536

monuments

A number of heritage building and sites in Italy can be overwhelming. From an economical point of view, it is also difficult to maintain all those buildings and take proper care to preserve other forgotten monuments and landmarks spread across the country. That is the issue which pointed out the possibility of reconsideration the method of preserving some of them.

Besides all the most known churches, Roman forums, aqueducts and most well-known monuments there are many others which deserve the attention. With attention comes income and care which stops the processes the ruinification. On the other hand different economical situations through ages change and demolish many of those buildings and in an honest way, it was accepted and kept this way. It emphasizes how time is passing and those ruins of the previous empire become the irreplaceable landmarks through Italy.

20 | Traditional salinas heritage strategies challenged

1.7 1 about

museums or similar institutes every

100 km2

every

12,000

inhabitants

Definition of Heritage by Merriam-Webster ISTAT, Museums, archeological areas and monuments in Italy, Roma, 2015

architecture decay There is a fine line between reaching the point of elegant decay with proper preservation of the building and turning it into the unlivable place. One of the great examples of this occurrence is almost every street, or should I say canal, in Venice. With a difficult weather condition, high humidity and every year repeating floods city are literally unevenly ragged out of paint on its walls showing off what was hidden under. As an architect, we appreciate this public nudity since we can deeply and easily analyse the structure, materials and condition of the buildings. Everyone else can treasure it as a visible portrait of passing time and fragility of everything that is around us. Not even a strong and powerful building can conquer the power of nature.

Of course each time we should deeply consider where we can allow ourselves for which approach of treating the building. In “The Architecture” were set three principles by Vitruvius1 with durability as one of them.

“All these must be built with due reference to durability, convenience, and beauty. Durability will be assured when foundations are carried down to the solid ground and materials wisely and liberally selected; (...)”5 Even though this we can read that the most important part of each building is its foundation. The footprint truly and unchanged will with its pattern in the soil. By the wise used materials, we could expect them being either strong, easy to change or beautifully grow old. The last property is the one we can observe in many corners of Italy. Old but strong stones of travertine, marbles, porphyry or more artificial concrete or Italian bricks can endure centuries. Then if by some reason will be left out it may turn in many cases into picturesque, elegant ruin.

It is necessary to consider what is the true value we want to preserve and whenever it is important to provide the best maintenance but we should not be afraid the fact that nothing lasts forever and everything has its expiration date. Sometimes we should just leave the architecture to grow old gracefully.

Vitruvius, Ten Books on Architecture, The Project Gutenberg EBook of Ten Books on Architecture, 2006 5

photo: Canal in Venice surrounded by buildings which represents the elegant decay on the building surfaces.

Katarzyna Malinowska | 21

beginning of the journey

exploration of opportunities The main goal and mentioned observations give a lot of possibilities which site could be chosen to focus and analyse. To narrow down the topic I explored more the examples related to the article from which everything started. The heritage buildings which “are given almost for free� are under the rule of Agenzia del Demanio - state property agency which looks for the best future of those buildings implementing few long-term plans which allow improving maintenance of those properties.

While travelling across the country I noticed many examples of forgotten and abandoned buildings on my own. It creates another section of potential sites which could be taken under the framework analysis.

1_state property agency

My exploration varies in different scales of intervention or site itself. Most of the examples given by Agenzia del Demanio refers to single building intervention while as forgotten and abandoned I found a pattern of many similar cases of towns which are getting abandoned by growing migration. The choice between them would end up either as an architectural or urban intervention.6 I decided to focus on the region I had easy access to so I could explore it better and I prefer the architectural intervention scale which could be implemented in a bigger strategy in examples which fits its pattern.

2_forgotten and abandoned

3_saved | reference examples

Agenzia del Demanio, Paths and Trails, http://www.agenziademanio. it/opencms/it/progetti/camminipercorsi/camminiepercorsienglishversion/, visited 17/04/2019 6

22 | Traditional salinas heritage strategies challenged

atlas of vacancies

Katarzyna Malinowska | 23

beginning of the journey

2.2 MAP ANALYSIS 1_Tourist flow | ISTAT data 2017

According to the data shared by ISTAT, the biggest tourist flow is in Rome followed by Venice, Milan and Florence with a similar number of visitors each year. As a region, the most popular is Veneto adding the advantages of beautiful coastline close to Venice.

Generally, the most popular places are either those with the most well known architectural heritage or picturesque coastlines focused on summer recreation elements.

24 | Traditional salinas heritage strategies challenged

2_New trails of Arcipelago italia | Biennale Venecia

Italian pavilion on Biennale 2018 focused on unknown parts of the country emphasizing the value of a modern architecture hidden in the recesses of the country.

“We have tried to offer a reading of contemporary architecture that is an alternative to what is offered by the metropolitan cities, which are only a small portion of our country’s DNA, by seeking the virtuous examples that are often hidden in lesser-known territories.”

Mario Cucinella, curator of Italian Pavilion 2018

3_Cycling routes | Bicitalia 2017

Bicitalia is part of the bigger project of bike paths across whole Europe - Eurovelo.

Some of the paths are matching the old pilgrims’ trails which crossing through the country. The project improves the infrastructure of paths and the awareness of those routes.

4_Pilgrim trails | Valore Paese

The saying that “all the routes lead to Rome” is not completely wrong and one of the confirmation can be the oldest paths and trails especially pilgrim routes which start far in England and through the whole length of Italy lead hikers to The Near East.

As usual, trails are the best way to properly explore countries beauty and nature. Passing along the coast or through Italians mountains gives the best perspective on their landscapes variety.

Katarzyna Malinowska | 25

beginning of the journey

5_State property list | Agenzia del Demanio

Source of the triggering point of this thesis - heritage building whitch Italian government gives for free, was actually anchored in a programme and portfolio of the state property agency.

On their website there is growing list of abandoned buildings across the whole country with a different programme suggested for each of them depends on the situation which I also find very accurate. The properties were seprated into the groups based mostly on their position and relation with national roads and trails.

26 | Traditional salinas heritage strategies challenged

6_Abandoned buildings | Agenzia del Demanio

Agenzia del Demanio gives 3 options to buy the property but since most of them are national heritage the definitive purchase is not possible. Only if there is no other way to preserve the building it might be a last solution. Most likely according to their policy property can be lend with a very low, symbolic price for 9 years with a posibility to prelong it if the investment will be succesful. The purchaser is obliged to implement into the building function from the open service group and renew the property within the landing period.

7_ general strategy Thanks to the topic of the last Biennale in Venezia (2019) my assumption were quickly confirmed. Many authorities of the country started treating the rapidly growing tourism economy as in potencial danger in some sectors of its influence. Short sighted programmes did not predict some horrible results of enhancing growth of this branch. The scale of this occurrence rised so quickly that strategies to avoid some disadvantages of it was not developed early enough and right now manu places around the world has to struggle and came up with the solutions when it happens.

The example of highly overcrowded main cities of Italy is one of many across the globe. The strategies can be inspired on the solution implemented in other situation but further research has to be held to avoid future fail in this matter.

One of the most common strategy is to improve the possibility of easy and affordable comunication across the country so part of the tourist flow could change the focuses from main cities to the beautiful landscapes and picturesque small towns. To stress the importance and success of this strategy it is crucial to improve infrastructure: roads, trails, train rails, cyclist roads and sailing paths have to be accessible and safe. Then the next step is to rise an interest which would lure tourist towards the country interior lands. Considering this aspect worldwide there are multiple examples of extraordinary places which can be in the middle of nowhere and still will gather groups of intrested in visiting them people.

Mapping presented on the previous pages shows the most common trails and paths across the Italy, trails created for a project of Italian pavillon at Biennale Venezia 2019 and mapping of abandoned buildings across the country. Setting them all together results with finding the places which has the biggest potential of becoming noticeable on the road and their popularity would increase with passing time.

On the graph the possible strategy is presented empasizing relation between main keys of this research. Heritage which could turn its role into the Third Landscape theories being left for its own, trails which turnes the focus on nature and land interirs and exploring unknown new trend of tourism.

Katarzyna Malinowska | 27

beginning of the journey

28 | Traditional salinas heritage strategies challenged

2.3 SITE PICK Considering a number of cases and options I could find in Italy for further development the decision was not easy. Previously showed map analysis was the main factor through which I was looking for a point where most of the trails, roads and paths crossed with an example of abandoned building preferably close to one of the tourist-focused city.

This situation creates few potential scenarios of how the flow of tourist will move in future and how the proper intervention can improve to direct them towards desired destinations.

The close relation of the site to one of the most popular destinations among tourist (Rome) can be the first aspect which will raise interest. Reachable in 1,5 hour from the city by train Tarquinia is another town to growth the chance of being noticed.

All the trails which lead along the Tyrrhenian Sea will cross through the cite and successful intervention can be another reason for hiker/ cyclist to explore Italian less known regions.

Closeness to the coast gives another advantage to be easily reached from the sea. Sailing might become more and more popular each year, especially in the context of travelling, since it is a very sustainable and affordable way to visit many places.

Proper architectural intervention could also extend the trail drawn in the project of Arcipelago Italia which the main goal was to bring up attention to the beautiful regions by promoting great, modern architectural projects.

The catalogue of abandoned buildings which Agenzia del Demanio presented in their portfolio consist many objects which also would fit previous expectations but through personal preferences and led by strong gut only one was picked as a final focus.

In this was all the previous observations and searches end up focusing one place: Saline di Tarquinia.

Katarzyna Malinowska | 29

unknown treasure: Saline di Tarquinia

Natural Salt Pans Reserve of Tarquinia | Port Mobility

30 | Traditional salinas heritage strategies challenged

UNKNOWN TREASURE The salt pans across the world bring attention when spotted from aerial view. Artificial widely stretched grid of thin paths separate basins fulfilled with water in a rich palette of colours can be noticed along the coastal lines. From the eye level of sailor or hiker, the beauty of this environment can be detected based on the numerous examples of diverse bird types who are the biggest fans of such landscape. Unfortunately this beauty it is not so obvious to be found as expected. Besides neighbours and workers who participate or used to participate in salt production, not many people are aware of this particular landscape type existence. And what makes it so different than nature we are familiar with.

ferent ways depends on the scale of the production. Nowadays many of main buildings which held the industrial functionswere transformed into the museum (Saline di Cervia, Saline di Trapani) or accommodation (Saline di Montelargius, Saline di Trapani) which meets the need of transformation once industrial site into the recreational and educational place. Especially that created environment is such a particular ecosystem which attract many biological scientist and birders or nature photographers. Each marine salt production site is likely visited by for example pink flamingo which is the only area of Italy where they can be spotted in their natural surrounding. 7

The salt pans are one of an example of a human industrial intervention which again claimed the right to the land and changed it deeply but in some way make it diverse and enriched with untypical for rest of Italy fauna and flora. Salt pans completely changed the landscape but it makes it very unusual.

Italy has the oldest history of industrial salt production in the world and the most developed. The first type of applied practice was to collect this mineral from shallow basins along the coast after the sea water evaporated. It makes sun evaporation ponds the most popular sources of salt. Across Italy, there are fourteen salt pans of which only four are still active and two continue on a small scale to preserve the place and tradition of salt collection handcraft. Even though most of them remain inactive they have many common aspects. Almost all of the sites were turned into the nature reserve parks to protect unusual fauna and flora which found this environment as perfect to inhabit. The sites are always plains, almost depressions with a limited number of high greenery which opens the view on big horizons of land. Salt evaporation ponds landscape is similar visually characterised by strict grids of narrow paths which separates rectangular basins.

Always positioned along the coast to the sea water can easily fulfil the shallows deep from 0,5m to 1,5m. Size and depth of basins reduce towards the land. It allows to reduces the amount of water and moves the crystalised salt with the help of gravitation towards production facilities. Those can be positioned in many dif-

salina (it)

/sa¡lÏ¡na/ Translate salina to english: saltern 1. Plant for the extraction of salt from sea water (sodium chloride and small amounts of other salts), consisting of an area of flat, impermeable soil, divided into a series of basins, in which the sea water evaporates and deposits the salts dissolved in it.

2. Natural deposit of various salts that is formed in lagoons, coastal areas or depressed areas.

3. Rock salt mine.

Google dictionary

Renato Neves , Interregional Studyon Restoration of SaltWorks, ALAS Project, July 2002 7

Katarzyna Malinowska | 31

unknown treasure: Saline di Tarquinia

3.1 THE SALT WORKS

Natural Salt Pans Reserve of Tarquinia | Port Mobility

Andrea Jacopuci,. Riqualificazione dell’edificio “Sali scelti” delle Saline di Tarquinia, master dissertation project, Universita La Sapienza, Roma, 2010 8

32 | Traditional salinas heritage strategies challenged

PRODUCED BY AN AUTODESK STUDENT VERSION

Saline di Tarquinia was the plant for the extraction of sodium Therefore the salt pans almost become a complex of the brackchloride from the sea water. The area is cover with flat, imperish ecosystem very fascinating and rich in life, especially if, as has meable clayey terrain, located near the sea and slightly higher happened in most cases of the ancient Italian salt pans, these than the sea level which allowed to control tidal enter the basins areas are abandoned by industrial production and left to sponand in the further process extract the salt from the salty water in taneous processes of renaturalization. natural processes of vaporization.

PRODUCED BY AN AUTODESK STUDENT VERSION Probably the first technique to obtain large quantities of salt The first production of the salt took place around pools bathed was to imitate nature, controlling the evaporation of salty waby the sea when the sun and the wind dried the water leaving ters in the natural or artificial basins. The chosen places had to the salt deposited on the bottom. be warm and not rainy. The flat beaches, predictable tides and basins sheltered from the floods of the streams and finally proThis process is in the fact the basic technique still used in the sea tected from the winds so the raised dust does not dirty the salt salt pans, formed by a series of enormous shallow and interconjust surfaced, extracted from the saltworks. nected basins in which the sea water evaporates quickly. Around these main mirrors there are often other basins, always more or The seawater access was made to enter through open channels less brackish water, born as discharge areas of the result of initial for the purpose and then stopped by locks. In the water that interventions, then not completed, where a specific halophyte passed from one pond to another the concentration of salt invegetation settles creating peculiar biocenosis. creased. While the sauce water was left in the ponds crystalised, the worker entrusted to care of them and therefore called Salinator, pulled out the salt to lay it on the heaps above to dry it. 8

PRODUCED BY AN AUTODESK STUDENT VERSION

Katarzyna Malinowska | 33

unknown treasure: Saline di Tarquinia

34 | Traditional salinas heritage strategies challenged

rich history

particular ecosystem

Based on several historical documents and aims to depict the history and the evolution of the Tarquinia saltpans we can read it as a place used since the Villanova age is ordered to produce salt and that registered its maximum growth in the nineties century as a strategic reservoir for the Pontific State. Turned into a protected area in 1980 and closed the salt production in 1997, the place passed a substantial change in its goals and several restorations works on the buildings and improvements in the naturalist management of the whole place, making out of it a unique protected area in the Lazio Region.

Tarquinia Salt Pans are the important site for birds during wintering and migrations. Among waterbirds, some breeding species are of the Regional Importance. Check-list totalized 221 species, 49 breeding inside salt ponds and more 27 in neighbouring areas.

This is a relatively poor fauna, consisting of the few species, but no less important. The specific habitat conditions of the salt marshes make possible the presence of few specialized taxa. Moreover, adjacent areas represent fragments of the beach-dune system of the Tyrrhenian coast, today strongly influenced by man. These areas however host species, although in some cases widely distributed, highly significant from faunistic, ecological and conservation point of view for their close relation with the coastal habitats and relict characterised of their populations.

nature reserve The Italian Ministry of Finance was the owner of the salt production plant of Tarquinia, which handled the salt production until the month of July 1997 by means of the administration of the State Monopoly, currently under the State-Owned Property. In this area in 1980 was established the Nature reserve of the Animal Breeding (DM 25/001/1980, Ministry of Agriculture), and also SCI (Site of Community Importance - IT6010025) and ZPS (Special Protection Zone - IT6010026) in the relation to the Habitats Directive and the Birds Directive.

left side: print reproduction, 1812, Archivo storico del comune di Tarquinia

Katarzyna Malinowska | 35

unknown treasure: Saline di Tarquinia

climate The salt production plant is mainly based on the artificial wetland ecosystem, separated from the sea by a sand dune area. In the period 1941-1979 the coastal dunes have been significantly reduced in the width due to marine erosion phenomena, which are taken up in the recent years posing a serious threat to the conservation of the interior wetland.

The climate of the reserve park is the typical Mediterranean type with a significant influence of the Tyrrhenian Sea, which adds some elements of the Oceanic type. According to the Pavari phyto-climatic classification, the area is defined as Lauretum sub-zone hot and is characterised by three months of drought.

arboretum The Reserve of Tarquinia Salt pans is a protected area almost without a forest and shrub coverage due to its history, having been for centuries a salt production site where the maximum cleaning of the surfaces was required. Its conservation into a natural reserve and the stop in the salt production made possible an increased presence of trees and shrubs, both natural and planted, allowing to enrich its biodiversity and turning back its coverage into more natural structures typical of the Mediterranean areas. 9 on the right: some splendid specimens of birds; photo by Massimo Biondi

Colletti L. (ed.), 2014 – La Riserva Naturale Statale “Saline di Tarquinia”. Corpo forestale dello Stato, Ufficio territoriale per la Biodiversità di Roma 9

36 | Traditional salinas heritage strategies challenged

IX-VII century BC etruscan settlement produces salt

Archeological excavations in the area of the saline date back to the Iron Age when the first significant exploitation of the sea salt takes place. It was essential product for meat and food preservation.

Soon the on-site commercial transaction become so presperous that decision to build the port of Graviscae was made. It was one of the major one in southern Etruria which extends the economy of Tarquinia to a breader Mediterreanian market. Further importance was given under rule of Rome which by colonisaing the territory of Graviscae in 181 C, strengthens the port structures which starts to operating exports from and to Gaul of Spain and North Africa.10

Denise Demetriou (22 November 2012). Negotiating Identity in the Ancient Mediterranean: The Archaic and Classical Greek Multiethnic Emporia. Cambridge University Press. pp. 83– 11

The sacred area of Gravisca, aerial photo of Mario Torelli, 10

Gravisca, an archeological site situated at the boarder with the Saline

unknown treasure: Saline di Tarquinia

3.2 POSITIONING location The site of salt pans is located in the north-east part of Lazio region lying along the coast of the Tyrrhenian Sea and is located between the mouth of the river Marta in the north-west and the mouth of the river Mignone in the south-east, just south of the built-up area of ​​Marina di Tarquinia. There is only one way which leads to this place which passes from the Etruscan city of Tarquinia through the Lido di Tarquinia - coastal district of the city with more sea related recreational appearance. At the entrance road to the abandoned village of salt pans, there is an archaeological site which signed the position of the port of the Etruscan city -

Gravisca dated back for settlement from 600 to 250 B.C. The surroundings of the site are flat and free of dense greenery which allows distinguishing closer located part of Central Apennines Cimini Hills. The city of Tarquinia is quite popular touristic city especially because of its Etruscan cultural wealth with the biggest existing, widespread necropoleis or cemeteries which it overlies, for which it was awarded UNESCO World Heritage status.

38 | Traditional salinas heritage strategies challenged

City of Tarquinia (formelly Corneto), author unknown

Katarzyna Malinowska | 39

unknown treasure: Saline di Tarquinia

1_site location 1 : 1 700 000

40 | Traditional salinas heritage strategies challenged

2_site satelite view

site characteristic 3_site village

The village with abandond facilities lies in the heart of the triangular shaped site surrounded by charactetistic net of paths which seprates ponds.

In the big scale the position of the site shows relation with the biggest town in surrouding - Tarquinia which is only 3.4km from the village. It takes only 15 minutes to reach it by car or bus which passes closeby every 10 - 20 minutes. Many citzens of Tarquinia visiting the coast and saline daily for the recreational reason.

On the north from Reserve Park zone is more seasonal village Lido of Tarquinia characterised by summer houses, restaurants, water activities services and other recreational facilities. The corner between saline and Lido hides archeological treasure which are ruins of Gravisca from the Iron Age. Closer scale shows clearly the distanse of the closed area cutted out with a strict line of fence from the seaside leaving small dunes outside and a line of canal which seprates it from private agricultural fields around. Whole area on the west side is covered with ponds which are seprate by small dikes. On the east side the housing and working facilities are placed surrounded by more green areas on the north and salt pond on the east which suppose to keep away sweet water out of the ponds.

The village is positioned at the end of the straight road about 2.1km from the entrance gate which takes 25min walking. The buildings lies parallely to the road with one exeption where the square with water tower was positioned. The second line of road lead to the chutch. Main axes are enclosed by the highest and biggest building on the site - salt factory. The left wing of the building leads to positioned closed by magazine used now as bioscience laboratory buildings.

Katarzyna Malinowska | 41

unknown treasure: Saline di Tarquinia

site specification 1_site technical drawing

Located close to the coastline, the protected area covers about 193 ha, of which about 70% is occupied by the salt production plant.

The plant essentially consists of rectangular-shaped basins, bordered by stone or wooden banks, of modest depth (about 30 - 50 cm) with a water column thickness varying between 20 and 80 cm. The wood used for the channels and the tanks is fir wood, while the stones used for the banks of the basins are essentially local natural stone of sedimentary origin.

The tanks are progressively reducing in surface and depth, passing from those of evaporation and salting ones. Water transfer is guaranteed by a complex network of canals of various sizes surrounding the tanks. The entrance of the sea water is through two channels, called Foce di Ponente and Foce di Levante, which connect the saline with the sea. Finally, a surrounding canal runs along the external perimeter of the saline in order to isolate it from the water coming from the surrounding lands.

As in all the salt extraction plants in the Mediterranean area, water is passed between the various basins (divided into evaporators, servants, salts) to facilitate the separation of solutes and compounds suspended in seawater, precipitation of salts dissolved in sea water and finally the crystallization of sodium chloride. The sea water passing through the various groups of tanks passes from the salinity of the sea (35) to the point of precipitation of the NaCl (250 ‰).

Originally the water intake was carried out through a large wooden shutter, operated with a large iron flyer. The salt workers raised the gate during high tide and lowered it before the low tide came. Now the water intake is regulated with an electric pump.

42 | Traditional salinas heritage strategies challenged

Projecto Life Natura 2002, Prof. Giuseppe Nascetti

living facilities 2_site village technical drawing

At the end of the 19th century, the construction of new buildings was added to the existing industrial pavilions where the salt was processed and stored to provide living facilities for workers and their families. Salt processing occupied up to 70 workers for an average production that, in 1981, was 80,000 quintals.

Consequently, in the years between 1876 and 1895, the construction of an adequate housing settlement, located north of the processing plants was necessary, considering that it is advisable for the numerous workers to work on permanent premises.

The new houses (photo 2_housing) have the same typological connotations and are united by the simplicity of the compositional lines. In fact, a common structure of stone masonry was adopted, a pitched roof with Roman-style tiles and a distribution scheme divided into two levels: the ground floor that was used as warehouses and stables, while the first floor, accessed through an external staircase, it was divided into apartments served by a gallery.

At the end of these buildings, it was then to align the garrison of the guardhouse, which watched over the tranquillity of the nascent village. Inmates who had to serve short sentences were used for the Saline works. This happened until the second world war, when the civilians took over and the plant was still enlarged until it reached 90 hectares: 80 of evaporating basins and 10 salts.

The lower profitability of the Italian salt pans compared to other salt pans located on the Mediterranean coasts, the limited extension of the plant and the difficulty in adapting the new manufacturing processes to the Tarquinia plant have led to the decision to stop the mining activities, (1997). This has raised numerous management, economic and environmental protection problems. Only two workers remained in the saline, one of which was a custodian and the other was a water-carrier, with the task of controlling and managing the saltwater flow. drawing made by Andrea Jacopucci

Katarzyna Malinowska | 43

unknown treasure: Saline di Tarquinia

general typology At the end of the nineteenth century, the construction of new buildings was added to the few industrial pavilions where salt was processed and bagged and to the warehouses for tools and the finished product.

1_administration and direction office

6_church

The complex of these interventions, therefore, defines a sequence of homogeneous elevations for heights and chromatic values, at the centre of which the seat of the administrative and directional offices stands out with its “representative façade” that faces the original access road with rigorous symmetry, from plaster finishes and strongly projecting cornices.

In 1882 a monumental building with a trapezoidal plan with shops and a tavern on the ground floor, warehouses and cellars in the basement and apartments on the first floor, which were accessed by two separate staircases was build. With its representational facade and unique position towards the road was easily noticeable.

Another intervention for the use of the community is the small late-nineteenth-century building where the recreational club is located, in front of the residential building and close to the industrial plants, therefore an ideal connecting element between daily life and work.

2_housing

3_shops and a tavern

7_water tower

Also of 1917 is the construction of a building for warehouse and workshop, located near the salt ponds and the industry. This construction combines the functionality of large and bright spaces with the aesthetic quality of the building, made of exposed brick and stone, with lateral ashlars and pilasters that articulate the rhythm of the elevation in regular forms.15

4_recreational club

8_the salt factory

Andrea Jacopuci,. Riqualificazione dell’edificio “Sali scelti” delle Saline di Tarquinia, master dissertation project, Universita La Sapienza, Roma, 2010

5_magazines / bioscience laboratory

9_warehouse and workshop

In 1917 the church of the village was built, a work that was decidedly appreciable in its simplicity inspired by medieval religious architecture. The use of poor materials is clearly denounced by the lateral and back elevations, left rough and barely enlivened by mullioned windows and by the windows of the apsidal space.

15

44 | Traditional salinas heritage strategies challenged

the salt factory The factory itself is visible at a considerable distance with its slender tower flanked by two low side wings, it almost seems to embrace the entire village, delimiting it and giving it a specific “industrial� connotation: not by chance on the balcony crowning the first level of the establishment stands out a large clock that, as in the ancient medieval towers, marked the rhythms of life and work of the residents and that today, emblematically, is no longer working.

Built in the 30s, where the use of brick is associated with the introduction of reinforced concrete, which divides the facades of the tower into a series of rectangular modules with a window in the middle gives the whole a rational and well-controlled approach. Significant distributional consistency is also found in the building’s floor plans, which express the search for large and functional spaces created to accommodate large-sized machinery and facilitate the various activities connected to the production cycle.

Katarzyna Malinowska | 45

unknown treasure: Saline di Tarquinia

failed tries of restoration The first proposal for intervention on the Saline di Tarquinia was made in 1994 by the Town Council. The idea was to reconvert them into another productive activity, in order to increase the jobs of the territory through careful planning of the activities, which go from the economic ones to the cultural and tourist ones closely linked between them. However, this proposal had no further development.

In 2003 the University of Tuscia, in collaboration with the Municipality of Tarquinia, proposed a project for the recovery and environmental rehabilitation of the natural population reserve in the Saline di Tarquinia, supported by LIFE, a financial instrument supporting the policy environmental policy, first adopted in 1992.

“Objectives of the project were the rescue of the structural facilities, necessary to manage the site and to warrant water circulation in the salt works. They include: - removal of the exceeding sediment in the tanks; substitution of wooden dykes in the tanks and canals; restoration of the stone banks; substitution of hydraulic pumps; canals restoration for allowing water to the way in from and way out to the sea; - sensitisation of the local public opinion on the relevance of humid zones for maintenance of biodiversity; - research and monitoring activities to define the status of the ecosystem and define a sound management criteria; - formulation of a plan for the management of Nature 2000 site.” 16 In the final report opening the site to the wider community was suggested. Through creating sustainable bird-watching. The goal was set to improve the number of visitors from 3-5 thousands to 10 thousand in a 10 years horizon time.

The future project aims to promote eco-tourism with a focus on the research activities, public information and diffusion of nature conservation culture, as well as the social valorisation of the site by means of the maintenance of historical traditions and activities which have been disappearing today.

46 | Traditional salinas heritage strategies challenged

These activities will consist of realising: 1. a museum of the salt; 2. a small freshwater wetland (3-4 hectares) inside the Saltworks, with the aim of increasing birds biodiversity; 3. a visitor centre and a hotel for hosting tourists and researchers; 4. laboratories for lagoon ecosystem and fauna monitoring; 5. a lab for the genetic analysis of population, especially fishes populating the coastal waters of Lazio Region; 6. a pilot hatchery and aquaculture plant oriented to the restocking of demersal fishes.

Speculated number of permanent workplaces was estimated as 3-4 workers in the restoration of the ponds, 2/3 additional jobs for the hatchery management; 2/3 jobs will come from the ecosystem management and research activities; and further 2/3 jobs from the administration of the hotel.

“(...) the loss economic activities seem to have influenced negatively the Tarquinia Salt works ecosystem conservation.”

Projecto Life Natura: Environmental Rescue of the Natural Reserve “Saltworks of Tarquinia ”, Prof. Giuseppe Nascetti: 16

recently renovated buildings which still stand empty 1_renovations

Between 2004 and 2005, the Municipality of Tarquinia, again in collaboration with the University of Tuscia proposed interventions of some buildings that were supposed to reborn the Borgo delle Saline.

The former magazines (1) were renovated to place the main operating part of the bio-science laboratory of the ecology department University of Tuscia. It includes a water supply system that will collect water directly from the sea with continuous spare parts and without thermal conditioning, in order to maintain environmental conditions similar to natural ones. The interior of the premises that constitutes the actual hatchery is distributed in three rooms physically and functionally separated from each other, with functions of reproducers and hatches; larval breeding; phyto and zooplankton production.

All other buildings were redesign for the touristic functions with: the visitor centre (2) with information point, booking centre, book store, refteshment point and archives; a complex of hotel rooms (3; 5); genetics laboratories of the University of Tuscia (4) educational centre (4) with activities related to environmental monitoring, one on the first floor and the other on the ground floor of the same building and museum of salt (6) dedicated to the history of the Saline and Salinieri who worked with the collection of materials, photographs, documents and tools; part in its importance in human, animal and plant life, in biology and medicine; Most of those renovations were finished but only buildings 1 and 4 which held researching purposes are properly exploited. Buildings 2, 3 and 5 are freshly renewed and with fully furnished interiors and standing empty since 2012. Legislation and law problems caused problems to begin their use. Right now it seems like misplaced sources for maybe wrong design.

Plan of the village with marked interventions, drawing made by Andrea Jacopucci

Katarzyna Malinowska | 47

unknown treasure: Saline di Tarquinia

48 | Traditional salinas heritage strategies challenged

3.4 COMPARISON OF SALT WORKS IN ITALY Land Italy

ACTIVE

SINCE

+

X AD

NATURE RESERVE 1979

AREA

TOURIST

MAIN USE

827 ha

+

museum of salt

0.04 ha

+

museum multi.

1.

Saline di Cervia

2.

Saline Lorenesi

1758

3.

Saline di Tarquinia

IX BC

1980

170 ha

abandoned

4.

Saline di Margherita di Savoia

III AD

1977

3 871 ha

production

+

Sicily 5.

Saline di Augusta

1560

50 ha

recreational area

6.

Saline di Siracusa

XVI AC

1989

360 ha

recreational area

7.

Saline di Priolo

1200

2000

55 ha

abandoned

8.

Saline di Marzamemi

XV AC

1989

1450 ha

abandoned

9.

Saline di Longarini

10.

Saline di Trapani

+

1861

1995

987 ha

+

museum of salt

11.

Saline di Marsala

+

1861

1984

230 ha

+

recreational area

1770

1992

70 ha

1600

1999

1600 ha

Sardinia 12.

Saline di Carloforte

13.

Saline di Molentargius

+

museum +

museum

Katarzyna Malinowska | 49

unknown treasure: Saline di Tarquinia

typology

Most of the salt works could not compete with the biggest ones and only 5 are active till today but on a different scale. Some continue production to preserve long tradition and original method of harvesting the salt. All of them are under nature protection and considered as a reserve park based on their particular landscape and biodiversity. This is also a reason for repeatable conservation and new purpose chooses which promotes eco-tourism and environmental friendly recreation possibilities like birdwatching, hiking, kayaking or for the more scientific facilities of laboratories and museums.

Saline di Tarquinia could be a place to show different purpose with similar values but not through copying the repeatable pattern shown above.

50 | Traditional salinas heritage strategies challenged

Katarzyna Malinowska | 51

SALINE DI TARQUINIA_chapter 2

now

mapping a haptic experience of the space

54 | Traditional salinas heritage strategies challenged

MAPPING THE HAPTIC EXPERIENCE OF THE SITE The salt pan works were chosen for further development also because of its very particular character I have never seen before.

Exploring this place was truly a great experience. The beautiful landscape is so flat that the horizon line is visible either till the straight sea line or with a little bit higher positioned disturbance drawn by the line of the mountain hills far on the northeast from the site. It is creating perfect opportunities to observe nature taking over the wetland full of wild birds and other animals. All the more unpleasant is to watch this perfectly calm and steady passage through the metal net type fence with a wire on top of it. The protection like this feels understandable to prevent prisoners from escape but they are not there anymore and birds are too free to lock them in any way. No one would like to do that either. This is, in my opinion, the worst element existing on the site.

The village is still partly alive even though reminiscence of the previous function of this place is hardly visible. A number of cars is the most noticeable aspect of human presence. Around the houses there are many pieces of evidence of their daily usage - a laundry hangs under the windows, toys lay around the benches in front of the doors and some of the residents just walk around doing their things. Some buildings, the ones which held more public function during their prosperity are completely empty and covered in dust but recently renovated. In contrast to them stands slat work factory closing all street with its weakening brick wall and tall tower in the middle. The importance of the building is emphasized by positioning at the axe of the road but further maintenance was not the highest priority for the

4

This particular landscape of salt works has a very inspirational influence on the observation. Through organised way different atmospheres show the ambience of the place: SOUNDS BOARDERS LINES/AXES USERS SALT ATMOSPHERES DECAY POINT OF VIEW

Katarzyna Malinowska | 55

mapping a haptic experience of the space

sounds

56 | Traditional salinas heritage strategies challenged

silence

sea

birds

One of the biggest advantages of the site is dominating calmness and meditational silence all over this place. Completaly separated from the urban areas is free off noise pollution.

Especially when walking on the coast side main sound is the noise of waves hitting the shore. In the close neighbourhood, there is no big harbour to disturb the repeatable sound of water.

Another nature related sound is a bird’s chirping. The landscape is full of many different species so each group is characterised by different melody and together they create a symphony of tweets.

car

Unfortunatelly there is a small impact of people noise that disturbs the calm nature and scares out some birds which were closed the road. Cars and villaga life cause some noise and it could be avoided.

Katarzyna Malinowska | 57

mapping a haptic experience of the space

borders

58 | Traditional salinas heritage strategies challenged

pond

canal

fence

The water in the ponds is blocked by a regular system of paths and water itself creates a border for humans to not trespass further.

The site is completely cut out from the rest of the land by the canal which passes around to protect mixing sweet water from the hills with salt water but also to keep prisoners on the right side of it.

The worst barrier which completely closing the whole landscape is the fence with barbed wire surrounding the area on each side.

dune

bush

wall

One of a more subtle way to separate zones are natural dunes which fell down and create a wall between sea and some part of higher positioned ponds.

Densely grown plants and bush creates a natural type of border and stops people from passing from one place to the other.

Quite often it is so dense that it is impossible to see through it.

Of course, every wall is an artificial boarder but in this point, I mainly put the attention on the salt factory wall which cuts out the whole view on the landscape behind it with a dead end road.

Katarzyna Malinowska | 59

mapping a haptic experience of the space

lines / axes

60 | Traditional salinas heritage strategies challenged

horizont - ponds

axes

The regular layers of ponds and paths in the front and perspective view are perceived more like multiple lines till the horizon.

The village is emphasizing the one point perspective with and axe emphasized by the tower and all the building positioned parallel to the road.

perspective - road

broken axes

Towards the sice visitor is lead by the road creates this typical and basic view with one point perspective.

The dead end of the road which led towards the sea and salt ponds is destroyed by two magazines buildings. Neither they close the view nor emphasized the view behind.

Katarzyna Malinowska | 61

mapping a haptic experience of the space

user

62 | Traditional salinas heritage strategies challenged

animals

researchers

birdwatchers

The new inhabitants of the site respect this place much better with their fully sustainable and respectful life. And those are of course animals which found this place as the perfect for them ecosystem where they can breed future generations.

The second group which truly understand and appreciate this landscape with its possibility are researchers - currently the one focused on bioscience but the atmosphere of the place favour improving the knowledge.

Based on wide variety of bird species occurring in this area the interest is raised among bird lovers and wildlife observers.

residents

visitors

Some families do not want to leave the houses where they used to live but there is no permission for that. For now the facilities are used more as squat properties.

Since the site is positioned very close to Tarquinia and seaside lots of residents come for a wald, jogging or bike trip. Unfortunately, they need to pass the same path both way: in and out.

Katarzyna Malinowska | 63

mapping a haptic experience of the space

atmospheres

64 | Traditional salinas heritage strategies challenged

salt works

meadow

village

The landscape of salt works is mainly fulfilled by numbers of geometrical (mostly rectangles) shapes shallow ponds separated by narrow paths made by stones.

Along the road between the fence and ponds, there is a wide and flat openness with low plants and grass which allows seeing the whole scene.

The dead end of the road is surrounded by a cluster of housing and public services for 40 workers and their families.

pond

forest

sea

In the corner of the site, there is a pond which collects all the sweet water to protect from mixing with salt water in the ponds.

This gives completely new possibilities.

Along the road and on the east side of the road there are a lot of old and tall, mostly stone pines trees. Now the foresters plan to rebuild Mediterranean flora within the site.

The west side of the saltworks is limited on the shore line of the sea with a diversity of levels drawn by dunes and narrowing the distance since the sea is taking over beach.

Katarzyna Malinowska | 65

mapping a haptic experience of the space

decay

66 | Traditional salinas heritage strategies challenged

reminisce

ruin

falling apart

pointlessly renew

Graviscae ruins or actually footprint of its foundation is almost indestructible evidence of history long for thousands years.

Hidden behind new laboratory depot old magazines turn into complete ruins. Taken over by nature starts to look more like rock walls with plants in between than the building it used to be. Only the strongest elements like arches survived passing time.

Some buildings are losing their strenght and power due to the lack of purpose, need and lack of maintenance. The gravity and nature are taking over initial properties of used materials.

Unfortunately this process was stopped.

Some actions were taken to preserved buildings from their ruinification without proper research. It led to reckless contributions and even though the building looks almost like new now they are still empty and counting years till their end again.

Katarzyna Malinowska | 67

mapping a haptic experience of the space

levels

68 | Traditional salinas heritage strategies challenged

eye-level

lower

higher

The site looks completely different from each perspective. On the eye level observator can see lines of ponds.

If the eye level would be lovered to the hight of main users of the salt pans - birds we can move to the different world of fauna and flora of the ponds itself.

If the observation point would be positioned higher - like the top of the existing tower of the salt works (22 meters) the perception is much closer to the picture shown on the plans and satelite view. Only this point would allow noticing the regular net of ponds and paths which creates the landscape.

Katarzyna Malinowska | 69

mapping a haptic experience of the space

summary Based on the collection of observation which had the biggest influence on my perception I created a limited list of values to keep and goals to gain in the future development of the site.

Through this analysis, it is easier to name and focused the most crucial and important aspects of this place worth to preserved or emphasized.

Since the beginning power of nature and biodiversity of the site was considered as the most important element so all decision are directed to let the nature prospering and evolving without interruption. To gain this the usage of the land by human being have to be restricted to picked areas but in the more subtle manner than a fence with barbed wire - as a solution may be used different types of loaders like changes of the usage level or natural border (water line). The area used by a human should be also acoustically considered to lower their impact and keep the quiet, meditational atmosphere of the place without the noise pollution. The small intervention through the landscape could be limited to road continuity which would improve communication and penetration of the site.

To wider the richness of the saltworks preception, new point of views should be implemented into the design: lower and higher view. In order from the lowered path into the ground to equalised eye-level of a visitor with the ponds and from the top of the 22-meter tower of salt works factory to appreciate artificial net of ponds and their diversity. On the example of this building could be shown the decay processing and preservation strategy.

As the functionality site should be most prepared for the scientific purpose and temporary stays for visitors and tourist who would like to explore and learn. Most focused is still put on the animals who have the rights to this land, never abandoned but mostly inhabited by them.

70 | Traditional salinas heritage strategies challenged

acoustic

new boarder

open road

for science

for visitors

for animals

decay / preservation

lower view

top view

STUDY OF THE BEST TREATMENT

5

Based on the observations and potential of the site focused on some architectural approaches was included. For further appliance architect’s theories were analysed and redeveloped through the framework of the site. The analysis varies between the way of treating ruins, crafts, anthropology and human’s attachment to the place and their history, landscape.

After analysing the whole picture of the site, background, history and atmosphere I decided that the most interesting researches should consist and support mostly the strongest points of this place. In my opinion one of the most important element which exists on this site is the landscape. An architect who convinces me the most to his philosophy about the way of treating the nature is Gilles Clemens who emphasizes the power of nature as our ally which can help in creation along with each other instead of fighting against. As the way of considerating, the role of preservation and potential ways of treating the heritage much helpful became the philosophy from Japan and the explanations about the value of places kept in our memories and written archives instead of physics materials which comes as easy as goes, especially in their culture. Islanders who often experience the power of nature in its worst presence: tsunami, the eruption of volcanoes or earthquakes, who can lose all their goods in a second are able to change the way to perceive the approach of preservation. Considering current situation of the globe I see bigger value in this philosophy as worth to be spread especially considering consumptionism and decreasing amount of natural resources. I believe that my project can be the next statement towards spreading this philosophy not only in architecture but also in other sections of life.

There is beauty and poetic in the building which are let go and decay as we witness. Sometimes is better to just agree with this physical power and remember it in a different way.

Another inspiring for me source is shown by Wang Shu and the way how he mix in the architecture not only memory of the places but also traditions, crafts, heritage and behaviorology.

Katarzyna Malinowska | 71

fit into the framework

- re-inauguration -

- clearance -

Salt is the only rock directly consumed by man. It corrodes but preserves, desiccates but is wrested from the water. It has fascinated man for thousands of years not only as a substance he prized and was willing to labour to obtain but also as a generator of poetic and of mythic meaning. The contradictions it embodies only intensify its power and its links with experience of the sacred.

Extreme temperatures breed glassy hollow forms called ‘Ghost Apples’. This natural phenomenon is a perfect projection one how one material preserves the history of others.

72 | Traditional salinas heritage strategies challenged

- life after life -

- adaptation -

One of the main principles of landscape urbanism is an adaption to temporal changes and flexible, strategic design which can adapt in future to coming needs

Nature can always adapt to the existing environment but this process can be emphasized by an intervention which underlines elements which can be easily disregarded.

Katarzyna Malinowska | 73

fit into the framework

5.1 THIRD LANDSCAPE Mankind since ages is trying to the land and nature under his own purposes. We are surrounded by growing architecture and we are separating ourselves strongly from the ecosystem.

On the other hand, our fascination with untouched land is growing. Gilles Clement in his works and his book switchi8ng completely focus on interest and intervention. Instead of taking land and changing it completely into our vision he prefers to let him be as its plans to evolve with time and to admire this creation. Instead of fulfilling frames with organised plants and interventions which remain continuous maintenance he preferred to emphasize the frame so the power of nature will be even more visible but within the frames, whole work will be done by itself.

Gilles is also emphasizing the value and beauty of the forgotten and uncertain spaces

The Third Landscape—an undecided fragment of the Planetary Garden—indicates the sum of the spaces in which man gave up to nature in the evolution of the landscape. It regards urban and rural forgotten places, spaces for transit, industrial wastelands, swamps, moors, bogs, but also the sides of roads, rivers and train tracks. The whole of these forgotten places are reserves. De facto reserves are: unaccessible places, mountain tops, uncultivated places, deserts; Institutional reserves are: national parks, regional parks, “natural reserves.”16 16

74 | Traditional salinas heritage strategies challenged

Gilles Clément, Manifesto del Terzo Paesaggio, Quodlibet, Macerata 2005

5.2 GRID. CASCO. CLEARING. MONTAGE. Even though there is not much urban tissue on my site no one know what kind of future it can have so the theory of Landscape Urbanism can be equally right implemented into my work as anywhere else. The concept of ecological perception of the site and strict pattern to follow described by Marcel Smets helps in better understanding the site and its possibilities in a clear, even synthetic way. Following this technique, the connection between the development of the landscape is tight with the natural environment and the other way around.

The spatial configuration was arranged into 4 design approaches to the uncertainty that are based on spatial concepts: grid as a primary device to attain flexibility. There is nothing more artificial and neutral base that is shaped by architecture. The grid can be already applied on the site into other points which need to find or put on top. casco or as we would say in English hull is the element completely independent by human and his creation because it is a base drawn by geological and hydrological layers of the site. It can be considered the ideal natural frame that adapts to site conditions. clearing whereas the idea of nature is considered as a backdrop to assure the freedom of the intervention is now used as a systematic planning device. montage is the principle of layering different levels together.

The juxtaposition of different blocks, elements and installations, being a continuous sense of merging it thus produced.

Every element is a part of many others creating wholeness.17

Robert Schäfer, About landscape: Essays on design, style, time and space , Birkhauser Architecture, 2002 17

Rem Koolhas + OMA, Parc de la Vilette, https://oma.eu/projects/parc-de-lavillette, 1982 18

Katarzyna Malinowska | 75

fit into the framework

grid

casco

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

- re-inauguration -

- clearance -

Now exists on the site only as an invisible mixture with water in ponds and sea. It used to covers pond while being harvested, gathered in while piles ready to be collected. Maybe it is the time to re-inaugurate it again. And maybe the form should be reconsidered. Is it only about harvesting or finding w wider use of this natural resource?

A cast for this site can be understood at many different levels.

Should we consider that ponds destroyed nature and clearing them would be the best option? Or should we accept them since they defined the site for centuries now? Is the architecture polluting the place? What does have a value and what does not? Barriers are the first elements to be clear to allow fully perceive the beauty of nature.

76 | Traditional salinas heritage strategies challenged

clearing

montage

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

- life after life -

- adaptation -

Is there a purpose for giving a new function to forgotten places? We can not be sure. But once build architecture could be revitalised within the life span which was already given for its walls. Places, history and past, in general, should not be forgotten so there is a place for a new life.

To give it another life the footprint should not extend but within its border new adaptation could be added to bring life back and purpose to this place.

Katarzyna Malinowska | 77

fit into the framework

5.3 MONUMENT OF THE RESISTANCE and Aldo Rossi described as “a poet who happens to be an architect”.

Ada Louis Huxtable Further during the project developing process I came across works and philosophy of Aldo Rossi. His theories in which he repels need for empty modernist monuments but pictures of untangible values. The way how he was introducing the Gennius Loci, which is understood as a spirit of the place to his theories of way how he was reading other examples of monuments through this framework was truly inspiring.18 Genius Loci, the spirit of the place is a very old belief, rooted into the ancient history of romans that every place, space, surrounding has a ghost, spirit which is strictly connected with it and influencing it. Even though it was unvisible, untouchable and strongly connected with the beliefs it made its way towards scientific teories of recognising untouchable values of the place first presented in works of landscape urbanists, Christian Norberg-Schulz. He for a first time was trying to wcplain that place is not only build by visible, tangible objects. This theory wa forgotten for almost four centures until Aldo Rossi brought it back showing the great importance of understanding the role of it. 19

“The “situation”-the site-was governed by the genius loci, the local divinity, an intermediary who presided over all that was to unfold in it. The concept of locus was also present at all times for the theoretician of the Renaissance, even if by the time of Palladio and later Milizia its treatment took on an increasingly topographical and functional aspect. In the writings of Palladio, one can still sense the living presence of the classical world, the vital secret of a relationship between old and new. More than just a function of a specific architectural culture, this relationship is manifest in works like Villa Malcontenta and Villa Rotonda, in which it is precisely their “situation” which conditions our understanding.

Locus in this sense is not unrelated to context; but context seems strangely bound up with illusion, with illusionism. As such it has nothing to do with the architecture of the city, but rather with the making of a scene, and as a scene it demands to be sustained directly in relation to its functions. That is, it depends on the necessary permanence of functions whose very presence serves to preserve forms as they are and to immobilize life, saddening us like would-be tourists of a vanished world.”20

In his book The Architecture of the City he often underlines how much it is crucial to understand the context which is actually impediment to research. For him finding the relation betwen monument, place and its lotus was lead to its uniqueness.

Finding a lost notion of the relationship between the place and the building which has not a material base should be re invented and considered every time when designing the space.

Erat, Bruno. The spirit of the place - genius loci in sustainable architecture, https://www.youtube.com/watch?v=XeYFPj1o-Oc 18

Robin Monotti Graziadei, Aldo Rossi: Reinventing the Locus, https://nulluslocussinegenio.com, published OCTOBER 14, 2016 19

20

78 | Traditional salinas heritage strategies challenged

Rossi, Aldo. The Architecture of the City. MIT Press, 1984.

Katarzyna Malinowska | 79

salt. landscape. architecture. relation to national tourist policy

known heritage

focused site

unknown heritage

tourism related strategy

affordances

vaccancy related strategy

intagible

salt

80 | Traditional salinas heritage strategies challenged

tangible

architecture

landscape

6

SALT. LANDSCAPE. ARCHITECTURE. The diagram on the left side shows the simplified strategy of the potential vacancy development in relation to tourist strategies to turn it into a prospering heritage site.

On the example of Cathedral Notre Dame in Paris, we can observe how care and conservation decisions are applied to the beloved and well-known architecture heritage examples.21 Most of them are self-sufficient based on the number of visitors and the income they provide to keep building in an expected state.

The problem begins with the buildings which are less famous.

Reasons can vary. Hardly accessible, less attractive, not mentioned in media or too destroyed so dangerous. For those, there is a lack of financial resources which leads to the progression of the destructive processes. In Italy, their number is very high so probably they would never be enough income to preserve them.

tion to make the site more accessible with respect for nature.

Those kays could be applied in any type of situation with exchanging the salt for any kind of the symbolic aspect of history and most characteristic

Started from the national scale consideration of either the heritage treatment and touristic strategies it points out elements which were focused. In the opposition to the known heritage which is likely well maintained stands the unknown one- likely with a future of being forgotten and freely decaying. As an example of the site which meets this requirement is picked Saline di Tarquinia - well positioned when it comes to all aspects which may have an influence on touristic strategies and enhance the strength of the intervention and further life I predict for it.

As a strength of the site which stands for the pillars of the design are 3 main keys: salt, architecture and landscape. Intangible side of salt as a memory of labour and the mineral which cause two others being formed in the way we can see it now. Architecture as a village designed for only one purpose and since it does not work this way it slowly turns into the ruin. And last but not least very particular and specific, artificial landscape. Full of possibilities within the created grid.

Ciara Nugent, “Pledges Reach Almost $1 Billion To Rebuild Paris’ Notre Dame Cathedral�. Time. Archived from the original on 23 April 2019. Retrieved 23 April 2019.

21

Those three keys will be main focuses and aspects tackled in different scale in design process representing three pillars of it: architectural intervention made with salt, urban design for short planned future of the village facilities and landscape interven-

Katarzyna Malinowska | 81

salt. landscape. architecture.

6.1 SALT. (HI)STORY Salt is the only rock which is in every kitchen and can be eaten has shaped civilization. This mineral is so valuable that it served as currency, salt has influenced the economy, establishment of trade routes and cities, provoked and financed wars, secured empires, and inspired revolutions.

Salt plays important role in human’s life since the beginning of our existence. It is the only rock which we directly consume in its clear form which occurs in the nature. Mineral which at the same time corrupts and protect from the corruption. It fascinates for thousends years each group. It was considered as a phisical “body� substance in alchemy which remains after combustion that survives death to reinaugurate new life. Just as in chemistry a salt may be defined as the product of an acid and a base, alchemically, salt is the integral resolution to the primordial polarities embodied in the mineral symbolique of cinnabar (HgS), the salt of sulphur and mercury. 22 Those aspects even more grow impornance of this banal stone - it represents so many symbols in methaphisic, poetry or philosophy. Salt was associated with purity. It represented both death and rebirth, cure and corruption. Visual effects which it had on the surrounding helped understand its properties. This intangible values of salt started to appear in many traditions, rituals or religions. Saltint the earth was the ritual of spreading the salt on the newly conquered contry so it will be fruitful land in future for new settlemtns, salt and bread are the way to welcome newlyweds in their new home, in pagan cultures salt was used to keep bad energy out of the households and in some asian was used in the ritals when thrown into a fire which led to the use in the later developed fireworks production since its influencing color of the fire.23 It may not be exaggeration to say that roman empire rised on the power of sea and sun which are the basic elements in salt creation. Firs setllements rised in the place where the salt was harvested from the coastlands. Rome, Venice, Sardinia and Sicily were the examples of this importance. They played enourmous role on the trade market with their salt supplies. With growing technology salt was more and more priceless mineral.

The discovery of the use of salt to preserve food gives many possibilities like conquering new worlds with food reserves. Lack of salt led some nations to war loss when their armies were touched by illnesses or hunger on the front.

A high value of salt remains till the times of industrial revolution.

Harvesting the salt was always hard labour to be done by many workers in difficult conditions between reflecting the surface of white ponds and the sun. That is why it was such a valuable and powerful mineral. In the Roman Imperium salt was a salary for Italian soldiers (world salary has its origins in Italian means salt payment). Then it was also used as a taxes wage which gave even more power to lands which own salt pans and put some people into prison for smuggling salt across the regions. It has the strength to manipulate the economy within and outside the countries.

Since the technology replaces manpower with machines the importance of salt decreased but never disappear. The scale of the production growth and made it easily accessible. Further researches brought salt into a wider spectrum of use, especially in the chemical uses dividing NaCl into three main groups of soda ash (which has its appliance in glass and paper production), caustic soda (used in paints, oils, textiles dye or bleach, ceramic, aluminium, soaps and detergents etc) and chlorine with its important part of PVC ingredient and thousands others.

Salt in its clear form we can find in every household and in each of them has much more domestic uses than only as a food seasoning. It softens the water or de-icing roads during the winter.

Life can not exist without this mineral but life is also taken by it since a high level of salinity in the water does not allow any being to survive.

Looking on the whole spectrum of possibilities salt gives humankind no wonder there are still many to discover in the future.

Mark Kurlansky, Salt: A World History,

Roxane Lahidji, SATURATED A comparative research of salt

22

23

82 | Traditional salinas heritage strategies challenged

food fish preservation

meat preservation

science fireworks

chemistry

water treatment

pharmacy

economy salary for Roman soldiers

trades

methaphisic mummification

rituals

traditions

religions

Katarzyna Malinowska | 83

salt. landscape. architecture.

art, design and architecture 1_La mogile di Lot | Superstudio

photography: Pinksummer

To confirm the statement that building with salt is possible the collection of previous works was collected. Even though salt exists in every part of the world the use of it as a building material is a very unpopular and unknown practice. Fortunately, some artists, architects and designers chose to check this mineral and what possibilities it gives.

One of the oldest examples of building with salts are mines where salt was dug out from under the surface. The most known example is Wieliczka mine under Kraków in Poland. Years of carvings of the strong mineral walls create a maze of corridors and a chapel deep under the surface of the ground. It was possible only because the supplies of salt inside the earth structured went through thousands

“Architecture exists in time as salt exists in water”: this was the premise on the construction of a bachelor machine called La moglie di Lot when, in 1978, Superstudio participated to the Venice Biennale. Five salt sculptures placed on a zinc table were slowly melted by a mechanism dripping water on them.

The work is part of the late production of Superstudio, characterized by a rather ironic approach to the irreversible dissolution of every architecture.

1_ Superstudio, La moglie di Lot, 1978, installation view, Pinksummer https://southasastateofmind.com/superstudio-pinksummer-genova/ 2_ Bridgette Meinhold, Bolivia’s Palacio de Sal is a hotel made entirely of salt, published 01/13/2016 https://inhabitat.com/ 3_ Luke Duggleby, Salz der erde, Marverlag 2015

84 | Traditional salinas heritage strategies challenged

2_Pallacio del sal, Bolivia

Proud of being the only hotel made of salt Palacio del Sal in Bolivia brings up some attention especially by relation to the biggest salt flat in the world - Salar de Uyuni. Common in this area salt was a cheap and accessible material to construct floors, walls, columns and even roof or furniture which makes this place almost completely build in salt. As additional material wooden frames and light-weight wooden roof were used.

Bricks to build the salt were either cut out from the surface of Salar de Uyuni or made in moulds by mixing salt with water and letting it harden under the sun. To make a mortar they mixed mud with salt and spread between the bricks as well to form the furniture and flat wall surfaces in the rooms. Since this material works better for compression the roofs made entirely by salt was build in the dome forms above the bedrooms.

Katarzyna Malinowska | 85

salt. landscape. architecture.

3_Salar de Uyuni | photography of Luke Duggleby

Salt workers use a saw to cut out blocks from the salt crust of Salar de Uyuni, Bolivia.

86 | Traditional salinas heritage strategies challenged

A salt structure made solely of the salt bricks on the edge of the Salar de Uyuni. The salt bricks are cheaper and easier to repair than regular bricks.

between art and construction 4_UTSUSEMI | Motoi Yamamoto

Photography by Makoto Morisawa

Salt with its wide history and background was especially intriguing material for artists. Metaphors and symbolism which this mineral consist is a clear manifesto for many topics. The strength and power of the meanings like life, reborn, death or vanishing are one of the most luring examples of use it in art.

From the more aesthetic point of view, there are other particular characteristics of salt which brings attention. One of the most important ones is the fact we still work with naturally occurring in nature mineral: stone. Appearing either in very hard version under the surface of earth or melted in water and turning into the crystals when the water evaporates. Both ones are the same chemically structured a different scale and depends on the mix with other minerals different or because of temperature different translucency.

Most of those sculptures and made with salt objects are formed by fulfiling a mould with a mixture of salt and some fixing additional like resins, glue or more naturally starch.

Salt has a special place in the death rituals of Japan, often being handed out to people at the end of a funeral so they can sprinkle it on themselves to ward off evil.

4_ DANIEL MILLER, The artist with a real thirst for his work: He builds giant sculptures out of SALT, PUBLISHED: 26 March 2012, www.dailymail.co.uk 5_ Anya Gallaccio, Into the blue; Two Sisters, https://www.lehmannmaupin.com/artists/ anya-gallaccio 6_ Roxane Lahidji, Marbled salts, www.roxanelahidji.com 7_ Karlijn Sibbel, SEAt, https://karlijnsibbel.com

(...)the delicate crystals came to represent for him the fragility of life. As vulnerable to the whims of outside forces as humans, the translucent white lines epitomized his struggle to both accept the loss (...) and to memorialize.

Katarzyna Malinowska | 87

salt. landscape. architecture.

5_Into the Blue | Anya Gallaccio

5_Two sisters | Anya Gallaccio

Bournemouth beach 1993

Minerva Basin, Kingston upon Hull 22.05.1998 - 16.08.1998

one ton of salt bricks on variable

Commissioned for Artranspennine ‘98 Two Sisters was a 6-metre high, 2.5-metre diameter and 70-ton column of chalk bonded by plaster installed on the silt bed of the Minerva Basin, Hull. The work was continually modified by the tidal flow of the River Humber until it finally eroded and collapsed.

88 94 | Traditional salinas heritage strategies challenged

design 6_Marbled Salts | Roxane Lahidji

7_SEAt | Karlijn Sibbel

“With ‘Marbled Salts’, Roxane Lahidji explores new possibilities, reinventing salt as a sustainable design material. She makes use of its unique physical properties as a self-binding composite to create a set of tables and stools. By mixing it with tree resin, she gives it shape and strength. Coal powder and natural colour variations in salt mimic the aesthetics of expensive natural stone such as marble.”

“This project focused on how salt could serve as a material and ways we could apply its capability to form strong structures. By creating a flexible cotton wireframe and controlling its shape with weights, I created a foundation for the crystals to secure themselves on. The framework was suspended in a salt solution and lifted up in increments. Over time crystals formed on the wires and hardened the structure. This ability to harden flexible wireframes shaped by weights and knots allows for a great variety of forms and design freedom. “

Katarzyna Malinowska | 89

salt. landscape. architecture.

vapouration 9_Barbed salt lamps | Sigalit Landau

9_Salt Bridge | Sigalit Landau

Israeli artist, Sigalit Landau present a great collection of her love affair with the Dead Sea which creates art on its own. The only work done by the artist itself is creating the form with the full freedom of choices while high salinity of the water makes the rest of the work.

The Salt Bride piece of art is a simple gown which after 2 months is completely dipped in the waters of a Dead Sea, or as it more likely called Salt sea in its surrounding, covered itself with salt crystals until turned into the stiff, hard stone structure.

8_ Sigalit Landau, Barbed salt lamps, Salt Bride, https://www.sigalitlandau.com/salt 9_ Karlijn Sibbel, Industry by nature, https://karlijnsibbel.com 10_ Young Projects, Elias Bey, private collection

90 | Traditional salinas heritage strategies challenged

Those experiments led Sigalit Landau to the project presented in 2010 at the Biennale exhibition in Venice of the salt bridge which would be raised by itself with progressing coverage of salt layers onto the provided basic structure.

9_Industry by Nature | Karlijn Sibbel

10_Salt tests | Young Projects

“By regulating time, temperature and consistency, I was able to form salt crystals into spherical structures. I inserted the spherical structure, as a crystal seed, into a highly concentrated salt solution where clear salt crystals would strengthen the structure by forming layers. With this research I investigated new approaches to fabrication technologies, aiming to form objects using natural resources from the sea.�

This piece is one of the example of tests conducted by studio Young Projects in their recent research. It is another example that salt is appearing more often as another building material among architectural offices.

Katarzyna Malinowska | 91

salt. landscape. architecture.

3d printing 11_3D print with salt samples | Mark Andrew Kelly

11_3D print with salt samples | Mark Andrew Kelly

Suprisingly it is possible and also very effective to 3d print with salt and many, bigger os smaller tests were conducted using different mixes and techniques.

“New 3D printing material which changed the way UC Berkeley creates Architectural models. In my Master’s Thesis I developed a new 3D Printing material which is 96% cheaper than the current alternative and cures in 90 minutes as opposed to 24 hours.

The invention has been adopted as the main way the University of California, Berkeley creates the 3D printed models in the Architecture CAD-CAM department. This research was over an 18 month period in my Masters in Architecture Thesis. “

11_ Mark Andrew Kelly, 3D Printed Salt Sculptures, http://www.markkellyarchitect.com, June 2012 12_ Emerging Objects, GEOtube tower model, Saltygloo, http://www.emergingobjects. com, 2013

92 | Traditional salinas heritage strategies challenged

12_GEOtube Tower model (for Faulders) | Emerging Objects

12_Saltygloo | Emerging Objects

“The GEOtube is a new kind of urban sculptural tower. Gravity-sprayed with adjacent Persion Gulf waters, its building skin is entirely grown rather than constructed; is in continual formation rather than fully completed; and is created locally rather than imported. The world’s highest salinity for oceanic water is found in the Persian Gulf – local salt water is supplied to GEOtube via a new 4.62 km buried pipeline and misted onto the tower’s exposed mesh. As the water evaporates and salt deposits aggregate over time, the tower’s appearance transforms from a transparent skin to a highly visible white solid plane.”

“The Saltygloo is made of a combination of salt harvested from the San Francisco Bay and glue, a “salty glue”, which makes an ideal 3D printing material, one that is strong, waterproof, lightweight, translucent and inexpensive. Each panel recalls the crystalline form of salt and is randomly rotated and aggregated to create a larger structure where all tiles in the structure are unique. The panels are connected together to form a rigid shell that is further supported with lightweight aluminum rods flexed in tension, making the structure extremely lightweight and able to be easily transported assembled in only a few hours.”

Katarzyna Malinowska | 93

salt. landscape. architecture.

academic research Building with Salt | Eric Geboers

One of the most important works I found during the research and biggest influence on my design was provoked and inspired by the master thesis of former TU Delft University student, Eric Geboers with his work “Building with salt�. It is a thesis which neatly collects all the existing information about the salt as a building material with a further development based on his privately conducted tests, calculations and analysis.

This thesis consists of many similarities to the situation of the Saline of Tarquinia. His research evolved from the analysis of the growing problem of desertification across the globe. In the dry regions, salt works are popular due to the high temperature, dry air and high level of salt in the lands which are moved towards the valley creates a number of salt works. Eric Geboers proposed an alternative solution of building with salt, as a local material, in those deserted environments.

The material is fit for several purposes, both load-bearing and non-load-bearing. There are also several ways of connecting the material. The guideline starts with an overview of building with salt as a load-bearing structure and it gives several rules of thumb for dimensioning structures. Then several possible building elements and connections in salt will be shown. After that, an overview of the material’s other properties is given.

Lastly, the article concluded with a case study of a living unit in a long-stay apartment completely made out of salt. 24 With use of the testing sticks made with mix of salt and starch (in proportion 8:1) Eric Geboers conducted numbers of examinations to set the most important properties for salt as a building material. Due to the low laboratory conditions the values are widely estimated but it can give the overall view on the conditions which we can work with.

As it is visible on the diagram salt mix is comparable with the compressive strenght with rammed earth and simmilar but less strong to the ice due to density difference.

Geboers, E., The Salt Project, master dissertation project, TU Delft, 2015 http://resolver.tudelft.nl/uuid:528c3ddc-8a7e-4b95-89a3-60185109e674 24

94 | Traditional salinas heritage strategies challenged

Based on the extensive research done by Eric Geboers and conducted calculations summaries for use were selected. As presented above the salt structures works best with compressive stress and fails with tensile stresses. For this reason it works great formed into the shape of the arch, the dome, the composite of both and other variation within those groups.

Proposed by the designed solution for each element of architecture shows a great variety of options the material gives. It is possible to play and change the thickness of the material within the surface, smaller or bigger modules connected in multiple ways, the porosity of the material or its crystallisation.

For openings the best performance depends only on the salt structure will happen with a more organic and circular shape.

Katarzyna Malinowska | 95

salt. landscape. architecture.

salt vs. other materials wood

Salt attack (or salt weathering) is the term used to describe the damage caused by soluble salts crystallising within the pores of masonry materials. Salts are brought into the porous masonry in solution in water by a variety of means described later under Rising, Falling and Penetrating Damp. During a dry period, when the water evaporates from the wall, the salt will be left behind (as salts can’t evaporate) and the salt solution in the wall will become more concentrated. As more salts are brought into the wall the salt solutions are further concentrated as the moisture evaporates. When the solution reaches a condition known as saturation, or supersaturation (depending on the type of salt), crystals will begin to form.

All masonry materials, whether stone, brick, mortar, earth or concrete block, are to some degree porous: that is, they contain voids or pores. Porosity is measured as a percentage of the volume of the material and ranges from 0.1% for fresh marbles t an extreme 50% for some limestones. Common porosities of sandstones, limestones, bricks and mortar used in traditional construction are in the range 10–30%. Denser materials such as granites, bluestone and slate have porosities around 1-5%. Porosity is a rough guide to durability: the higher the porosity, the less durable will be the material. Pore size is an important factor: materials with a lot of very small pores are generally less durable than materials with fewer but larger pores.

concrete

steel

masonry

1.

FEMA P-55, Coastal Construction Manual: Principles and Practices of Planning, Siting, Designing, Constructing, and Maintaining Residential Buildings in Coastal Areas, chapter: Material Durability in Coastal Environments, 4th Edition (2011)

96 | Traditional salinas heritage strategies challenged

... and where are they used piers are mostly whole time dipped in a salty water | photography Steve Smith

With a proper maintenance and drying process, the wood can be protected well enough to withstand the hard conditions of the salt-laden environment. The most important is to keep the heart of the wood well protected with pressure treating. Round shapes are better for this use for the same reason. Best wood used in salt-affected environments is southern pines and douglas fir.

Reinforced concrete is the more exposed for destruction the bigger pores are. For this reason, it is recommended to use moisture controlled concrete type I with superior durability properties (likely made from dust consisted of mixes). The construction has typically 4-5 cm layer around the reinforcement which cannot be lower than that and preferably precast off the site to ensure pieces would not have any cracks. Additionally, reinforcement steel can be epoxy coated or pre-stressed.

salt chambers are new popular wellness option | WDTEKNOLOJÄ° SPA WELLNESS

Salt-laden moisture enters masonry through the cracks leading to spalling and loss of strength. For the same reason, proper mixes of mortar should be used to avoid moisture penetrations and decaying of the structures.

It is advised to use type S mortar for below-grade applications and type N mortar for above ground applications.

Most steels corrode in a salt-laden environment thus every time they require a protective coating. Weathering steel is not immune for corrosion either.

Certain stainless steel under age right conditions are resistant but their costs and other circumstances made them unsuitable 25

Rob van Hees, Silvia Naldini, Damage processes related to moisture, private sources, 2013 25

Katarzyna Malinowska | 97

salt. landscape. architecture.

salinity gradient power Enormous potential for the source of sustainable energy lies in the largest total resource on planet earth - water. And to be more specific the interface of two types of water, where the sea and river meet. This material is not only available worldwide but also has the biggest energy potential.

Osmosis or salinity gradient power is a common physical process which generates energy from the difference of the physiochemical potentials between sea water (high salt concentration) and river water (fresh). The controlling system relies on the membrane between both of the environments which when meeting release energies from ions which reach equilibriums.

This process appears uncontrollable in nature all the time at the bank of each river entering the sea. The amount of energy which is theoretically available from levels of salinity gradients is high.

Current estimations prepared by Norwegian company Statkraft which specialised in the topic since they were first to build the SGP plant, estimated power in the range of 1.4–2.6 TW based on the global discharges of rivers into the oceans. It is important to mark that those estimations were made based on the average salinity of the water while in the case of Saline di Tarquinia water would consist of much higher concentration of salt.

an average gross power around 40 W (∼1.6 W/m2 cell pair), with peak values up to 60 W (∼2.6 W/m2 cell pair). 1 The concept idea of focusing on the saltworks water with higher concentration led to higher gradient and thus energy density achievement and to re-circulation of the whole process since the side product of the process ( brine water) can be placed back in the ponds where, as the ponds works since years - sun and wind will cause water evaporation and again become high concentrated mixture. 26 In the case of Saline di Tarquinia same system could be implemented providing enough energy to fulfil the needs of laboratories and living facilities. Current situation of the site zoning provides a perfect opportunity to locate the salinity gradient power plant in the middle east of the Nature Reserve Park. In this place, a freshwater pond which collects all the watercourses from land hills and canal which is the extensions of the river lay next to the highest concentration ponds of the site where the last stage of salt harvesting take place. The pond and canal were in the first place protect the ponds to be “polluted” with fresh water but now a bigger advantage can be taken from this opportunity. 27

This energy has no influence which may interfere with global climate changes. It is renewable, sustainable, and produces no CO2 emissions. The only reason for this energy plant not being spread across the world is the expensive system and to be more particular technology of ion exchange membranes.

In 2014, the first reverse electrodialysis (RED) demonstration plant proceed test runs with highly concentrated brines and saline waters which has been built in Trapani (Italy). In this pilot installation, a RED stack with 125 cell pairs of 44x44 cm2 membrane area (i.e. ∼50 m2 of IEMs installed) was tested with real brackish water and saturated brine from saltworks, producing

M. Tedesco, A. Cipollina, A. Tamburini, G. Micale, Towards 1 kW power production in a reverse electrodialysis pilot plant with saline waters and concentrated brine, Journal of Membrane Science, 522 (2017) 226-236 26

98 | Traditional salinas heritage strategies challenged

Giulia Ferno, Waterscapes in Transformation | Just flooding in the Uitkerkse Polder ?, maig14, International Master of Architecture, Ku Leuven 27

diagram of reverse osmosis prepared by Giulia Ferno

Katarzyna Malinowska | 99

salt. landscape. architecture.

Composition In Blue Gray And Pink Piet Mondrian, 1913

San Francisco Salt Bay aerial view photography, Tom Hegen

The salt ponds vary from chartreuse to magenta depending on salinity. In this image, the Dunaliella microorganism imparts a green cast to the brine of one salt pond and an orange cast to the brine of a saltier pond.

100 | Traditional salinas heritage strategies challenged

6.2 LANDSCAPE. CREATED BY SALT painting

ar y

ar y

janu

r

mbe

fe br u

r

be

ch mar

octo

ber

april

er

emb sept

july

au

gu s

t

ay m

june

In San Francisco Bay many interventions started to prevent the destruction of the land and environment especially consider the lowering diversity among existing there species. The situation is so dangerous mostly because of the scale of the industrial zone which covered this area. The current approach is about to check is it possible to lower the number of salt ponds and try to rebuild the previous geological layering of the soil what would reconstruct the ecological conditions for animals and plants which are in danger of extinction because of the current situation. Those plans though are going to be implemented in the long span of time to avoid other inconvenient results of rapid and wrong actions. The first step will take 10 years with an intervention done in less than one and other 9 to spend of observations on how the land is adapting to the new arrangement.28

calendario

m ve no

One of those specimens which find this kind of environment perfect are particular algaes which during their blooming time turns the colour of the water into very vibrant and almost unnatural palettes. The biggest and well-known example for this occurrence happens every year in the San Francisco Salt Bay which is probably the biggest reclaimed land under the sea salt industry in the world. The scale of this intervention was so big that it harmed the environment badly and currently there are long term strategies to turn back some of the destructive effects.

influence has any action on the things we may not take into account in the first place. That is why any intervention into the geological layers should have a strong justification. In the case of Saline di Tarquinia current picture of the landscape should be considered as the opportunity instead of the danger. The scale is normative to avoid assumptions that it puts any species in danger. Salinity creates perfect conditions for new ones which improve diversity. dece

The site had the same given function since ages. It is difficult to even consider this area as a reclaimed land for the industry if it happens since such a long time. No matter then how long anyone was using this ground and for which purpose, as forgotten nature took it over. But some changes which occur on this site for such a long time influenced the pattern of nature development. The high salinity of the water in this area had an impact on the soil and waters which is a natural environment for all the fauna and flora. Some specimens died because of the level of salinity, some escaped being scared by working industry, some plant extinct for the same reason but some find the best place to exist exactly in this kind of a place.

28 South Bay Salt Pond Restoration Project, South Bay Salt Pond Restoration Project Phase 1 Science Summary, http://www.southbayrestoration.org/documents/ technical/, 2018

This example is a reference point to raise awareness of how big

Katarzyna Malinowska | 101

salt. landscape. architecture.

piles of salt ready for harvest. Stefania Porcu, 2016

102 | Traditional salinas heritage strategies challenged

harvesting

ar y

r

mbe

fe br u

r

be

ch mar

octo

ber

Finally sent to the last area, the salting one, the water, called mother water, is saturated with salt and begins its sodium chloride deposition process at the bottom of the basins.

The waters are then carefully collected and placed in the basins called reserves together with those used to wash the tanks after the salt collection. Due to their still high salinity degree, they will be used to “marry virgin waters”, that is to increase the concentration of the mineral in the waters of the following salting season.

april

er

emb sept

july

au

gu s

t

ay m

june

At the bottom of the basin there remains a compact layer of salt of 10 - 20 cm which must be crushed, collected and left to dry in piles and seasoned: to obtain good results, it is necessary to prepare the bottom of the tanks making it saturates with sodium chloride, keep the basins clean and control the temperature of the water to know when it must pass from one tank to another.

For these passages to be possible, the tanks must be degrading one over the other.

The salt production season runs from March - April (depending

dece

calendario

ar y

In March-May spring rains stop and pools and canals are clean and prepare. In June sea water fulfil the salt ponds and evaporate gradually in successive ponds. In July salt starts to crystalise. In August salt should be crystalised and harvesting can take time through September.

m ve no

Seawater (virgin water) is placed in saline through a channel, the “foce di Ponente”. Here it stops in the first series of tanks, the first evaporating zone, sheltered from the waves, where it becomes stagnant and deposits impurities that are in suspension. When this has become clear, it is passed into the second evaporating zone, where, warming up to the rays of the sun, it lets the iron salts and calcium carbonate settle. Subsequently the water, at a density of about 13 ° Bé, is transferred to the third evaporating zone, where, becoming hot, it loses the calcium sulphate and reaches a density of about 19 ° Bè. From here the fourth evaporating zone is passed in the last evaporating zone. In these tanks, the water loses the last impurities present in virgin water and reaches 25.7 ° Bé.29 Starting from 15 ° Bé and up to 25.7 ° Bé (salting zone), the water takes on a reddish colour which gives this colour variable with the density and goes from pale pink to brick red.

on the rains) and ends in September.30

janu

Handmade sea salt harvesting is very hard manual labour but the tradition kept among the workers for ages. Some other salt works still preserve it even in the small areas even when they turn into more mechanical and automatic production.

ALAS Project, Peter Derzek, Interregional study on restoration of saltworks, Phare, July 2002 29

Andrea Jacopuci,. Riqualificazione dell’edificio “Sali scelti” delle Saline di Tarquinia, master dissertation project, Universita La Sapienza, Roma, 2010 30

Katarzyna Malinowska | 103

salt. landscape. architecture.

104 | Traditional salinas heritage strategies challenged

birdwatching For coastal Lazio, the salt deposits are one of the most important sites for migratory stops and the nesting of water birds.

ar y

r

mbe

janu

calendario

dece

m ve no

The study area includes 221 species of which 76 nestings (38 Non-Passeriformes and 38 Passeriformes) in the salt-only ascertained breeding species there are 49 of which 8 are irregular.31

fe br u

The site should be in a proper way designed to find a way for them to explore the site without disturbing the ongoing processes of nature and keep all the species safe.

ar y

The other common visitors of the site are photographers and birders who love to observe the habitats of the site. Like every other sea salt factory in Italy and abroad the environment created by shallow ponds is the perfect place for many species of birds, uncommonly seen in other parts of the country.

r

be

ch mar

octo

ber

april

er

emb sept

july

au

gu s

t

ay m

june

Biondi M., Guerrieri G., Castaldi A,. 2005. Ciclo annuale dell’avifauna nella Riserva Naturale di Popolamento Animalydelle Saline di Tarquinia (VT): 31

Katarzyna Malinowska | 105

salt. landscape. architecture.

106 | Traditional salinas heritage strategies challenged

6.3 ARCHITECTURE. VALUE TO PRESERVE What is truly the important value that needs or should be preserved on such a site? Is this mixture of architectural styles indeed worth being kept in unchanged form through the next ages?

In my opinion, the most valuable element of the site which is worth to preserve is the MEMORY OF WORK. The labour which has been done to create the site and the manpower used for ages to collect the salt from the ponds.

Beside abandoned village, the things which should remain unchanged is the particular LANDSCAPE now by another species who took place of people on that site. Shallow ponds of water are the beautiful frame for birds and narrow paths are perfect for a human to observe them. Nature again managed to adjust to the manmade changes in the most spectacular way.

The only building on this site which directly indicate the purpose of the site is the FACTORY OF SALT positioned on the axes of composition. It is the tallest building on the site showing some strength and enclosing the cluster of buildings with its long wall.

Katarzyna Malinowska | 107

salt. landscape. architecture.

roof

top of the tower

108 | Traditional salinas heritage strategies challenged

ceiling

decay level concrete corners

The building, which has been inactive and for over 20 years, has not undergone any ordinary or extraordinary maintenance. This circumstance has caused the structure to have deteriorated to reach levels that in some cases are irreversible.

In fact, while the brickwork walls have better withstood the effects of atmospheric agents, with only modest surface cracks and erosion of the mortar joints, the reinforced concrete structure underwent the oxidation of the bars with the consequent detachment of the concrete cover. The oxidation is essentially due to the proximity to the sea and to the processing of the salt occurred in the past decades within the structure. brick

A similar situation was found in ceilings where the oxidation of the irons with the consequent breakage of some pots was found. As regards the situation of the floors, it should be noted that the degenerative phenomenon has assumed greater importance on a portion of the floor of the fourth level.

The covering of the central body, of the flat and practicable type, presents a situation of advanced degradation both along the whole parapet and in the pavement determined, as in the previous points, both by the absolute lack of maintenance and by the action of the agents’ weather. The gutters and descendants are all almost obstructed, as well as eroded by time.

wooden pillars

The roof, even if in a fairly good state of preservation, are made of asbestos sheets with the necessary need for replacement, as it is in contrast with the current legislation.

Both inside and outside the plant, there is machinery for the processing of salt that, in possible reuse, must be removed and possibly placed in suitable environments as they constitute elements of industrial archaeology .

The electrical system inside is no longer up to standard and must, therefore, be completely replaced. A similar situation was also found for the existing water system used for washing the salt.

Katarzyna Malinowska | 109

SALINE DI TARQUINIA_chapter 3

then

three scale of intervention: landscape

general information comunication

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

greenery

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

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

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

infrastructure

PRODUCED BY AN AUTODESK STUDENT VERSION

water

PRODUCED BY AN AUTODESK STUDENT VERSION

land

PRODUCED BY AN AUTODESK STUDENT VERSION

57.4 ha

94.6 ha 4.2 ha

0.8 ha

19.1 ha

38%

62%

1%

12%

sand

salt water asphalt

main area of the buildings in the cluster of

high

beach along the sea, dunes

gravels

paths between the ponds

3%

rectangular ponds (average depth 30cm), interior canals (maximum depth 100cm)

road lead to the village

sweet water

with the biological surface, just sand + stones, no pavements

irregular pond in the corner; canal around the site

paths

village few huts

additional magazines, storage or birdwatching huts around the site but with very small metrage

mostly along the road to the village.

Closer to the center the higher trees are. Peak in the village

medium

in the corner of the village and along the canal, bush

low

grass and low bush between the ponds

112 | Traditional salinas heritage strategies challenged

THREE SCALES OF INTERVENTIONS: Every step in this project and the way of processing it was continuously zooming the scale of consideration. Starting from the national overview onto the general problems related to vacancies and hardcore heritage aspects was getting closer to the centre of whole work - salt. The previous parts show the elements of research which have a direct influence of the final decisions and interventions. To explain my intentions I need to circle back and connect the elements from the research into the wholeness.

Landscape

7

Repeating the manner of perceiving and presenting the haptic experience of the site their equivalents for the intervention goals were defined. The new, improved ambience of the place would be characterised by: NOISE INTOLERANCE INVISIBLE BORDERS

Starting from the top first aspect of the site to improve is landscape intervention. As mentioned in the previous parts one of the main strategies was to keep it the most natural and untouched as it can be. Respect towards nature which overtakes man-made changes is the main hope we can have to repair mistakes of the past. For that reason, landscape intervention is very simple and subtle.

AXES EXTENSIONS TOWARDS THE SEA AND PONDS

The main goal was to allow a visitor to explore a little bit more of the place, have a closer look at the ponds but in a controlled way.

Since it is the protected site based on its nature reserve restrictions free motion would be dangerous for existing their species.

For that reason, any intervention has to lock a visitor within its limits. Another goal was to avoid the strong interference into already well defined geometrical order of site in either horizontal nor vertical position. The more invisible intervention would be better for the purity of the natural beauty of the place.

CONNECTION BETWEEN PAST AND FUTURE

RESPECT FOR NEW INFABITANTS - ANIMALS SALT PATH GREEN ENERGY

LOWER EYE SIGHT

Finally, interventions can be characterised by their relation in the salt consistency level. It sounds very abstract but three types of water existing at the site and their mixture gives clear opportunity which was implemented into the project with respect to all goals pointed out above.

Katarzyna Malinowska | 113

three scale of intervention: landscape

114 | Traditional salinas heritage strategies challenged

7.1 TYPES OF WATER The entry point for interventions was defined by the more particular side of this obvious wetland type of landscape. To connect the meaning circle with the main centre of the whole concept goes back to the culture of salt and its importance in the creation of this place. Not visible anymore in such an obvious form as it used to be while the salt industry was still active. Completely invisible at first sight but still with more intangible or physical way salt exist around the site - especially in water. Three different scale, perceptions and conditions build up different scenarios.

in the village cluster with the sea towards every visitor would direct his step while being on the seaside. The main advantage of this decision repairs the perception of the village as a hidden, inaccessible point on the place to which we either can not get in the first place od we are blocked and forced to go back. In the current situation, visitor’s curiosity is blocked by the fence and repelling while it should be opposite. The space like this should be welcoming and inviting, allowing to explore this nature a bit more than through the holes in the fence.

As mentioned in the water advantage can be taken from the great opportunity of having highly concentrated salt ponds along with the fresh water reservoir. For this reason, main intervention got a base of placing reverse osmosis plant in the east middle corner of the site.

The second intervention is connecting the dead end of the road

fresh water

brine

sea water

Katarzyna Malinowska | 115

three scale of intervention: landscape

7.2 ENERGY PATH To integrate the building in site exploration main road of the village is entering the building where 3 paths can be taken. On the extension of the road axes, the wooden path leads visitor a little over the ponds. Under the pond construction, the reverse osmosis membranes are places which generate energy from the ions potential differences going to equalisation.

Path has Slightly raised over the ground marks the limits of exploration and draw the borders. Also surrounding of water preserve from getting off the path.

Dead end in the middle of the water is the intentional decision hence every visitor at some point will have to turn back and through this distant point, the monument of salt will be fully exposed in its majesty.

Gate to the path is also a natural window over the view of the mountains.

7.3 PATH TO THE SEASIDE The second path has a beginning in the same place as the other: inside of the salt monument but it repeating the second axe following the direction of the building right wind and the road extension towards the magazines and bio-research laboratory buildings.

This path would lead the visitor towards the seaside as most of the people who would arrive in the coastal regions would direct themselves over there. In this way, both the building and landscape can be explored.

To enhance the goal of keeping the place the calm and quiet suggestion of limiting the use of mechanical vehicles could be added. The vision focuses on the bicycle path as the main transport in restricted and low emission zone of Nature Reserve park.

For this reason, the patch which is connecting seaside with the 116 | Traditional salinas heritage strategies challenged

village is 5m wide to allow the bicycles or horses pass through the building. Also for this reason entering vault is high enough to let them pass. Coverage of the bottom of the path with salt has the acoustic reason causing no reflection of motion sounds.

The path inside the building begins with a subtle ramp which led the visitor to -1 level under the ground where continues in the darkness until the point where slight stripes of light pass through the ceiling revealing the ruins of old magazines. In the dark part of the path exhibition of photography of art and design can have a place as an extension for the gallery above in the salt monument.

The whole length of this path between building and the seaside has 548m and few zones with different atmospheres can be described.

Katarzyna Malinowska | 117

three scale of intervention: landscape

According to a delicate declination of the ground surface where the part with salt ponds starts level of walls fell revealing the landscape. It causes the focus of the observer on the most important part of this place. The bottom level of the path is unnoticeably raised to equal with the average height of the shoulders 1,40 m. Thick glass finishes the concrete walls where the ponds start for their whole 30 cm depth which gives the effect of the aquarium through which the underwater world of ponds can be observed.

On the bottom of the path, under the salt lever lay system of led lights covered in acrylic to preserve them from corrosion and salt attack. The installation can light up during the light spreading the glow through the salt crystals over its whole surface and minimalised input of energy which is anyway powered by a reverse osmosis power plant. The light of the path would beside effective look attract the insects which are the main nutrient for birds and other species. This would affect the growth of the population hence the site would enrich its attractiveness.

118 | Traditional salinas heritage strategies challenged

inspirations

Cycling through water | Toerisme Limburg

Project in Limburg automatically appeared as a reference point when it comes to the cyclist path passing through the water. It is not the only project which lowers the level of exploration into the ground to change a bit the perspective of perception. Similar to this one in the project of the path to the seaside is made with the concrete prefabricates which are placed inside the water to equalised the surface. The difference implemented in the idea for Saline di Tarquinia is adding the glass finishing on the top 30cm which would create the “aquarium” into the ponds between the water surface and its bottom.

Line | Paweł Grobelny

The simplicity of the project was inspired by small landscape intervention in Poland made by Paweł Grobelny. It is the simple path with few extensions along the main wooden path. Nature is even more emphasized when observed from such minimalistic intervention. It is also clear which places are allowed to explore and which are restricted. It draws the direction in clear and sophisticated way.

1.

Toerisme Limbur, Cycling through water, FDHW_descriptive report, https:// www.visitlimburg.be/nl, visited 14/06/2019 2.

PropertyDesign.pl, Paweł Grobelny z kolejną nagrodą dla najlepszej realizacji przestrzennej w Polsce, fot. mat. pras., published 18 kwi 2019

Katarzyna Malinowska | 119

120 | Traditional salinas heritage strategies challenged

Katarzyna Malinowska | 121

three scale of intervention: village

13 7 8

13

1

10

14

15

11

2 5 12

15

4 9

4

2

3

122 | Traditional salinas heritage strategies challenged

16

6

THREE SCALES OF INTERVENTIONS: Borgo di Saline means the village of Saltworks and is the true heart of the Nature reserve park. A small cluster of sixteen buildings created a cosy but quite isolated village. No wonder it found a perfect use for prisoners and their families. In peak the total number of forty families. For their use, all type of needed facilities were provided and the village was completely independent.

The urban plan of the village is very basic and focuses everything along one road which ends up in front of the most important building, some kind of icon of this place - salt factory. Repeating basic patterns of creation the new settlement could have been a great minimalistic entry point for the architecture which would actually respond for the opportunities of the site but never did. The village became as average as the urban concept of the place. Further years destroyed it even more by adding new buildings with no value or any way to try strength the potential of the existing situation.

Considered my analysis of preservation tactic the “less is more� philosophy will be implemented also in the urban aspect of the site. As mentioned few interventions to bring back life to this place were taken but did not influence the situation. For that reason, the purpose of this place has to be improved by something which would raise the interest and this will be placed in the salt factory as the strongest point of the cluster. Rest of the build-

Village

8

ing whether will get new purpose according to first change (salt factory) or if not will turn into the ruin. The approach proposed in this project focuses on if only decreasing the footprint than growing it. For this reason, few buildings would be removed to strength the most important points and aspects while others will remain the same or renovated but within their main bases.

8.1 SALT FACTORY It is not difficult to notice the building which all the time pops up out of the drawings, plans and view while being on the site.

The salt factory is the most particular object of the site and as mention before an icon, an attribute of the site, last reminiscence of its past connected with salt extraction from the salt ponds. In the implemented tactic, the project will focus on this building to expose the past but in a modern manner. With landscape intervention which path will pass through the building, it will not be omitted by anyone who will ever appear in the village,

1 Katarzyna Malinowska | 123

three scale of intervention: village

2

3

4

8.2 HOUSING 5

6

Biggest group of the buildings had and will have the housing function. They were designed for this purpose so would be perfect to reuse in the same form.

When new, extended function would be added to the salt factory extending it use the workshop could take place in the village and with it, there is always need for. Old housing would e perfect for this role, especially that temporary stays are more advised than permanent use (like giving it back to the families who used to live here) since the village is a bit cut out from the outside world and social possibilities.

The calm and quiet atmosphere of the site would give a great opportunity and be an attractive point for freelancers, photographers, artists or anyone who would look for a way out from big cities.

124 | Traditional salinas heritage strategies challenged

9

8.3 SERVICES

10

11

12

To provide all needed facilities the village was expanded by many building of public use like cinema, culture club, bar, restaurant, school or church.

Most of those building was recently renovated which did not have any influence on the condition of Nature Reserve Park.

Sadly all the money put into the renovation is disappearing in the same way as bricks falling out from old magazines, just a bit slower and more invisible because of that.

Those building could hold a temporary function as workshop rooms or services which would appear there during high peaks of village use. More likely they will disappear if no one will take care of them but maybe it is their future.

14

Katarzyna Malinowska | 125

three scale of intervention: village

7

8

8.4 CLEARANCE 10 In the ninetes two magazines were build for the need and use of Bio-science research lab of University of Tuscia. Position of them might be justified but the form has purely functional value with nothing what would be related to the site, history or anything more than as simple as possible magazines to protect laboratory equipment.

The position of those building not even covered historical ruins of old salt magazines but also blocked the view towards the seaside. Those buildings and factory gate are removed in the project plan to underline taken intervention and emphasize adventages which were omit in previous changes. The bio-science research lab will be moved to the salt factory to emphasize its science and knowledge development function.

126 | Traditional salinas heritage strategies challenged

8.5 OTHERS Beside main buildings which most were build in XVIII century there are many additional huts, house expansions, garages or old ruins of buildings which lost their purpose long time ago.

Since the forestry started to occupying some part of the site as the guardians of narure reserve the additional small architecture in the form of tables and gazeebos were added for any kind of open-air events which spreads the knowledge about their actions.

Now and for the future those elements of small architecture can follow the same use as till now while ruins will be a great reminder what will happen with the village and every other place like this without a purpose and care.

Katarzyna Malinowska | 127

three scale of intervention: salt monument

128 | Traditional salinas heritage strategies challenged

THREE SCALES OF INTERVENTIONS: Whole purpose and key for a successful preservation and renovation is in new life of the places which is changed. Times are changing, Use and purposes of the building also. Materials they are build can be improved, some are proven to consist unhealthy ingridients and have to be exchange, some are simply subject of destruction as their lifespan is always defined. For this reason the project is showing the subtle way of dealing with a herdcore heritage which preserves much more than only the building: the salt monument is a project which is suppose bring back things that seems to be already forgotten and disappear.

The salt factory still stands there even though construction might be too dangerous to explore while the other elements of the site are recognisible only for the ones who knows its past.

Even though the site was harvesting hundereds of tones of salt for ages there is no single reminisence of this material visible anywhere around. Of course it is still in the water of the ponds and the sea but that is unnoticed when unproven.

where is the salt?

Salt monument

9

In a poetic way it is not man standing behind all the story of the place but the salt. Without it non of those would appear in this place in this form. We may only assume what other scenario could have happened in parallel universe in this place. But. Because it happened, because the salt arises from sun and the sea the Saline di Tarquinia was arised too along the coast.

The village may not find the purpose to be preserved. The landscape is so particular it has to be protected so it is almost positive the buildings within its boarder would not be expanded. Or the site will never change into small village. For this reason it is definatelly not a place for living facilities, services, public buildings, The site should be dedicated for salt. And nature which will take it over anyway creates much better relation with it than desined by human.

That is how the salt monument seems to be reasonable idea for a place like this. Binging back very visual memory, a symbol of the place in a monumental form. Connecting past with the current moment but designing it for future. Introducing culture of salt into compeletely new spectrum of perception. Used in new, modern manner as a building material not only would remain unnoticed but became the example, showcase for the future.

Next door of possibilities.

For this reason presented intervention is not only trying to protect from beiung forgotten the village of Saline di Tarquinia and their architecture but the true genius loci of this place: salt.

Salt which made a print in so many layers. It is in the memories of people who lived here and worked here, it changed the landscape into the regular net of ponds, it is characterised by either manual cratf, labour of harvesting the salt or the whole desined system of making it with a help of machines inside the salt factory. Salt used to form the piles of white stone on the ponds, or causing corrosion of the materials around the site and on the existing architecture. Salt which creates the perfect enfironment for animals.

When the industry got closed not only people, workers, their family or management disappear but the salt was gone with them and their care.

Katarzyna Malinowska | 129

three scale of intervention: salt monument

130 | Traditional salinas heritage strategies challenged

9.1 BUILDING WITH SALT When this hardcore idea appeared in my mind the further research led to the conclusion about first form option and uses which could be applied in the project. According to the goal of designing the monument a form will play the major role of the intervention. It has to be majestic, strong, visible from distance, exposing the salt as a building material possibilities and simply beautiful. When it comes to the visibility and other characters important part of the building is the twenty-two meters tower which is worth to be kept. Not only it creates the landmark visible from many points around the site but also gives a posibility to observe the neighbourhood from the top. For that reason it has to be accessible and safe for visits. Of course it has to follow the properties of the material and the possibilities given with it. Based on the research presented in the previous part of the work the suggested forms should follow the rule of avoiding the tensions while compressive strengths implementation is adviced. Since the beggining, one of taken decision was to no extend the changes over the existing footprint. This evolve into additional advantage since the existing structure can be used as a mold for salt pured into the form.

Mixture of those informations and decision result into the form presented on the diagram. At first the strenght and power of the building was marked by two perpendicular arches cutting each other in the middle part, on the axes of the road when the shorter rised to the height of 22m and longer high till the previous roof level but long for 100m. It was an entery point to further discussion and development of the structure which will actually follow all guidlines.

This proposition failed based on its unuseful tower finishing and difficulties in creation of such a structutre based on the salt material strength.

SALT MONUMENT After years of time and nature doing their work outer, original structure completely disappear leaving clean and strong form which keeps the memory of previous building.

SALT PRESERVATION Second layer of salt fulfilling the existing structure in the most logical way.

Roof of existing structure at first prevent water to remove salt from second layer.

EXISTING STRRUCTURE abandoned and forgotten. Long for 100m with the tower high for 22.

Closing the village on the axe of the road and blocking the view on anything what happens behind it.

Katarzyna Malinowska | 131

three scale of intervention: salt monument

Let it fall apart There is something beautiful and scary in the unstopable power of nature and time collaboration. But it gives us hope and bring relief. It shows that most of the man kind scars made on the earth surface can heal.

To emphasize those processes one more work can be done by human being to prelong life of this memory for unknow time.

Salt was used to preserve food since prehistoric times. Now it can preserve also the building. For food preservation it is spread on top of the structure but to support the building it can create another layer of material inside of it. Given existing structures will prevent water to access the surface and remove main material. With time passing outer layer will fall apart revailing the intetior walls of salt. During the whole time salt will protect anyone who explores it or use it.

Two arches which are defined by outer volume of the building follows the axes of the site and substract in the middle part where the tower is positioned. In the highest part of the building arch is perpendicular to the longer part which mimics the typology of triumfal arch and opens the road to the main actorbeautiful landscape of ponds through 22 meters tall gate.

In further development arches remain only inside of the structure where salt was poured over the cast which held it until hardens. The outer layer of salt in the project is poured in between the cast and the existing wall. In that case the corrosion of the current material will disappear even faster than normally since the continuous influence of salt and will leave the pattern on top of the salt coverage which will has to be cover with acrylic or epoxy to prevent material from water damage.

132 | Traditional salinas heritage strategies challenged

Search for form: roman arches Italy is famousf for arches - one of the oldest developed building structure which supports constructions from a window frame til a long bridge or an aqueduct. The Romans were the first builder in Europe and even though there are numbers of evidence other civilistaions using arch in their architecture no one reached the point of exploation it in so many different way and almost every existion typology. 1 There is something majestic in the form and strenght of arch. It is one of the most simple architectural element which is almost percieve as symbol of indestructibility. It exist in the nature itself, with no help or intervention of human. Formed through ages by wind in rock formations. No wonder man got inspired to join the stones together through finding a balace in proper shape of the arch.

An arch as a structure was never forgot and is keep coming back ecpecially when it comes to use of the materials which properties showes better performance for compression. It is also an oportunity to avoid using the additional materials since mortar is not neccesary to hold the structure up.

1.

Robertson D. S., Greek and Roman Architecture, Cambridge University Press, 1969 2.

Sketches by Stephen B. Chambers Architects, Inc.

Katarzyna Malinowska | 133

three scale of intervention: salt monument

Search for form: monument Inspiration appeared after observing one of the most visible landmark, or as should I say numbers of landmarks over Tarquinia city: medieval tower which are spread all around not only this town but whole region of Viterbo.

Tall, slim, build only with stone, raw in form and with lack of detail. The only pattern visible on their walls are small hols which probably remain after the wooden scaffolding was taken down.

Tower was used as a military facility to observe the surrounding of village but now they are private objects owned by rich families.

Slim so much that probably in their interior staircase to the dop must take most of the place. Single window with no glass would not protect from the heat loss neither will give much light so the atmosphere inside must be quite obscure and mysterious.

Following this reference first imagination of the monument appeard in my mind. The tower not only having a function as a viewpoint became another example of the tower but in modern style. Instead of rising the filings of concerns or overwhelmness it can makes us calm and interested through an exchange of the material for salt which always will let some sunlight through the structure.

As another relation the arches and small openings to let the sun were introduced in very minimalistic form and strick demend.

One opening circular is a gate on the other side of the wall while the long strip gives a horizontal view over the landscape.

The ideas of manipulation of the wall thickness, placement of the staircase and how to melt side wings of the monument with the tower results in the arches on each side of the middle part and stairs which makes the salt wall thiner with each part.

134 | Traditional salinas heritage strategies challenged

Katarzyna Malinowska | 135

three scale of intervention: salt monument

136 | Traditional salinas heritage strategies challenged

9.2 PURPOSE

programme

To really give a building a new life and preserve it from being forgotten it must have a purpose of existence. Modern times calls for need of temporality, sustainability and flexible structures.

Current times prompted the need to build places which can follow the tempo of the technology growth and react on needs of society. Seems that there is no more place for monuments.

Buildings which stands to rise more thoughts than to be a shelter. Landscape’s sculptures. Monuments most of the time have the untangible value. A statement, story or showcase of new development can be considered as a function but if there is a space an opportunity to adapt it into something, extended its function the opportunity should be taken.

Building of The salt monument can be simply described in 5 seprate elemenst collected in unity of salt construction.

Everything what we create should have an aestethic value but in my opinion empty architecture should not be build. It is a waste of the material, labour and time for something which can be express in many different form which does not have such a strong influence on the world around us. Everything should have a reason to be build and improve the space in which will appear.

2 | Research lab zone is a space for both research groups to work along wach other with a simple and flexible sepration. There are no permament isolation of the sapce. The temporary structure in wood, component, plastic or glass (as the materials most resistent for salt caused corrosion) could be placed freely under the salt structure. To avoid placing the installation in the wall everything is positioned in the canals safely separated from the salt to protect cables and installation. In this way walls will remain clean and pure.

Following those statements the architecture proposed in this project follows the principals of landscape urbanism especially when it comes to the flexibility of the spaces. The salt shelf in the final form should be open as much as possible so different use could be place under its barrel vault.

In case of Saline di Tarquinia purpose is defined by current needs. Occupant of the new magazines - Bio-science research lab requires the space for their experiments and studies. Their workplace could be moved under the salt structure which is big enough to fit more than that. For this reason the architectural workshop and research lab: Building with salt could be added.

Thanks to this choice the salt extraction from the ponds could be reinstated and manual work introduce to the younger generation.

In the second wing of the building where the path to the seaside starts the open space could turnes into the exhibition space where works from different science could be presented. Models of salt, forestry action, birds photography or bio-science summaries of developments.

1 | middle: tower 2 | east wing : research lab zone 3 | west wing: exhibition area 4 | path to the seaside 5 | energy path 1 | Tower is the strongest element of the monument. It’s icon, landmark, the showcase of building with salt possibilities, and from the functional point of view: viewpoint over the stite.

3 | Exhibition area same as the research lab zone is free from any compartments which allows the free combination of forms and sizes of exhibit materials. The only restriction is the cut in the ground where the path to the seaside starts with its ramp. The light which passes through the salt structure is a great scattered and subtle way to enlight the ehibits.

4| Path to seaside has its start just after right turn in the tower part. The 5m wide path allows pass under cyclist or even horesebacking.

5 | Energy path its just a simple pier on the road extension which have hidden system under its cover. On the way back The calt monument can be admired in its full form.

Katarzyna Malinowska | 137

three scale of intervention: salt monument

9.3 GENIUS LOCI Refering back to the architecture designed by Aldo Rossi and the “genius loci” of the place the added value of untangible stories were added into the project.

As the salt is considered spirit of this place the tower is the pure expression of it past connecting whole heritage in one form.

There are 4 main aspects which defined final shape of the tower: funcionality - viewpoint tower building with salt showcase - examples of possibilities story of the salt - poetic presentation of its roots print - literal preservation of previous structure.

Through finding a common ground and link between all those elements the authentic monument of salt wrised as salt arises from the sea and the sun. This element was included into design through 2 objects: small basin at the bottom of the tower and circular opening on the top of the tower, cutted out from the west facade so every day the picture of the sun draws his way onto the internal walls.

The way how the tower was built presents the way of using the salt in those 3 main grups: 3d printing in which bricks were made to strenghten the arches before second group: salt place in mold would be added. The subtle detail adds the evapouration way of building with salt through almost invisible threads hang from the ceiling, dropped whole way down to dip it into the salt water ponds which result into salt apperaing on it and climbing way up.

The mold mentioned above is on the outer side the wall of existing building. Created with concrete and bricks - materials which are easily corroding under influence of salt. This action will fasten the process but there is no difference when exactly current building will turn into the ruin since its picture will remain foreven ontop of the salt structure and under the resin coating.

All of it build in the salt in which staircase to the top would be carved to lead to the viewpoint over the roof or through the horizontal window.

138 | Traditional salinas heritage strategies challenged

Krzysztof Grześków, New Horizons, http://rewizja.com.pl/dzialania/, 23.07.2017

Katarzyna Malinowska | 139

140 | Traditional salinas heritage strategies challenged

Katarzyna Malinowska | 141

three scale of intervention: salt monument

9.4 BUILDING TECHNIQUE Based on the previous techniques of constructing models with salt, its properties and further analysis final technique to build the monument of salt was defined.

As proved salt takes over the shape of the molds in which is positioned when still consist humidity and hardens when dryes.

For that reason potential technique to build proposed structure could operate onto 4 main principles: fulfiling the mold of acrylic shape and the existing structure which will in future corrode and fall apart. When this will happen the outer layer of salt must be cover with waterproof insulation which will completely remove the possibility of the liquid penetration and resin is a perfect material to do so. Salt itself should be a mixture with another component fo fix harder and according to previous tests the starch or Maltodextrin could be use for that. In this way the new component could be poured into the mold like rammed earth but instead of removing the mold after structure is finished it may remain at the same place until salt will completely harden.

Especially after greenhouse effect which will create the acrylic cover increasiong the temperature indise the mold and speed up the processes inside.

This whole concept however is only an idea which unfortunatelly have not been checked. Through the processes of project development few aspects of this solution were checked but comparision to the scale of the tower leaves many questions. It is unsure what kind of mixture would behave the best in a longer term building life cycle, how long it would take to harden nor will resin be enough to prevent the access of water to the structure wall.

142 | Traditional salinas heritage strategies challenged

existing structure resin salt acrylic

references

rammed earth tallest structure | 345 Telenor Campus

To help myself imagine the project I tried to compare it with the technique of using rammed earth and the most impressive example of their work which is 345 Telenor Campus in Islambad with a 32m tall tower. The success stands behind the technology developed by Sirewall when soil is mixed with other components and layered on the site with a precision and care to prevent from failure. Thanks to this it was possible to reach the record in this type of structures.

the tallest aquarium in the world | Avia Park Mall

As mantioned in the strategy the casd could be done with an acrylic so to find some kind of a structural example in simmilar scale I found this aquatium, build up in Moscow, Russia which reach the level of 22m. Promising relation between this example and proposed structure of salt monument is its strenght since it holds up tonnes of water.

1.

Sirewall, 345 Telenor Campus, https://www.archdaily.com/897638/345-telenor-campus-arcop-pvt-ltd 2.

Reynolds Polymer Technology, Inc., Avia Park Mall, Aquarium Manufacturer Reynolds Polymer Technology Lends Itself to Yet another World Record, Grand Junction, CO December 23, 2014

Katarzyna Malinowska | 143

144 | Traditional salinas heritage strategies challenged

9.5 CLOSURE I do have feeling that salt monument at the end become much more then monument itself. It is not and empty shelf, pure form, disfunctional object. I believe this building connects all unvisible stories and meanings I discover during my journey through all those topics.

What I found on the site in the first place was an average building, posindustrial landscape, forgotten places and progressing ruinification. What for sure I could not find was salt. Obviously salt appeared on the site and could not be ommit.

Katarzyna Malinowska | 145

conclusion Salt monument. Probably I would never believe that I will end up with such an idea considering the entery point and beginning of the whole journey. However I have a feeling that when this idea is breaed into small parts, every single unit or atom is defined and justified and then related to my strategy from the beginning. I stronly believe the solution presented in this work are tackleing the problem of the treatment of Italian heritage as well as having the influence on the overtourism problem of the big cities. Building and the site picked in unknown and hidden spot could have so much to offer that there is a strong reason to visit it and explore unknown. In this way both goals are completed: place is renewed and preserved and touristic point might move some motion out from the city to the region interiors.

Saline di Tarquinia this time becomes a place to reconsider the current practices of restoration, preservation and conservation of a hardcore heritage which should not only focused on the architectural solution but a whole story of the place. Practices which should find a connection with the past, link to the future and be strongly position it in current times. The design presented in this work reconnects something valuable which is seemingly lost.

Salt. A mineral which is the cause of completely changed landscape, architecture which was designed and build for the industry and whole village placed there for people who lived here and worked harvesting the salt. It changed this site permanently but in some ways improve it. It gave this place a reason to exist, a life to happen and even now, when the industry is closed it left behind a perfect ecosystem for unusual specimens.

When the industry stopped the production there was no reason for villagers to stay. Buildings got empty and place forgotten.

Nature started to take it over, turn it into the ruin. This place became one of many examples of vacancies around Italy without a clear plan or strategy of reuse. Some actions were taken, money got spent but nothing changed. The most important principle did not appear - a purpose. A reason for this place to be needed and if so surrounded with care.

146 | Traditional salinas heritage strategies challenged

The Salt Monument design is a radical intervention which opens up to unexpected, unexplored possibilities of the place affordances deals with another dimension of heritage perception.

Built with salt is a very literal exhibit of what stands behind the whole story of this place. The building which brings back the culture of salt and introduces it to the next century. Shows the history, explains the reasons of changes, underlines the most crucial elements of the site, but instead of being another salt museum it becomes a base for salt experiment laboratory where the first example of possibilities is the monument itself.

PRODUCED BY AN AUTODESK STUDENT VERSION

existing building

lack of intervention

new salt-monument building

preserved footprint and history

experiments on building with salt

foundation

building research lab

exhibition / test area

accomodation

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

intervention

Katarzyna Malinowska | 147

148 | Traditional salinas heritage strategies challenged

bibliography Aureli, Pier Vittorio. “The Difficult Whole: Typology and the Singularity of the Urban Event in Aldo Rossi’s Early Theoretical Work.” Log, vol. 9, 2007, pp. 39-61.

Argan, Giulio Carlo. “On the Typology of Architecture.” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965–1995, ed. Kate Nesbitt. Princeton Architectural Press, 1996, pp. 240–47.

Agenzia del Demanio. Paths and Trails. http://www.agenziademanio.it/ opencms/it/progetti/camminipercorsi/camminiepercorsienglishversion/, visited 17/04/2019 Biondi M., Guerrieri G., Castaldi A,. Ciclo annuale dell’avifauna nella Riserva Naturale di Popolamento Animalydelle Saline di Tarquinia. (VT):, 2005 Casert, Raf. “Notre Dame fire was a warning bell. But will Europe listen?”.

AP News. Archived from the original on 23 April 2019.

Coffee, Helen. Italy is giving away over 100 historic castles and villas for free. https://www.independent.co.uk/, 2017 Colletti L. La Riserva Naturale Statale “Saline di Tarquinia”. Corpo forestale dello Stato, Ufficio territoriale per la Biodiversità di Roma, 2014 Cucinella. Mario. Arcipelago Italia - Projects For The Future Of The Country’s Interior Territories. Quodlibet, 2018 Demetriou, Denise. Negotiating Identity in the Ancient Mediterranean: The Archaic and Classical Greek Multiethnic Emporia. Cambridge University Press. 20/11/2012, pp. 83– Erat, Bruno. The spirit of the place - genius loci in sustainable architecture. https://www.youtube.com/watch?v=XeYFPj1o-Oc Gilles, Clément. Manifesto del Terzo Paesaggio. Quodlibet, Macerata, 2005 Hays, K.Michael, The Cuneo Monument. an online lecture posted on HarvardX: GSD1x The Architectural Imagination, accessed Oct 9, 2017 https:// www.edx.org/course/architectural-imagination-harvardx-gsd1x Helfer, F., Lemckert, Ch. The power of salinity gradients: An Australian example. Elsevier, 2015 ISTAT. Museums, archaeological areas and monuments in Italy. Roma, 2015

Margaine, Sylvain. Forbidden Places: exploring our abandoned heritage.

Jonglez, 2013 Neves, Renato. Interregional Studyon Restoration of SaltWorks, ALAS Project, July 2002 Norberg-Schulz, Christian. Genius Loci, Towards a Phenomenology of Architecture. Rizzoli, New York, 1980 Nugent, Ciara. “Pledges Reach Almost $1 Billion To Rebuild Paris’ Notre Dame Cathedral”. Time. Archived from the original on 23 April 2019.

Rauch, Martin. Refined Earth. Detail, Published on Dec 1, 2015 Reynolds, Donald M. Remove Not the Ancient Landmark”: Public Monuments and Moral Values : Discourses and Comments in Tribute to Rudolf Wittkower. Psychology Press, 1996 Rossi, Aldo. The Architecture of the City. MIT Press, 1984.

Simmons Joanna. Overtourism in Venice, https://www.responsibletravel. com/copy/overtourism-in-venice South Bay Salt Pond Restoration Project. South Bay Salt Pond Restoration Project Phase 1 Science Summary, http://www.southbayrestoration.org/ documents/technical/, 2018 Tedesco M., Cipollina A., Tamburini A., Micale G. Towards 1 kW power production in a reverse electrodialysis pilot plant with saline waters and concentrated brine. Journal of Membrane Science, 522 (2017) 226-236 Universiteit van Amsterdam (UVA). “Chemists develop fully biodegradable and recyclable synthetic resin.” ScienceDaily. www.sciencedaily.com/ releases/2011/01/110113082625.htm (accessed June 4, 2019).

Vitruvius. Ten Books on Architecture. The Project Gutenberg EBook of Ten Books on Architecture, 2006 Young, David. Salt attack and rising damp: A guide to salt damp in historic and older buildings. Heritage Council of NSW, 2008 Author unknown. ‘Concept of Type’: Rossi’s Monument of the Resistance in Cuneo https://speculativecities.wordpress.com/2017/09/15/the-concept-of-type_rossis-monument-of-the-resistance-in-cuneo/

Jacopuci, Andrea. Riqualificazione dell’edificio “Sali scelti” delle Saline di Tarquinia, master dissertation project, Universita La Sapienza, Roma, 2010 Katarzyna Malinowska | 149