October 30, 2017 | Author: Anonymous | Category: N/A
Shanghai Tongji Urban Planning & Design Institute. FL. OR. E. N . a Museum and Cultural Centre The conference and &n...
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Cultural Heritage Preservation, Rehabilitation and Reuse. The Tuscan Tradition ᭛࣪䘫ѻⱘֱᡸǃׂ⫼߽ݡüüᠬᮃव㒇ऎⱘӴ㒳Ϣ㒣偠 Shanghai, SUPEC, 01-10.12.2006
edited by Adolfo F. L. Baratta Tullio Calosci Sandra Carlini Claudio Piferi
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Copyright © MMVII ARACNE editrice S.r.l. www.aracneeditrice.it
[email protected] via Raffaele Garofalo, 133 A/B 00173 Roma (06) 93781065
ISBN
978–88–548–1397–7
I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento anche parziale, con qualsiasi mezzo, sono riservati per tutti i Paesi. Non sono assolutamente consentite le fotocopie senza il permesso scritto dell’Editore. I edizione: novembre 2007
Scientific Committee prof. Romano Del Nord arch. Paola Grifoni prof. Raimondo Innocenti prof. Maria Concetta Zoppi Prof. Zhou Jian Prof. Wu Jiang Prof. Chang Qing Prof. Zheng Shiling Prof. Wu Zhiqiang
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Scientific Coordinators prof. Corrado Latina prof. Maria Chiara Torricelli Mr. Wang Anshi Dr. Wang Lin Prof. Sha Yongjie Prof. Lu Yongyi
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Executive Coordinators arch. Adolfo F. L. Baratta arch. Luca Giannini arch. Claudio Piferi Dr. Lu Di Dr. Qian Feng Dr. Zhang Peng
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Executive Institutions Department of Architectural Technologies and Architecture Design “Pierluigi Spadolini”, Florence University Institute of Architecture and Urban Space, Tongji University
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ORGANIZING INSTITUTIONS, PATRONS, SPONSORING INSTITUTIONS Џࡲऩԡᬃᣕऩԡ䌲ࡽऩԡ Organizing Institutions Florence University Tongji University Shanghai Urban Planning Administration Bureau
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Patrons (Supporting Institutions) Italian Ministry of Cultural Heritage and Activities Municipality of Florence Faculty of Architecture of Florence Association of Architects, Planners, Landscapers, and Conservationists of the province of Florence Association of Engineers of the Province of Florence Province of Florence Region of Tuscany Department of Environment and Historical Buildings of the Provinces of Florence, Pistoia and Prato Shanghai Municipal Housing, Land And Resource Administration Bureau College of Architecture and Urban Planning, Tongji University The Architectural Society of Shanghai Sponsoring Institutions Municipality of Florence Monte dei Paschi di Siena S.p.A. Bank Group Region of Tuscany Tuscan Promotion CEPA S.p.A. Edilizia Fiorentina Immobiliare Novoli S.p.A. Institute of Architecture and Urban Space, Tongji University Shanghai Urban Planning Administration Bureau Shanghai Tongji Urban Planning & Design Institute
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University of Florence
Dep. of Architectural Technologies and Design “Pierluigi Spadolini”
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Tongji University
ROBERTO BOLOGNA Head of Department TAeD - ⌏ࡼҟ㒡 Ties between China and Italy are in these last years of particular interest on the scientific, technologic and economic level, renewing old relations among the two peoples and their cultures. Chinese policies of urban and territorial development, after having achieved incomparable quantitative levels in new constructions, are today steered into programs of sustainable development and of protection, of rehabilitation and of reuse of the existing building and environment heritage. China looks at Italy as one of the reference models for the interventions on existing buildings and, in particular, looks at Tuscany that’s always characterised by the attention to the topics of conservation and of valorization of architecture and environment. The city of Shanghai, whose problems generated by the strong dynamism of its actual growth of global metropolis represent by now an emergency, caught the opportunity of a direct comparison which assumed various forms. It’s in this contest that is set the exhibition-congress “Cultural Heritage Preservation, Rehabilitation and Reuse, The Tuscan Tradition”, wanted by Corrado Latina, full professor of Technology of Architecture at the University of Florence and visiting professor at the College of Architecture and Urban Planning of the University of Tongji, and promoted in association with prof. Zheng Shiling, one of the most important architects and critics of architecture in China, professor at the University of Tongji and member of the Chinese Academy of Sciences. In a moment of radical turning point of the Chinese territorial policies, the aim of the initiative is to expose in China the Tuscan culture in the field of preservation, rehabilitation and valorization of the historic and environmental heritage, with an event that includes an exhibition and a congress, as a first institutional occasion of cultural exchange. The event, promoted and organized by the Department of Technology of Architecture of the University of Florence together with the College of Architecture and Urban Planning of the University of Tongji of Shanghai, is part of the official events of the program “Italy in China 2006”. It’s moreover reason of satisfaction the fact that the congress is one of the annual preparatory events to the World Exposition 2010 in Shanghai. The contents of the exhibition-congress present, from one side, policies of intervention of institutional type (Public Administration: Region, Provinces, Municipalities) and their significant carried out interventions, and, on the other side, the professional, entrepreneurial and productive Tuscan reality, with evidence of the design and realization experiences in the field of existing, historic and not, reuse and of management and organization logics related to them. With the organization of this exhibition-congress the Faculty of Architecture of the University of Florence and, in particular, the Department of Technology of Architecture and Design “Pierluigi Spadolini”, also want to make know the didactic courses and researches which constitute the offer for the formation in the field of architectonic, urban and environmental rehabilitation in order to promote exchanges and future collaborations between the two Universities, in particular addressed to young students of Tongji University, to which prof. Corrado Latina dedicated his engagement as teacher in the course “The town of the past for the man of the future”.
᳔䖥ᑈ䞠ˈЁϢᛣ߽⾥ᄺǃᡔᴃҹঞ㒣⌢乚ඳⱘড় Ѹ⌕ফⳂˈЁᛣϸҎ⇥П䯈ҹঞϸ᭛࣪П䯈㞾স ҹᴹⱘ䭓Й㘨㋏гℸ㹿䌟ќњᮄⱘ⎉НDŽ Ёⱘᓎ䆒থሩ᭄䞣ϞᏆ㒣䖒ࠄњϔϾϡৃӕঞⱘ催ᑺˈ ҞˈЁⱘජᏖᆊথሩᬓㄪℷ䕀ৃᣕ㓁থሩⱘᮍ ˈ݊Ёгࣙᣀᇍ⦄ᄬⱘᓎㄥ䘫ѻⱘ㓈ᡸǃׂ䞡ᓎDŽ 䖭ϔᮍ䴶ˈЁᡞᛣ߽ⳟ៤ϔϾৃկᬜӓⱘᇍ䈵ˈ㗠 ᠬᮃव㒇߭㹿䅸Ўᰃᓎㄥⱘׂ⫼߽ݡᮍ䴶ᇸЎߎ㡆ⱘ ҷ㸼DŽ Ϟ⍋Ꮦⱘᚙމᰃ䴲ᐌ⡍⅞ⱘˈᡞϞ⍋ᓎ៤ϔϾ䰙࣪䛑Ꮦ ⱘⳂᷛᇐ㟈њᕜ䯂乬ⱘѻ⫳ˈԚᰃϞ⍋Ꮦᡧԣњ䖭Ͼᴎ ӮˈⳂⱘѢ㽕ᡞϞ⍋ᓎ៤ϔϾᔶᗕⱘ࣪ܗජᏖˈ᳔䰤 ᑺⱘֱᄬ݊ग़䘫⬭ϟᴹⱘস䗍DŽ Ā᭛࣪䘫ѻⱘֱᡸǃׂϢ⫼߽ݡüüᠬᮃव㒇ऎⱘ Ӵ㒳Ϣ㒣偠āሩ㾜ⷨݐ䅼Ӯⱘ⌏ࡼℷᰃ䖭ḋⱘ㚠᱃ϟВ㸠 ⱘDŽ䖭ϔ⌏ࡼᰃ⬅ԯ㔫Ӻ㧼ᄺⱘᓎㄥᡔᴃ㋏ᬭᥜǃৠ⌢ ᄺᓎㄥϢජᏖ㾘ߦᄺ䰶ⱘᅶᑻᬭᥜ&RUUDGR/DWLQDᦤ䆂ⱘˈ Ҫⱘᦤ䆂ᕫࠄњЁᓎㄥ⬠᳔䞡㽕ⱘᓎㄥᏜ䆘䆎ᆊПϔǃ ৠ⌢ᄺᬭᥜǃЁ⾥ᄺ䰶䰶䚥ᯊ啘ᬭᥜⱘડᑨˈᑊϢП ݅ৠㄪߦ䆹⌏ࡼDŽ䘫ធⱘᰃˈ&RUUDGR/DWLQDᬭᥜϡЙ ࠡএϪњDŽ Ёᆊথሩᬓㄪব䴽ⱘ䞡㽕ᯊࠏˈ៥Ӏীᓔњ䖭ሩ㾜 ⷨ䅼ӮˈЎ៥Ӏ᭛࣪Ѹ⌕ᮍ䴶䍄ߎⱘϔℹˈ៥Ӏ ⱘⳂᷛᰃ䅽Ёњ㾷ᠬᮃव㒇ग़⦃๗䘫ѻⱘֱᡸǃ ׂ⫼߽ݡᮍ䴶ⱘ᭛࣪ˈߚѿᠬᮃव㒇᳝݇ᴎᵘℸ乚 ඳⱘ㒣偠DŽ ⬅ԯ㔫Ӻ㧼ᄺĀ3LHUOXLJL6SDQGROLQLāᓎㄥϢ䆒䅵ᡔᴃ ㋏Ϟ⍋ৠ⌢ᄺᓎㄥϢජᏖ㾘ߦᄺ䰶݅ৠ֗៤ⱘᴀ⌏ࡼ ᰃĀᑈЁᛣ߽ᑈāᅬᮍ⌏ࡼⱘϔϾ㒘៤䚼ߚˈℸ ˈ݊ⷨ䅼Ӯ䚼ߚ䖬㹿ܹ߫Ϟ⍋ᏖᑈϪमӮᑈᑺㅍ ⌏ࡼПϔDŽ 䖭ሩ㾜ⷨݐ䅼ӮⱘЏ㽕ݙᆍ˖ϔᮍ䴶ࣙᣀϔѯⳌ݇ᴎᵘ˄ ݀݅ᴎ݇ˈऎˈⳕˈᏖᬓᑰ˅䞛পⱘᬓㄪᮑˈҹঞᏆ ᅠ៤ⱘϔѯЏ㽕乍Ⳃ˗ϔᮍ䴶䖬ҟ㒡њᠬᮃव㒇䖭ϔ㸠Ϯ ⱘ⦄⢊ˈҹঞӕϮ⼒Ӯ⫳ѻᮍ䴶ⱘᚙˈމ䖭݊Ёজԧ 䯤䗄њᠬᮃव㒇⦄ᄬⱘग़স䗍ֱᡸׂᮍ䴶ⱘ䴶Ⳃ 乍Ⳃᅲᮑ㒣偠ˈҹঞϢℸⳌ݇ⱘ㒘㒛ㅵ⧚Ϟⱘᮍᓣᮍ⊩DŽ 䗮䖛䖭ሩ㾜ⷨ䅼ӮⱘВ㸠ˈԯ㔫Ӻ㧼ᄺᓎㄥᄺ䰶ˈ⡍ ߿ᰃĀ3LHUOXLJL6SDGROLQLāᓎㄥϢ䆒䅵㋏ˈᏠᳯᇚҪӀ ⱘᬭᄺᮍ⊩ҹঞᓎㄥǃජᏖ⦃๗ֱᡸϢ䞡ᓎᮍ䴶ⱘᬭᄺ Ϣⷨお៤ᵰҟ㒡ࠄЁᴹˈҹ֗䖯ϸ᠔ᄺП䯈Ҟৢⱘড় Ѹ⌕ˈ⡍߿ᰃ䴶ৠ⌢ᄺᑈ䕏ᄺ⫳ⱘѸ⌕Ϣড়ˈؐᕫ ϔᦤⱘᰃˈℷᰃЎ䖭ѯৠ⌢ᄺⱘᄺ⫳ˈ&RUUDGR/DWLQDᬭ ᥜ᳒ᓔ䆒њĀЎњᴹҎ㉏ⱘग़ජᏖā䖭ϔ䇒ˈᄰᄰϡ ഄҪӀᥜ䇒DŽ
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MONTE DEI PASCHI DI SIENA S.P.A. BANK GROUP ᛣ߽㽓䲙䙷䫊㸠Ѯ⌆
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As China continues to grow in importance for Italian companies, Banca Monte dei Paschi di Siena S.p.A. (BMPS) is strengthening its presence in that market in line with its commitment to working with and assisting Italian companies doing business or trying to expand their businesses there. In addition, the Bank, through relationships it has developed, is also helping Chinese companies to strengthen their trade relationships with Italian companies. Banca Monte dei Paschi di Siena S.p.A. opened the first Representative Office in 1990 in Beijing, followed, in 1994, by a representative office in Shanghai. In 2001, BMPS set up a full branch in Hong Kong and in February 2006, a new Representative Office in Guagzhou. The Bank is currently in the process of upgrading the Shanghai representative office to a full branch. These entities act as a liaison with the Head Office and operate within their respective geographical jurisdiction in activities such as correspondent banking and market surveys. In addition, through special collaboration agreements with local Chinese banks, BMPS is able to widen the range of products and services offered to its clients. BMPS’ Hong Kong Branch is structured to offer banking services and financing to Hong Kong subsidiaries of Italian headquartered companies as well as joint ventures between Italian and Chinese companies. In addition, in order to support medium and long term projects, the Bank also acts as a liaison between Italian enterprises, Chinese banks and government agencies, helping them through the market entry process. In Asia, Banca Monte dei Paschi di Siena S.p.A. has also developed business relationships with accounting, marketing, law, recruiting and auditing firms. This network of consultants is readily available to Monte Paschi’s customers to assist in issues that they may face as they do business in there. Additional assistance to clients is also available through Banca Monte dei Paschi di Siena S.p.A. network in Italy and China in terms of financing for either working capital or investment purposes.
བҞˈЁᏖഎ䰙ᏖഎЁ䍋ⴔ䞡㽕ⱘ⫼DŽЁᏖഎⱘ 㒣㧹㗙Ϣᛣ߽ⱘ㒣㧹㗙Ӏᔶ៤њᔎ⚜ⱘᇍ↨DŽᛣ߽ⱘ㒣 㧹㗙ᑨ䆹ᔎ㞾䑿ᅲDŽЁЎϔϾߎষᏖഎⱘ䞡㽕ᗻˈ ᇍᛣ߽ⱘ݀ৌᴹ䇈ˈᏆ㒣䖿Փᛣ߽㽓䲙䙷䫊㸠ᔎ㞾៥ 㸼⦄ˈা᳝䖭ḋᅗᠡ㛑ᦤկདⱘ᳡ࡵˈᠡ㛑ᐂࡽᛣ߽ Ё䕏㗠ᯧВⱘᠽᏖഎDŽ ᛣ߽㽓䲙䙷䫊㸠ᏆЎ݊Ѯ⌆㒘㒛䞛পњ⾡⾡থሩᮑˈҹ ᓩᛳ݈䍷ⱘ݀ৌ䖯ܹ䖭ϾᏖഎDŽ 㽓䲙䙷䫊㸠 ᑈ䖯ܹЁˈϔᆊҷ㸼໘ᓔ䆒࣫ҀDŽ㒻 㗠 ᑈϞ⍋ᓔ䆒њҷ㸼໘DŽ㽓䲙䙷䫊㸠䲚ಶ䖭ѯ㒣偠 ЁᕫࠄњথሩDŽᑈˈ䲚ಶއᅮ佭␃ᓔ䆒ϔᆊ㒣㧹ҷ 㸼໘ˈᑈᑓᎲᓔ䆒ҷ㸼໘ˈᑊϨϟϔℹᰃᡞϞ⍋ҷ㸼 ໘छ㑻Ўᬃ㸠DŽ 䖭ѯҷ㸼໘Ңџⱘџࡵ᳝ࡴᔎϢᔧഄ䫊㸠˄ഄᮍᏖ㑻˅݇ ㋏ˈ䌶ᕫᅶ᠋ˈҹঞᐂࡽᇍ䖭ϾᏖഎᛳ݈䍷ⱘᛣ߽ᅶ᠋DŽ 䖭ѯ㒣㧹⌏ࡼ䗮䖛ড়ᴵ㑺Ϣᔧഄ䫊㸠䖒៤ϔ㟈DŽ 㽓䲙䙷䫊㸠䗮䖛佭␃ⱘߚ㸠ˈᦤկ㣗ೈⱘ᳡ࡵǃড়䌘ӕϮ 㵡䌘ҹঞᐂࡽᛣ߽݀ৌখϢᔧഄ㒣㧹DŽ㽓䲙䙷䫊㸠ᇚᛣ ߽㒣㧹㗙ҟ㒡㒭Ёⱘ䫊㸠ˈᑊϢ䖭ѯ䫊㸠ֱᣕ㘨㋏ˈֱ ᣕଚϮড়DŽߎ⦄ড়䗖ⱘᡩ䌘乍Ⳃᯊˈ݊ᅗѮ⌆ҷ㸼໘ ⱘᬃᣕϟˈ㽓䲙䙷䫊㸠䋳䋷㒘㒛ϢᬓᑰᴎᵘⱘӮ䆂ˈҹঞ ড়ৠⱘϔ䰊↉䖯㸠णࡽDŽ ᕫⲞѢϢഄᮍϧϮҎ˄⊩ᕟ乒䯂ǃᕟᏜǃଚࡵϧᆊǃֵᙃ ҷ⧚ǃᅵ䅵ਬϾҎⷨおಶԧ˅ⱘড়݇㋏ˈᅶ᠋ৃҹ㦋প ࠄ݇ѢᏖഎⱘᐌ⫼ֵᙃˈᑊϨৃҹড়Тᷛⱘޚᬊଚࡵ ⊩ᮍ䴶ᕫࠄᬃᣕDŽ ℸˈᅗᦤկⱘ⹂ֱড়Тᷛⱘޚणࡽヺড়↣Ͼᛣ߽ҎЁ Ҏⱘ㽕∖ˈᇸ݊ᰃᡩ䌘䆁⌏ࡼЁDŽ
Cultural Heritage Preservation, Rehabilitation and Reuse. The Tuscan Tradition ᭛࣪䘫ѻⱘֱᡸǃׂ⫼߽ݡüüᠬᮃव㒇ऎⱘӴ㒳Ϣ㒣偠
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Index
Augusto Marinelli President of the University of Florence
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Zheng Shiling Director of the Institute of Architecture and Urban Space, Tongji University
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Studying the conservation and rehabilitation of architectural and environmental heritage at the University of Florence Faculty of Architecture Raimondo Innocenti Dean of the Faculty of Architecture, University of Florence
Cultural Heritage Preservation, Rehabilitation and Reuse: Cultural and policies of the Tuscan Region Maria Concetta Zoppi Former Regional Minister of Culture
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Urban Redevelopment Projects Gianni Biagi Florence City Councillor for Town Planning
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The artworks protection of the Superintedence of Florence, Pistoia and Prato Cultural and Landscape Heritage Paola Grifoni Supervisor Florence, Pistoia and Prato Cultural and Landscape Heritage
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EXPERIENCES Preservation and rehabilitation of historical hospitals: Santa Maria Nuova and Careggi, Florentine Hospitals Paolo Felli, Maria Chiara Torricelli, Luca Marzi University of Florence 66
Recovery and valorisation of monumental structures destined to accommodation functions in Tuscany. The Jubilee 2000 experience. Romano Del Nord, Adolfo Baratta University of Florence
16
18
Florence: rehabilitation and reuse of disused industrial areas Raimondo Innocenti University of Florence
20
The Nature in the Urban Park. The Nature of the Urban Park Guido Ferrara University of Florence
The Preservation of the Ancient Ospedale of Santa Maria della Scala in Siena, restored as a Museum and Cultural Centre Anna Carli President of the Board of Directors of the Santa Maria della Scala Institution
22
24
The Sacristy at San Lorenzo Church, Florence Vincenzo Vaccaro Superintendence of Florence, Pistoia and Prato Cultural and Landscape Heritage
26
The empiric methodology for the structural analysis of historical buildings Carlo Blasi University of Parma
PROJECTS Corrado Latina
28 30 108
Ⳃᔩ
Augusto Marinelli ԯ㔫Ӻ㧼ᄺ᷵䭓
8
Zheng Shiling ৠ⌢ᄺᓎㄥϢජᏖぎ䯈ⷨお᠔᠔䭓
9
ԯ㔫Ӻ㧼ᄺⱘᓎㄥ㋏ᄺдᓎㄥ᭛࣪䘫ѻⱘֱᡸ䞡ᮄׂ Raimondo Innocenti ԯ㔫Ӻ㧼ᄺᓎㄥ㋏㋏Џӏ
10
᭛࣪䘫ѻⱘֱᡸǃׂ˖⫼߽ݡᠬᮃव㒇ऎⱘ᭛࣪Ϣᬓ⊏ Maria Concetta Zoppi ᬭᥜˈᠬᮃव㒇ऎࠡ᭛࣪䚼䭓 ජᏖ䞡ᓎ乍Ⳃ Gianni Biagi ԯ㔫Ӻ㧼ऎජᏖ㾘ߦሔሔ䭓
11
12
ԯ㔫Ӻ㧼ᓎㄥ䘫ѻϢ⦃๗ֱᡸㅵ⧚ሔ᠔䞛পⱘ㡎ᴃકֱᡸᮑ Paola Grifoni ᓎㄥᏜˈԯ㔫Ӻ㧼ⳕǃⲂᮃᠬѮⳕϢ᱂ᢝᠬⳕ᭛࣪Ϣ᱃㾖䘫ѻㅵ⧚ሔ
13
EXPERIENCES ग़ᗻⱘए䰶ⱘֱᄬϢׂ˖ԯ㔫Ӻ㧼ⱘ6DQWD0DULD1XRYD&DUHJJLए䰶 Paolo Felli, Maria Chiara Torricelli, Luca Marzi ԯ㔫Ӻ㧼ᄺ
17
ᠬᮃव㒇ऎЎᑨᇍᑈ䌺ᑈ䳔∖ᇚग़᭛࣪䆒ᮑᓔথЎ᳝ᕙࡳ㛑ⱘഎ᠔ᮍ䴶ⱘ㒣偠 Romano Del Nord, Adolfo Baratta ԯ㔫Ӻ㧼ᄺ
19
77
ԯ㔫Ӻ㧼˖㹿ᓗ㕂ऎඳⱘׂϢ䞡ᓎ Raimondo Innocenti ԯ㔫Ӻ㧼ᄺ
21
ජᏖ݀ುЁⱘ㞾✊᱃㾖 Guido Ferrara ԯ㔫Ӻ㧼ᄺ
22
ֱᡸ䫵㘊㒇স㗕ⱘ6DQWD0DULDGHOOD6FDODए䰶ˈᑊׂ៤म⠽佚᭛࣪Ёᖗ Anna Carli 6DQWD0DULDGHOOD6FDOD㨷џӮЏᐁ
24
ԯ㔫Ӻ㧼⋯ӺԤᬭූⱘ఼ᬊ㮣ᅸ Vincenzo Vaccaro ԯ⋯Ӻ㧼ⳕǃⲂᮃᠬѮⳕϢ᱂ᢝᠬⳕᓎㄥ䘫ѻϢ᱃㾖ㅵ⧚ሔण䇗ሔ䭓ǃᓎㄥᏜ
26
ग़ᓎㄥᵘ䗴ߚᵤⱘ㒣偠ЏНᮍ⊩ Carlo Blasi 3DUPDᄺᓎㄥׂ㔂
PROJECTS Dedicated to Corrado Latina
28 30 108
AUGUSTO MARINELLI President of the University of Florenceԯ㔫Ӻ㧼ᄺ᷵䭓
88
The conference and exhibition “Cultural Heritage Preservation, Rehablitation and Reuse: the Tuscan Tradition” was promoted jointly by the Department of Architectural Technology and Design “Pierluigi Spadolini” of the University of Florence and by the College of Architecture and Urban Planning of Tongji University in Shanghai. The conference is held in memory of Professor Corrado Latina, senior professor at the University of Florence and visiting professor at the University of Tongji, who had planned and promoted it in order to divulgate in China Tuscany’s culture in the field of conservation, restoration and enhancement of the environmantal and historical heritage. This event is also an important landmark in the relationship between the two universities, who are aiming to develop research and teaching collaboration, and which is strengthened by the year 2006 being the year of “Italy in China”. Since 2004 the University of Florence is taking part in the “Marco Polo” project, which establishes agreements between the two nations and exchanges with regards to teaching, training and research. In the academic year 2005-2006, fifty seven Chinese students attended degree programmes at the University of Florence, thirteen of which in Architecture, Urban Planning and Design. The theme of restoration, conservation and enhancement of architectural and environmental heritage is of particular interest for training and research, and important for the development of economic relationships between Tuscany and China, especially the region of Shangai. This event is also connected to others that the College of Architecture and Urban Planning of the University of Tongji and the Faculty of Architecture in Florence have promoted. It is necessary here to remember the course “The town of the past for the man of the future”, run by Professor Corrado Latina at Tongji University between January and June 2006, and the seminar “From survey to project: the identity of the city”, hosted by the University of Tongji and promoted by the economic development agency “Toscana Promozione” in collaboration with the Faculty of Architecture of the University of Florence and the National Institute for Foreign Commerce. Our university has a specific vocation for subjects related to cultural heritage and plays an important role in the international development of Italian universities. Florence is known worldwide for its important and rich cultural, architectural and artistic heritage: it was the cradle of “Renaissance Humanism”, which spread throughout Europe. The city of Florence is visited every year by millions of tourists from countries all over the world. Furthermore, many European and American universities have their own premises or programmes in Florence. International development is now a necessary part of the development of research and training. The University of Florence has implemented more than 200 International Agreements of cultural and scientific cooperation with universities in foreign countries, a number of which regard Chinese universities in various scientific fields. Cultural heritage is a field whose potential for collaboration still needs developing and this event will certainly contribute to it with regard to the relationship between our two institutions of higher education, those of Shangai and Florence. We would like to thank all institutions that had a role in the implementation of this event and in particular we thank Professor Zheng Shiling, senior professor at the University of Tongji and member of the Academy of Chinese Sciences for having a long standing interest in our University and for promoting our relationship and collaboration, with the invitation of Professor Corrado Latina.
Ā᭛࣪䘫ѻⱘֱᡸǃׂϢ⫼߽ݡüüᠬᮃव㒇ऎⱘӴ 㒳Ϣ㒣偠āሩ㾜ⷨݐ䅼Ӯᰃ⬅ԯ㔫Ӻ㧼ᄺᓎㄥϢ䆒䅵ᡔᴃ ㋏Ā3LHUOXLJL6SDQGROLQLāϞ⍋ৠ⌢ᄺᓎㄥϢජᏖ㾘 ߦᄺ䰶݅ৠ֗៤ⱘDŽ៥Ӏ℆׳ℸ⌏ࡼ䗑ᖚ&RUUDGR/DWLQDᬭ ᥜˈҪᰃԯ㔫Ӻ㧼ᄺⱘᬭᥜˈৠᯊ䖬ᰃৠ⌢ᄺⱘ䆓䯂ᬭ ᥜˈℷᰃҪ᳔ߎᦤܜВࡲ䖭ϔ⌏ࡼⱘ䆒ᛇⱘˈҪᏠᳯ䗮䖛䖭 Ѹ⌕ˈ㛑䅽Ёњ㾷ᠬᮃव㒇᭛࣪ˈ⡍߿ᰃᠬᮃव㒇 ग़᭛࣪䘫ѻׂϢ߽⫼ᮍ䴶ⱘ㒣偠DŽ ᑈᰃЁᛣ߽ᑈˈϸᮍ䴶ⱘ݇㋏ᕫࠄњᎽ থሩDŽ䖭ϔ㚠᱃ϟВ㸠ⱘᴀ⌏ࡼˈҷ㸼њ៥ӀЁᛣ ϸ᠔ᄺ᷵Ꮰᳯᄺᬭ㚆ⷨおᮍ䴶ᓔሩড়ⱘ䞡㽕䰊↉ ⱘᓔྟDŽ ԯ㔫Ӻ㧼ᄺҢᑈᓔྟህখϢࠄњ偀ৃ⊶㔫䅵ߦЁˈ䖭 ϔ䅵ߦ⍝ঞࠄњϸП䯈ӫ݇Ѣᬭ㚆ǃ催ㄝ䆁ҹঞⷨお ᮍ䴶ⱘঠ䖍ण䆂DŽᑈࠄᑈᳳ䯈ˈ᳝ԡЁᄺ⫳ ԯ㔫Ӻ㧼ᄺЏׂᴀ⾥䇒ˈ݊Ёԡᄺ⫳Џׂᓎㄥǃජ Ꮦ㾘ߦ䆒䅵ϧϮDŽᇍᓎㄥ⦃๗䘫ѻⱘֱᡸ߽⫼ˈᰃ ᬭᄺ⾥ⷨⱘ䞡㽕乬ᴤˈৠᯊˈᇍѢ֗䖯ᛣ߽Ё⡍߿ ᰃϞ⍋ഄऎⱘড়г䴲ᐌ䞡㽕DŽ៥Ӏ䖭䞠᠔ᦤࠄⱘ䖭ѯ䅵ߦ 乍Ⳃ䛑ᰃϢ⬅ৠ⌢ᄺᓎㄥජᏖ㾘ߦᄺ䰶ԯ㔫Ӻ㧼ᓎㄥ ㋏݅ৠ֗៤ⱘ݊Ҫ䅵ߦᙃᙃⳌ݇ⱘDŽ⡍߿ؐᕫϔᦤⱘ᳝˖⬅ &RUUDGR/DWLQDᬭᥜѢᑈ᳜ࠄ᳜ৠ⌢ᄺЏ䆆ⱘ䇒 ĀЎњᴹҎ㉏ⱘग़ජᏖā˄7KHWRZQRIWKHSDVW IRUWKHPDQRIWKHIXWXUH˅˗ҹঞⷨ䅼ӮĀҢࢬᆳࠄ䅵 ߦ˖ජᏖⱘᴀ䋼üüජᏖ᭛࣪䘫䗍ⱘׂথሩ㾘ߦⱘߚ ᵤᮍ⊩āˈ䆹ⷨ䅼Ӯᰃᠬᮃव䙷㒣⌢֗䖯ሔǃԯ㔫Ӻ㧼ᄺ ᓎㄥᄺ䰶ᛣ߽ᇍ䌌ᯧྨਬӮⱘড়Пϟ֗៤ⱘˈৠ⌢ ᄺЎ䆹ⷨ䅼Ӯⱘϰ䘧ЏDŽ៥Ӏᄺ˄ेԯ㔫Ӻ㧼ᄺDŽ䆥 ⊼˅䴲ᐌ䞡㾚᳝݇᭛࣪䘫ѻⱘᄺ⾥ˈℸˈ៥Ӏ֗䖯ᛣ ߽ᄺᬭ㚆ԧ㋏ⱘ䰙࣪থሩЁгᡂⓨⴔϔϾ䞡㽕ⱘ㾦㡆DŽ ӫ᠔਼ⶹˈԯ㔫Ӻ㧼ᰃϔϾҹ᭛࣪ǃᓎㄥ᭛࣪䘫ѻ㨫⿄ⱘ ජᏖˈᑊϨ䖬ᰃ⌆ᑓЎ⌕Ӵⱘ᭛㡎݈ᯊᳳҎ᭛ЏНᗱᛇ ⱘᨛ㇂DŽ↣ᑈˈᴹ㞾Ϫ⬠ഄⱘ៤गϞϛⱘᮙ␌㗙∛䲚䖭 䞠DŽˈᕜ⌆㕢ⱘᄺ䛑䖭䞠᳝ҪӀ㞾Ꮕⱘߚ ᷵㗙ᰃϔѯⳌ݇ⱘ乍ⳂDŽ 䰙࣪Ꮖ㒣៤Ўᬭ㚆ⷨおথሩЁϔϾᖙϡৃ㔎ⱘ⦃㡖DŽࠄ ⳂࠡЎℶˈԯ㔫Ӻ㧼ᄺᏆ㒣ϢϪ⬠Ϟ݊Ҫᆊⱘ䆌ᄺ ᭛࣪⾥ᡔড়ᮍ䴶䖒៤њϸⱒ乍䰙ण䆂DŽ݊Ёࣙᣀ 䆌ϢϢЁⱘᄺ䖒៤ⱘ݇Ѣ⾥ᄺᮍ䴶ⱘण䆂DŽ᭛࣪䘫 ѻᮍ䴶ⱘড়ण䆂㟇Ҟҡ᳝ᕙࡴᔎˈℸˈ䖭⌏ࡼᇍѢ֗ 䖯䖭ᮍ䴶ⱘড়ҹঞϞ⍋ԯ㔫Ӻ㧼ⱘ䖭ϸ᠔催᷵П䯈ⱘ݇ ㋏᮴⭥ᰃ䴲ᐌ䞡㽕ⱘDŽ៥Ӏ㽕ᛳ䇶᠔᳝Ў䖭⌏ࡼⱘ乎߽В 㸠㗠Ϣ៥Ӏড়ⱘᴎᵘˈ៥Ӏ㽕⡍߿ᛳ䇶ৠ⌢ᄺᬭᥜǃЁ ⾥ᄺ䰶䰶䚥ᯊ啘ᬭᥜˈᛳ䇶ҪϔⳈҹᴹᇍԯ㔫Ӻ㧼ᄺ ⱘ݇⊼ҹঞ៥Ӏϔ䍋֗៤њᴀ⌏ࡼⱘВ㸠ˈℸˈ៥Ӏ 䖬㽕&RUUDGR/DWLQDᬭᥜ㸼⼎⏅ߛⱘᚐᗉ
ZHENG SHILING
Director of the Institute of Architecture and Urban Space, Tongji University
ৠ⌢ᄺᓎㄥϢජᏖぎ䯈ⷨお᠔᠔䭓 In the field of the preservation of historical cities and architecture, Italy is the model for the world with worldwide reputation. The Venice Charter, The International Charter for the Conservation and Restoration of Monuments and Sites (1964) based on Italian norms and the Florence Charter, are both worked out in Italy. The Venice Charter is a principal doctrinal document which has significantly influenced a series of charters, documents and guidelines, and the main reference for the evaluation of world heritage by UNESCO. Florence is the birthplace of Renaissance, and the city has accumulated a profound theoretical foundation and plentiful experiences in the preservation, rehabilitation and reuse of historical architecture and city. Florence is also the birthplace of the Florence Charter, a charter for the preservation of historical gardens by International Council on Monuments and Sites, ICOMOS and International Federation of Landscape Architects, IFLA. In the research and practice of preservation, Florence University has played a key role. Florence University has a very close relationship with Tongji University in academic exchange program and collaboration since long, there are very meaningful records in the exchange program of visiting professors and coorganization of conferences.The preservation of historical areas and architecture of Shanghai can significantly learn quite a lot from Italian and Florence experiences, and will have an extensive collaboration in the research and theory of preservation, in the technology and methodology. Over a long period of time, Florence University has accumulated rich experiences and tradition. As one part of the Chinese-Italian Year activities, the exhibition: Cultural Heritage Preservation, Rehabilitation and Reuse, The Tuscan Tradition will represent the achievements in this field. After the preparation more than one year, the exhibition can finally displayed to Shanghai citizens, which will promote the preservation of historical architecture and areas, and simultaneously promote the academic collaboration between Florence University and Tongji University, promote the collaboration between China and Italy. Italy is in the leading position in the conservation of historical cities and buildings. The cultural heritage in Italy is difused in whole country, there are more than 5.1 million pieces of archaeological relics, more than 2 million art works, 35 million historical works of natural science, 3.85 million historical books and archives in more than 1400 museums and galleries. More than 50 % of the world cultural and art heritages remain in Italy. The Uffizi in Florence will yearly recieve more than 1 million visitors, every year more than 30 million tourists come to visit Italy. Italy is so attractive not only because of its pretty beach, mild climate and beautiful landscape, but mainly for its history, cities, architecture, culture and fine arts. Italy is the base of world civilization, a land for the prosperity of different knowledges and disciplines. The city and the architecture in the city is the crystallization of the culture and history, it is also the representatives of a nation and nationality. If one is willing to visit a city and took photos, one may have many beautiful pictures of the landscape, but it may not reflect where he or she has been. Only the city and its architecture will really tell the country and her people. Architecture is the symbol of the city’s spirit and civilization of human being, which in certain degree is the representative of the past, present and future for a city and a nation. To conserve the historical and cultural heritage and historical cities is namely the conservation of the civilization of humanity. The city and
architecture is the expression of the progress. Every nationality, every kind of culture has expressed its creativity in the city and architecture. The diversity of the world has been fully displayed in the city and architecture. Shanghai has not only the condensation of the essences of traditional Chinese culture, simultaneously it has absorbed the excellent world heritage and becomes the place for the exchange of western culture and eastern culture, and extensive Chinese regional cultures. The history of more than 5500 years and as a birthplace of Chinese culture and also the Chinese architecture in modern times, made Shanghai as the perspective of the development in China. Shanghai is a historical city which has condensed profound and diverse culture, and collected splendid humanities, especially its historical architecture. Today, the city is still creating an unprecedented achievement in urban construction, it makes Shanghai nearly a new metropolitan city. But, Shanghai is still a historical city, because it has preserved the historical urban form, fabric and a plenty of historical buildings, because it has kept the city’s spirit and social ecology behind the heritage, because the people has recognized the value of the culture and historical architecture, and is promoting the urban vigor of Shanghai. The special geo-political and geo-economical situation gave the city a co-existence, shock, exclusion, transplantation, metamorphosis, transformation and innovation of varied international culture, the Shanghai native culture and regional Chinese cultures. Shanghai has fused the essence of cultures at all times and in all countries, and developed into a Chinese cultural center in modern times. Since the city is named as a national historical and cultural city, Shanghai is always in a leading position for the conservation of cultural heritage in China. The culture is playing a very important role for the future development, which has been recognized, it is also significant to the development of economy and science and technology in the course of building the city into a creative one. Today, Shanghai is executing the most strict preservation for the historical areas and architecture, even though it can not be compared with Italy, it is unprecedented in the city’s history. In 2002, the People’s Congress of Shanghai has published the Regulation for the Preservation of Historical Areas and Heritage Architecture, which is the first example in China as a local rule. Shanghai has named 144 roads as historical roads, among them the red lines of 64 roads can not be altered, thus the features of the city could be preserved. Shanghai has named also 12 historical areas, which covered 27 km² land area with 632 blocks and buildings as heritage architecture, altogether 2138 buildings. Other than these, 32 historical areas in suburb area have been named.
ग़ජᏖग़ᓎㄥⱘֱᡸᮍ䴶ˈᛣ߽ᰃܼ⧗ⱘ㣗ˈѿ᳝Ϫ ⬠ໄ䁝ˈҹᛣ߽ⱘֱᡸ⊩㾘Ў⸔㓪ࠊⱘlj࿕ሐᮃᅾゴNJ˄ग़ ᭛⠽䘫ഔֱᡸϢׂⱘ䰙ᅾゴˈ ˅ljԯ㔫Ӻ㧼ᅾゴNJ˄ ˅䛑䆲⫳Ѣᛣ߽DŽlj࿕ሐᮃᅾゴNJᇍҹৢⱘϔ㋏߫݊Ҫ݇Ѣ ग़ഄऎग़ᓎㄥֱᡸⱘᅾゴǃ䆂Ḝǃᇐ߭ѻ⫳䞡㽕ⱘᕅડˈৠ ᯊг៤Ў㘨ড়ᬭ⾥᭛㒘㒛ᇍϪ⬠᭛࣪䘫ѻ䆘ԄⱘЏ㽕খ✻DŽ ԯ㔫Ӻ㧼ᰃ᭛㡎݈ⱘথ⑤ഄˈᇍग़ᓎㄥग़ජᏖⱘֱᡸǃׂ
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RAIMONDO INNOCENTI Dean of the Faculty of Architecture, University of Florence ԯ㔫Ӻ㧼ᄺᓎㄥ㋏㋏Џӏ
Studying the conservation and rehabilitation of architectural and environmental heritage at the University of Florence Faculty of Architecture ԯ㔫Ӻ㧼ᄺⱘᓎㄥ㋏ᄺдᓎㄥ᭛ ࣪䘫ѻⱘֱᡸ䞡ᮄׂ
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The organisation of study at faculties of Architecture within the Italian university system has undergone a profound change over the last five years. Since the university reform came into force in 1999, the programmes of study offered in faculties have been streamlined into a number of degree courses. The courses currently on offer at the Faculty of Architecture in Florence include a five-year degree course in Architecture, two second level degree courses in Architectural Design and City and Territorial Planning and Development and four first level degree courses in Architectural Science, Urban and Territorial Planning, Industrial Design and Fashion Design. Over the same period, the university has seen the development of first level and second level masters degrees, the starting up of a post graduate school in History, Analysis and Assessment of Architectural and Environmental Heritage, and the reorganisation of Phd Programmes into three schools: 1) Architecture, Design and History of the Arts; 2) Urban, Territorial and Landscape Design; 3) Representational Science. After parts of Florence’s historic centre were reconstructed following World War II damage, the conservation and rehabilitation of architectural and environmental heritage became an important focus of research in our Faculty of Architecture. More recently, this established area of study attracted renewed interest, especially once the trends towards the deindustrialisa-
tion and deurbanisation of big cities took hold in Italy and in Europe. Research projects conducted within the departments of the Faculty of Architecture have contributed in important ways to the evolution of architectural conservation and rehabilitation techniques. The post graduate school in History, Analysis and Assessment of Architectural and Environmental Heritage, directed by Prof. Giuseppina Rombi, aims to train students in the specific methodological, scientific and technical skills required in architectural and environmental conservation interventions, with special reference to historic town centres, built environment, infrastructures and landscapes. The provided ability concern historical analyses, critical knowledge, classifications, diagnostic techniques, cost analyses and feasibility studies. The post graduate school in Monument Restoration deepens methodologies and contents about restoration issues, both from theoretical and applied point of view.The post graduate school in Ruined Buildings Restoration supplies useful knowledge and tools for diagnostic investigations in archaeological sites, in order to realize intervention projects and to organize restoration yards in archaeological precincts. The PhD programme in Material and Structures for Architecture, part of the PhD school Architecture, Design and History of the Arts, trains researchers and professionals able to perform in the field of seismical prevention and rehabilitation and conservation of historical-monumental buildings.The PhD programme in Representational Science specialises in methodologies for the analysis of architectural elements and attempts to provide tools to evaluate conservation and restoration interventions on historic buildings. The PhD programme in Urban, Territorial and Landscape Design allows a specialisation in landscape protection and environmental rehabilitation. There is also a masters degree in Landscape Science, which specifically deals with the protection of natural areas, the rehabilitation of degraded areas, territorial restoration interventions and the design of parks, gardens, recreational and sports facilities and historical and archeological sites. Within the undergraduate programmes many courses deal with conservation and rehabilitation of architectural and environmental heritage and some studios offer design training, for last year students or for final dissertation works, related to areas of the historic centre of Florence or other nearby towns. I will mention some of them:
- Conversion of the former gasworks in the San Frediano quarter of Florence (Technology studio, prof. Paolo Felli); - Conversion of the San Firenze complex to provide an annex to the National Archaeological Museum (thesis project of Filippo Nobili, supervisor: prof. Francesco Gurrieri); - Conversion and restructuring of the Ospedale del Ceppo in Pistoia (thesis project of Matteo Baralli – supervisor: prof. Adolfo Natalini). Finally, examples of projects in the above areas are illustrated in the exhibition: two rehabilitation projects that are part of the Florence University Buildings Programme - the new Human Sciences library (prof. Alberto Breschi and prof. Guido Ferrara), the new library for the Faculty of Architecture (prof. Maria Grazia Eccheli and prof. Carlo Terpolilli)-, the research for preserving agricultural landscapes of Montalbano (Prof. Baldeschi).
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MARIA CONCETTA ZOPPI Former Regional Minister of Cultur ᬭᥜˈᠬᮃव㒇ऎࠡ᭛࣪䚼䭓
Not differently from China, Tuscany is an old land: over three thousand years of artistic expressions are present with continuity on the territory and testify with a huge quantity of monuments the different civilizations that followed. With an area of 22.980 km2 and a population of 3,5 million of inhabitants, Tuscany presents an incredible density of works of art, of antique architecture and of cultural activities, unique in the world. Just for having a first, even if perfunctory, idea: a theatre every 17.000 inhabitants, a museum every 7.000 inhabitants, a library every 4.000 inhabitants. The urban structure of Tuscany developed on three great historic directrices: Via Aurelia along the coast, Via Francigena (connection from Northern Europe to Rome via Siena) and Via Cassia Antica - Cassia Vetus (connection from Northern Italy to Rome via Florence/Fiesole and via Arezzo). Three old way of Etruscan-Roman period (Aurelia and Cassia) and of medieval period (Francigena) which saw along their paths the birth of most of the actual towns of the region: cities which have variable dimension from 400.000 to 20.000 inhabitants. Next to these numerous villages, small residential complexes and many scattered houses make Tuscany a sort of polycentric city-region immersed in green landscape. A unique conurbation, really particular, that spreads out from the Tirreno sea to the mountains (Apuane Alps and Appennini). The landscape in this diffused city region is the unifying connective texture and, for this reason, it’s precious and must be protected in its totality and particularity, to hand it down intact to future generations. The landscape is to be preserved and protected just as the works of art and monudments which characterize it. Resources for its protection come from the State (Bac Ministry), from the Region and from Local Administrations (Municipalities and Provinces). Since 1999, the Tuscan Region has invested 724 million euros in this sector and could carry out 850 interventions of restoration and valorisation of historic and artistic goods, destined to cultural activities (museums, libraries, theatres, etc.). Great attention was given to the diversification of financed interventions: 80 museums, 50 villas and historic mansions, 43 theatres, 38 castles and 22 archaeological areas. We can add to these cultural parks, historic gardens, buildings of industrial archaeology, historic bridges, religious buildings (churches and convents) and new cultural buildings (auditorium, exhibition centres, mediateque, etc.).
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Cultural Heritage Preservation, Rehabilitation and Reuse: Cultural and policies of the Tuscan Region ᭛࣪䘫ѻⱘֱᡸǃׂ˖⫼߽ݡ ᠬᮃव㒇ऎⱘ᭛࣪Ϣᬓ⊏
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GIANNI BIAGI Florence City Councillor for Town Planning ԯ㔫Ӻ㧼ऎජᏖ㾘ߦሔሔ䭓 Urban redevelopment projects ජᏖ䞡ᓎ乍Ⳃ
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Florence has transformed its economic structure almost entirely over the last thirty years: from important productive centre it has become a city of services, of education and of culture. This change has had a high cost in terms of lost places of employment and demographic decrease. Nevertheless it has left behind an important resource, strategic for the new harmonious urban order: a great number of former production sites, spread over all city districts. These areas represent the city’s “development sites”, which will lay the basis necessary to face the challenge of the next decades: make all districts become “historic centres” cancelling the urbanistic category of “outskirts” and assign a structural , thus valuable and irreplaceable, role to every part of the city, also from a morphological point of view. Within a highly structured metropolitan reality the built cityscape is defined by consolidated boundaries. Therefore, the answer to further residential demand won’t be urban expansion but the functional and morphological rearrangement of the city and the territory. This will, moreover, allow to improve considerably the infrastructure and service network, which is undergoing for the first time a real integration of means of transportation, favouring an optimized utilization of the network and distributing the volume of movements more evenly in time and space. The system of disused production sites within the territory of Florence represents, thus, a fundamental resource for the development of the city. Located within significant contexts, such areas and buildings are often of remarkable architectural and historical value (Tobaccos Manufacture, Ex Military School of Health etc) and constitute firmly anchored urban parts of the city. Their missed or inadequate employment would have heavy effects on the general equilibrium of the city. The topic of redevelopment implicates therefore the necessity to pursue a shared and participated way of urban transformation, pointing out perspectives for the city of the future. The absence of use, the creation of an urban void, is in fact the condition upon which ideal, and sometimes real, appropriations can take place, originated by people desiring its transformation. Every urban group involved, inhabitants of the district, elderly people, children, sportsmen, merchants and artisans, they all tend to imagine the transformation of a zone in accordance to their personal exigencies. Social tensions can be faced by decongesting the critic areas in favour of less loaded urban districts, both, with consistent public investments (like the PRU – urban requalification programs – whose execution is currently in progress) and with the decentration of buildable volumetry, privileging the less developed areas for the location of services and public and collective spaces. The first objective in redeveloping a disused productive site is to contribute to the requalification of the context. Often this can’t be obtained by simply introducing high quality buildings but requires the creation of public spaces lacking within the urban area, like a plaza or a garden. Parting from these valuations we present some of the most important interventions of requalification and urban redevelopment carried out in Florence over the last years. The projects are significant due to the dimensions of site and the functions installed, like the redevelopment of the ex-Fiat di Novoli establishment, or due to their symbolic and functional value, like the Murate area, where an ex-prison has been opened up to the city and hosts public housing, or the requalification for special residential uses (police, students) of sites within twentieth-century districts, like Porta al Prato and San Jacopino. These and numerous other projects, currently in progress, have reconstituted parts of the urban texture, have established new public services and plazas for the citizens and have defined new focal points for urban life, integrating the built cityscape with lacking spaces and functions.
᳔䖥ⱘϝकᑈˈݙԯ㔫Ӻ㧼ⱘ㒣⌢㒧ᵘ䖙䗳ⱘᬍবⴔ˖⬅ϔϾ ⫳ѻൟⱘජᏖব៤њϔϾҹ᳡ࡵǃᬭ㚆᭛࣪㨫⿄ⱘජᏖDŽ䖭⾡ ᬍবᰃҬߎњᵕ催ҷӋⱘˈ䗴៤༅ϮҹঞҎষⱘޣᇥˈԚᰃˈ䖭 гЎජᏖ㒧ᵘⱘ䞡ᮄ䇗ᭈᦤկњϔϾ༥ᴎ˖䆌ॳᴹЎ⫳ѻᗻ ⫼ഄⱘऎඳⱘ䞣䌘⑤㹿䯆㕂ˈᅗӀ㹿ඟ≵䖭䞠ˈ㗠䖭⾡ᚙމ ᑊϡᇥ᭄ˈᭈϾᠬᮃव㒇ഄऎ䛑᱂䘡ᄬⴔ䖭⾡⢊މDŽ 䖭ѯऎඳᇚ៤ЎජᏖ᳔ᮄⱘᵕথሩⱘഄऎˈϟএⱘक ᑈ䞠ˈҎӀᇚ䖭䞠ᓔᢧ㞾ᏅⱘџϮ˖↣ϔϾऎඳ䛑ᇚ៤Ўग़ ⱘЁᖗˈජᏖ㾘ߦЁ䚞ऎⱘὖᗉгᇚϡᄬˈජᏖⱘ↣ϔϾ 㾦㨑䛑ӮᡂⓨϔϾ䞡㽕ⱘǃ᳝ᓎ䆒ᛣНⱘ㾦㡆ˈ䖭Ͼ㾦㡆Ңݙ ᆍࠄᔶᓣ䛑ᰃ䞡㽕㗠ϡৃ᳓ҷⱘDŽ ៥ӀⱘජᏖ⠜ᰃ᮶ᅮⱘˈϡӮЎњ⒵䎇Ҏ㉏ⱘሙԣ䳔∖㗠᳝ ҔМᠽሩˈԚᰃˈජᏖঞᭈϾഄඳࡳ㛑ᗻᏗሔϞⱘ䞡ᮄ䇗ᭈ ህᰒᕫ䖿ⳝⴿњDŽ ℸˈϢℸⳌϔ㟈ⱘᰃӬ࣪⸔䆒ᮑ㔥㒰ҹঞ᳡ࡵ㔥㒰ˈ䖭ḋˈ ԯ㔫Ӻ㧼ᇚϔ䍄ϔϾѸ䗮䖤䕧ᮍᓣⱘᅠ㕢ϔԧ࣪ˈ䖭Ͼ 㔥㒰ܼ䚼ᅠ៤ᑊᡩܹՓ⫼Пৢᇚࡴ㛑ᰒ⼎ߎ݊Ӭˈ䖭ᇚӮՓ ᕫѸ䗮䖤䕧ᅲ⦄ᯊ䯈ぎ䯈Ϟⱘ㒳ϔDŽ ԯ㔫Ӻ㧼䖭ѯ㹿䫭㕂ⱘ⸔䌘⑤ҷ㸼њ䖭ϾජᏖথሩⱘ┰᠔ DŽ џᅲϞˈ䖭ѯഄऎҹঞ䖭ѯᓎㄥ䛑᳝ᵕ催ⱘग़ϢᓎㄥӋؐ ˄བ˖Ꮉࠊ⚳Ꮉॖǃࠡݯџि⫳ᄺ᷵ㄝㄝ˅ˈᅗӀ䛑㹿ᬒ䖭 Ͼ⦃๗䞠䴶ˈᑊϨ៤Ўᵘ៤ᭈϾජᏖথሩ⦃๗ⱘϡৃ㔎ⱘϔ䚼 ߚDŽ ϡএ߽⫼ᅗӀ㗙߽⫼ϡᔧ䖭ѯ䌘⑤䛑ӮᇍᭈϾජᏖⱘথሩᑇ㸵 ѻ⫳ᙊࡷⱘᕅડDŽ ℸˈ⫼߽ݡ䖭ϾЏ乬ህ䖙䗳ⱘϢජᏖব䴽ⱘᖙ㽕ᗻ㘨㋏ϔ 䍋ˈජᏖⱘব䴽гЎජᏖᇚᴹⱘথሩᣛᯢњࠡ᱃DŽ ϡএ߽⫼㗠䗴៤ජᏖ䌘⑤ⱘぎ㕂㽕ᔦѢ⧚ᛇЏНⱘḍ⑤ˈ᳝ ᯊˈг⑤Ѣ⦄ᅲˈ⑤Ѣ䙷ѯᘏᰃᡞ߽Ⲟᬒ佪㽕ԡ㕂ⱘҎӀᇍ䌘 ⑤ⱘऴ᳝˖ӏԩϔϾජᏖ㒘㒛ˈ⼒ऎⱘݙሙ⇥ǃ㗕Ҏǃᄽᄤǃ䖤 ࡼਬǃଚҎǃᎹϮ㗙ˈ⾡ゲѝᇍˈ䛑䖭എব䴽Ёѝপⴔ 㞾Ꮕⱘ߽ⲞDŽ ⦄ᄬⱘ⼒Ӯކさᰃৃҹᕫࠄ㾷ⱘއDŽࡴᇍѢফѝ䆂ⱘഄऎⱘ ᅮᡩ䌘ˈ⫼ҹ䖯㸠ජᏖ㾘ߦথሩ˄བ⦄ℷ䖯㸠ⱘජᏖׂ 䅵ߦ˅ˈ㗙䗮䖛ᴀഄ࣪ⱘᆍ䞣ߚᵤᴹՓᕫ䖭ѯഄऎⱘሙ⇥ҹঞ ݀݅എ᠔ᕫࠄⱘ݀݅䆒ᮑ݀݅᳡ࡵDŽ Ўথሩ䖭ѯ㹿ᑳᓗⱘॳ⫳ѻᗻ⫼ഄ᠔ᦤߎⱘ佪㽕Ⳃᷛˈᅲ䰙Ϟᰃ ᏠᳯᅗӀ㛑ЎѸ⬠ഄऎⱘথሩߎخ䋵⤂DŽԚᰃˈ䖭⾡䞡ᮄথሩᑊ ϡ㛑ҙҙᰃ䗮䖛ᓎゟ䞣ⱘᮄᓎㄥᴹᅲ⦄ⱘˈ㗠ᰃ䗮䖛䙷ѯ㔎 ᇥݙ䚼݀݅എ᠔ⱘऎඳᓎゟབᑓഎǃ݀ುㄝ݀݅എ᠔ᴹᅲ⦄ⱘDŽ Ң䖭ѯ䆘ӋЁˈ៥Ӏৃҹ߫Вϔѯ᳔䖥ᑈ䞠ԯ㔫Ӻ㧼ජᏖ 㾘ߦׂ⫼߽ݡᮍ䴶᠔䞛পⱘᛣН⏅䖰ⱘᑆ乘ᮑDŽ ᇍѢ㧆Ѯ⡍ԡѢ䇎ぱ䞠˄1RYROL˅Ꮖ㒣ᑳᓗⱘॖ᠓ⱘׂˈᇍѢ 0XUDWHഄऎᑳᓗⲥ⣅ⱘׂˈᅗӀ㹿ׂПৢˈ䞡ᮄᇍ⼒Ӯ݀ӫ ᓔᬒˈ㗙ᇍѢ᱂ᢝᠬП䮼6DQ-DFRSLQRഄऎⱘѠकϪ㑾ජЁ ᖗഄऎԣᅙⱘׂ˄ࡼ䅵ߦⱘЏ㽕ᰃ⑤Ѣᄺ⫳ⱘሙԣ䳔㽕˅ˈ ⫼ҹ⒵䎇ሙԣ䳔∖ˈ䖭ѯ䛑ᰃ䖭Ͼഄऎ㣗ೈݙ᠔䞛পⱘ䞡В DŽ 䖭ѯׂ乍Ⳃˈ䖬᳝݊Ҫⱘ乍Ⳃˈℷথ⫳䖭ϾජᏖⱘ↣ϔ Ͼ㾦㨑䞠ˈҢ㗠䞡ᮄᓎゟњᮄⱘජऎˈЎජᏖሙ⇥ᦤկњⱘ ݀݅᳡ࡵ䆒ᮑᮄⱘᑓഎˈг䞡ᮄᅮНњජᏖⱘЁᖗഄᏺˈ㸹ܼ њ䖭ϾජᏖҹࠡ᠔㔎ᇥⱘ݀݅എ᠔ҹঞᖙ䳔ⱘϔѯජᏖࡳ㛑DŽ
PAOLA GRIFONI Supervisor Florence, Pistoia and Prato Cultural and Landscape Heritage ᓎㄥᏜˈԯ㔫Ӻ㧼ⳕǃⲂᮃᠬѮⳕϢ᱂ᢝᠬⳕ᭛࣪Ϣ᱃㾖䘫ѻㅵ⧚ሔ The artworks protection was already exercised in our remote past through method indications aimed at the restoration and at urban development. Emperor Diocleziano’s instructions on this subject date back to the VI century; in the XVI century Raffaello Sanzio, appointed “Curator of the San Pietro Factory”, gave methodologies for the monuments’ preservation as well as Luigi Borromeo gave indications about timings and modalities for artworks and architecture conservation. In the pre-Unitarian Italy the Conservation Service begins to take shape, which at the end of the XIX century, will be organised through the institutions of “Soprintendenza”. This interest for beauty and for its preservation allowed our Country to become the one in western Europe with the most ancient artworks conservation tradition. The Culture Minister structure, created in 1975, is organised on the territory through the “Soprintendenze” divided, according to the competences, in: Archaeology department, History and Art department, Architecture and Landscape department. This last one is the local office that is supposed to preserve, conserve and valorise the architectural patrimony and the landscape on the territory of its juristidiction. The preservation activity is regulated by a legislation that, starting from 1902 has been updated and widened throughout the last century until the issuing, in 2004, of the “Cultural Items and Landscape Code”. In this Code are filed all the former laws issued on the subject, with a particular attention to the relationships and the collaboration with Regions, local Authority and Foundations. Together with the first laws on preservation of the historic, artistic, archaeological and architectural patrimony was also given a regulation regarding the conservation of the Landscape. The Landscape, in the past, was considered only as a background for the artwork and only recently it was given its own value: an environmental framework characterised by mountains, hills, water streams, cultivated fields, paths and streets and those small religious, rural or residential built-up areas with little architectural value but big historic importance that outline the peculiarity of our landscape. Within the competences of the Soprintendenza also falls the activity of control and vigilance over the architectural patrimony owned by privates; such activity is carried out through evaluation and approval of restoration projects on buildings of historical and artistic interest, control over the proceeding of the works and indications over the restoring methods and use or reuse of traditional materials, within the complete respect of the architectural contest. Furthermore, the Soprintendenza plans restoration projects and valorisation interventions with ministerial financing over public goods or religious properties. It is through this direct activity, exercised by technicians of specific and high competence, that the Soprintendenza represents a point of reference for intervention methodologies and experimentations. It is within the competence of the Soprintendenza an articulated and complex activity that goes from structural restoration to ordinary and extraordinary maintenance interventions of monumental buildings. Such interventions aim at the maximum respect for the ancient frame, possibly through the recycle of traditional materials, integrated if necessary with modern technologies; other important aspects of the restoration are the adjustment to the current security provisions, the creation of new vertical connections, the necessary division into anti-fire compartments. Another activity of the Soprintendenza includes the conservation of the landscape, which implies a careful knowledge of the territory and is exercised through controls over the proposed interventions, with the function of coordination, according to the procedures given by the new Code, with local Authorities and Regions. The territory that is to be protected presents a very high concentration of Italian architectural artworks and the landscape itself, due to its high environmental value elements, determines particular complexities. The conservation tends more and more to be aimed towards entire areas of historical city centres, paying attention to their preservation but without turning them into “museums” which would undermine their habitability condemning them to the oblivion. This is a difficult balance to be maintained as well as it is difficult, even though stimulating for the Soprintendenza, to exercise control, conservation and protection over the enormous cultural patrimony of the Country.
㡎ᴃકֱᡸҢᕜЙҹࠡህ䗮䖛䩜ᇍׂ㔂ජᏖথሩⱘᮍ⊩ᣛ⼎ ࡴҹᅲᮑњDŽ ᠈ܟ䞠ܜᏱᇍ䖭ϔ䯂乬ⱘᣛ⼎ৃ䗑⒃ࠄ݀݁ܗϪ㑾˗क݁Ϫ 㑾㹿ӏੑЎĀ6DQ3LHWURᎹॖ佚䭓āⱘ5DIIDHOOR6DQ]LR㾘ᅮ њ㑾ᗉⱘֱᄬᮍ⊩ˈ/XLJL%RUURPHRᇍ㡎ᴃકᓎㄥֱᡸⱘ
The artworks protection of the Superintendence of Florence, Pistoia and Prato Cultural and Landscape Heritage
ᯊ䯈Ҿᓣᦤߎњᣛ⼎DŽᛣ߽㒳ϔࠡᯊᳳˈֱᄬ᳡ࡵᓔྟ 㦋ᕫᰒ㨫থሩˈकбϪ㑾ᇚ䗮䖛Ā᭛ֱ࣪ᡸㅵ⧚ሔāⱘЏ ㅵᴎ݇ࡴҹ㒘㒛ㅵ⧚DŽ䖭ӑᇍ㕢ঞֱᡸ㕢ⱘ⛁ᚙՓ៥៤Ў 㽓᳔᳝স㗕㡎ᴃકֱᡸӴ㒳ⱘᆊПϔDŽ᭛࣪Փⱘԧ㋏ ߯ᓎѢ ᑈˈᣝഄऎ䗮䖛Ā᭛ֱ࣪ᡸㅵ⧚ሔāࡴҹ㒘㒛ㅵ
ԯ㔫Ӻ㧼ᓎㄥ䘫ѻϢ⦃๗ֱᡸㅵ⧚ሔ᠔ 䞛পⱘ㡎ᴃકֱᡸᮑ
⧚ˈĀ᭛ֱ࣪ᡸㅵ⧚ሔāḍ㘠㛑ϡৠߦߚ៤㗗স䚼ǃग़㡎 ᴃ䚼ᓎㄥ᱃㾖䚼DŽ᳔ৢϔϾᰃ䋳䋷݊ㅵ䕪ഄऎⱘᓎㄥ䘫ѻ ᱃㾖ⱘֱᄬǃֱᡸ䆘Ԅⱘഄᮍࡲџ໘DŽֱᡸ⌏ࡼ䗮䖛ϔ乍⊩ ՟䖯㸠ㅵ⧚ˈ㞾 ᑈᓔྟࠄϞϾϪ㑾㒧ᴳϔⳈϡᮁᮄᠽ ࠄⳈˈܙᑈĀ᭛⠽᱃㾖⊩Ҹāⱘ乕ᏗDŽ䖭ϔ⊩Ҹ䰸ᇚП ࠡ䩜ᇍ䖭ϔ䯂乬乕থⱘ⊩ᕟܼ䚼ᬊ㒇ˈ䖬⡍߿݇⊼ऎᬓᑰǃ ഄᮍЏㅵ䚼䮼䞥ӮП䯈ⱘ݇㋏णDŽϢग़ǃ㡎ᴃǃ㗗 সᓎㄥ䘫ѻֱᡸⱘ佪ᡍ⊩ᕟϔৠ乕Ꮧⱘ䖬᳝ϔ乍᱃㾖ֱᡸᴵ ՟DŽ᱃㾖䖛এা㹿䅸Ўᰃ㡎ᴃકⱘ㚠᱃ˈাᰃ᳔䖥ᠡ⹂ᅮ݊ 㞾䑿ⱘӋؐ˖ϔϾ߿⡍㡆ⱘ⦃๗Ḛᶊˈᅗϡҙ᳝ቅ㛝ǃϬ 䱉ǃ∈ඳǃᓔൺ䖛ⱘ⬄䞢ǃ䘧䏃㸫䘧ˈ䖬᳝䙷ѯৃҹ࣒ࢦߎ ៥Ӏ᱃㾖⡍㡆ⱘᇣൟᅫᬭǃеᴥԣᅙᓎㄥऎˈᓎㄥӋؐ㱑ᇣ ग़ᛣНै䴲ৠᇏᐌDŽᇍ⾕Ҏᢹ᳝ⱘᓎㄥ䘫ѻⱘࠊⲥㅵг ሲѢ᭛ֱ࣪ᡸㅵ⧚ሔⱘ㘠㛑㣗ೈ˗䖭ϔ⌏ࡼⱘԧᅲᮑݙᆍࣙ ᣀᭈϾᓎㄥ乚ඳ㣗⭈ˈݙᇍग़㡎ᴃᛣНЄᆠⱘᓎㄥׂ㔂 乍Ⳃ䖯㸠䆘ԄᅵᡍˈᇍᎹ䖯ᑺ䖯㸠ⲥˈᇍׂ㔂ᮍ⊩Ӵ 㒳ᴤ᭭ⱘ߽⫼ঞ⫼߽ݡ㒭ќᣛᇐDŽℸˈ᭛ֱ࣪ᡸㅵ⧚ሔ䖬 䅵ߦׂ㔂乍Ⳃ⠽Ӌ〇ᅮᑆ乘ᮑˈᑊᇍ߽݀݅Ⲟᅫᬭ䋶ѻ ᦤկᬓᑰ䌘ࡽDŽ䗮䖛䖭乍⬅᳝⡍ᅮЄᆠ㒣偠ⱘᡔᴃҎਬᅲᮑ ⱘⳈ⌏ࡼˈ᭛ֱ࣪ᡸㅵ⧚ሔЎᑆ乘ᮍ⊩䆩㸠ᦤկњޚ ⚍DŽࣙ᭛ֱ࣪ᡸㅵ⧚ሔ㘠㛑㣗⭈ⱘݙ䖬᳝ϔ乍Ⳍ݇ⱘᓎㄥ 㕸⌏ࡼˈ⍝ঞҢ㑾ᗉᓎㄥⱘ㒧ᵘׂ㔂ࠄᑇᐌঞ䴲ⱘ㓈ᡸᎹ DŽ䖭ϔᎹᮼ䗮䖛Ӵ㒳ᴤ᭭ⱘಲᬊˈᖙ㽕ᯊϢ⦄ҷᡔᴃⳌ 㒧ড᳔়䰤ᑺഄᴹᇞ䞡সҷᓎㄥ㒧ᵘ˗ׂ㔂ⱘ݊Ҫ䞡㽕ᮍ䴶䖬 ࣙᣀ䙉ᅜ⦄㸠ᅝֱܼ䱰㾘ᅮˈ߯䗴ᮄⱘൖⳈⱘ䖲ˈߦߚᖙ㽕 ⱘ䰆☿䱨䯈ㄝDŽ᭛ֱ࣪ᡸㅵ⧚ሔⱘϔ乍⌏ࡼᰃᇍ᱃㾖ⱘֱ ᡸˈ䖭ᛣੇⴔ㽕䅸ⳳњ㾷ᴀഄऎⱘᚙˈމ䗮䖛ᇍᦤߎⱘᑆ乘 ᮑᮑࡴࠊᴹᅲᮑֱᡸˈḍᮄ⊩Ҹ㾘ᅮⱘᑣሹ㸠Ϣഄᮍᬓ ᑰऎᬓᑰП䯈ⱘण䇗㘠㛑DŽेᇚফࠄֱᡸⱘഄऎᰒ⦄ߎᛣ ߽ᓎㄥ㡎ᴃક᱃㾖ᴀ䑿ⱘᕜ催ᆚᑺˈ⬅Ѣ᳝݊ᕜ催ⱘ⦃๗ Ӌؐ㋴ˈއᅮњ݊⡍⅞ⱘᴖᗻDŽֱᡸᎹⱘⳂᷛ䍞ᴹ䍞ؒ Ѣग़ජᏖЁᖗⱘᭈϾഄऎˈ⊼䞡ֱᡸⱘৠᯊϡӮᇚᅗӀব ЎĀम⠽佚āˈ৺߭Ӯ⸈ണ݊ሙԣ⦃๗ˈ⊼ᅮᇚ݊⑂♁DŽ䖭⾡ ᑇ㸵ᕜ䲒ֱᣕˈे֓ᇍ᭛ֱ࣪ᡸㅵ⧚ሔࡴҹࠎ▔哧ࢅˈᇍᆊ བℸᑲⱘ᭛࣪䘫ѻᅲᮑⲥǃֱᄬֱᡸгᕜೄ䲒DŽ
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Experiences
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PRESERVATION AND REHABILITATION OF HISTORICAL HOSPITALS: SANTA MARIA NUOVA AND CAREGGI, FLORENTINE HOSPITALS
Paolo Felli Maria Chiara Torricelli Luca Marzi University of Florence
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Between the XI and the XV century, in European towns, recovery places evolved from religious structures where poor people and pilgrims were accepted, into town buildings assigned to the treatment of disease. Especially in Florence, this process is represented by Santa Maria Nuova Hospital, the town hospital par excellence. Built at the end of the XIII century, it has been recognized from the beginning as the most important structure for medical treatments. During the XV century this hospital became famous outside of Florentine boundaries, and it has been taken as an example of a modern hospital structure, emulated during the Renaissance in Italy and Europe. It was enlarged between the XV and the XVI century, with the creation of a lodge in front of the building and a series of internal cloisters. At the beginning of the XX century a new general hospital was built bear the center of the town in Careggi, because of the big development of the town and the evolution of medicine. In Florence, the old hospital, Santa Maria Nuova, has represented for many centuries the place where medical research, administration capacity and art skills used to encounter to create a town hospital structure that has had an international relevance in history. Although today Santa Maria Nuova is not still adapted to some medical treatments, the requalification plan, now under construction, aims to preserve its functions. In the meantime it’s
important to note that this plan try also to improve these functions, compared to what already exists and the building history. The new Santa Maria Nuova will be an emergency hospital, with doctor’s offices and a day hospital, for senior citizens, students, tourists and commuters that usually stay within the historical centre. Inside the hospital there will also be an itinerary through monumental and historical parts of the building. In the meanwhile, the Careggi Hospital complex, the most important general hospital linked to the university in Tuscany, has been subjected to an important requalification process. The building was designed in 1920 as a complex made of many pavillions, and today it is at its maximum capacity. The requalification plan aims to create a new structure, where every ward is linked, and where the organization is set according to treatment intensity. The requalification is going to preserve old buildings and construct new ones, replacing buildings that are impossible to restore. Also important will be the new organization of patients flux and medicine implants. Finally, it’s important to note that this requalification plan has to be executed without interrupting the normal activity of such an important and precious hospital. At this purpose, new important instruments have been created to supervise costs, time table and quality of work, also during the stages, as a support of the project management.
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ᘶᎹᇚֱᄬসᓎㄥᑊׂᓎᮄᓎㄥˈ᳓ҷϡৃ㛑ׂⱘᓎ ㄥDŽ䞡ᮄᅝᥦᙷ㗙⌕䗮䞣㥃⠽䕧䗕гৠḋ䞡㽕DŽ ᳔ৢˈؐᕫ⊼ᛣⱘᰃ䖭ϔᘶ䅵ߦᖙ乏ϡᑆᡄ䖭ḋ䞡㽕㗠 ⿔᳝ए䰶ⱘℷᐌ⌏ࡼⱘᚙމϟᠻ㸠DŽЎℸˈᏆࠊᅮњᮄⱘ䞡 㽕ᣛ⼎ᇍ៤ᴀǃᯊ䯈Ꮉ䋼䞣䖯㸠ⲥˈᑊ䖭ϔ䰊↉ᬃ ᣕ乍Ⳃㅵ⧚DŽ
Paolo Felli M.Chiara Torricelli Luca Marzi Ϣ䆒䅵ᡔᴃ㋏
17 17
RECOVERY AND VALORISATION OF MONUMENTAL STRUCTURES TO DESTINE TO ACCOMMODATION FUNCTIONS IN TUSCANY. THE JUBILEE 2000 EXPERIENCE Romano Del Nord Adolfo F. L. Baratta University of Florence
The Jubilee
18 18
The Jubilee is a important event of the Catholic tradition: it is the year of the remission of the sins, of reconciliation among the contenders, of conversion and sacramental penitence. The first Jubilee was announced by Pope Bonifacio VIII in 1300 as occasion of “full remission of the sins” to all the visitors of the Basilica of San Pietro: among the pilgrims of this first Jubilee were Dante, Cimabue and Giotto. The enormous afflux of pilgrims to Rome induced Bonifacio VIII to grant indulgence for the entire year of 1300 and, in the future, every hundred years. After the Papal See’s transfer to Avignon (1305-77), numerous appeals were formulated to announce the second Jubilee in 1350 instead of 1400. Clemente VI gave his assent and fixed the Jubilee’s recurrence in 50 years. Subsequently, Urbano VI decided to change the cadence to 33 years, in reference to the period of Jesus’ life on earth. Bonifacio IX initiated the Saint Year of 1390 and due to the high afflux of pilgrims he announced a new Jubilee in 1400. In 1470, Paul II established that the Jubilee would take place every 25 years. The one announced in 1998 by Pope Giovanni Paul II for the year 2000 has been the 26th Jubilee, particularly celebrated being the remembrance of the two thousandth year from Jesus’ birth. During the centuries, the notable afflux of pilgrims (300.000 in 1575; 500.000 in 1825; 3.000.000 in 1950; 10.000.000 in 1975) has caused considerable problems of assistance.
The financial plan
With the emanation of the 270/1997 Law, the legislative frame finalized to sustain the Jubilee 2000 celebrations on the entire national territory was completed. Its dispositions have guaranteed a comfortable and secure participation in the Jubilee’s celebrations to pilgrims and visitors in all the Italian locations involved, due to a precise individuation of the intervention sectors and supported by suitable financial funding (equal to around 2 million Euros). Furthermore, the dispositions have favoured the realisation of a vast program of valorisation of the national historical and artistic heritage and have activated, as an induced effect, further public and private investments in the sectors of reception, accommodation capacity and cultural heritage. The decision to destine a consistent quota of public resources to interventions distributed over the entire national territory has produced positive effects both in terms of requalification of numerous
local environments and in terms of development and adaptation of service endowments. The interventions included in the plan, as well as those addressing the restoration and valorisation of the cultural heritage, all refer to the wider domain of reception and accommodation facilities for pilgrims and visitors coming to Italy during the year 2000. This approach has extended the traditional concept of reception, including the measures necessary to guarantee a unitary management of information, of orientation systems guiding the pilgrim and tourist flows, of synergies of response between public and private operators and of comfort and safety conditions. To face the additional requirements of structures and services, quantified on the basis of specific analyses and comparing the emergent demand with available offers, the program was worked out in accordance with the financial demands expressed by subjects legitimated to present funding applications. These were mainly public administrations, entirely or prevailingly public corporations, religious institutions, and, by including valuable interventions proposed by further subjects, private operators and social security corporation bodies. The plan consisted in an unitary program for the entire national territory, resulting from cooperative relationships between the central government, local administrations, religious institutions and private subjects involved, coordinated by a single competent office. The public investment turned out to be functional, not only to the successful course of the specific initiative, but also to the effective organizational response to the presence of Italian and foreign visitors, which would produce lasting benefits for the collectivity over the post-Jubilee years.
Tools and procedures
Besides the clarity of the 270/1997 Law, the attainment of these results had as a precondition also the timeliness and the analogous clarity of the subsequent secondary regulatory acts, like the ministerial decree which has defined “criterions” for the selection of demands and the coordination and technical support role exercised by the URCGE office (Rome, Capital City and Great Events). A rigorous procedural framework of the operational phases was set up to guarantee the following efficient planning of the interventions to be carried out. The necessity to reduce to the minimum the amount of time implicated in the preliminary phase has determined the importance attributed to the definition of structure and contents of the application forms (the MM form) and to the design of the corresponding data elaboration procedures. The subsequent preparative activity performed by the URCGE, supported by dedicated information technology procedures and data evaluation mechanisms, have contributed to rationalize the progress of the operational phases and minimized the margin of decisional discretion. The Committee, composed of nine members nominated and presided by the Premier, appointed for the definition and the effective selection of the interventions to insert in the program, had to make an intelligible screening with a high content of informative indicators. The valence of the method and the transparency of the procedures adopted have been confirmed by the total absence of refutations and legal disputes, despite the elevated number of applications (more than 7.500) and the restricted time limits.
Structure and management
Throughout the program’s formation procedure, during both, the screening of the application forms by the URCGE and the following evaluation and selection of the projects by the Committee, relevant importance was attributed to the possible post-jubilee utilisation of the interventions proposed. Thus, before proceeding to the selection of the interventions to insert in the plan, the Committee defined the so-called “Jubilee
Territory” constituted by the most significant jubilee axis, important religious destinations and related locations, principal “logistic nodes” regarding the mobility of pilgrims and visitors and other potential religiously or culturally attractive “spots”. Five “linear systems”, along the main axis historically related to the flows of Jubilee visitors, were individuated (the via Appia, the via Appia Traianea, the via Francigena, the via Romea and the via Flaminia orientale): ancient north-south communication lines which, parting from Rome, headed towards the most important pilgrimage locations on the route to Jerusalem and the Holy Sepulchre. The Jubilee territory was therefore extended to the “religious destinations” expected to receive a considerable attendance of pilgrims like Rome, Assisi, Loreto, Padua, Pompeii and San Giovanni Rotondo, which nowadays are all located within complex urban systems. The Committee individuated as critical further urban systems for both, their “City of art” characteristics, with an elevated number of annual visitors (Florence, Milan, Naples, Venice), and their traditional religious destinations (one for every Region), as well as for their qualification as logistic “nodal points” of transportation (railway, port, airport) connected to the predictable flows of visitors. The final layout of the plan was, therefore, a result of the harmonious allocation of resources divided among different intervention sectors in relationship to the specificity of each of them.
The results in Tuscany
The objectives targeted have substantially been achieved, as confirmed by the successful implementation of the celebrations on the entire national territory. Over 95 % of the scheduled interventions have been realized on time, 40% of the total investments have been carried by the central government. From the 955 projects included in the program and realized by public or ecclesiastical subjects, 275 belong to the sector of reception, 355 to that of the accommodation capacity, 325 refer to interventions on cultural heritage. This division also represents a discerning partition between the sectors, in terms of both numerical and invested resources. Concerning the beneficiary subjects, a substantial equilibrium between projects carried out by public administrations, by ecclesiastical institutions and by private operators can be noticed. Primarily, due to the insertion of Florence among the “Cities of art” and to the relative consistent afflux of resources, Tuscany held an important role within the Jubilee 2000 celebrations, with an elevated number of projects involving places of worship (churches, convents, monasteries, etc.), places of public interest (plazas, streets, palaces, parks, villas, etc.) and cultural systems (museums, libraries, institutes, etc.). Besides the Florentine interventions (Duomo and Battistero, Basilica di Santa Croce, Convitto ecclesiastico della Calza, Museo dell’Opera di Santa Maria del Fiore, Giardino Orticoltura e Parnaso, public lighting system, equipped device-exchange parking) the Tuscan region was involved in the “Jubilee Territory” programs like the “linear system” of the via Francigena. This resulted in bringing numerous projects to smaller and medium size urban centers (Aulla, Fiesole, Fucecchio, Lucca, Pietrasanta, Pontremoli, Reggello, Vergemoli), like the “logistic junctions” of Livorno (Santuario della Madonna di Montenero) and of Pisa (Duomo e Convento di Santa Croce in Fossabanda), or “traditional religious destinations” (Ospedale di Santa Maria della Scala and a multi-storey parking in Siena) and in further small projects (Basilica di San Francesco in Arezzo, Basilica di San Cerbone Vescovo in Massa Marittima, Collegiata di Sant’Andrea Apostolo in Carrara, the Cathedrals of Pistoia and Prato, the Basilica di San Galgano in Monticano, Villa Sforzesca in Castell’Azzara, Santuario della Verna in Chiusi, ecc.). The results of the entire operation achieved in Tuscany, including measures for a total amount of around 65 million Euro, recorded a shared and widespread acknowledgement.
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ⱘᖙ㽕ᴵӊ㒧ᵰг䛑ᑨᕫࠄⳌᔧⱘ䆕ᅲˈৠᯊˈḍ䖭ᴵ ⊩Ҹг⹂ᅮњ䳔∖ǃড়㾦㡆ҹঞ⬅佪䛑㔫偀䞡џӊࡲ ݀ᅸ˄85&*(˅᠔ᦤկⱘᡔᴃᬃᣕⱘ䗝ᢽᷛޚDŽ 䡈Ѣϟᴹ↣Ͼߛᅲৃ㸠ⱘ䅵ߦ⬇䇋ⱘᦤߎࠄᅲ䰙ᠻ㸠䰊 ↉ˈ䛑ᖙ乏㒣䖛ϔϾϹḐⱘᑣᗻⱘ㓁䖛ˈℸˈ᳝ᖙ 㽕ᡞ乘ᅵᯊ䯈ޣᇥࠄ᳔ᇥˈℸˈ⬇䇋ⱘᦤߎ䞛⫼њ㸼Ḑ˄ 00㸼Ḑ˅ᔶᓣˈ⫼Ѣ߫ߎⱘ⬇䇋ⱘ䞡㽕ݙᆍˈᑊㅔ࣪Ⳍᇍᑨ ⱘ໘⧚ᅗ᠔ࣙⱘ᭄ⱘ䖛DŽ 䅵ㅫᴎ࣪㓁䖛ঞϧ䮼Ў䆘Ԅ᠔ޚⱘ⦄ҷ࣪Ꮉⱘᐂ ࡽϟˈϟᴹ⬅佪䛑㔫偀䞡џӊࡲ݀ᅸ˄85&*(˅ᇍ⬇ 䇋䖯㸠ⱘ乘ᅵ⌏ࡼˈгᮼՓᭈϾ⌏ࡼᠻ㸠䖛ⱘথሩࡴ ড়⧚࣪ˈৠᯊˈгৃҹޣᇥއᅮᗻⱘ㞾㸠໘⧚ᴗϞⱘぎⱑDŽ ᠻ㸠ྨਬӮ⬅ᘏ⧚҆㞾ᢙӏЏᐁˈࣙᣀ⬅ᘏ⧚ӏੑⱘбԡ៤ ਬˈ㛑ᇍ䅵ߦⱘ⾡ֵᙃ䖯㸠催ሖⱘܼ䴶ᥠDŽ ሑㅵ乍Ⳃ⬇䇋᭄䞣ᵕ˄䍙䖛Ͼ˅ˈᯊ䯈г䴲ᐌ㋻䖿ˈ Ԛᰃˈᑊ≵᳝ߎ⦄䆝䆐ҹঞѝ䆂ˈ⬅ℸৃҹⳟߎˈ᠔䞛⫼ⱘ 䖭ϔᎹᮍ⊩ᰃ䴲ᐌ᳝ᬜⱘˈ㗠Ϩ㓁䖛гᰃ䗣ᯢⱘDŽ ᴎᵘㅵ⧚ ᭈϾ䅵ߦⱘᔶ៤䖛ᔧЁˈ䗮䖛⬅佪䛑㔫偀䞡џӊࡲ ݀ᅸᦤߎⱘ㽕∖ˈҹঞϟᴹ⬅ྨਬӮ䖯㸠ⱘ䆘Ԅ䗝ᢽˈ ৃҹⳟߎˈҪӀᇍѢ䌺ᑈПৢᇍ䖭ѯ䆒ᮑⱘ߽⫼䯂乬㒭 Ϣњᕜⱘ䞡㾚DŽ ℸˈ䖯㸠䆘Ԅ䗝ᢽПࠡˈྨਬӮ᳔㒜ᅮНњĀ䌺ᑈ䞠 ⱘᆊāˈ㾘ᅮњ䌺ᑈⱘᘏԧ䏃㒓ˈ䞡㽕ⱘᅫᬭⳂⱘഄ ᢉ䖒䖭ѯഄ⚍Ӯ㒣䖛ⱘഄᮍˈҹঞ⌕ࡼⱘᳱᢰ㗙খ㾖㗙ⱘ Џ㽕ⱘৢࢸկᑨ䆒ᮑˈ䖬᳝ˈ䙷ѯᵕᅫᬭ᭛࣪ᓩⱘ ⛺⚍খ㾖എ᠔DŽ 䌺ᑈ䏃㒓Ё᳝Ѩᴵ䘧䏃㋏㒳䴲ᐌ᳝⡍㡆˄䖭Ѩᴵ䘧䏃ࣙᣀ $SSSLD䏃ˈ$SSLD7UDLDQHD䏃ˈ)UDQFLJHQD䏃ˈ5RPHD䏃ҹ ঞ)ODPLQLDϰ䏃˅˖䖭ѯ䛑ᰃ䌺ᑈ䞠Ң㔫偀ߎথࠄ݊Ҫ 㨫ৡⱘᅫᬭഄⱘफ࣫䏃㒓ˈ㞾সҹᴹˈҎӀህ䖭ѯ䏃㒓 ϞЎᳱᢰ㘊䏃ᩦދ㘊⿷ⱘҎӀᓎゟњ䆌ৃҹ⬭ذӥ ᙃⱘ亳ᆓഎ᠔DŽ ℸˈᳱⱘ㣗ೈህ㹿ᠽሩࠄ᠔᳝ৃ㛑㹿ᣛᅮⱘ䞡㽕ⱘᳱ ᅫᬭⳂⱘഄˈ㗙䇈ˈЏ㽕ⱘᳱഄᮍࣙᣀњ˖㔫偀ǃ䰓㽓 㽓˄$VVLVL˅ǃ⋯䳋ᠬ˄/RUHWR˅ǃᏩ⪺ǃᑲ䋱ҹঞШ ϛሐ⋯乓ᠬ˄6DQ*LRYDQQL5RWRQGR˅ˈ䖭ѯජᏖˈ↣ᑻ䛑 ᢹ᳝㞾䑿ᴖⱘජᏖ㋏㒳DŽ ⴔˈྨਬӮࠊᅮњ䖯ϔℹⱘජᏖ䏃㒓ˈ݊ᷛޚ㗙ᰃḍ ජᏖᴀ䑿ᰃ㡎ᴃජᏖ㗠␌ᅶ↣ᑈϡᮁ䭓˄བԯ㔫Ӻ㧼ǃ ㉇݄ǃ䙷ϡࢦᮃǃ࿕ሐᮃ˅ⱘ⡍⚍ˈ㗙ᰃḍ݊Ӵ㒳ⱘᅫ ᬭⳂⱘഄ˄↣ϔϾऎ䛑᳝䖭⾡ජᏖ˅ⱘ⡍⚍ˈজ㗙ᰃḍ ݊Ўখ㾖㗙Ҏ⌕ⱘ䖤䕧⚍˄䪕䏃ǃ␃ষǃ亲ᴎഎ˅ⱘ⡍ ⚍ⱘߎخDŽ ℸˈ᳔ৢᢳᅮⱘ䅵ߦᅲ⦄њ䌘⑤ⱘ䇤䜡㕂ˈᇚ䖭ѯ䌘⑤ ഄϡৠⱘ䚼䮼П䯈ḍԧᚙމ䖯㸠ߚ䜡DŽ 䅵ߦᠬᮃव㒇ᅲᮑⱘ៤ᵰ џܜ乘䅶དⱘⳂᷛԧϞᏆ㒣ᅲ⦄њˈ䖭ϔ⚍ৃҹҢܼ㣗 ೈݙ䌺ᑈⱘᑚ⼱⌏ࡼⱘ乎߽В㸠ᕫࠄ䆕ᅲDŽ ҹϞⱘ᮶ᅮⳂᷛᏆ㒣᮶ᅮⱘᯊ䯈ݙᕫࠄᅲ⦄ˈ݊Ё ⱘᡩ䌘⬅ᆊ䋳䋷ᦤկDŽ䅵ߦЁࣙⱘ Ͼ乍Ⳃ⬅݀݅ ಶԧᬭӮಶԧᅠ៤ˈϾԣᆓ乍ⳂˈϾᕙ乍Ⳃˈ Ͼ᭛࣪䘫ѻᮍ䴶ⱘ乍Ⳃˈ䖭ѯ᭄ᄫҷ㸼њৠϔ䚼䮼ݙ䚼 ⱘԧߚ䜡ˈϡҙҙᰃ᭄ᄫϞⱘˈгᰃᡩ䌘䌘⑤ϞⱘDŽҢ 䖭ѯᏆ㒣ᕫࠄ㨑ᅲⱘ乍ⳂЁˈ៥ӀӮ⊼ᛣࠄϔϾᴀ䋼ⱘ䞡㽕 ᑇ㸵ˈᰃ݀݅ㅵ⧚ᴎᵘǃᬭӮҹঞϾҎಶԧᅲᮑⱘ䖭ѯ乍Ⳃ П䯈ⱘᑇ㸵DŽ ᠬᮃव㒇ᑈⱘ䌺ᑈЁᡂⓨњϔϾᵕ݊䞡㽕ⱘ㾦㡆ˈ
Romano Del Nord Adolfo F. L. Baratta ԯ㔫Ӻ㧼ᄺ
19 19 ᳔Џ㽕ⱘॳᰃԯ㔫Ӻ㧼㹿߫ЎĀ㡎ᴃජᏖāখϢ݊Ё᠔ ѻ⫳ⱘᕅડˈ䖬᳝ˈӫⱘ䌘⑤ˈҹঞ⎉Ⲫњᅫᬭഎ᠔˄ᬭ ූǃཇׂ䘧䰶ǃ⬋ׂ䘧䰶ˈㄝㄝ˅ǃ݀݅എ᠔˄ᑓഎǃ䘧 䏃ǃᓎㄥǃ݀ುǃ߿๙ㄝ˅᭛࣪എ佚˄म⠽佚ǃк佚ǃ ᄺ䰶ㄝ˅ⱘ⾡ׂϢ⫼߽ݡ乍ⳂⱘᓔሩDŽ 䰸њԯ㔫Ӻ㧼˄ᬭූ⋫⼐ූǃकᄫᬭූǃ&DO]Dᬭ Ӯᆘᆓᄺ᷵ǃ↡ⱒ㢅ᬭූ㡎ᴃम⠽佚ǃು㡎㢅ುҹ ঞᏈࢦ㒇ᮃቅǃ݀݅✻ᯢ䆒ǃ᳝䳊䜡ӊ䆒ⱘذ䔺 എ˅ˈᠬᮃव㒇䖬ᰃ)UDQFLJHQD䏃㒓ԧ㋏Ёⱘ䞡㽕䚼ߚˈ 䖭Ͼ㋏㒳ᡞᕜⱘᮑгᏺࠄњ䆌ЁᇣජᏖ˄$XOODǃ )LHVROHǃ)XFHFFKLRǃ/XFFDǃ3LHWUDVDQWDǃ3RQWUHPROLǃ 5HJJHOORǃ9HUJHPROL ҹঞЎ䖤䕧⚍ⱘ␃ষජᏖ䞠ぱ䙷˄ 0RQWHQHUR↡↓˅↨㧼˄)RVVDEDQGDकᄫᬭූׂ䘧 䰶˅ˈ䖬᳝Ӵ㒳ⱘᅫᬭⳂⱘഄ˄䫵㘊㒇 䖭䞠᳝6FDOD↡⥯ ߽Ѯए䰶ሖذ䔺എ˅ˈ䖬᳝݊Ҫⱘᇣⱘഎ᠔˄$UH]]Rⱘ ᓫᳫᮃ⾥ᬭූˈ0DVVD0DULWWLPDⱘ6DQ&HUERQH㑶㸷 Џᬭᬭූˈवᢝᢝⱘ䰓ᖋ㦅Ӵᬭ㗙ᬭූˈⲂᮃᠬѮ ᬭූˈ᱂ᢝᠬᬭූˈ0RQWLFDQRⱘ6DQ*DOJDQRᬭූˈ &DVWHOOÿ$]]DUDⱘ6IRU]HVFD߿๙ˈ&KLXVLⱘ9HUQDᬭූˈ ㄝㄝ˅DŽ ᭈϾ䖤⍝ঞⱘ乍Ⳃᘏ㒣䌍催䖒ϛˈܗᠬᮃव㒇䖭 ѯ乍Ⳃⱘ៤ࡳ䖤ˈপᕫњҸҎⳂⱘ៤ᵰˈᑊᕫࠄњᑓ⊯ ⱘ䅸ৃDŽ
FLORENCE: REHABILITATION AND REUSE OF DISUSED INDUSTRIAL AREAS
Raimondo Innocenti University of Florence1
Florence is a medium-sized town whose population did not reach half a million inhabitants at the height of population growth in 1976 and whose industrial activity although industrial activity was important within the regional economy – was much more limited than that of the big towns of the north-western industrial triangle. This is reflected in the makeup of the disused buildings and sites: the areas occupied by former factory buildings – of all the disused sites that have so far become, or are expected to become, available for rehabilitation - are fewer and smaller than those formerly occupied by buildings with other functions (amounting to 59.9 percent of sites and 63.9 percent of surface areas) (table 1). The closing down of industrial buildings occurred mainly in the north-western suburbs of Florence, between Novoli and Rifredi, where many of Florence’s major industries (Of20 20
ficine Galileo, Manetti e Roberts, Fiat, and Nuovo Pignone) were based, and in the western suburbs, towards Osmannoro, an industrial district formed in the 1960s and 1970s. Buildings used for other purposes (prison, judicial, religious, military, school, hospital and residential buildings, etc.) were located within the historic centre and in the districts contiguous to the ring-road. A comparison of building usages recorded in 1992 with those recorded in censuses in 2001 and early 2002 reveals an acceleration in processes of reclamation and transformation of disused areas in comparison with the previous decade. The number of areas and buildings currently in use or which have been demolished and rebuilt has grown from 12.3 percent to 36.1 percent and their respective surface areas have gone from 8.3% to 29.1%. The existence of a strong policy of urban renewal is confirmed by the increase in the number of buildings that have been demolished or which are being rebuilt from 2.2 percent to 17.5 percent, with a relative increase in surface area from 0.8 percent to 25.5 percent. Correspondingly, the number of disused sites that have not been redeveloped is decreasing (from 30.4 percent to 24.2 percent), while their respective surface areas have increased from 16.7 percent to 19.3 percent (table 2). Following a thorough process of identification of sites and definition of urban renewal and redevelopment projects, and with the adoption of the new urban planning legislation, the early 90s saw the first redevelopments take place. In Florence, the problem of rehabilitation and transfor-
mation of disused urban sites became a central issue in urban planning as far back as the mid-1980s.2 With the adoption of the so-called Variante di tutela dei beni culturali e ambientali in 1991 a new urban framework for the former Fiat site (the most extensive disused urban site available to the city at 35.3 hectares) was drawn up. This was to include a 12-hectare city centre park and new court, university and residential buildings around its periphery. In January 1998, enactment proceedings for the urban planning legislation adopted in 1993 were concluded and approved by the regional administration. Since then, the new urban renewal regulations have governed both the assignment of new functions to these areas and their physical transformation. Where the Municipal Administration wishes to modify some aspect of a given project - in order to take advantage of opportunities which have emerged since the project was approved – negotiation proceedings such as the Protocolli d’intesa and the Accordi di programma are used to update the provisions of the urban planning legislation. In the spring of 2000, when Mayor Dominici and his administration took office, some urban renovation projects were updated by developing two new planning systems: the Strategic Plan, and the Structural Plan the latter instituted by Regional Act n. 5/1995. In particular, the preamble to the Strategic Plan Progettare Firenze, of October 2001, promotes a systematic approach to planning the renovation of disused urban areas in order to verify their overall coherence and compatibility, to improve urban services and to facilitate access to the areas to be transformed. The new urban functions to be privileged within the process of renewal of the city centre are: residential buildings, especially: housing for students and the elderly; university and research facilities; museums and exhibition halls; office buildings, both private and public; crafts workshops; neighbourhood services; parks and open areas. There are five main intervention zones: 1) the multifunctional area in Novoli; 2) centre city university buildings; 3) high quality craft production and traditional commerce in the Oltrarno quarter; 4) the Fortezza da Basso exhibition area; 5) the former mental hospital at San Salvi. References Innocenti R., Le aree di ristrutturazione urbanistica come alternativa alle nuove espansioni, in Clemente C., Innocenti R. (eds.), La formazione del nuovo piano di Firenze, Franco Angeli, Milano, 1994. Colini L., Innocenti R., Politiche e strumenti d’intervento per il recupero delle aree dismesse, in Archeologia industriale, Metodologie di recupero e fruizione del bene industriale, Edifir, Firenze, 2001. Innocenti R. Firenze, Il recupero e la trasformazione delle aree dimesse, in Dragotto M., Gargiulo C., Aree dimesse e città, Esperienze di metodo, effetti di qualità, Franco Angeli, Milano,2003. Notes 1 - This paper presents the results of a research project carried out within the Department of Urban Planning at the University of Florence between the end of 2000 and July 2002. Its principal aim was to update a previous (1992) study of disused areas in order to establish the effects of the urban renovation projects undertaken up to that date. 2 - G.Campos Venuti, P.L.Costa, L.Piazza, O.Reali (eds.), Firenze, Per un’urbanistica della qualità, Marsilio, Venezia,1985.
ԯ㔫Ӻ㧼˖㹿ᓗ㕂ऎඳⱘׂϢ䞡ᓎ
ԯ㔫Ӻ㧼ᰃϔϾЁㄝⱘජᏖˈ݊Ҏষ ᑈ䖒ࠄ᳔催ؐⱘ ᯊг≵᳝䍙䖛ѨकϛˈˈሑㅵᅗⱘᎹϮᭈϾऎ⫳ ѻԧ㋏ⱘথሩ䖛Ёऴ᳝䞡㽕ⱘϔᐁПഄˈԚᰃˈ݊ᎹϮ࣪ ⱘᑺҡ✊㽕↨ᛣ߽㽓࣫䚼ⱘᎹϮϝ㾦ഄᏺⱘජᏖԢᕜ DŽ䖭ѯ䛑ড݊ऎඳᵘ៤ঞᓎㄥߚᏗϞ䴶˖Ϣ݊ᅗࡳ㛑 ⱘᓎㄥ᠔ऴⱘ↨՟㗠㿔˄㑺᭄䞣Ϟऴ ˈ䴶⿃Ϟ ऴ ˅ˈࠡᎹϮ⫼ᓎㄥߚᏗⱘഄऎˈḍⳂࠡⱘ⌟ᅮ 㗙䇈乘⌟ᴹⳟˈাऴ᳝ϔϾ↨䕗ᇣⱘ↨䞡DŽ>㸼Ḑ@ ݇Ѣᓗ⫼ⱘᎹϮᓎㄥⱘߚᏗˈ᳔ᓩҎ⊼ⳂⱘᰃԡѢ 5LIUHGL1RYROLП䯈ⱘ㽓࣫䚼䚞ऎˈ䖭䞠᮴䆎ᰃ䖛এ䖬 ᰃ⦄䛑ᰃԯ㔫Ӻ㧼ഄऎϔѯ䞡㽕ⱘൟᎹϮӕϮⱘ᠔ ഄ˄՟བ˖༹㧆༛ݙgࡴᵫ㦅༹⬉⫼ݯᄤ݀ৌˈ0DQHWWL 5REHUWÿV᮹⫼࣪ཚક݀ৌˈ㧆Ѯ⡍݀ৌᮄ↨䱚݀ৌ˅ˈ 㗠㽓䚼䴴䖥2VPDQQRURⱘ䚞ऎгৠḋᓩҎ⊼ᛣˈ䖭Ͼഄऎᔶ ៤ϢѠৢ݁ϗकᑈҷDŽ݊Ҫ⫼䗨ⱘᓗ⫼ᓎㄥ˄ⲥ⣅ǃৌ⊩ ᴎᵘǃᅫᬭᴎᵘǃݯџᓎㄥǃᄺ᷵ǃए䰶ὐ᠓ㄝ˅䛑ത㨑 㗕ජऎⱘЁᖗഄᏺҹঞ↫䚏⦃ජ䏃ᵫ䰈䘧ⱘഄऎDŽ ᇍ↨њ ᑈⱘᬍ䗴߽⫼Ϣᑈ߱ࠄᑈ߱ߎᦤݡ ⱘᬍ䗴߽⫼䅵ߦПৢˈ៥ӀৃҹⳟࠄˈⳌᇍѢ䖛এⱘकᑈˈ ⦄៥Ӏࡴᖿњᇍ䖭ѯഄऎⱘׂᬍ䗴DŽ⫼߽ݡᢚ䰸䞡 ᓎⱘᓎㄥঞഄऎ᭄䞣ⱘ↨䞡ҢϞछࠄњˈⳌᑨⱘ ⫼ഄ䴶⿃߭ᰃҢϞछࠄњ DŽ 䡈ѢᏆ㒣䖯㸠њ䞣ⱘׂᬍᓎᎹˈ䙷ѯᏆ㒣㹿ᢚ䰸 ℷ䞡ᓎ䞡ᮄ㾘ߦЁⱘᓎㄥ᭄䞣гࡴˈᏆ㒣Ң ࡴࠄњˈⳌᑨⱘ⫼ഄ䴶⿃⎆ҢࡴࠄњDŽ ϢℸⳌᇍᑨˈ䙷ѯ㟇Ҟ䖬Ң㹿ׂᬍᓎ߽⫼ⱘᓗ㕂ഄऎ ⱘ᭄䞣ޣᇥ˄Ңޣᇥࠄ˅ˈԚⳌᑨⱘऴഄ䴶⿃ ߭ҢϞछࠄњ DŽ >㸼Ḑ@ џᅲϞˈ㒣䖛њ䭓ᯊ䯈ⱘ㡄䲒䗝ᢽৢˈ䗮䖛䞛⫼ᮄⱘජᏖ 㾘ߦᮍḜˈ ᑈҷⱘ᳔߱ᑈ䞠ජᏖⱘׂ䞡ᮄ㾘ߦ乍 ⳂᏆ㒣ᕫࠄ⹂䅸ˈ㗠Ϩ䅵ߦⱘϔ䚼ߚгᏆ㒣ᅠ៤DŽ ԯ㔫Ӻ㧼䖭Ͼ՟ᄤЁˈׂ߽⫼ᬍ䗴⬅Ѣ䯆㕂᠔䗴៤ⱘ ぎഄ䯂乬ˈџᅲϞˈᮽᑈҷЁᳳˈህᏆ㒣ЎᮄⱘජᏖ 㾘ߦण䇗ᮍḜⱘЁᖗЏ乬ߎ⦄њ 䱣ⴔ᭛࣪⦃๗䋶ѻֱᡸׂℷᮍḜⱘ䞛⫼ˈ㧆Ѯ⡍ࠡᎹϮऎ ඳᕫࠄњ䞡ᮄᅝᥦˈ䖭ϔഄऎᰃ᠔᳝ᓗ㕂ഄऎЁ䴶⿃᳔ⱘ ˄䴶⿃Ў݀之˅ˈ䖭䞠ⱘЁᖗഄऎᇚᓎゟϔϾජᏖ݀ ು˄݀之 ˈ਼݊䖍ഄऎ߭ᰃৌ⊩ᴎ݇ⱘࡲ݀ὐǃᄺ ሙ⇥ऎDŽ ᑈ᳜ˈ ᦤߎⱘජᏖ㾘ߦᮄᮍḜⱘׂ䅶Ḝ㒜Ѣᕫ ࠄऎⱘᡍܼˈޚ䚼ⱘ㓁䖛г䛑ᅠ៤DŽϟᴹⱘϔ↉ ᯊᳳˈݙϡ䆎ᰃᣝ✻ׂ䅵ߦ᠔䖯㸠ⱘᬍবᓎㄥࡳ㛑ⱘ⌏ ࡼˈ䖬ᰃᬍ䗴ᓗ㕂ഄऎⱘ㾘߭ゴˈ䛑ᰃҹ䖭Ͼᘏⱘׂ䅶Ḝ ᠔㾘ᅮⱘॳ߭ЎձⱘDŽབᵰऎᬓᑰᛇ㽕ᬍবϔѯ䅵ߦⱘ ݙᆍᔶᓣˈҹ֓㛑䅵ߦ䗮䖛ৢ㦋পᮄⱘ䞡ᓎᴎӮˈ䗮 ᐌӮ䞛⫼ण䆂ⱘᮍᓣˈ䖭ḋ䖒៤ⱘण䆂៤ЎњᏆ⫳ᬜⱘ㾘ߦ 䅵ߦⱘׂℷḜ䚼ߚDŽ ᑈˈ'RPHQLFLᏖ䭓ⱘϔӏᬓᑰϞӏৢˈϸ乍ᮄⱘ䅵 ߦ㦋ᕫњ䗮䖛˖⬹ᗻ䅵ߦḍ ᑈোऎ⊩Ҹ᠔ ࠊᅮⱘ㒧ᵘ䅵ߦˈᇍᓗ㕂ഄऎⱘׂ߽⫼䅵ߦⱘϔ䚼ߚজ 䖯㸠њᮄⱘׂ䅶DŽ ⡍߿ؐᕫϔᦤⱘᰃˈᑈ᳜ⱘ⬹䅵ߦĀԯ㔫Ӻ㧼䅵 ߦāⱘ߱ℹ᭛ӊЁˈࠊᅮϔ乍ᇍ䖭ѯᓗ㕂ഄऎܼⱘ⫼߽ݡ䴶 䅵ߦⱘᛇ⊩জݡ㹿ᦤߎˈ䖭ѯ䅵ߦᰃϔ㟈ⱘৃҹᑊᄬⱘˈ
㛑֗䖯ජᏖ᳡ࡵঞ䆒ᮑⱘЄᆠˈᑊϨ㛑Փᕫ䖭ѯഄऎⱘᬍ 䗴ࡴ乎߽DŽ䖭ѯഄऎⱘݡජᏖ࣪䖯ЁˈӬܜ㗗㰥ⱘᰃ ᇚॳ᳝ࡳ㛑ऎඳᬍ䗴៤ҹϟࡳ㛑ऎ˖ሙԣऎ˄⡍߿ᰃ䩜ᇍᄺ ⫳㗕ᑈҎⱘ˅ˈᄺⷨおᴎᵘˈߎ⠜⼒म⠽佚ˈ݀݅ ⾕Ҏⱘ乚ᇐᗻᘏ䚼ˈᎹϮ⫼ഄˈᇣऎⱘ᳡ࡵ䆒ˈ݀ ݅㓓ഄᇍӫᓔᬒⱘഎ᠔DŽ᠔᳝݇Ѣᓗ㕂ഄऎ㗙ᰃ㹿乘 ⌟Ўᓗ㕂ഄऎⱘ⫼߽ݡ䅵ߦЏ㽕᳝Ѩᬍ䗴乍Ⳃ˖ԡѢ 1RYROLⱘࡳ㛑ഄऎ˗ԡѢЁᖗഄऎⱘᄺ᷵ഔ˗䰓 ᇨ䇎⊇⬨2OWUDUQRⱘ催ક䋼ᎹϮӴ㒳ଚϮ⌏ࡼऎඳ˗ %DVVRॳ䰆ᕵᎹџ˄)RUWH]]DGD%DVVR˅ᬍ៤ⱘӮሩഄ ऎ˗6DQ6DOYLⱘ㊒⼲⮙ए䰶ഄऎDŽ
Raimondo Innocenti ԯ㔫Ӻ㧼ᄺ
䖭㆛᭛ゴҟ㒡ⱘᰃԯ㔫Ӻ㧼ᄺජᏖ㾘ߦೳ㾘ߦ㋏ ᑈᑩࠄᑈ᳜݁ӑП䯈ⱘ䇗ᶹⷨお㒧ᵰDŽ䖭乍Ꮉ ⱘЏ㽕ⳂⱘᰃЎњᮄ ᑈᓔሩⱘᇍ䖭ѯഄऎⱘ䇗ᶹⷨ おˈ䞡ᮄ䆘Ԅᔧᯊ᠔䖯㸠ⱘජᏖ䞡ᓎ乍Ⳃⱘ៤ᵰDŽ
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THE NATURE IN THE URBAN PARK. THE NATURE OF THE URBAN PARK
Guido Ferrara University of Florence
tems within the landscape, today we have to see landscape as a structure and system within the settlement. So updated techniques must be used to create and evolve an interacting system of natural, semi-natural and functional spaces, from private gardens to strips of urban forestation within the city. This new network of open spaces will help to compensate for the impact of building on the environment, to guarantee a long-lasting development of natural components, and to create the opportunity for a multitude of contacts with the living landscape.
- being an exclusively technical product not based on participatory processes.
- To maintain and/or extend private green areas with precise regulations for their creation and upkeep;
- Variety of landscapes - Perceptive diversity, adaptability
- To implement the use of plants within urban areas for their aesthetic and connective role;
- Diversity of partecipants, belonging, identification
- To create naturalistic conditions in marginal enclosed areas which provide an element of re-equilibrium, even when of limited size;
Design criteria
- To limit the use of virgin land for new building and favour unused or abandoned land for such use;
City and nature. Integration If in the past we saw settlements as structures and sys-
- being a simplified, banal ecosystem, therefore lacking in stimuli;
Requirements for an urban park with many values
- To reduce paved areas and water-resistant surfaces;
City and nature. Antagonism The conflict between city and landscape, between the city – a space constructed and controlled by man - and nature – free but insecure space – has always been the essence of human settlements. Between the XVIIIth and XXth centuries the impact of the industrial revolution on human wellbeing was behind the reform which brought landscape qualities into urban centres. The great cultural significance of Ebenezer Howard’s concept of the “Garden City” and its logical development into the “modern city” of the “De Stijl” movement and the Bauhaus experience, influenced town planning and the design of residential neighbourhoods throughout the world. Nevertheless the process of expulsion of nature from increasingly dense built-up areas did not stop. Inhospitality and the state of desolation typical of the city today can be attributed to the almost total absence of natural elements within them. Urban ecology has scientifically demonstrated that the creation of new relationships between the built-up environment and nature is the essential condition for an improved, livable settlement which brings the city nearer to lasting development. To this end the planting of trees and shrubs is a necessary condition but not enough in itself. The current way of thinking must be inverted.
- not having the diversification of an independent biological system;
Criteria of landscape and environment improvement
- To link the regeneration of derelict areas with projects of naturalistic and landscape recovery;
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and electricity; - not bearing in mind that economic resources for maintenance are decreasing;
- To give precedence to indigenous plants, important to the regional image and to visually unify the city environment; - To make nature corridors to connect existing natural areas and resident communities as well as to encourage the maximum integration of plants, animals and people; - To protect all the existing natural areas which contain a significant number of native plants or wild life; - To restore landscape and environment unity between the city and its surroundings. The urban park, a key element in integrating nature into the city A system of urban parks, connected by biological corridors, creates the ideal distribution of junctions which act as structural points to integrate nature into the built-up environment. It is also a unique opportunity to give visual unity to the city landscape and to communicate the values and experience of nature to citizens. A park, if conceived as a free space and a dynamic but stable place, has many values: ecological values, learning values, citizen participation. The traditional urban runs the risk of: - having a permanently rigidly defined structure; - being obviously artificial; - requiring a continuous input of external energy in the form of human labour, chemicals and fertilisers, water
- The creation of a new landscape is a long-term process. It involves planning, experimentation and communication and is an interdisciplinary activity; - This intervention cannot be linked to an intuitive process, but must be based on scientific criteria of overall knowledge and planning of resources; - Guidelines are set out in Italy in the “Carta di Napoli” (Naples Charter), a document compiled by the main Italian associations working in the specific field of environment and landscape during the First National Landscape Conference organised by the Ministry of Public Buildings and Culture (Rome, 17th –19th June 1999). Management - The complex impact of interventions on open spaces and the more common request for quality imply the existence of procedures of management; - These could be satisfied by Communal or local Regulations; - Urban parks must be subject to a strategy of personalised management, according to its own diversity. To place nature as the foundation of parks means guaranteeing sustenibility - From an environmental point of view - From a social point of view - From an economic point of view To place nature as the foundation of parks does not mean that they all have to be converted into fields and woods but rather that natural areas should be more frequent in open spaces to encourage variety, wealth and selfsufficiency within the urban environment.
ජᏖ݀ುЁⱘ㞾✊᱃㾖
ජᏖϢ㞾✊ⱘᇍᡫ ජᏖˈϔϾ⬅Ҏ㉏ᓎ䆒ᥠⱘഄᮍ˗㞾✊ˈϔϾ㞾⬅Ԛॅ䰽 ⱘഄᮍ˗䖭ϸ㗙П䯈ⱘކさྟ㒜䛑ᰃҎ㉏⫳ᄬሙԣⱘḍᴀ䯂 乬DŽ कܿϪ㑾ѠकϪ㑾䯈ˈϔഎᇚ催ક䋼᱃㾖ᓩܹජᏖЁᖗⱘᬍ 䴽㒭ҎӀᏺᴹњ⏅䖰ⱘᕅડˈ݊ᕅડ䖰䖰ѢᎹϮ䴽ੑᇍҎ ㉏ᑌ⽣⫳⌏ⱘᕅડDŽ(EHQH]HU+RZDUGⱘĀ㢅ುජᏖāὖᗉঞ ݊Ā'H6WLMOā䖤ࡼⱘĀ⦄ҷජᏖā˄⬅Ϟ䗄ὖᗉড়⧚থሩ㗠 ᴹ˅剡䈾ᮃᓎㄥᄺ⌒ⱘЄᆠ㒣偠ˈᅗӀⱘӳ᭛࣪ᛣНᇍܼ ⧗ⱘජ䬛㾘ߦሙ⇥ऎ䆒䅵ѻ⫳њ⏅䖰ⱘᕅડDŽ ✊㗠ˈᇚ㞾✊᱃㾖Ң᮹⏤ᆚ䲚ⱘᓎㄥऎඳ偅䗤ߎএⱘ䖯Ң ذℶ䖛DŽℸˈᔧҞජᏖ⡍᳝ⱘ⓴ދ㤦ޝᛳৃҹᔦ㒧Ѣ݊Ё 㞾✊ܗ㋴ⱘ⍜༅⅚ሑDŽ ජᏖ⫳ᗕҢ⾥ᄺⱘ㾦ᑺ䆕ᯢњҹϟ㾖⚍˖ᮄᓎජᏖϢ㞾✊᱃ 㾖П䯈ᓎゟᮄൟ݇㋏ᰃᬍ㡃ൟৃሙԣሙ⇥ऎᄬⱘᖙ㽕ᴵӊˈ ᅗ㛑ࡼජᏖৃᣕ㓁ᮍথሩDŽ Ўℸˈᷥ☠ⱘḑ⾡ᰃᖙ㽕ⱘᴵӊˈԚҙҙ䖭ḋᰃϡ ⱘˈ䖬ᖙ乏䕀বⳂࠡⱘᗱ㓈ᓣDŽ ජᏖϢ㞾✊ⱘᭈড় བᵰ䖛এ៥Ӏᇚሙ⇥ऎ㾚Ў᱃㾖ݙ䚼ⱘ㒧ᵘԧ㋏ˈ䙷МҞ ៥Ӏϡᕫϡᇚ᱃㾖ⳟᰃሙ⇥ऎݙ䚼ⱘ㒧ᵘԧ㋏DŽ᠔ҹᖙ乏 Փ⫼᳔ᮄᡔᴃ䖲ৠ⦄᳝ⱘϔߛ⾥ᄺ᭄ᴹ߯ᓎᬍ䖯㞾✊ǃञ 㞾✊ࡳ㛑ᗻぎ䯈ⱘѦࡼ㋏㒳ˈҢ⾕ᆊ㢅ುࠄᏖⱘݙජᏖ䗴ᵫ ҷDŽ 䖭ϔ䴆എ᠔ⱘᮄ㔥㒰ᇚ᳝ࡽѢᓹ㸹ᓎㄥᇍ⦃๗ᏺᴹⱘᕅડˈ ֱ䆕㞾✊⦃๗ⱘ䭓ᳳথሩˈᑊЎ⦄᳝᱃㾖߯䗴⾡≳䗮ⱘᴎ Ӯˈҹ⏅ܹ⒵䎇Ꮦ⇥ⱘ䑿ᖗ䳔∖DŽ 㑻⫼Ѣ䴲ජᏖᗻࠊ䗴⌏ࡼⱘ䴆എ᠔˗ 㑻⫼Ѣ⸔䆒ᮑⱘ䴆എ᠔˗ 㑻ሲѢࠊ䗴⌏ࡼජᏖ᳡ࡵⱘ䴆എ᠔˗ 㑻⫼ѢሙԣစФⱘ䴆എ᠔˗ 㑻ሲѢ⼒Ӯ᳡ࡵᗻⱘ䴆എ᠔˗ 㑻᳝⫳ᗕ㞾✊ᛣНⱘ䴆എ᠔˗ 㑻᳝ग़⦃๗᱃㾖ᛣНⱘ䴆എ᠔˗ 㑻ॅ䰽ऎඳ⦃๗䗔࣪ऎඳⱘ䴆എ᠔DŽ ᱃㾖⦃๗ᬍⱘᷛޚ ֱᣕᠽ⾕ᆊ㓓㡆ऎඳˈ᳝ᇍׂ݊ᓎ㓈ᡸⱘ㊒⹂㾘ᅮ˗ ߽⫼ජᏖऎඳⱘݙỡ⠽˄ᷥǃᷥ㇅ǃ㤝ാㄝ˅Ўᅵ㕢䖲 ⱘ⫼䗨˗ े֓ᰃ㾘ফ䰤ⱘᚙމϟˈг䖍䰙䯁ऎඳ߯䗴㞾✊࣪ⱘᴵ ӊˈЎᅗᦤկ᮴ৃ㕂⭥ⱘݡᑇ㸵㋴ 䗮䖛㞾✊ЏНϢ᱃㾖ᘶ乍Ⳃˈ䞡ᓎᑳᓗऎඳˈথ݊ᅗ ⫼˗ ޣᇥ䫎䆒ऎඳ䰆∈䴶ᑊẔᶹ݊ᅲ䰙ࡳ㛑˗ 䰤ࠊՓ⫼ᮄᓎㄥⱘ໘ཇഄˈ哧ࢅՓ⫼ᑳᓗϡ⫼ⱘೳഄ˗ Ӭܜᇍᕙᴀೳỡ⠽ˈЎᅗӀᇍഄऎᔶ䈵ⱘล䗴ජᏖ⦃๗ⱘ ϔԧ࣪㟇݇䞡㽕˗ ᓎ䗴㞾✊䍄ᒞᇚ⦄᳝ⱘ㞾✊ऎඳϢሙ⇥⼒ऎ䖲䍋ᴹˈᑊ᳔ ᑺഄ哧ࢅỡ⠽ǃࡼ⠽ǃҎ㉏ϝ㗙ⱘ䇤㒳ϔ ֱᡸϔߛᢹ᳝䞣ᴀഄỡ⠽䞢⫳⫳⠽ⱘ⦄ᄬ㞾✊ऎඳDŽᇣൟ ࡼỡ⠽ᷪᙃഄᢹ᳝䞡㽕ⱘᴀഄ⫳⠽㒘ˈ᳝߽Ѣ⾡ᄤⱘߚᬷ Ӵ᪁DŽ ᘶජᏖঞ݊⦃๗П䯈᱃㾖Ϣ⦃๗ⱘ㒳ϔˈ⠶䆄ϢජᏖⳌ䖲ⱘ ỡ⠽㽚Ⲫऎඳݰ⠽ऎඳ䛑᳝㟇݇䞡㽕ⱘ⫳ᗕࡳ㛑ˈᦤկ ӥ䯆စФⱘഎ᠔ˈֱᣕഄऎ催ક䋼ⱘ㾚㾝ᬜᵰDŽ ජᏖ݀ುˈᇚ㞾✊㵡ܹජᏖⱘḌᖗ㽕㋴ 䗮䖛⫳⠽䍄ᒞ䖲ⱘජᏖ݀ು㋏㒳ᔶ៤њѸঝ⚍ⱘ⧚ᛇߚᏗˈ ᑊ⫼ᇚ㞾✊㵡ܹ⦄᳝⦃๗Ёⱘ㒧ᵘ⚍DŽ䖭ৠḋгᰃϔ⣀ϔ
᮴ѠⱘᴎӮˈᇚ㾚㾝ᬜᵰ䇤㒳ϔഄ㵡ܹࠄජᏖ᱃㾖Ёˈᑊ Ꮦ⇥ᅷӴ㞾✊ⱘӋؐԧ偠DŽ ϔᑻ݀ುབᵰ㹿䅸ЎᰃϔϾ㞾⬅ⱘഎ᠔ǃϔϾܙ⒵⌏Ԛᅝᅮ ⱘഎ᠔ˈ߭Ӯᢹ᳝ᕜӋؐˈࣙᣀ˖ ᅗᰃこ䍞ҷ㸼ජᏖऎඳⱘ⫳ᗕ䫒ᴵЁϔϾ㟇݇䞡㽕ⱘܗ㋴˗ ᅗֱᣕ㞾✊䖯ⱘᬜ⥛ˈҢ㗠֗䖯њㅵ⧚㓈ᡸ⌏ࡼ˗ ᅗᰃᘶ⫳ᗕᑇ㸵˄ेॅ䰽ऎඳⱘ∈ࠊ˅ޣᇥϡ㡃ᕅડ ˄ेᨚ㜅⦃๗∵ᶧ˅ⱘഄᮍ˗ ᅗᰃජᏖеᴥП䯈ⱘ⫳ᗕѸ䫭ᏺˈ᳝ࡽѢ䞡ᮄߦᅮජᏖⱘ⬠ 䰤˗ ϔϾ⾡⠽⾡∛䲚ПഄǃϔϾ⌏ⱘम⠽佚ˈϔϾⷨお㞾✊ᅲ 偠ⱘഄᮍ˄ेࠡ⊓ⱘࡼỡ⠽ݏᡸ᠔˅˗ ϔϾ䲚ԧ݀݅䆒ᮑˈᑓ⊯ѝপሙ⇥ᛣ㾕Пৢˈᔎ䇗⒵䎇Ͼԧ 䳔∖˗ ϔϾ䅽Ꮦ⇥খϢࠄᭈϾ䖛ⱘഄᮍˈҢࠡᳳ䰊↉ࠄ㓈ᡸ݀ৌ ㅵ⧚ˈ㛑⌏ࡼⱘᅷӴǃᓎ䆒ㅵ⧚ᮍ䴶⹂䅸ড়ӭԈˈࣙ ᣀၦԧǃᑓਞ݀ৌǃᮄ䯏⬠ଚࡵ⬠DŽ
Guido Ferrara ԯ㔫Ӻ㧼ᄺ
Ӵ㒳ජᏖᢹ᳝ҹϟ亢䰽˖ 䭓Йҹᴹˈᵘ䗴ᅮН䖛ߚϹḐ˗ ᳝ᰒ㨫ⱘҎ䗴⮩䗍˗ 䳔㽕ϡᮁᡩܹࢇࡼǃ࣪ᄺક࣪㙹ǃ∈⬉ㄝᔶᓣⱘ䚼䌘 ⑤˗ ≵᳝䅸䆚ࠄ䖯㸠㓈ᡸⱘ㒣⌢䌘⑤ℷ⍜˗ޣ 㔎ᇥ⣀ゟ⫳⠽㋏㒳ⱘḋᗻ˗ ᰃϔϾㅔ࣪ǃ㗕༫ⱘ⫳ᗕ㋏㒳ˈℸ㔎ᇥࠎ▔⑤˗ ᰃϔ⾡ϧ᳝ⱘᡔᴃѻકˈᑊ䴲ᓎゟখϢ݅ѿ䖛⸔ПϞDŽ ᇍӋؐЄᆠⱘජᏖ݀ುⱘ㽕∖ ᱃㾖ḋᗻ ݀ುৃҹᢹ᳝⾡ࡳ㛑ˈ䖭⚍ৃҹҢ᱃㾖ⱘЄᆠḋᗻЁԧ ⦄ߎᴹ˗Ң㗠߯ᓎ⦃๗П䯈ⱘण݇㋏ˈҹᦤկ䖤ࡼഎП㉏ ⱘĀ⌏䎗ᗻāစФ⦃๗ˈҹঞ㞾✊ᬭ㚆ǃ䲚ԧൟᅲ偠ൟು㡎 ᎹㄝDŽ ⫳⠽ḋᗻ ⫳⠽ḋᗻජᏖⱘ⫳ᗕ㋏㒳Ё䴲ᐌ㔎Уˈৃҹ䗮䖛㞾✊䖛 ᕫҹᰒ㨫ᦤ催DŽ݇⊼ỡ⠽ǃࡼ⠽ᖂ⫳⠽⠽⾡ⱘḋ࣪ˈ߯䗴 ࡼᗕԚ〇ᅮ䖯࣪ⱘ⦃๗ˈᰃ㾷އජᏖೳഄ䋿⯴ㄝ䯂乬ᑊޣᇥ㛑 ⑤ⱘ䕧ܹ䞣DŽ ᛳⶹḋᗻǃ䗖ᑨᗻ ᖙ乏ᛳⶹḋᗻǃᛳㅵԧ偠ⱘᴖᗻҹঞᇍ⍜䌍㗙䳔∖ⱘ 䗖ᑨᗻˈҹ⒵䎇ᑓⱘ䳔∖ᑊ䌟ќ݀ು᳝Ⲟⱘ䞡㽕ԧ偠DŽ খϢ㗙ǃᔦሲᛳǃ䅸䆕ⱘḋᗻ 䲚ԧখϢ݀ುⱘ䆒䅵ᓎ䆒ˈᇸ݊ᰃሙ⇥ऎˈৃ㛑៤Ўϔ⾡᳝ ᬜⱘᮍᓣҹ▔থᴹՓ⫼㗙ⱘᔦሲᛳ߯䗴ˈᑊ᳝ࡽѢ֗䖯 ජᏖҎষ䅸䆕ⱘ䖯DŽ 䆒䅵ᷛޚ ᮄ᱃㾖ⱘ߯ᓎᰃϔϾ⓿䭓ⱘ䖛ˈࣙᣀ㾘ߦǃ䆩偠ᅷӴˈৠ ᯊгᰃϔ乍䎼ᄺ⾥ⱘ⌏ࡼˈ݊ϧⶹՓҎӀৃҹᥠᦵᴖⱘ䖯 ᑊᅲ⦄乍Ⳃⱘᡔᴃড়ˈড়䗖ⱘ⾥Ⳃ䯈䖯㸠ߦߚˈ݊݅ৠⳂ ᷛᰃֱᡸ⫳ᗕ㋏㒳⫳⠽ḋᗻˈ⹂ֱᅠᎹৢⱘㅵ⧚㓈ᡸᎹ ˗ ℸᇚᮄܗ㋴ᓩܹࠄ㞾✊᱃㾖ⱘӏԩᑆ乘ᮑᰃ䗮䖛݀ು㸼⦄ ߎᴹⱘˈᑊ㒣⬅᳔ড়䗖ⱘ乍Ⳃ䖯㸠ᓔথDŽ䖭ѯᑆ乘ᮑϡ㛑Ϣ ᇏࡳ㛑ᗻℷᓣഎড়ⱘⳈ㾝䖛㘨㋏䍋ᴹˈᖙ乏Ѣᭈԧⶹ 䆚Ϣ䌘⑤㾘ߦⱘ⾥ᄺᷛ˗ޚ 䖭ѯᣛᇐॳ߭ᰃᛣ߽ⱘĀ&DUWDGL1DSROLā˄lj䙷ϡࢦᮃ ᅾゴNJ˅Ё㾘ᅮⱘˈ䖭ӑ᭛ӊᰃ⬅⦃๗Ϣ᱃㾖乚ඳⱘЏ㽕णӮ 㒘㒛݀݅ᓎㄥϢ᭛࣪䚼Џࡲⱘ佪ሞܼ᱃㾖Ӯᳳ䯈㓪ࠊᅠ ៤ⱘ˄ ᑈ̢᳜ ᮹ˈ㔫偀˅DŽ
ㅵ⧚ ᑆ乘ᮑᇍ䴆എ᠔ⱘᴖᕅડҹঞᇍ䋼䞣Ў᱂䘡ⱘ䳔∖㸼 ᯢ˖⹂ᅮᅲᮑⱘᖙ㽕ᴵӊৢˈᄬ㛑᱂䘡ᬍㅵ⧚ⱘ᪡ ᑣ˗ 䖭ѯৃ㛑䗮䖛ᮄ䴆എ᠔ⱘ݀݅ഄᮍᴵ՟ᕫҹᅲᮑˈ᳝㛑 ⒵䎇⾡ᡔᴃ䳔∖ˈ՟བ⹂ᅮỡ⠽ક⾡ǃ⾡ỡᮍ⊩ׂ࠾ᮍ⊩ ⱘ䗝ᢽˈᷥ☠ⱘ✻ⳟ㓈ᡸҹঞ䴶ᇍ݇㋏ࠄ⫳ᗕජᏖ ᔶ䈵ⱘ݇䬂䇒乬ˈ䇌བࠊᅮĀऎඳāỡ㹿ㅵ⧚ⱘ㾘߭ˈ䖭ѯㅵ ⧚ϡ䰤ѢӋؐ催ⱘ㋴DŽᇚֱᡸ⫳⠽ḋᗻᦤ催ҎӀᇍ᮹ Ⲟব࣪Ϣ㹄䗔ⱘĀӬ㕢ā᱃㾖ⱘ݇⊼ᑺⳌѦ㘨㋏䍋ᴹˈᦤछ ᭈϾഄऎⱘ᱃㾖Ӌؐ˗ ජᏖ݀ುᖙ乏䙉ᕾϾᗻ࣪ㅵ⧚ⱘㄪ⬹ˈ䖭ѯㄪ⬹ᰃḍ↣Ͼ݀ ು㞾䑿ⱘḋᗻ㗠ࠊᅮⱘˈᖙ乏䅸ⳳֱᄬˈ㗠Ϩৃ㛑ᯊࡴҹᔎ 䇗ˈҹ֓ᅲ⦄݊㛑ѻ⫳ⱘӋؐDŽ ᇚ㞾✊Ў݀ುⱘ⸔ᠡ㛑ֱ䆕ৃᣕ㓁থሩ Ң⦃๗㾦ᑺ˖ 㞾✊ऎඳ᳝Єᆠⱘ⫳⠽⠽⾡˗ ᅗӀৃ㛑ᇍ∈䌘⑤ंУഄऎⱘㅵ⧚ᕜ᳝Ⲟ໘˗ ᅗӀ᳝ࡽѢᇍࠊ亢ǃ⏽ᑺǃぎ⇨∵ᶧǃೳຸ։㱔ǃా䷇˗ ᕜỡ㹿ˈᇸ݊ᰃᷥˈҢ਼ೈぎ⇨ЁܹѠ⇻࣪⺇ˈ䞞ᬒ⇻ ⇨˗ 㓈ׂ⥛䕗Ԣˈޣᇥњ⺇➗᭭ǃ࣪㙹࣪ᄺકⱘՓ⫼DŽ Ң⼒Ӯ㾦ᑺ˖ 㾖ⳟ㞾✊᱃㡆ᇍᖗ⧚عᒋ᳝Ⲟ໘ˈ 㞾✊᱃㡆᳝ࡽѢ߯䗴ᬒᵒǃᑇⱘစФᮍᓣ˗ 㞾✊䅽៥Ӏњ㾷ᄺд਼ೈⱘϪ⬠˗ 䆌ජᏖሙ⇥Ӯᕜᕔ㞾✊᱃㾖DŽ Ң㒣⌢㾦ᑺ˖ ϔᮺᅠ៤⾡ỡˈা䳔㽕ᡩܹᕜᇥⱘ㛑⑤䌘⑤ᇍ㞾✊ऎඳ䖯㸠 㓈ᡸDŽ ᇚ㞾✊Ў݀ುⱘ⸔ᑊϡᛣੇⴔᖙ乏ᇚ݀ುব៤⬄䞢Ể ᵫˈ㗠ᰃᑨ䆹䅽㞾✊ऎඳ乥㐕ഄҹ䴆എ᠔ⱘᔶᓣߎ⦄ˈҢ 㗠哧ࢅජᏖ⦃๗ݙ䚼ⱘḋᗻǃЄᆠᗻ㞾㒭㞾䎇DŽ
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THE PRESERVATION OF THE ANCIENT OSPEDALE OF SANTA MARIA DELLA SCALA IN SIENA, RESTORED AS A MUSEUM AND CULTURAL CENTRE Anna Carli President of the Board of Directors of the Santa Maria della Scala Institution
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In the late 1960s, the creation of a new city hospital gave Siena the opportunity to make a museum out of its biggest medieval monument: The Ospedale of Santa Maria della Scala. Built on the Via Francigena around the year 1000 as a fundamental accommodation structure for pilgrims, over the centuries, focused on helping the poor of Siena and taking care of the “gettatelli” (the abandoned children). Only from the 17th century the hospital became a real general hospital which survived until the 1990s. In the 1990s the Commune of Siena launched a new city-planning scheme, ensuring that moving the hospital to a modern zone wouldn’t run the risk of leaving the most ancient part of the historical centre only to tourism. After several studies and a conference in 1986, the Town Hall of Siena announced an international competition for the restoration of the Santa Maria della Scala complex, providing the following guidelines: the ancient monument should be preserved in its entirety according to city orders. The restoration should reflect the city itself. Cultural functions should be organised that would help keep the area closely connected to the city once the hospital was no longer in use. The winner was Guido Canali, whose project aimed, first of all, to highlight the importance and European value of the prestigious restoration of the ancient hospital, along with the necessity of avoiding traumatic solutions. The main purpose behind the restoration of this historical structure was rendering recognisable again its many different roles throughout the centuries. Sectional restoration was planned, preceded by archaeological investigation. At the same time, an example of a “didactic site” gradually emerged, with public meetings and conferences showing citizens, scholars and the international community the work in progress. A “light restoration” has made the architecturalmonumental structure visible and many areas open to the public, so that the museum itinerary, some cultural activities and the restoration site have been able to coexist. The restoration has led to very interesting solutions from an architectural point of view, which both enhances the value of beautiful exhibition areas and museum settings and synthesises the connection between the medieval character of the structures and contemporary materials. Moreover, the work done has led to the acquisition of a knowledge not to be lost. The European Centre for Research and Restoration has been established within the Santa Maria della Scala complex, and workshops, enhancing professional skills, has been put into practice. Up until now, the Santa Maria della Scala project and its existance have been fostered by several essential factors: - The decision to gather most of Siena’s artistic heritage here, including works previously located in other museums; - The creation of connections and exchanges with other European Museums born of ancient hospitals, in order to establish a real net; - The collaboration, and the willingness to work together with the Università degli Studi di Siena and the Soprin-
tendenze ai Beni Culturali e ai Beni Ambientali; - The financial and promotional support, of the great Bank of the City and the Foundation stemming from it. The Management of the museum complex establishes the service organisation and the service company provides the personnel according to the activity plan and the needs it implies, which may vary every day. For several highly specialised tasks, the presence of external professionals is required. The success of this project rides on one more factor: Financial resources. The Town Hall of Siena, the owner of the building, has decided on a BOC (communal bonds) issue, while granting for 20 years the covering of repayment by its own budget income (general income bond); but, at the same time, it has constituted the bond itself as a real revenue bond, that is to say, an investment able to bring about the cash flows needed to repay the loan. The investment, therefore, must finance itself: the financial management of the Santa Maria della Scala complex must achieve this goal, through the established income activities. These activities will then have to finance both the payment of the loan interest and the working expenses of the museum complex.
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Anna Carli 6DQWD0DULDGHOOD6FDOD㨷џӮЏᐁ
݀݅᳡ࡵᎹ˄⦃िǃ䮼⼼ǃ⾬кᅸ˅⬅⾕Ҏᴎᵘ䋳䋷DŽ៥ Ӏ䅸Ўˈᑨᰃ⬅㡃དᬭ㚆∈ᑇҎਬ㒘៤ⱘϧϮ᳡ࡵ݀ৌ˄ᶤ ѯਬᎹৠᯊгᰃ݊៤ਬ˅ˈ䗮ᐌӮ᳝ϔᅮҎᗻ࣪᳡ࡵ∈ᑇ ᭛࣪ᬊⲞˈҹ֓ৃҹ䖢㾖ܝᅶᑊЎҪӀᦤկ᠔䳔ⱘणࡽDŽ म⠽佚ᓎㄥ㕸ⱘㅵ⧚໘Ӯ៤ゟ᳡ࡵᴎᵘ˄ࣙᣀᯊ䯈㸼ǃ⦃ि ⾬кҎਬǃ݀݅݇㋏⌏ࡼ˅ˈ᳡ࡵ݀ৌḍ⌏ࡼ䅵ߦҹঞ 䳔∖ᦤկҎਬˈ䅵ߦৃ㛑↣䛑᳝᠔ব࣪DŽᇍѢ乍ϧϮᗻ 䕗催ⱘᎹˈ䳔㽕䚼ϧᆊ҆Ј⦄എ˄ᅷӴ㧹䫔݀ৌ˗ሩ 㾜㾘ߦⱘϧϮࡲџ໘˗⫳ѻሩ㾜䆒ᮑ䰜䆒ⱘ݀ৌ˅ˈҪӀ ᇚϢݙ䚼Ҏਬϔ䍋ড়DŽ䖭ᐂࡽ៥Ӏ䗮䖛ऩϾ乍Ⳃӕ Ϯ䲚Ё䞣ᴹ㡖㑺ᓔᬃDŽℸˈᅗ䖬ᏺᴹᮄⱘϧϮᡔ㛑ⱘᦤ छˈ䖭ᇍ݊Ҫ᭛࣪ᴎᵘᕜ᳝Ⲟ໘DŽ 䖭ϔ乍Ⳃⱘ៤ࡳ䖬᳝䌪ѢϔϾ㋴˖䋶ᬓ䌘⑤DŽᓎㄥϮ Џüü䫵㘊㒇Ꮦᬓख़Ꮖއᅮথ㸠%2&˄݀Ⲟ؎ࠌ˅ˈৠᯊҹ ݊㞾䑿ⱘ乘ㅫᬊܹ˄ϔ㠀ᬊⲞ؎ࠌ˅ᦤկᑈⱘ䖨ℒ乱˗Ԛ ৠᯊˈᅗՓᕫ䆕ࠌᴀ䑿៤Ўϔ⾡ⳳℷⱘᬊⲞᗻ؎ࠌˈгህᰃ 䇈ˈ㛑ѻ⫳ٓ䖬䌋ℒ᠔䳔⦄䞥⌕ⱘᡩ䌘DŽ 㗠ˈᡩ䌘ᖙ乏㦋ᕫಲ˖6DQWD0DULDGHOOD6FDODᓎㄥ 㕸ⱘ䋶ࡵㅵ⧚ᖙ乏䗮䖛ᓎゟϔѯᬊⲞ⌏ࡼᴹᅲ⦄䖭ϔⳂᷛDŽ ݊Ёࣙᣀ˖ म⠽佚ⱘখ㾖䏃㒓˄䮼⼼ǃ䆆㾷ǃᇐ␌ㄝ˅˗ Ⳍ݇᳡ࡵ˄кᑫǃଚᑫǃ੪ଵ৻ǃ令ख़ǃӮ䆂Ёᖗ˅˗ ሩ㾜⌏ࡼ˗ ׂ㔂ⷨ䅼Ӯˈᓎㄥ㡎ᴃׂ㔂乚ඳⱘⶹ䆚ᑨ⫼DŽ 䖭ѯ⌏ࡼ䱣ৢᖙ乏㽕Ўٓ䖬म⠽佚ᓎㄥ㕸ⱘ䌋ℒ߽⥛Ꮉ 䌍⫼ㅍ䲚䌘䞥DŽሩ㾜⌏ࡼᖙ乏⬅䌲ࡽଚҹঞ䗮䖛⾕Ҏ݀݅ ᤤℒᴹ䌘ࡽDŽ䖭ᮍ䴶ˈ៥ӀᏠᳯᛣ߽⊩ᕟ⹂ᅮЎ݀ৌ ᦤկࡵ哧ࢅৢˈгӮЎ⾕ҎӕϮᦤկৠḋⱘӬᚴDŽׂ㔂㒧 ᴳᯊᖙ乏䖒ࠄᬃߎᬊܹⱘᑇ㸵DŽϔᮺܼ䚼⌏ࡼᓔྟথࡳ ᬜᯊˈम⠽佚ࡳ㛑Ϣׂ㔂Ꮉഄⱘ݅ᄬᇚϡᄬDŽ
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THE SACRISTY AT SAN LORENZO CHURCH, FLORENCE
Vincenzo Vaccaro Superintendence of Florence, Pistoia and Prato Cultural and Landscape Heritage
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The New Sacristy was planned by Michelangelo in 1520, upon commission of Clemens VII, a Pope of the Medici family. Michelangelo worked on it both as architect and sculptor for a good 14 years, until 1534, the year when he returned definitively to Rome. By order of Cosimo I Giorgio Vasari and Bartolomeo Ammannati (1554–1555) finished Michelangelo’s work. Originally conceived of to receive the mortal remains of Lorenzo the Magnificent and his brother Giuliano, the New Sacristy welcomes one of Michelangelo’s foremost sculpture groupings. The powerful statues (c. 1533) of the ‘captains’ Giuliano, Duke of Nemours (d. 1516) and Lorenzo, Duke of Urbino (d. 1519), both dressed in military attire, together with the enigmatic reclining figures of Day and Night, and of Dawn and Dusk, symbolically, in an arcane way, fuse the meaning of time and the meaning of space with the mystery of the stages of human life. This was Michelangelo’s ‘torment’. The unfinished statue of Madonna with Child (1521) concludes the cycle. She stands between Saints Cosmas and Damian, who are the work of two of Michelangelo`s pupils, Giovannangelo da Montorsoli (1507–1563) and Raffaello da Montelupo (1505–1567). These three statues are placed as if to seal off with a brighter, dogmatic faith the more ‘nocturnal’, secular doubts of Michelangelo’s naked, parallelepiped tomb of Giuliano and Lorenzo dei Medici. January 2nd 1999, at 7:30 am, a slab of marble detached itself from the drum of Michelangelo’s elegant cupola. Fortunately this did not cause any damage to either people or the works of art below. The Medici Chapels were
immediately closed off and scaffolding with a wooden platform at the top was built. The emergency interventions were performed by the Superintendence’s architect, Mario Lolli Ghetti, under the supervision of the engineer Luciano Marchetti and the surveyor Franco Vestri. After just 10 days the Museum was reopened, but for three long years it was necessary to keep the interior scaffolding in place in order to proceed with the studies, performed by the architect Alessandra Marino, that would ensure an accurate restoration. The work was carried out between May and December 2002, by the Superintendence architect Domenico A. Valentino, under the supervision of the architect Vincenzo Vaccaro and of the surveyor Franco Vestri, with the help of Mauro Masini. These interventions allowed us to give a complete vision of Michelangelo’s works back to the visitors to the New Sacristy. The project started off with test cleaning of the lantern. It immediately became evident that the most appropriate method to use was that of compresses. After trying several reagents, we opted for 15% ammonium carbonate in a water solution, supported by a mix consisting of Arbocel 200 and Arbocel 1000 which would guarantee the right degree of wetness and compactness in the compress. Only in the lower parts of the most protruding areas of the lantern was it necessary to add a small percentage of sepiolite, to ensure a greater adherence of the compress to the stone’s surface. In order to eradicate the infiltration of water from the small cupola of the lantern, we proceeded to take apart the monolithic blocks of marble that make it up, all the way down to the lead sheeting that had been placed there during restoration efforts in the 1970s. The deterioration of the waterproofing consisted not only of significant corrosion of the lead in places, but even its being altered and transformed into litharge (lead monoxide). This is an orange colored mineral formed by electrical discharges due either to lightning or concomitant electrochemical phenomena caused by the contact between the lead and some other metals (e.g., the lightning rod). Once we established the degree of deterioration, we proceeded to remove the lead sheeting. The marble parts that had fallen off were fixed in place with threaded stainless steel pins, epoxy resins, marble powder, and slaked lime. The restoration then continued with attempts to clean the lantern. The pre-consolidation was performed using two different methods, depending on the degree of deterioration. First off the ‘sugary’ parts were treated; here a solution of filtered lime water was brushed on with a paintbrush in several applications. Then, these same parts, after 4-6 days, were treated with one application by paintbrush of ethyl silicate. After the pre-consolidation, we were finally able to proceed with the cleaning. Two methods of cleaning were used. First, on the whole surface of the lantern (excepting the capitals and the protrusions), compresses were applied using a cellulose and sepiolite base mixed with ammonium carbonate in varying percentages of water solution. Then,
for the capitals, given the state of preservation of the marble and the amount of deposits, we opted, after several trials, for using a laser method. Polverizing via vaporization only the black crusty deposits allowed for an extremely meticulous yet delicate cleaning. After the cleaning, once the surface was completely dry, the whole lantern was coated with a protective mineral based on a 7% ammonium oxalate solution, applied via 2-cm-thick compresses of cellulose fibers with a contact time of 4 days. This type of protection was chosen for the outside marble since it does not alter the natural characteristics of marble and, furthermore, it provides it with a greater resistance to the formation of calcium oxalate on its surface. After the treatment with oxalate, the demolition of all of the old cement-based grouting, and the removal of the bolts, we were able to proceed with the stuccoing stage. This, too, was divided into different phases according to the type of the fissures in need of sealing. All of the old copper bands around the columns were substituted with stainless steel, as were the iron fixtures on the windows. Furthermore, a system of air recirculation was put in place by fitting on the windows two louvered glass panes; this inhibits the formation of condensation on the marbles and on the glass of the lantern. The inside of the lacunar cupola presented a series of problems. Besides a notable amount of dust and dirt deposits on the protruding areas of the recessed panels, the masonry was damaged in several points, with several areas of paint missing or deteriorated due to infiltrations of water. By the sampling performed, we realized that the painting had been repainted several times, as well as having been integrated with reconstructions in cement mortar. The whole surface of the cupola has now been restored to its original paint job, having removed with scalpels all the layers of paint from the previous restorations. In addition, all of the interventions that had been done with cement mortar were removed. While a careful daubing with demineralized water was performed at the end for a complete cleaning of the surfaces. In contrast, in those points where the painting had instead buckled, we proceeded to consolidate them via injections of hydrated lime grout. The lesions present in the intrados which had formed spontaneously as dilation junctures (a phenomena that occurs in all large cupolas) were filled with an elastic resin below the surface and then stuccoed. Several sections of coffers were reconstructed using metal framework and silhouettes. The reconstruction of the paint that had been previously removed was performed by rinzaffatura (rough rendering), arriccio, and then with a final veil of well-aged slaked lime and washed lake sand. Successively, this was smoothed with a trowel in order to imitate the original surface, while the final layer of the veil was stained with earth in order to make it identical to the original paint job. Regarding the outermost covering, characterized by elements in armored terracotta of different shapes, the restoration consisted in the inclusion of the missing elements, reconstructed based on drawings, and the restoring of the broken ones.
ԯ㔫Ӻ㧼⋯ӺԤᬭූⱘ఼ᬊ㮣ᅸ
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ᴀгܙ⒵њ∈⊹♄฿ܙ⠽DŽ䖯㸠њ䕂䞛⫼ϡৠᇣⱘ♄ ⧚㉝ⱘ㉝ࠋᅲ偠˗䰸ℸПˈ乘⏋ܜড়⏋ড়ᅲ偠г ༈㸼䴶䗮䖛ᑨ⫼Э⛋⸙䝌Ⲥᴹ䖯㸠DŽ Ўњḍ䰸∈Ңᇣⱘ⚂ศ⏫䗣ࠄ♃ศⱘ䯂乬ˈ៥Ӏϟᴹᡞᵘ ៤⚂ศⱘऩ⠛⧚ᵓߚ⾏ˈϔⳈࠄϪ㑾ᑈҷ䞡ᓎᯊᬒ 㕂ⱘᇐ㒓ᡸᵓ໘DŽ䰆∈䆒ᮑⱘᙊ࣪ᰃ⬅Ѣ䪙ⱘϹ䞡㜤㱔ˈ 䪙⫮㟇㹿䕀ᤶ៤њϔ⇻࣪䪙˄䪙ⱘϔ⇻࣪⠽˅DŽϔ⇻࣪䪙ᰃ 㡆ⱘⷓ⠽䋼ˈ⬅Ѣ䮾⬉㗙䪙Ϣ݊Ҫ䞥ሲ˄བˈ⬉Ầ˅ⱘ 㾺ǃԈ䱣⬉⇨࣪ᄺ⦄䈵⬉㾷ѻ⫳ⱘⷓ⠽䋼DŽϔᮺ៥Ӏ⹂ᅮ њᙊ࣪ⱘᑺˈ៥Ӏህ㛑㒻㓁⏙䰸䪙ᵓDŽ⏋ড়ᰃ⫼3/0$ ♄ˈ䜡ড়⺇㑸㓈ᏺᄤ䖯㸠˗⺇㑸㓈Ϣ6LFDGXUࠊ䗴ⱘ⦃⇻ᷥ 㛖ϔ䍋㹿䰘ⴔⷪϞ˗᳔ৢ݊Ϟᮍݡ㽚Ϟϔሖ⬅♄ǃ≭ ҹঞ0DSHLࠊ䗴ⱘ∈ᥦ᭹ࠖ0DSHODVWLF⏋ড়㗠៤ⱘ⠽䋼DŽᘏ 㗠㿔Пˈ䙷ϔሖ⧚ⲪህԡњDŽ 㜅㨑ⱘ⧚༈䚼ߚ⬅㒓⢊ⱘϡ䫜䩶ᦦ㛮ǃ⦃⇻ᷥ㛖ǃ⧚ ㉝♄ᴹᅮDŽ ϟᴹⱘ䞡ᓎᎹᰃ⏙⋕♃ศDŽ᳝ѯഄᮍⱘ⧚↨䕗മ ˈ㗠ⱘഄᮍ߭ᰒߎĀ㊪⢊āⱘߚ⾏⢊ᗕ˄ህᰃ᷅乊 さߎ䚼ߚ˅DŽ⬅ℸˈ䗔࣪䚼ߚ䳔㽕ܜ䖯㸠乘⏋ⱘܜড়ˈҹֱ 䆕ϟᴹ⏙⋕Ꮉⱘ៤ࡳᅠ៤DŽ 乘⏋ܜড়Ꮉḍᙊ࣪ⱘᑺˈ䗮䖛ϸ⾡ϡৠⱘᮍ⊩䖯㸠DŽ 佪ܜ໘⧚Ā㊪⢊ā䚼ߚˈ䖭ѯ䚼ߚⱘ໘⧚ᮍ⊩ᰃ⫼ࠋᄤ㰌њ 䖛Ⓒⱘ♄∈໘ᑨ⫼DŽ✊ৢˈৢˈ䖭ѯ䚼ߚ⫼ݡ ࠋᄤ㰌њЭ⛋⸙䝌Ⲥᴹ໘⧚DŽ ড䖛ᴹˈ㒚㓱䭓㒧ⱘ䚼ߚˈ乘⏋ⱘܜড়Ꮉ䗮䖛ϸϾ䰊 ↉ᙊ࣪ⱘഄᮍ⊼ܹ˖ⱘ䖛Ⓒ♄∈Э⛋⸙䝌Ⲥᴹᅠ ៤DŽ䖭ϔ䖛䞡䖯㸠ˈⳈࠄ⒵њϡ㛑ܹ⊼ݡЎℶDŽ 乘⏋ܜড়Пৢˈ៥Ӏ᳔㒜㛑ᓔྟ䖯㸠⏙⋕DŽ⏙⋕ᮍ⊩᳝ ϸ⾡DŽ佪ˈܜ♃ㄐⱘᭈϾ㸼䴶Ϟ˄䰸њ᷅乊さߎ䚼ߚ˅ ⫼㑸㓈㋴⍋⊵⏋ড়䫉⺇䝌Ⲥⱘϡৠ↨՟ⱘ∈⒊ࠖ䖯㸠ᭋ ᏗDŽ⏙⋕ⱘ䖛䗮䖛ҹϟℹ䖯㸠˖ ˅ᕙ໘⧚ऎඳ਼ೈᇣ㣗ೈⱘֱᡸ䍋ᴹ˖⫼㑸㓈㊞⏋ড়⾏ᄤ ∈خ៤ᴤ᭭ᵘ៤Ā⭚ඳāDŽ䖭ᰃЎњ䙓ܡ᳝ᴎ⠽䋼ҢᭋᏗⱘ ਼ೈ⏫䗣䖯ᴹDŽ ˅ϔ६㉇८ⱘᭋᏗᑨ⫼ࠄᕙ໘⧚㸼䴶DŽ ˅ϔᮺ䖒ࠄ㾺ᯊ䯈ˈᭋᏗ偀Ϟ㹿পᥝˈ⫼ݡ䕃⍋㓉⠭ ࠋᕙ໘⧚ऎඳ㽚Ⲫ⾏ᄤ∈DŽ ϟᴹˈ᷅乊⫼⧚༈ϔᅮ᭄䞣ේ⿃⠽ֱᡸ䍋ᴹˈ ᅲ偠Пৢˈ៥ӀؒѢ⫼▔ⱘܝᮍ⊩DŽ⫼䳒఼䕃࣪咥㡆 ⹀䋼≝⎔⠽䖒ࠄњ㒚㟈㗠জ㊒ᆚⱘ⏙⋕ᬜᵰDŽ ⏙⋕ᅠ៤ৢˈϔᮺ㸼䴶ᅠܼᑆ䗣ˈᭈϾ♃ศे㹿⍖Ϟϔሖ 䫉㤝䝌Ⲥ⒊ࠖⱘֱᡸ⠽ˈ䗮䖛ᑨ⫼६㉇८ⱘ㑸㓈ᭋᏗᴹ ᅠ៤ˈ㾺ᯊ䯈ЎDŽ䖭⾡㉏ൟⱘֱᡸ⬅ѢϡӮᬍব⧚ ⱘ㞾✊ሲᗻˈҢ㗠ᑨ⫼Ѣ䚼ⱘ⧚˗ˈ䖭⾡ֱᡸ гЎ⧚㸼䴶ᦤկњ᳝ⱘᇍᡫ䩭㤝䝌Ⲥⱘᔶ៤䞣DŽ ᑨ⫼㤝䝌Ⲥǃ⸈ണ᠔᳝ⱘ∈⊹฿ܙ⠽ǃ⏙䰸њ᠔᳝ⱘ↯䖍П ৢˈ㉝ࠋ䰊↉ᕫҹ㒻㓁䖯㸠DŽ㉝ࠋ䰊↉гḍ䳔㽕ᆚᇕⱘ㺖 㓱⾡㉏ߦߚ៤ϡৠⱘᯊ↉DŽ ᯢ⹂ⱘ䇈ˈ䰸њ༈ⱘ♃ㄐ᠔᳝䚼ߚⱘ฿ܙ䛑ᰃ⫼ϡৠᇣ ⱘ♄⧚㉝ᴹ䖯㸠DŽড䖛ᴹˈᵓϢᵓП䯈ⱘ༈䚼 ߚˈ䳔㽕䗮䖛ᆚᇕᴹֱ᳝ᔍϡ⏫䗣ᗻˈᑨ⫼њܙ⒵㊒䗝 ᛄᗻ⠽䋼ⱘ$NHRJDUG♄⊹ড়⠽ˈᛄᗻ⠽䋼ⱘ䗝ᢽ⬅ϡৠⱘ ᚙމᴹއᅮDŽЎњᔎ〇ᅮᗻˈ᳔ৢⱘᑇ⒥⍖ሖ䗮䖛ᑨ⫼ $NHRJDUG♄⊹⏋ড়䩭㤝䝌ⲤЎᛄᗻ⠽䋼ᴹᅠ៤DŽ ᷅ᄤ਼ೈ᠔᳝ⱘᮻ䪰ᏺ䛑⫼ϡ䫜䩶ᴹ᳓ҷˈに᠋Ϟⱘ䪕ᅮ 䆒гᰃབℸDŽ ˈ䗮䖛㺙᳝ϸⱒ⦏⩗にᵓⱘに᠋Ϟࡴ㺙ぎ⇨⌕䗮
Vincenzo Vaccaro ԯ⋯Ӻ㧼ⳕǃⲂᮃᠬѮⳕϢ᱂ᢝᠬⳕᓎ ㄥ䘫ѻϢ᱃㾖ㅵ⧚ሔण䇗ሔ䭓ǃᓎㄥᏜ
㋏㒳ˈৃ᳝ᬜᡥࠊ⧚♃ㄐ⦏⩗Ϟޱ㒧⠽ⱘᔶ៤DŽ 㢅Ḑ⚂ศⱘݙ䚼г᳝ϔѯ䯂乬DŽ䰸њߍᵓさߎ䚼ߚේ⿃ⱘ 䞣♄ᇬˈ᳝໘ᎹᏆ㒣䙁ࠄ⸈ണˈ᳝ⱘഄᮍ⬅Ѣ∈ⱘ⏫ 䗣䗴៤њ⊍ⓚ㜅㨑㗙⸈ണDŽ 䗮䖛পḋˈ៥Ӏথ⦄ˈ⊍ⓚᏆ㒣䞡ᮄ⍖䖛ˈг∈⊹♄ 䞡ᓎ䚼ߚ㵡ড়њDŽ⚂ศⱘᭈϾ㸼䴶䛑Ꮖ㒣ᣝॳᔶᘶˈ⫼㾷 ࠪߔ⏙䰸њПࠡ䞡ᓎ᠔᳝ⱘ⊍ⓚሖDŽℸˈ᠔᳝∈⊹♄ⱘ䞡 ᓎ䚼ߚ㹿⏙䰸DŽ᳔ৢ៥Ӏ⫼䰸ⷓ⠽䋼∈ᇣᖗⱘ㽚ⲪˈҢ㗠䖒 ࠄњ㸼䴶ⱘᕏᑩ⏙⋕DŽ ⫼㑸㓈㊞এⷓ⠽䋼∈خ៤ⱘ䰸ⲤߚᭋᏗᑨ⫼ⷪϞˈ 㾺ᯊ䯈ҢᇣᯊࠄᇣᯊϡㄝDŽ ড䖛ᴹˈ䙷ѯ⊍ⓚᏆ㒣⺼ᤳⱘ䚼ߚˈ៥Ӏ䗮䖛⊼ܹ∈⒊ ♄⌚ᴹ䖒ࠄᎽDŽݙᓻ䴶Ϟⱘᤳണᰃ⬅Ѣᠽⱘ㒧ড়⚍ܙ⒵ њ㸼䴶ϟ䴶ⱘᔍᗻᷥ㛖ৢ㉝ࠋ㗠㞾✊ᔶ៤DŽֱ䰽ㆅⱘ໘ᰃ ⫼䞥ሲḚᶊঞ䕂ᒧᴹ䞡ᓎⱘDŽࠡܜ㹿⏙䰸ⱘ⬏䚼ߚⱘ䞡ᓎ ⬅ࡴ˄㉫⬹⼎ᛣ˅㉫⍖ᴹᅠ៤ˈϟᴹ⫼䰜ᑈⱘ♄ ⋫䖛ⱘⲤخ៤ֱᡸሖDŽϟᴹˈ⫼⊹䫆ᑇᭈ㸼䴶ҹӓ䗴 ᳔߱ⱘ㸼䴶ˈ㗠᳔ৢϔሖֱᡸሖ⍖Ϟ⊹ᴹՓ݊ⳟ䍋ᴹϢ᳔߱ ⱘ⊍ⓚᎹϔ㟈DŽ ҹϡৠᔶ⢊ⱘೳ䌸㡆㺙⬆៤ߚЎ⡍ᕕⱘǃ᳔䴶ⱘⲪᄤⱘ䞡 ᓎᎹ⬅㔎༅䚼ߚⱘ䞡฿ǃॳ⬏⸔Ϟⱘ䞡ᓎҹঞ⸈ 䚼ߚⱘׂᵘ៤DŽ ∈⊹฿ܙ⠽ҢᭈϾⲪᄤϞ⏙䰸ϟᴹ˗䱣П㽚Ⲫҹ♄ⷪ FRFFLRSHVWR˅DŽ♄ⷪⱘᅝ㺙⬹ৢϔ⚍ҹᑨ⫼Ў ∈ῑˈЎ䖭䞠≵᳝∈ῑњDŽ 䖭ϔᎹ⬅0DVRQU\ZRUNˈ)LJOLGL$/RUHQ]LQL 6S$ᅠ៤ˈ㺙佄Ꮉ⬅&HOOLQL6UOᅠ៤ˈ䪕㡎䚼ߚ⬅ 0DULDQL0DULR &VQFᅠ៤DŽ
27 27
THE EMPIRIC METHODOLOGY FOR THE STRUCTURAL ANALYSIS OF HISTORICAL BUILDINGS
Carlo Blasi University of Parma
28 28
The development of finite elements codes permits to obtain - in the structural analysis of modern buildings - results more and more precise using models more and more complex. For historical buildings, the brilliant results obtained in the numerical field should not make people forget the great approximations that still exist in determining the mechanical behaviour of ancient masonry structures. The risk is to use more and more sophisticated calculation methods that produce only apparently precise results, because they are affected by mistakes in passing from the historical reality to the numerical model. It is not only a problem of identification of reasonable constitutive non linear laws for the masonry materials, it is a problem to describe with numerical parameters the long time behaviour, the deterioration phenomena, the assessment of soil and the various traumas that involved the historical buildings in their long life: earthquakes, wars, bombs, floods, man-made modifications, strengthening operations themselves and all those events that are impossible - really impossible - to quantify numerically with a believable approximation. The principal problem of the identification of the static behaviour of ancient structure is always an historical inspection, much more then a calculation problem. The best methodology to identify the future behaviour of the old structures is the traditional empiric methodology to identify the past behaviour: it is an historical methodology, used before XIX century even to design the new buildings and based on the empiric identification of the mechanisms
of damage occurred to the structure themself or to the similar ones, thank to the accurate surveys of the geometry, of the techniques of construction, of the traumas occurred, of the deformations and the deteriorations phenomena. It is years that we are using this method, recently approved by the Italian Ministry of Public Works, to understand the behaviour and the pathology of several historical and complex buildings. The figures show some examples of our researches on damage mechanism regarding: - the dome of Santa Maria del Fiore in Florence (XV century); - the displacements of the Pantheon in Paris (XVIII century), that we surveyed and described for its restoration for our committee, the French Government; - an ancient temple in Angkor, Cambodia, working for Unesco. The identification of damage mechanism allows to easily design consolidation intervention, valorising existing structures and restraining alteration on historical buildings.
ग़ᓎㄥᵘ䗴ߚᵤⱘ㒣偠ЏНᮍ⊩
᳝䰤ܗ㋴ҷⷕⱘথሩՓ៥Ӏ⦄ҷᓎㄥⱘᵘ䗴ߚᵤᮍ䴶㛑䗮 䖛Փ⫼䍞ᴹ䍞ᴖⱘൟ㦋ᕫ䍞ᴹ䍞㊒⹂ⱘ㒧ᵰDŽᇍѢग़ ᓎㄥˈ᭄ᄫ乚ඳᕫߎⱘ㊒ᔽ㒧ᵰᑨ䆹ՓҎӀ⠶䆄⹂ᅮসҷ 㒧ᵘⱘᴎẄᗻ㛑ᯊҡ䳔Փ⫼ӳ䖥ԐؐDŽ 亢䰽ᰃᣛՓ⫼䍞ᴹ䍞ᇪッⱘ䅵ㅫᮍ⊩ᴹ㦋ᕫাᰃ㸼䴶ϞⳟԐ ㊒⹂ⱘ㒧ᵰˈЎᅗӀӮফࠄҢग़џᅲࠄ᭄ᄫൟⱘӴ䗦 䖛Ёߎ⦄ⱘ䫭䇃ⱘᕅડDŽ ᅗϡҙᰃϔϾЎᴤ᭭߸ᮁ㒧ᵘᗻ䴲㒓ᗻড়⧚ᗻⱘ䯂乬ˈ ᅗгᰃϔϾ⫼᭄ᄫখ䞣ᦣ䗄䭓ᳳ㸠Ўǃ㹄䋹⦄䈵ǃೳຸ䆘Ԅ ҹঞ⍝ঞग़ᓎㄥᯊ䯈ⱘ䭓⊇Ёߎ⦄ⱘ↕ᤳ䯂乬˖ഄ䳛ǃ ѝǃ⚌ᔍǃ⋾∈ǃҎЎᬍ䗴ǃ㞾䑿ࡴᎹҹঞ᠔᳝ϡ ৃ㛑г⹂ᅲϡৃ㛑ߎ⦄ⱘџӊˈ䛑߽⫼ৃ䴴ⱘ䖥Ԑؐ䖯㸠 ᭄ᄫԄㅫDŽ ߸ᮁসҷᓎㄥ䴭ᗕ㸠ЎⱘЏ㽕䯂乬∌䖰ᰃ䖯㸠ग़Ẕᶹˈ㗠 ϡҙҙᰃ䅵ㅫ䯂乬DŽ ⹂ᅮᓎㄥᴹ㸼⦄ⱘ᳔Շᮍ⊩ᰃϔ⾡⹂ᅮ䖛এ㸼⦄ⱘӴ㒳㒣 偠ЏНᮍ⊩˖䖭ᰃϔ⾡ग़ᮍ⊩ˈ⬅Ѣᇍԩ㒧ᵘǃᓎㄥᡔ ᴃǃᓩ䍋ⱘ↕ᤳǃবᔶ㜤⚖⦄䈵ⱘ㊒⹂䇗ᶹˈ䖰कбϪ 㑾ࠡህ㹿⫼ᴹ䆒䅵ᮄᓎㄥˈ݊ձᰃᇍᓎㄥᴀ䑿㉏Ԑ㒧ᵘ
ѻ⫳ⱘ⸈ണᴎ⧚ⱘ㒣偠ЏН߸ᮁ⊩DŽ 䖭⾡᳔䖥Ꮖ㦋ᛣ߽݀݅ᓎㄥ䚼ᡍⱘޚᮍ⊩ᑈᴹ㹿៥Ӏ⫼ ᴹњ㾷ϔѯग़ᴖᓎㄥⱘ㸼⦄䯂乬DŽ 䖭ѯ᭄ᰒ⼎њ៥Ӏᇍҹϟᮍ䴶⸈ണᴎ⧚ⱘⷨおḜ՟˖ ԯ㔫Ӻ㧼↡ⱒ㢅ᬭූ˄6DQWD0DULDGHO)LRUH˅ⱘ き乊˄कѨϪ㑾˅˗ Ꮘ咢ϛ⼲↓ⱘ⿏㕂˄कܿϪ㑾˅ˈ៥Ӏ䩜ᇍׂ㔂Ꮉ䖯㸠 њ䇗ᶹᑊ䈵៥Ӏⱘྨᠬᴎᵘ⊩ᬓᑰ䖯㸠њ䇈ᯢ˗ ᷀ඨᆼਈહび˄$QJNRU˅ⱘসᑭˈ㘨ড়ᬭ⾥᭛㒘㒛Ꮉ DŽ 䗮䖛ᇍ⸈ണᴎ⧚䖯㸠߸ᮁˈৃҹᕜᆍᯧᅲᮑ䆒䅵ᔎ࣪ᑆ乘Ꮉ ˈ〇ᅮग़ᓎㄥⱘ⦄ᄬ㒧ᵘᑊ䰤ࠊᬍ䗴DŽ
Carlo Blasi 3DUPDᄺᓎㄥׂ㔂
29 29
Projects
30 30
32
BANG & OLUFSEN SELL POINT
34
SANTA MARIA DEL FIORE OPERA’S MUSEUM
36
RECOVERY AND RESTORATION OF THE HOSPITAL OF SANTA MARIA DELLA SCALA, SIENA
38
SAN COLOMBANO BAR-RESTAURANT
Sandro Marini
%$1* 2/8)6(1ⱘ䫔ଂ⚍
33
↡ⱒ㢅ᬭූ㡎ᴃકम⠽佚
35
Canali Associati
䫵㘊㒇↡⥯߽Ѯüᖋᢝᮃवᢝए䰶ⱘᘶׂ㔂
37
Archea Associati
હӺᏈ䇎੪ଵ令佚
39
David Palterer, Luigi Zangheri
40
NICCOLINI THEATRE
David Palterer, Luigi Zangheri
ሐܟ䞠ሐ࠻䰶
41
42
SAN MICHELE IN BORGO
Massimo e Gabriella Carmassi
⊶ᇨહ㉇ᓔࢦᬭූᬭූ
43
44
SEAT OF BANK OF ITALY
Enzo Zacchiroli
ᛣ߽䫊㸠᠔ഄ
45
46
SOCIOECONOMIC AND JURISPRUDENCE COMPLEX OF THE UNIVERSITY AT NOVOLI
Natalini Architetti
䇎≗߽䬛ⱘᄺ⼒Ӯ㒣⌢⊩ᄺ㓐ড়ὐ
47
48
UNIVERSITY CENTRE AT PORTA TUFI
Natalini Architetti
3257$78),ᄺЁᖗ
49
50
PEDIATRIC HOSPITAL CENTRE MEYER
CSPE, Anshen & Allen
⾥ܓए䰶Ёᖗ0(
