Built Heritage Sustainable Reuse: Approaches, Methodologies and Practices 3031267494, 9783031267499

Citation preview

Building Pathology and Rehabilitation

Humberto Varum Teresa Cunha Ferreira   Editors

Built Heritage Sustainable Reuse Approaches, Methodologies and Practices

Building Pathology and Rehabilitation Volume 26

Series Editors Vasco Peixoto de Freitas, University of Porto, Porto, Portugal Aníbal Costa, Aveiro, Portugal João M. P. Q. Delgado , University of Porto, Porto, Portugal

This book series addresses the areas of building pathologies and rehabilitation of the constructed heritage, strategies, diagnostic and design methodologies, the appropriately of existing regulations for rehabilitation, energy efficiency, adaptive rehabilitation, rehabilitation technologies and analysis of case studies. The topics of Building Pathology and Rehabilitation include but are not limited to - hygrothermal behaviour - structural pathologies (e.g. stone, wood, mortar, concrete, etc…) diagnostic techniques - costs of pathology - responsibilities, guarantees and insurance - analysis of case studies - construction code - rehabilitation technologies architecture and rehabilitation project - materials and their suitability - building performance simulation and energy efficiency - durability and service life.

Humberto Varum · Teresa Cunha Ferreira Editors

Built Heritage Sustainable Reuse Approaches, Methodologies and Practices

Editors Humberto Varum CONSTRUCT-LESE, Faculdade de Engenharia, Departamento de Engenharia Civil Universidade do Porto Porto, Portugal

Teresa Cunha Ferreira CEAU-FAUP, Faculdade de Arquitectura Universidade do Porto Porto, Portugal

ISSN 2194-9832 ISSN 2194-9840 (electronic) Building Pathology and Rehabilitation ISBN 978-3-031-26749-9 ISBN 978-3-031-26750-5 (eBook) https://doi.org/10.1007/978-3-031-26750-5 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

Introduction

The volume reports on a selection of papers presented at the Xth edition of the Conference “ReUSO. Documentation, Restoration and Reuse of Heritage” (November 2–4, 2022), hosted and organized by the Faculty of Engineering of the University of Porto in partnership with Instituto da Construção, CONSTRUCT Research Unit and Associazione ReUSO, and with the support of the Faculty of Architecture of the University of Porto. Several companies and institutions (Universities, Institutes, Laboratories, Research Centres and Associations) supported the organization of this international conference. Almost 140 articles were approved for presentation at the conference, and 5 keynote lectures were given by professionals with extensive internationally recognized experience in the fields of rehabilitation. The Conference ReUSO intended to motivate the discussion by scholars on issues that address the theoretical, methodological and practical application of built heritage reuse in relation to contemporary needs, as well as into the complexity of possible future orientations of our scientific sectors. Furthermore, the present-day circumstance of vulnerability at a global scale to health emergency, urgent environmental challenges and human conflicts in the European context threatens the definitive loss not only of the physical appearance but also of the historical memory embodied in our cultural heritage. The Editors of this volume express their profound acknowledgment to Ph.D. architects Pedro Murilo de Freitas and David Ordoñez-Castañon for their commitment in the support of the activities related to the selection, revision and preparation of the final version of the contributions to this book. The volume is structured into eight chapters consisting of full and comprehensive articles related to built heritage sustainable reuse from different perspectives, ranging from specific case studies to methodological or theoretical approaches in teaching and practice at different scales (urban, archaeological, building), or with emergency contexts determined by war conflicts. The first article, entitled “Reuse and Conservation of Built Heritage in Exposed Concrete: Recent Intervention by Álvaro Siza (2018–2021)”, by Teresa Cunha Ferreira et al., contributes to the current discussion of modern heritage conservation. It presents a case study that can be considered an open lesson by Álvaro Siza v

vi

Introduction

by preserving the building design principles while updating it to contemporary use and accessibility requirements. The article by Joana Gonçalves dos Santos et al., “Behavioural Decision-Making in Sustainable Conservation of Built Heritage”, aims to understand how decisionmaking processes in architecture design have an intrinsic behavioural dimension and allows the support for the growth of a circular economy and a more sustainable future. David Ordoñez-Castañon and Teresa Cunha Ferreira present “Continuity and Innovation as Design Principles for Adaptive Reuse of Built Heritage: A Case Study by Architect Fernando Távora”, by critically describing the design process of Fernando Távora’s work of conservation and new additions in a late nineteenthcentury house in Porto. A Brazilian didactic experience is presented by Pedro Murilo de Freitas in the article “Architectural Conservation Design Training in a Pandemic: Recent Resilient Experiences in Brazil”. The work shows how the recent pandemic damaged training conservation design as though it was also an opportunity for reviewing key contemporary aspects of current Brazilian education in conservation. Reuse methodologies are the argument of the next article, “A Methodology for Historic Villages Preservation. The Case Study of San Giovanni Lipioni”, presented by Anna Chiara Benedetti et al. The work is a clear example of conceiving operational reuse guidelines, using as a case study an Italian historical village, where authors collected extensive technical data for developing their research. From Spain, “Application of New Technologies for the Graphic and Constructive Analysis and Dissemination of the Archaeological Heritage of Mérida, Spain” by Adela Rueda Márquez de la Plata et al. provides an interesting project for disseminating fragments of archaeological remains, with the purpose to enhance the visitor’s experience and enable better reuse strategies. “Fairground of Lebanon in Tripoli and the War. Meanings and Challenges for the Future”, by Francesca Albani and Joe Zaatar presents extensive research about the construction of the Lebanon Fairground, a modern ensemble designed by Oscar Niemeyer, that advocates for reuse criteria that maintain the subtle war meanings associated with his modern design. Finally, closing this volume, “Sarajevo Military Brownfields. Principles for Adaptive Reuse” is a sensible work by Amra Salihbegovi´c and Domenico Chizzoniti that describes how adaptive reuse can be applied collectively to reframe places and buildings that were built or are a result of social traumatic events.

Contents

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent Intervention by Álvaro Siza (2018–2021) . . . . . . . . . . . . . . . . . . . . . . Teresa Cunha Ferreira, Hugo Mendonça, Paulo B. Lourenço, Rui Fernandes Póvoas, Ana Tostões, Jónatas Valença, Hugo Costa, and Eduardo Júlio Behavioural Decision-Making in Sustainable Conservation of Built Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joana dos Santos Gonçalves, Ricardo Mateus, José Dinis Silvestre, and Ana Pereira Roders Continuity and Innovation as Design Principles for Adaptive Reuse of Built Heritage: A Case Study by Architect Fernando Távora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Ordóñez-Castañón and Teresa Cunha Ferreira Architectural Conservation Design Training in a Pandemic: Recent Resilient Experiences in Brazil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pedro Murilo Gonçalves de Freitas A Methodology for Historic Villages Preservation. The Case Study of San Giovanni Lipioni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna Chiara Benedetti, Carlo Costantino, Nicola Mantini, Cristiana Bartolomei, and Giorgia Predari Application of New Technologies for the Graphic and Constructive Analysis and Dissemination of the Archaeological Heritage of Mérida, Spain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adela Rueda Márquez de la Plata, Pablo Alejandro Cruz Franco, and Jorge Alberto Ramos Sánchez

1

15

23

39

53

71

vii

viii

Contents

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges for the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Francesca Albani and Joe Zaatar

91

Sarajevo Military Brownfields. Principles for Adaptive Reuse . . . . . . . . . . 107 Amra Salihbegovi´c and Domenico Chizzoniti

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent Intervention by Álvaro Siza (2018–2021) Teresa Cunha Ferreira , Hugo Mendonça , Paulo B. Lourenço , Rui Fernandes Póvoas , Ana Tostões , Jónatas Valença , Hugo Costa , and Eduardo Júlio Abstract The Ocean Swimming Pool (1960–1966) is one of Álvaro Siza’s most internationally recognized works for its exceptional landscape integration while expressing a tectonic shift from regionalist inspiration towards more abstract design and innovative constructive solutions. Recent conservation has enhanced the site’s significance, by preserving the original design principles and extending the building to the north, where the original construction had been left unfinished. Under the Keeping It Modern Grant awarded by the Getty Foundation, inspection and diagnosis were carried out during the building site, providing a complete material assessment of the building. Also, the funding allowed for the localized repair of concrete spalling due to steel corrosion which went beyond the traditional patch repair by applying innovative techniques of chromatic and texture integration between the existing and the new repair mortars. Keywords 20th Century heritage · Modern architecture · Conservation plan · Concrete repair

T. Cunha Ferreira (B) · R. F. Póvoas CEAU, Faculty of Architecture, University of Porto, Porto, Portugal e-mail: [email protected] H. Mendonça Faculty of Architecture, University of Porto, Porto, Portugal P. B. Lourenço ISISE, Department of Civil Engineering, University of Minho, Guimarães, Portugal A. Tostões CiTUA, Instituto Superior Técnico, University of Lisbon, Lisbon, Portugal J. Valença · E. Júlio CERIS, Instituto Superior Técnico, University of Lisbon, Lisbon, Portugal H. Costa ISEC, Polytechnic Institute of Coimbra, Coimbra, Portugal © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_1

1

2

T. Cunha Ferreira et al.

1 Introduction 1.1 Context Architectural contemporaneity was fully affirmed in Portugal throughout the 1960s “with the publication of Arquitectura Popular em Portugal, with the construction of the Calouste Gulbenkian Foundation (FCG) Headquarters Building and Park, and above all with the beginning of the Ocean Swimming Pool project, in Leça da Palmeira” [1]. The Ocean Swimming Pool in Leça da Palmeira, to the north of Porto (Portugal), was designed by the Portuguese architect Álvaro Siza (Pritzker Prize, 1992) between 1960 and 1966, with later additions until 1973. In this early work, Siza achieves an exceptional integration within the landscape (topography, pre-existences, natural elements) by anchoring the concrete building into the seaside wall and the pools into the rocks. Also, it reveals a tectonic shift from regionalist inspiration towards more abstract design and innovative building technology [2], using raw materials with brutalist expression such as exposed concrete, copper and black Baltic pinewood (darkened with burnt oil). The bathing complex has been in full use for almost sixty years, becoming a social and cultural landmark in the identity and collective memory of local communities [3]. Also, it has been the subject of more than eighty national and international publications [4]. The site is currently listed as a National Monument (since 2011) and is among the selected buildings to integrate the “Ensemble of Álvaro Siza’s Architectural Works” in the Tentative List for World Heritage (2017). Nevertheless, its maritime location and the proximity to an oil refinery have seriously aggravated the decay of its concrete structures and have contributed to the obsolescence of the building’s infrastructures, determining the need for a comprehensive intervention conducted by Siza himself between 2018 and 2021. These works preserved the original design principles of the ensemble while adapting it to the new infrastructural, use and legal requirements; also, the recent intervention extended the building to the north where the original design had been left incomplete [5].

1.2 Methodology and Objectives This research is developed under a ‘Keeping It Modern’ (KIM) grant awarded by the Getty Foundation for the development of a Conservation Management Plan for the Ocean Swimming Pool. The first step when drafting a Conservation Plan consists of ‘understanding the place’ by gathering all the ‘documentary evidence’ and ‘physical evidence’ about the site [6]. For the Ocean Swimming Pool, ‘documentary evidence’ included different kind of sources such as archives (written, graphic, photographic, cartographic materials, among others), publications (books, chapters, articles and academic works), oral

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

3

sources (interviews and surveys to building actors, site managers and to local communities), among others. The cross analysis of this sources made it possible to determine the construction phases and the building materials and technologies applied in its design and construction. ‘Physical evidence’ was informed by inspection and diagnosis actions performed during the recent conservation works, namely a set of in-situ non-destructive or minor destructive tests and laboratory tests [7]. In addition, the KIM project allowed for pilot demonstrations of localized repair of the exposed concrete which went beyond the traditional patch repair with contrasting mortars, by using instead chromatic and texture integration techniques between the existing surfaces and the new repair mortars.

2 Design and Construction 2.1 Design Chronology Leça’s seafront development was at the core of Fernando Pinto de Oliveira’s (the president of the Municipal Council between 1958 and 1970) strategy to transform this area in a large-scale tourist destination, for which he planned not only the extension of the coastal avenue further north, as numerous leisure infrastructures, such as the Boa Nova Tea House and Restaurant, designed by Álvaro Siza, a campsite, a hippodrome and some restaurants, besides the Ocean Swimming Pool. In November 1959, the Municipal Council promoted a direct consult to a company specialized in maritime works, Ribeiro da Silva, Lda., to assess the feasibility of the project and a first cost estimate. The chosen location was an area where a rocky outcrop already presented a natural cove, to the north of Leça’s beach, close to a previous bathing pool limited by a low semi-circular wall where people could bathe when the sea conditions were rougher. At this stage, the project consisted solely of an artificial tank that would fill and empty according to the movement of the tides. Nonetheless, the sensitive nature of the context in which the intervention would take place made it clear that a study of its urban arrangement was necessary, leading to the indication of the architect Álvaro Siza to integrate the design team [8]. The first project presented in 1960, conceived by the engineer Bernardo Ferrão, only envisaged the construction of a single swimming pool amongst the rocks of Leça beach. Nonetheless, the health authorities determined the need for water treatment as the tides themselves would not be able to assure the necessary renewal of the pool’s water [8]. At this stage other shortcomings of the initial design were identified, leading to a progressive increase in the program’s complexity. The contribution of Álvaro Siza is already clear in the first preliminary design, presented in 1962, in which we can already identify all the main elements that were eventually built: a pool for adults and a pool for children, using the terrain’s topography for its outline and a support building accessed by a ramp, running parallel

4

T. Cunha Ferreira et al.

to the avenue retaining wall, housing changing rooms, sanitary and water treatment facilities. The complex was inaugurated in May 1965 (Fig. 1a) with no significant differences from what had been foreseen in the preliminary design, with the exception of a set of concrete platforms and stairs to ensure the connection between the different levels of the solarium area. Later that year, Álvaro Siza designed a restaurant located to the north of the enclosure to shelter the bathers from the prevailing winds and clarify the limit of the overall composition which was never built [9]. Hence, the bathing complex, designed and built between 1960 and 1973, was never conceived as a single project but rather resulted from multiple commissions and additions that dictated the gradual growth of the bathing complex, from the construction of a tidal pool through to its recent renovation and extension to the north [3] (Fig. 2).

Fig. 1 Ocean Swimming Pool aerial view. a Álvaro Siza fonds, Collection Canadian Centre for Architectura, Montréal, 1965. b Pixel, 2021

Fig. 2 Ocean Swimming Pool design cronology (as built). TCF, 2021

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

5

2.2 Building Materials and Techniques Álvaro Siza’s brutalist design approach together with the inclement weather conditions posed by the location, determined the adoption of a construction system based on the use of raw materials. The walls are entirely built of poorly reinforced exposed concrete with a horizontal wooden formwork finish. The roof slabs were built without interruptions so as to avoid joints and were separated from the concrete walls to achieve an improved structural behaviour (Fig. 3). The swimming pool tanks and buildings were mainly constructed in good-quality cast-in-place concrete, with a very small amount of reinforced steel: the building walls have depths of 30 cm, a welded steel mesh of 5 mm, with a grid of 15 × 15 cm, and were executed with a 4 cm pinewood formwork defining horizontal lines. As for the concrete used in the building site there were different compositions: (i) the cyclopean concrete walls are composed of granite stones, sourced from the site, filled with 300 kg cement per m3 ; (ii) the foundation, the platforms pavements and the bar’s triangular terrace is made out of concrete with 250 kg cement per m3 ; (iii) the concrete walls are reinforced with 10 kg of steel per m3 in the retaining walls and 15 kg/m3 in the remaining walls; (iv) the concrete roof slabs in the North and South roof gardens have 52 kg/m3 of steel and 130 kg/m3 respectively; (v) in the North area, the slab also has a concrete beam that is reinforced with 190 kg/m3 of steel [10]. Baltic pine wood reclaimed from demolitions in the historic centre of Porto was used for the roof structure and for the interior fittings of the changing rooms and coated with a varnish traditionally used in shipbuilding. The cabin partitions are suspended from the wooden beams to allow for the easy washing of the floor made out of prefabricated white cement slabs. The wooden roof structures are covered with copper sheeting over cork agglomerate and asphalt fabric for insulation and

Fig. 3 Reinforced concrete roof slab construction and details. a Rui Mota, 1971. b Bernardo Ferrão, 1965

6

T. Cunha Ferreira et al.

waterproofing purposes. The electrical and water supply networks run through the exterior of the concrete walls inside copper pipes.

3 Inspection and Diagnosis Due to its maritime location, the Ocean Swimming Pool is particularly vulnerable to extreme weather phenomena such as storm surges, wave overtopping, over washing and flooding, which aggravated the decay of its concrete structures and hydraulic infrastructure, compromising its functioning in the last years. The direct exposure to marine air and splash water increases the chloride concentration and deposition rate, leading to localized corrosion and concrete spalling. Moreover, the Municipal Council carried out a series of inappropriate interventions over the years, such as the insertion of cables in the concrete walls or the addition of incompatible repair mortars. The concrete walls presented several cracks creating visible linear discontinuities in the material’s surface, most of those caused by the absence of expansion joints. Some beams and slabs showed signs of spalling caused by the corrosion of steel rebar (south and north storage rooms’ roof slabs, walkway, cantilever beam at the entrance). Moreover, several walls displayed ‘pattern cracking’ over its surface caused by the addition, in the 1990s, of a 4 cm concrete layer over some walls which created problems of incompatibility with the pre-existing concrete. As regards to the wooden structure of the ceiling and the changing rooms’ partitions, they did not only displayed a small and localized detachment of its coating, but also had an oily texture that resulted from the excessive amounts of linseed oil applied over the years. Concerning the copper surface of the building’s roof, it had various problems concerning the sheets assembly resulting from its exposure to the maritime environment without any maintenance over time [7] (Fig. 4).

Fig. 4 Ocean Swimming Pool damage mapping. TCF, 2021

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

7

The inspection and diagnosis of the building involved the following works: (1) damage survey; (2) evaluation of the out-of-plane deformations of walls; (3) concrete carbonation testing; (4) laboratory tests to determine the mechanical properties of the concrete and steel rebars; (5) chloride content testing; (6) water penetration testing; (7) concrete testing with Schmidt hammer; (8) sonic testing; (9) colour analysis based on spectrophotometry; (10) Ground Penetrating Radar (GPR) testing; (11) laboratory tests on a timber specimen; (12) laboratory tests on cement paste samples [7]. These tests allowed to conclude that all concrete samples were carbonated. It was also concluded that the physical, chemical and mechanical properties of the concrete of the building present high dispersion, which is expected since as the concrete was cast-in-place and produced in different phases. However, it should be noted that the low percentage of steel rebars is a crucial aspect so that the damage associated with the corrosion (carbonated concrete and presence of chlorides) is not most severe.

4 Building Conservation and Extension (2018–2021) Recent interventions designed by Álvaro Siza (2018–2021) represent an exceptional case of an original architect preserving his own work, respecting the building’s design principles through conservation and addition of a new extension to enhance the site’s viability and functionality. Its main focus has been infrastructural, namely the hydraulic infrastructures, as most of its pipes had been destroyed by salt or were clogged with sand. Moreover, to improve functionality (as well as to assure compliance of the current legal requirements), recent interventions involved the demolition and reconstruction of the north volume to house new restrooms prepared for impaired mobility users, employees’ changing rooms, a storage room and a waste management room. This construction is located under the coastal avenue, revealing a concrete retaining wall with small horizontal openings, interior partitions, joinery and details that follow the design principles of the pre-existing buildings. In this intervention, the platform at the northern end was finally extended to the place where the restaurant would be located, culminating in a 45º inflection, in line with the compositional principles of the set (Figs. 5, 6, 7, 8, 9 and 10).

8

T. Cunha Ferreira et al.

Fig. 5 Ocean Swimming Pool plan with red (new/rebuilt) and yellows (demolished) of the intervention and concrete repair demonstration of concrete spalling (R1). Álvaro Siza, 2018 (adapted by TCF)

Fig. 6 Reconstruction of the north volume. a Frederico Barbosa, 2019. b Inês d’Orey, 2021

Fig. 7 Water treatment room. a Frederico Barbosa, 2019. b Inês d’Orey, 2021

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

9

Fig. 8 Pattern cracking of the south storage room wall. a Frederico Barbosa, 2020. b Inês d’Orey, 2021

Fig. 9 Suspended walkway. a Frederico Barbosa, 2020. b Inês d’Orey, 2021

Fig. 10 Adults swimming pool. a Frederico Barbosa, 2020. b Inês d’Orey, 2021

5 Concrete Conservation 5.1 General Approach As above mentioned, although the quality of the original concrete was very good and poorly reinforced, the damage survey has identified several problems and their

10

T. Cunha Ferreira et al.

causes. To solve these problems, there were four types of approaches to concrete repair, globally defined under the coordination of Álvaro Siza: – (i) Demolition and replacement by new concrete structures with same texture and formwork integration (this was the case of the suspended walkway and the roof slab of the south storage room, where the condition of the concrete was beyond repair), performed by the Contractor Edilages under the coordination of Jorge Silva. – (ii) Localized repair of concrete spalling with chromatic, texture and formwork integration (in the cantilever beam over the changing room’s entrance), performed by Instituto Superior Técnico (Judite Miranda, Jónatas Valença, Hugo Costa, Eduardo Júlio). – (iii) Localized repair of material loss or detachment (in specific locations with impact on the geometry or the continuity of wall planes) performed by Cinábrio Conservação e Restauro. – (iv) Maintenance of cracks that did not present signs of steel corrosion and thus did not pose a risk to the building’s structure, some of which were left open as signs of the material history of the building, as defined by Álvaro Siza [4] (Fig. 11). One of the greatest challenges in the recent intervention on the Ocean Swimming Pool was, according to Siza, the conservation of the exposed concrete in view of the numerous anomalies it presented, taking into account that any localized repairs (preferable to a full replacement in his opinion) would necessarily be visible [11]. If the first three types of works on the concrete were performed with pine formwork in keeping with the original texture and stereotomy also chromatic integration within the pre-existing concrete surface, in the latter case, acknowledging the impossibility of disguising ‘patches’ in the concrete — that is, “not pretending or being able to hide what the passage of time determines” [12] Siza chose to preserve several cracks as ‘scars of time’ that testify to the material history of the building. This is also, in

Fig. 11 Concrete vertical cracks after intervention. a–c Frederico Barbosa, 2021

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

11

his words, the “most brutalist” [12] attitude and therefore coherent with the option of truth advocated by the use of raw materials in the original project. In this way, Siza recognizes the “antique value” [13] in modern buildings, intended as the passage of time and an explicit a sense of the life cycle. In the following item, specific focus will be provided on the (ii) localized repair of concrete spalling with chromatic, texture and formwork integration. The presentation of this case intends to illustrate a good practice approach for concrete repair, going beyond the traditional patch repair while providing very satisfactory results in terms of aesthetic and material integration as intended by Álvaro Siza.

5.2 Localized Repair of Concrete Spalling Localized repair of concrete spalling with chromatic, texture and formwork integration (ii) was performed at the lower section of the cantilever beam over the changing rooms’ entrance (R1) (Fig. 5). The beam exhibited concrete delamination, caused by corrosion of steel rebars, the latter originated mostly by chloride ingress (from seafront environment) into concrete, combined with concrete carbonation (Fig. 12a). The intervention followed the Patch Restoration Method [14], specifically the Gray Concrete Restoration Method (GCR-Method) [15] to characterize the concrete surface, including its colour and texture, to design the repair mortar, to define the application and finishing procedures and to assess the intervention. The chromatic characterization of the surfaces was performed through image processing techniques using the HSV (Hue, Saturation, Brightness) and CIELAB colour spaces. The Brightness (V) colour parameter was used to correlate the percentage of pigment to be added to a reference mortar in the case of gray concrete. The chromatic characterization indicates 4% of black pigment to be added to the repair mortars in R1 affected area. In this case, since proportions between 2.5 and 4% result in lower variation of V parameter, it was decided to incorporate 3% of black pigment in the mortar mixture, to ensure a slightly lighter colour than the surface to be repaired, in case the chromatic compatibility was not perfect. This facilitates the application of located colour corrections and glazes that replicate the stains of the surrounding surface through the application of yellow pigment. The repair mortar was developed to ensure all mechanical, physical and durability requirements taking into account the location of the building, mainly its high exposure to chlorides. In that sense, the mortar’s mixture was designed with a water to cement ratio of 0.5, and cement was partially replaced by micro limestone filler and natural ground pozzolan, assuring high quality, compact and with reduced permeability matrix, leading to a durable and sustainable solution. A finishing texture reproduced with untrimmed formwork boards and brush was firstly tested in sample panels. These were then brought up to the site for colour evaluation, comparing to the original concrete, to check if final refinements were necessary, based on image processing and on the consulting of the architect Álvaro Siza, that performed a visual and tactile analysis (Fig. 12e). Both surfaces of the

12

T. Cunha Ferreira et al.

Fig. 12 Repair on concrete spalling before, during and after intervention. a Frederico Barbosa, 2019. b–f Frederico Barbosa, 2021

area to be repaired and the samples presented an identical value for V (in HSV colour space), with 0.56% differences. The colour difference in these surfaces was also measured in the CIELAB colour spaces, considering that a JND (Just Noticeable Difference) value of 2.3 represents the lower limit of colour variations that are noticeable to the human eye. The measured colour variation between the surfaces was 1.24, making it imperceptible. These results in both colour spaces allowed the validation of the repair mortars and set the final formulation [16].

Reuse and Conservation of Built Heritage in Exposed Concrete: Recent …

13

The application of the repair mortar starts with a preliminary work for substrate preparation, namely the removal of deteriorated concrete. In this case (R1), it was extended to the rebars’ concrete overlay, removing any material that could be affected by the rebars corrosion. This was followed by intense brushing, with a steel brush, and treatment of the rebars’ remaining steel with a corrosion protection product. Additionally, longitudinal and transversal rebars were added in the form of galvanized steel rods that were set in place by drilling holes and gluing with epoxy resin (Fig. 12c). The application of the repair mortar in the entrance area (R1) was done with untrimmed pine formwork boards to recreate the stereotomy and texture of the preexisting and surrounding concrete surface’s texture (Fig. 12d). After setting and starting the mortar hardening, this formwork was removed 5 h after placement, followed by a chromatic reintegration, mainly in the transition zone. This was done through the application of glazes (pointillism/very fine brush) around the transition areas, while the repair mortar was still fresh in order to allow the partial absorption of the pigments into the superficial matrix. Additionally, any texture and level difference in the transition areas were smoothened through the use of a small spatula and brushes, while the repair mortar was still fresh, and completed with a final sanding process after the curing process with grouting sandpaper (Fig. 12f).

6 Conclusions This paper proposes a holistic approach towards the whole life cycle of the paradigmatic and pedagogical case study of the Ocean Swimming Pool since its design, construction, and recent conservation and extension coordinated by Álvaro Siza. Siza’s intervention respected the integrity and authenticity of the preexisting building, preserving the original interior layout while also maximizing the conservation of the existing materials (timber structures, concrete and copper) including their texture and patina. Hence, this is an exemplary case of an architect preserving his own work by respecting the architectural integrity of the ensemble and accepting the marks of time as a densifying aspect of architecture [3]. Also, this paper presents a pedagogical case-study in which different approaches and intervention criteria are illustrated in exposed concrete, ranging from replacement by new concrete, maintenance of vertical open cracks, and patch repair with texture and chromatic integration. Localized repair of concrete spalling presented in 5.2 illustrates an innovative and scientific methodology for exposed concrete, going beyond the more common approach of patch repair in contrast with the preexisting surface, with more satisfactory results of aesthetic and material integration. Hence, sustaining the principles of minimum intervention and compatibility, supporting the cultural significance of concrete constructions [17], this approach is strongly aligned with international standards for concrete conservation [18], as a valuable contribution for the present state of the art.

14

T. Cunha Ferreira et al.

Acknowledgements The study is co-financed by the Getty Foundation under the Keeping It Modern Grant “For the preparation of a conservation management plan for Álvaro Siza’s Swimming Pools in Leça, Portugal (Grant #: ORG-202047064), as well as by the European Regional Development Fund (ERDF) through COMPETE 2020—Operational Programme for Competitiveness and Internationalisation (OPCI) and by national funds through FCT, under the scope of the POCI-010145-FEDER-007744 project, 2020.01980.CEECIND, FCT Project SIZA/ETM/0023/2019 and FCT Project EXPL/ART-DAQ/1551/2021. The authors acknowledge Álvaro Siza, Inês d’Orey, Frederico Barbosa and Eleonora Fantini for the drawings and photographs.

References 1. Tostões A (2022) Ocean Swimming Pool: Álvaro Siza between Japanese poetry and an Atlantic topos. In: Ferreira TC (ed) Sharing memories. Álvaro Siza: Ocean Swimming Pool (1960– 2021). FAUP/Afrontamento, Porto, pp 27–31 2. Ferreira TC, Fernandes E (2021) Álvaro Siza’s tectonic shift in Leça da Palmeira: from design to conservation. In: 16th International Docomomo conference Tokyo Japan 2020+1. Inheritable resilience; sharing values of global modernities. Docomomo, Tokyo 3. Ferreira TC (2022) Life between tides. In: Ferreira TC, Urbano L (eds) No place is deserted. Álvaro Siza: Ocean Swimming Pool (1960–021). FAUP/Afrontamento, Porto, pp 10–27 4. Ferreira TC (2022) Critical reception: Ocean Swimming Pool. In: Ferreira TC (ed) Sharing memories. Álvaro Siza: Ocean Swimming Pool (1960–2021). FAUP/Afrontamento, Porto, pp 14–19 5. Ferreira TC (2022) Siza preserves Siza: concrete conservation on the Ocean Swimming Pool (2018–2021). In: Ferreira TC, Gandini B (eds) Conserving concrete/Restaurer les Bétons book of extended abstracts. FAUP/ICOMOS France, Porto 6. Kerr JS (2013) Conservation plan, 7th edn. ICOMOS Australia 7. Mendes N, Lourenço P (2021) Inspection and diagnosis report for the Ocean Swimming Pool. University of Minho, Guimarães 8. Ferrão B (1960) Piscina da Praia de Leça-1ª Fase/Memória descritiva e justificativa, pp 1–3 9. Siza A (1965) Piscina da Praia de Leça da Palmeira-4ª Fase–Anteprojecto, p 1 10. Ferreira TC, Fernandes E, Barbosa F (2021) Construction culture between tradition and modernity: three works by Álvaro Siza. In: Mateus, JM, Pires P (eds) History of construction cultures. Proceedings of the seventh international congress on construction history (7ICCH). CRC Press, Balkema, Leiden 11. Siza A (2018) Entrevista a Álvaro Siza por T C Ferreira. Construção Mag 83:7 12. Siza A (2019) Interview by M Seifert and P Baía. In: Seifert M, Baía P (eds) Porto brutalista. Circo de Ideias, Porto 13. Riegl A (1903) The modern cult of monuments: its character and its origin. Oppositions 25(1982):21–51 14. Valença J et al (2015) Patch restoration method: a new concept for concrete heritage. Constr Build Mater 101(Part 1):643–651. (Elsevier) 15. Miranda J et al (2021) Chromatic design and application of restoration mortars on smooth surfaces of white and GRAY concrete. Struct Concr, Fib J 22(s1):E535–E348. (Wiley) 16. Miranda J et al (2022) Methodology for the restoration of heritage built in exposed concrete. The case study of ‘Piscina das Marés’, Portugal. Constr Build Mater. 328:127040. (Elsevier) 17. Harboe G et al (2021) The Cádiz document InnovaConcrete guidelines for the conservation of concrete heritage. ICOMOS International 18. ICOMOS ISC20C (2017) Approaches to the conservation of twentieth-century cultural heritage Madrid–New Delhi document. ICOMOS ISC20C

Behavioural Decision-Making in Sustainable Conservation of Built Heritage Joana dos Santos Gonçalves , Ricardo Mateus , José Dinis Silvestre , and Ana Pereira Roders

Abstract The role of heritage buildings in pursuing a more sustainable built environment has been widely discussed in the last decades, from their importance to cohesive and inclusive communities to their contribution to resources conservation and therefore to reducing materials-related carbon emissions. Norms, policies, standards, and design-aid tools have been developed to encourage urban conservation, but a question persists: why are best practices not yet widely implemented? Decisionmaking processes have an intrinsic behavioural dimension. Decisions are influenced not only by conscious and rational factors related to heritage buildings and their adaptive reuse, but also by a conjugation of social, psychological, and emotional factors related to the designer. This research uses the “Theory of Planned Behaviour” to analyse architects’ design decisions and reveal the common beliefs, challenges, and opportunities in the conservation of heritage buildings. The results show that while responsibility for the failure in the implementation of conservation is often attributed to third parties, individual attitudes and personal beliefs strongly correlate to the adopted behaviours and, thus, need to be targeted for effective change. Understanding the behavioural dimension of the decision-making process in the adaptive reuse of built heritage is essential to maximize the effect of tools and policies that support actual change toward the growth of a circular economy and a more sustainable future. Keywords Heritage · Sustainability · Sustainable conservation · Behavioural decision-making

J. S. Gonçalves (B) · A. P. Roders Delft University of Technology, Delft, The Netherlands e-mail: [email protected] R. Mateus ISISE, University of Minho, Guimarães, Portugal J. D. Silvestre CERIS, Instituto Superior Técnico, University of Lisbon, Lisbon, Portugal © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_2

15

16

J. S. Gonçalves et al.

1 Introduction Sustainability is an integral part of the theories and policies for interventions in heritage buildings [1–3]. However, its implementation is still far from optimal. The topic has been introduced in national and European regulations and standards. Research has focused on developing tools and guidelines for good practices, covering economic, cultural, and environmental performance aspects [4–6]. Nevertheless, defining principles is not enough, and implementation depends on decision-making processes that result from conjugating of multiple factors and actors. Human behaviour is, however, rarely considered a parameter when analysing built heritage conservation processes [7]. In other fields of heritage management, however, behavioural theories in psychology have been used to understand perceptions and intentions to engage in pro-environmental [8–10] and pro-heritage behaviours [11, 12]. For example, Ramkissoon et al. [13–16] studied the factors affecting tourists’ destination choices, while other authors analysed residents’ intentions to support heritage tourism development [17]. Furthermore, in the field of the sustainable built environment, the “Theory of Planned Behavior” (TPB) has already been used to analyse users’ recycling [18], energy consumption behaviours [19], designers’ choices for sustainable materials [20] and waste minimization [21]. The “Theory of Planned Behavior”—TPB [22, 23] is one of the most advanced models of behaviour in Sociopsychology, correlating intentions with performed behaviours by considering the effect of intervening events. In this theory, intentions are the most important predictor of behaviour [24]. The consistency between intention and implementation depends on the alignment of three main conditions: (1) attitudes (personal evaluations), (2) subjective norms (normative and social expectations), and (3) perceived behavioural control—PBC (barriers to performance). If these factors are aligned, intentions will likely turn into behaviours. If not, the intention-behaviour gap emerges. Understanding which of these factors are affecting the implementation of intentions is essential to develop interventions that contribute to effective behavioural changes in the built heritage field. This research aims to analyse which factors are hindering implementation of intended conservation behaviours and verify the contribution of the TPB to further developing effective tools and achieving higher conservation in the adaptive reuse of built heritage for a more sustainable future.

2 Methodology This research surveyed practitioners (architects and engineers) and observed and analysed architecture students’ design decisions. The methodology was structured in three steps: (1) identify modal accessible beliefs in practice; (2) measure the intention-behaviour gap; (3) test the effect of a sustainable assessment tool in the intention-behaviour gap. In the first step of this research, a survey, and a focus group

Behavioural Decision-Making in Sustainable Conservation of Built …

17

with practitioners (architects, engineers, and craftsmen) were used to identify the most common perceptions of challenges and opportunities in built heritage conservation. In the second stage, the intention-behaviour gap is measured in the educational context to minimize the impact of external factors and focus the study on internal psychological constructs. A TPB questionnaire was developed and applied with architecture students working in the adaptive reuse of heritage buildings at TU Delft. The questionnaire included five groups of questions regarding a list of building attributes: attitudes (it is valuable to me), subjective norms (it is expected of me), perception of control (it is easy for me), intention (I intend to), and behaviour (I decided to). The same questionnaire was applied later, in phase 3, by a different group of students after using a “building passport” for sustainable conservation. The results of the questionnaires were quantitatively analysed using descriptive statistics, linear and multiple correlations, and Mann–Whitney tests.

3 Understanding the Intention-Behaviour Gap in Heritage Conservation 3.1 Modal Accessible Beliefs: Challenges to Implementation in Professional Practice From professional practice, the survey and focus group allowed to identify the most common perceptions regarding sustainable heritage conservation [25]. Practitioners show positive attitudes toward heritage conservation; they are proud to participate in a continuous process by contributing to conserving a common built heritage. However, there is a low perceived control over final decisions, with a tendency to an external locus of control. Responsibility for the non-implementation of conservation intentions is attributed to other stakeholders and relates to cooperation with others, economic constraints, limited time, and gaps in knowledge and qualification. The challenges identified by practitioners in the survey and focus group (see Table 1) are categorised according to the PBC Factors identified by Sheeran [24].

3.2 Measuring the Intention-Behaviour Gap with Architecture Students While practitioners perceived low control over decisions, architecture students have lower constraints and more creative freedom. Therefore, factors such as limited financial availability, profit, regulations, and coordination between different stakeholders play a minimal role in the design solutions developed. This initial hypothesis was confirmed by the results that show high levels of perceived behavioural control.

18

J. S. Gonçalves et al.

Table 1 Challenges pointed out by practitioners PBC factors [24]

Challenges from practice

Knowledge

Gap in conservation knowledge and awareness of all stakeholders Lack of technical information Knowledge gap in traditional know-how Low awareness of private owners

Ability

Procedures and methodologies are too complex Technical capacity of all actors Insufficient training of technicians

Resources

Unsuitable deadlines Conservation practices are too time-consuming Limited financial availability Conservation is unprofitable Decisions only consider economic criteria

Availability

Existing information is difficult to access

Opportunity

Regulations limit innovative design

Cooperation

Lack of coordination between different stakeholders

Unexpected situations

Unpredictable works due to latent conditions

Insufficient tools to support decision-making

Competing priorities of different stakeholders

However, despite this high perceived control over decisions, the results showed a gap between expressed intentions and reported behaviours, with a correlation coefficient of 0.3 (instead of the desirable 1). These results suggest that, despite external factors and perceived control, other factors, such as attitudes and subjective norms, also played an essential role in implementing intentions towards conservation [26]. The results showed that the correlation of attitudes with behaviours is stronger than the correlation of attitudes with intentions. Such correlations suggest a social desirability bias: when expressing intentions, students’ personal opinions are mediated by what they perceive as expected (subjective norms); however, actual decisions are motivated by personal beliefs, rather than external pressures. Contrary to practitioners, students demonstrate an internal locus of control: the non-implementation of expressed intentions is recognized as a self-chosen and autonomous decision derived from personal beliefs and preferences for the design concept. For example, a shared personal belief among the participants was that innovation and sustainability are opposed and incompatible with heritage conservation. These factors are the reasons for not implementing the intention of conserving specific building attributes.

Behavioural Decision-Making in Sustainable Conservation of Built …

19

3.3 Testing the Effectiveness of a Building Passport to Assess the Sustainability of Built Heritage Based on the results of the previous phase, a passport to assess the sustainability of heritage buildings was developed and applied by architecture students [27]. This tool was developed to be implemented in an initial phase of the redesign, assessing the value of the existing situation for sustainability, and thus targeting the perceptions expressed by participants that “to be sustainable heritage attributes cannot be conserved”. Furthermore, this tool aimed to support designers in defining a design strategy that considers the contribution to the sustainability of what is already there, integrating these resources into a circular process. The building passport covers the core aspects of sustainability [28, 29] with indicators organized in several categories: site, construction, materials, water, energy, indoor environment, community, and values. After assessing every layer of the building, as indicated in Fig. 1, the results support the identification of the most positive aspects and the least positive ones, establishing limits of acceptable change and opportunities for transformation. Applying the TPB questionnaire to the students before and after using the building passport allows for comparing attitudes and intentions with and without this tool [30]. The comparative results between a group of students applying this tool and a group of students not applying this tool suggested that participants who used the building passport show different attitudes and intentions towards specific building attributes, such as “skin” and “services”. On the one hand, specific to the layer “skin”, materials

Fig. 1 Mobile the version of the building passport with indication of building layers

20

J. S. Gonçalves et al.

and detailing were graded as the most sustainable in the sustainability assessment; relating to more positive attitudes and intentions to conserve these attributes. On the other hand, the layer “services” was considered the least sustainable and is also the least conserved by the students. While sustainability was pointed out as the reason to not implement conservation intentions by 15% of the students that did not implement the building passport, only 5% of the students that used this tool presented the same justification.

4 Discussion and Conclusions This research presents an innovative approach to analysing heritage conservation design decisions considering the underlying psychological factors. Using TPB to measure the intention-behaviour gap contributes to a better understanding of the factors affecting the implementation of intentions for conservation in built heritage. The results show that low perceived behavioural control affects practitioners’ implementation of sustainable conservation intentions, with knowledge, skills, and resources emerging as the main challenges in practice. However, applying the TPB to architecture students has proven that personal attitudes are key in determining the implementation of conservation intentions. These results confirm the ones from previous studies in the field of psychology [31], which indicate that attitudinally driven intentions are more likely to be performed since they are self-chosen and not externally imposed. Norms and building codes, while necessary, may not be sufficient to ensure implementation since personal attitudes show a stronger correlation with implemented behaviours than social and normative expectations. Sustainability is still perceived as the opposite of conservation. This attitude needs to be targeted to change the practice in the future. Testing the developed building passport using the TPB questionnaire allowed this research to confirm the positive contributions of this tool. First, to reinforce attitudes and personal motivations. Second, to increase the student’s confidence towards the conservation of building attributes. Third, to strengthen the intention-behaviour relationship. This research targeted the primary belief of the analysed architecture students that sustainability and heritage conservation are incompatible. By being exposed to new information and by being actively engaged in the sustainability assessment, participants show different attitudes, intentions and behaviours towards specific building attributes compared to the respondents in the control group. However, as Fishbein and Ajzen [23] determined, interventions need to target the main beliefs hindering implementation, for being effective in achieving behavioural change. Compatibility with sustainability is one of the factors. However, it might not be the most important one, since aesthetic reasons, limitations to creativity and innovation imposed by pre-existing elements, and compatibility with program requirements are other aspects often pointed out by respondents. Future tools should also be considered to further assist the sustainable conservation of built heritage, targeting aspects such as heritage values, program,

Behavioural Decision-Making in Sustainable Conservation of Built …

21

and user requirements. Using the same methodology, with two-phase testing, would allow comparing the achieved change more effectively. While the results of Lee et al. [20] and Li et al. [21] identified PBC as a stronger predictor of practitioners’ behaviour, the current results demonstrate that PBC has a minor role with design students. On the one hand, this confirms the premise of this research. Students have fewer constraints and more autonomy in design decisions in an educational context. On the other hand, it evidences the importance of applying this methodology with design practitioners to verify the influence of other factors such as cooperation with stakeholders, costs, time, or opportunity in the final design decisions. The results of this research suggest that switching from normative approaches, centred on social pressure and reward, towards approaches that target the internal motivation of designers is essential to achieving an effective change in the field of heritage and sustainability. Future research should address how designers’ traits, values, and beliefs are related, adjusting tools to a maximum effect. Acknowledgements The authors would like to acknowledge the support granted by the Portuguese Foundation for Science and Technology (FCT), in the scope of the Doctoral Program EcoConstruction and Rehabilitation (EcoCoRe), to the Ph.D. scholarship of the first author with the reference PD/BD/127853/2016, and the support of ISISE, from the UMinho, CERIS, from IST-UL, and of the Heritage & Architecture section, from AE-T-BK at TU Delft.

References 1. UNESCO (2013) The Hangzhou declaration: placing culture at the heart of sustainable development policies. UNESCO, Hangzhou, China 2. UNESCO (2011) Recommendation on the historic urban landscape. UNESCO, Paris, France 3. ICOMOS (2011) The Valletta principles for the safeguarding and management of historic cities, towns and urban areas. ICOMOS, La Valletta, Malta 4. Havinga L, Colenbrander B, Schellen H (2019) Heritage significance and the identification of attributes to preserve in a sustainable refurbishment. J Cult Herit 43:1–12 5. Ornelas C, Miranda Guedes J, Sousa F, Breda-Vázquez I (2020) Supporting residential built heritage rehabilitation through an integrated assessment. Int J Arch Herit 14(1):1–14 6. Pereira Roders A, Post J, Erkelens PA (2008) Re-architecture: reality or Utopia? In: CIB world building congress construction for development. In-House Publishing, Cape Town, South Africa 7. Gonçalves J, Mateus R, Dinis Silvestre J, Pereira Roders A (2020) Going beyond good intentions for the sustainable conservation of built heritage: a systematic literature review. Sustainability 12(22):9649 8. Goldberg JA, Marshall N, Birtles A, Case P, Bohensky E, Curnock M, Gooch M, ParryHusbands H, Pert P, Tobin R, Villani C, Visperas B (2016) Climate change, the Great Barrier Reef and the response of Australians. Palgrave Commun 2(1):1–8 9. Goldberg JA, Marshall N, Birtles A, Case, P, Curnock M, Gurney G (2018) On the relationship between attitudes and environmental behaviors of key Great Barrier Reef user groups. Ecol Soc 23(2) 10. Forleo MB, Romagnoli L, Palmieri N (2019) Environmental values and willingness to pay for a protected area: a segmentation of Italian university students. Int J Sust Dev World 26(1):45–56

22

J. S. Gonçalves et al.

11. Buonincontri P, Marasco A, Ramkissoon H (2017) Visitors’ experience, place attachment and sustainable behaviour at cultural heritage sites: a conceptual framework. Sustainability 9(7). (Switzerland) 12. Lwoga NB (2016) Tourism employment and local residents’ engagement in the conservation of the built heritage in Zanzibar Stone Town in Tanzania. WIT Trans Ecol Environ 201:43–55 13. Ramkissoon H (2015) Authenticity, satisfaction, and place attachment: a conceptual framework for cultural tourism in African island economies. Dev South Afr 32(3):292–302 14. Ramkissoon H, Smith LDG, Weiler B (2013) Relationships between place attachment, place satisfaction and pro-environmental behaviour in an Australian national park. J Sustain Tour 21(3):434–457 15. Ramkissoon H, Uysal M (2010) Testing the role of authenticity in cultural tourism consumption: a case of Mauritius. Tour Anal 15(5):571–583 16. Ramkissoon H, Uysal M (2011) The effects of perceived authenticity, information search behaviour, motivation and destination imagery on cultural behavioural intentions of tourists. Curr Issue Tour 14(6):537–562 17. Yuan Q, Song H, Chen N, Shang W (2019) Roles of tourism involvement and place attachment in determining residents’ attitudes toward industrial heritage tourism in a resource-exhausted city in China. Sustainability 11(19):5151. (Switzerland) 18. Du Toit J, Wagner C, Fletcher L (2017) Socio-spatial factors affecting household recycling in townhouses in Pretori South Africa. Sustainability 9(11):2033 19. Ortiz MA, Bluyssen PM (2018) Proof-of-concept of a questionnaire to understand occupants’ comfort and energy behaviours: first results on home occupant archetypes. Build Environ 134:47–58 20. Lee E, Allen A, Kim B (2013) Interior design practitioner motivations for specifying sustainable materials: applying the theory of planned behavior to residential design. J Inter Des 38(4):1–16 21. Li J, Tam V, Zuo J, Zhu J (2015) Designers’ attitude and behaviour towards construction waste minimization by design: a study in Shenzhen, China. Resour Conserv Recycl 105:29–35 22. Ajzen I (1991) The theory of planned behavior. Organ Behav Hum Decis Process 50(2):179–211 23. Fishbein M, Ajzen I (2011) Predicting and changing behavior: the reasoned action approach. Taylor & Francis 24. Sheeran P (2002) Intention—behavior relations: a conceptual and empirical review. Eur Rev Soc Psychol 12(1):1–36 25. Gonçalves J, Mateus R, Dinis Silvestre J (2019) Mapping professional practice challenges in built heritage. In: Professionalism in the built heritage sector: edited contributions to the international conference on professionalism in the built heritage sector, February 5–8, 2018. CRC Press, Arenberg Castle, Leuven, Belgium 26. Gonçalves J, Mateus R, Dinis Silvestre J, Pereira Roders A, Bragança L (2021) Attitudes matter: measuring the intention-behaviour gap in built heritage conservation. Sustain Cities Soc 27. Gonçalves J, Mateus R, Dinis Silvestre J, Pereira Roders A, Bragança L (2022) Building passport for the sustainable conservation of built heritage. J Cult Herit Manag Sustain Dev 28. Gonçalves J, Mateus R, Dinis Silvestre J, Pereira Roders A, Vasconcelos G (2021) Selection of core indicators for the sustainable conservation of built heritage. Int J Arch Herit 29. ISO (2008) ISO 15392: sustainability in building construction—general principles. ISO 30. Gonçalves J, Mateus R, Dinis Silvestre J, Pereira Roders A (2021) Beyond good intentions: building passport for the sustainable conservation of built heritage. Sustainability 31. Ajzen I (2002) Behavioral interventions based on the theory of planned behavior. Res Policy 8:1–6

Continuity and Innovation as Design Principles for Adaptive Reuse of Built Heritage: A Case Study by Architect Fernando Távora David Ordóñez-Castañón

and Teresa Cunha Ferreira

Abstract This paper focuses on the concepts, methods and design principles of the Portuguese architect and professor Fernando Távora (1923–2005) in the adaptive reuse of built heritage through an in-depth analysis of the renovation and conversion of the so-called Primo Madeira House into the Porto University Club (1986– 1990). The architect’s different performance on the two buildings of the pre-existing complex reflects his case-by-case approach. The intervention in the main house consisted in occasional and delicate repairs that demanded skilled labour in traditional techniques, aimed at restoring the original bourgeois character. By contrast, the annexes show a more affirmative contemporaneity in the introduction of a modern staircase and the renewal and update of the bedrooms. This representative case took place at a stage of full maturity in the architect’s career, reflecting the main features of his personal modus operandi: careful prior analysis of the pre-existence, respect for the previous character of spaces, atmospheres and construction systems, as well as sensitive introduction of new elements with subtle modern expression in continuity with the architectural identity of the building. Keywords Adaptive reuse · Conservation and repair · Design principles and strategies · Fernando Távora · Modern architecture

1 Introduction The increased awareness of the cultural values of old buildings as well as the need to recycle the existing resources, in accordance with the Sustainable Development Goals of the UN 2030 Agenda [1], reinforce the present-day commitment to the conservation and reuse of built heritage. However, it is not always simple to adapt old structures to new requirements (functional, spatial, technological, comfort, accessibility, etc.), so that some renovations fail to respect the existing tangible and intangible values as well as its integration within the physical and human landscape. In D. Ordóñez-Castañón (B) · T. C. Ferreira CEAU, Faculty of Architecture, University of Porto, Porto, Portugal e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_3

23

24

D. Ordóñez-Castañón and T. C. Ferreira

this context, this paper contributes to the analysis and dissemination of reference works of architectural intervention, showing exemplary ways of reconciling respect for pre-existences with contemporary demands. The professional career of the Portuguese architect and professor Fernando Távora (the mentor of Pritzker Prize winners Álvaro Siza and Eduardo Souto Moura, among other architects of the so-called School of Porto) has given consistent contributions in the field of restoration and conservation of architectural heritage. His renovation works show a sensible adaptation of heritage buildings to new functions while preserving the memory of the pre-existing buildings, its constructive systems and architectural character. One of his most valued works in this field was the conservation of the Primo Madeira House and its conversion into the Porto University Club (1986–1990), the winner of the João de Almada Award (1990). In the words of Alexandre Alves Costa, Távora “managed to put in a program here that has nothing to do with housing; It has lounge areas, restaurant, meeting rooms, library, but retains the character of an old single-family residence” [2]. This work dates from his professional maturity, also coinciding with a series of other exemplary cases of reuse of built heritage. Thus, Távora put into practice a method that was fully consolidated after decades of experience. Furthermore, the different responses given to the two buildings that make up the Porto University Club complex illustrate different nuances in his approach to the renovation of heritage buildings. That being said, this project has been insufficiently studied and disseminated, so this paper aims to study the concepts, strategies and design principles underlying this specific case, which, nevertheless, allows to draw more general conclusions about the architect’s modus operandi.

2 Methodology The research methodology is based on the cross-referenced analysis of different resources, combining literature review, archival research, semi-structured interviews, onsite observation and drawing analysis and interpretation. Regarding the documentary research, the main primary sources have been the following archives: Archives of the University of Porto (correspondence, budgets, reports and administrative documentation related to the different works carried out on the institution’s infrastructures); Historical Archives of the Municipality of Porto (building permits as well as the João de Almada Prize record) and Fernando Távora’s Archive, held at the Marques da Silva Institute Foundation (FIMS). The latter contains the architect’s professional documentation (including sketches, photographs, plans, technical and executive documents, budget estimations, personal notes, letters, etc.).

Continuity and Innovation as Design Principles for Adaptive Reuse …

25

As abovementioned, the study of archival documentation was further complemented by field research, involving direct observation of the building (systematic photographic survey, drawings and notes), as well as by interviews with Távora’s collaborators who were directly involved in the intervention (those testimonies provide valuable unpublished and revealing information about the design and construction processes). Furthermore, drawing has been a fundamental tool for comprehending the transformations, including plans of the previous state, the final state and the alterations (using the graphic code of reds and yellows to better understand the extent of demolitions and additions). In this way, each stage of the entire intervention process has been analysed in depth, establishing a sequence that allows documenting both the state prior to the intervention, the design of the operation, the execution of the works as well as the impact of this project in the context of the School of Porto and in architectural criticism. Therefore, analysis and discussion are supported in four parameters (i) landscape, place, pre-existence; (ii) design principles and strategies; (iii) tectonics, materiality and detail; (iv) critical reception.

3 Fernando Távora’s Design Approach for Built Heritage Renovation A considerable number of Fernando Távora’s renovation projects constitute an indisputable reference in the reuse and conservation of built heritage, especially in the Portuguese context [3]. Hence, his approaches laid the foundations for the so-called School of Porto, refusing a clear separation between design and conservation. Indeed, he rejected considering heritage intervention as an autonomous discipline of architecture, since it requires the broader and more integrative conception of an “architect” instead of the more limited vision of an “specialist” [4]. In Távora’s view, any project, being it a new building or an intervention in a pre-existing construction, involved an act of transformation and was therefore always a problem of creation [5]. As he stated, “the defence of heritage values is never a passive act of receiving and conserving, but a creative act of conceiving” [6]. The existing buildings were for him a material available to be manipulated. Like other contemporary colleagues— such as Lúcio Costa, Ernesto Rogers or Ignazio Gardella–, he was committed to the values of ancient architecture by being innovative, taking advantage of the capacity of new creation to update and regenerate the pre-existences. Nevertheless, Távora considered that the old matter had to be treated with the utmost ethical commitment and rigor. Any transformation had to be based on a deep knowledge of the building so as not to pervert its authentic character and values. According to this approach, each case must be considered as an individual phenomenon, which should receive a particular response. Hence, Távora performed different operations along his career, ranging from strict restorations to extensive transformations. Any option could be valid—even simultaneously—to achieve unity

26

D. Ordóñez-Castañón and T. C. Ferreira

and coherence. In this regard, he was very natural at handling old and contemporary languages indistinctly, though always achieving balance [7]. The dichotomy between tradition and modernism was a concern in which the architect was involved since he wrote O problema da casa portuguesa (1945) and further through his active participation in the Survey on Portuguese Regional Architecture (1955–1961). This manifesto laid the foundations of the third way, seeking to merge respect for Portuguese identity with the advances of Modern Movement. Hence, his personal and professional efforts were focused on synthesizing apparently opposing concepts, such as modern and traditional, local and universal, industrialised and handmade, etc. Távora extended the ambition to reconcile “old” and “new” to heritage intervention by combining contemporary creation with the conservation of the old matter, thus moving away from the stale confrontation between the Romantic principles of non-intervention and stylistic restorations. Until then, the prevailing practice in Portugal, strongly conditioned by the nationalist ideology of the Estado Novo through the General Directorate of National Buildings and Monuments (DGEMN), had aimed at the stylistic restoration, refusing the introduction of modern language. Thus, Távora proposed new approaches, criteria and methodologies. His particular modus operandi first became visible at the end of the 1950s, at the Casa do Além (1956–1967) and, shortly afterwards, at the renovation of the Casa da Igreja (Mondim de Basto, 1958–1961). In these two experimental works, he attempted a contrapuntal relationship between the old and the new: the architectural typology is maintained and the most representative spaces are preserved in order to recover and enhance the original identity. But, at the same time, new elements of a resoundingly modern language are introduced in less sensitive parts of the building to meet new functional requirements and concepts (kitchens, toilets, carpentries, lattices…), providing a more contemporary spirit [8]. Távora gained valuable experience in his own manor house in Covilhã (1963– 1988), delicately restored over several decades, faithful to traditional constructive techniques and rigorously preserving the aristocratic ambience. However, the work with the greatest pedagogical impact has been the transformation of the ruined convent of Santa Marinha da Costa into a pousada (1972–1985). According to Távora’s statement: “the general criterion […] was ‘to continue innovating’ or, in other words, to continue contributing to the long life of the building, by conserving and strengthening its most significant spaces or creating qualified spaces determined by the conditions of their new function. The intention was to create a dialogue, highlighting the affinities and the continuity, rather than the differences and the break from the past” [9]. This project marked the beginning of a new period in the Portuguese culture of conservation. Even though some ideas had already been put into practice by Távora himself and other architects in previous works, the scale, relevance and projection of this intervention pointed the way forward for subsequent works that had to implement new and complex briefs in heritage buildings. On the one hand, Távora manifests the

Continuity and Innovation as Design Principles for Adaptive Reuse …

27

rejection of pastiche and stylistic restoration; on the other, he refused the rigid postulates of the Venice Charter (1964) regarding the contrasting distinction of contemporary actions. Instead, Távora proposes a serene interweaving, designing contemporary spaces and elements based on classical rules (metrics, proportions, scales, rhythms…), in coherence with the evolutionary patterns of the ancient monastery. Indeed, the archaeological studies were a methodological novelty that provided the architect with precise knowledge of the historical evolution of the building, in such a way that all decisions—what to maintain, what to demolish, what to replace on the site, what to design contemporary, etc.—were taken with full awareness after critical reflection. Besides, the contemporary design of the new annexed building seeks a close relationship with the site and with local construction, as it is inspired by the wooden enclosures of the vernacular architecture of the Minho region. The renovation of the Rua Nova House (1983–1985), in Guimarães, was undertaken as a pilot project, with the aim of becoming a model of good practice for the refurbishment of the historic centre (a process that contributed to the declaration of the city as a World Heritage Site). This rare example of Renaissance bourgeois residence was preserved and transformed into the headquarters of the municipal technical office. It was an apparently anonymous intervention, although introduced some methodological novelties: preservation of the morpho-typological matrix; recovery of traditional construction techniques (both in conservation and in new works) and rigorous restoration of the main façade (requiring careful removal, numbering, repair and replacement of wood frame). In relation to vernacular constructions, there are two paradigmatic examples of this period: the renovation of the Quinta da Cavada (Briteiros, 1989–1990) and the renovation of a house in Pardelhas (1993–1999). Both works involved confronting the implicit contradiction in transforming humble farmhouses into holiday homes for wealthy families, somehow perverting their raison d’être as productive machines, intrinsically linked to the exploitation of the countryside [10]. Távora assumed that adaptive reuse was the only alternative to save them from ruins. On the one hand, he performed a careful analysis of history and landscape to find the most authentic values of the building that should be preserved and enhanced; on the other hand, some parts were carefully altered to achieve an effective functional adaptation. The architect managed to update the image of the building through a creative reinterpretation of tradition with apparently anonymous, but subtly modern interventions, visible in such gestures as the colour treatment, furniture design, joinery, light fixtures, door handles or metalwork. Works were commissioned to trusted artisans and were executed without definitive plans, although constantly supervised by the architect on site to ensure the unity of all operations (what he called “cane architecture”) [11].

28

D. Ordóñez-Castañón and T. C. Ferreira

Indeed, Távora had the opportunity to work on numerous pre-existing buildings in the 1980 and 1990s. Some of the best known examples are: the Breia House (1984– 1990), the Polytechnic for Agriculture at the Refóios do Lima Convent (1987–1993), the renovation and extension to the National Museum Soares dos Reis (1987–2001) or the new Amphitheatre of the Faculty of Law of Coimbra (1993–2000), the Old City Council [Casa dos 24] (1995–2003) and the Pousada of Freixo (1996–2003). Among them, the project for the renovation of the Primo Madeira House and its conversion into the Porto University Club (1986–1990) concisely summarises the architect’s principles, methods and strategies of conserving and reusing the built heritage.

4 Renovation of the Porto University Club 4.1 Landscape, Place, Pre-existence The Casa Primo Madeira is located at Rua do Campo Alegre n. 877, facing the Rua Guerra Junqueiro, in an area where other manors exist, such as the Casa dos Burmester and the Casa dos Andersen, owned by wealthy merchants and now belonging to the University of Porto. The manor is surrounded by a sumptuous romantic garden that contains numerous camellias and other quite large trees. Its first owner was the Councillor Pedro Maria da Fonseca Araújo (1862–1922), a merchant and a figure of relevant social prestige, who, on July 12, 1899, asked the City Council of Porto to grant him the license to build a single-family house and who, a few months later, submitted the “request to replace the project with a new project to rebuild a house and fence wall” [12]. This project, authored by the master builder Manuel Domingos dos Santos, is delivered with drawings of the basement plans, ground floor, first floor and cover, accompanied by drawings of elevations and sections. In the basement were located kitchen, laundry, pantry and storage rooms; on the ground floor the vestibule, living rooms, billiards room, dining room and pantry; on the first floor the bedrooms and toilets and, on the upper floor, bedrooms and toilets for employees. Shortly after, the house was enlarged by the construction of an annex with stables and a coach-house on the ground floor and two residences for employees on the first floor. In the garden were located a service house, three greenhouses and several water storage tanks for landscaped and agricultural areas. Later, in 1918, Pedro Araújo Júnior asked for a permission to introduce a set of changes designed by architect Marques da Silva: a cover for the side entrance and a pronaos for the access to the main entrance [13]. A few years later, in 1925, the House was acquired by the textile industrialist Primo Monteiro Madeira.

Continuity and Innovation as Design Principles for Adaptive Reuse …

29

Fig. 1 Façades of the main building before Távora’s intervention. (FIMS/FT/0231-PD0077)

Fig. 2 Sketch plan of the main house and study of furnishing of floor 1, with many handwritten notes by Fernando Távora. (FIMS/FT/0231-PD0005)

It is a detached house, with an entrance located on the main facade and a secondary entrance on the side facade (Fig. 1). The vestibule, in an axial position in relation to the main staircase, intersects the corridor that defines a transverse direction crossing the building at its entire length, thus contributing significantly to the distribution of the various rooms on the ground floor and on the first floor. The corridor also contributes to the separation of a service zone from a more public area connected to the main entrance hall.

30

D. Ordóñez-Castañón and T. C. Ferreira

Fig. 3 Plans of the alterations (red: additions; yellow: demolitions): a Main house, basement and ground floor. b Annex building, ground floor and first floor. (Interpretative drawings by Beatriz Vieira based on Fernando Távora’s project)

4.2 Design Principles and Strategies In the possession of the University of Porto with Alberto Amaral as its rector, the main house, the annex building and the landscaped areas were the object of a rehabilitation project carried out between 1986 and 1988, and transformed into the Porto University Club. The goal was to create a meeting point of debate and cultural stimulus for university teachers, in the style of the English clubs. This process was conducted by the architect Fernando Távora, responsible for the renovation of the buildings, and by the landscape architect Caldeira Cabral, in charge of the rehabilitation of the romantic garden. Both operations reveal a deep understanding of the existing and a great capacity of adapting it to the new functions. In the garden, the relocation of the original tree species and a general restoration of the landscaped areas allowed the relationship building/lot/street to be maintained, continuing its strong contribution to the identity of the city. In addition to the recovery of pre-existing vegetation, the restoration of the fence walls and their metal gates is carried out. However, the proposal of opening an axis connecting the gardens of the adjacent manors (all owned by the University of Porto) turned out not to be realized. The different characteristics of the two buildings determined an intervention in accordance with the peculiarities and the program planned for each one (which was agreed with Professor José Grade, then responsible for the management of the

Continuity and Innovation as Design Principles for Adaptive Reuse …

31

space). However, the projected minimal distributive changes demonstrate the spatial flexibility of the pre-existences and their ability to adapt to their new functions. Although the new program (restaurant and place for meetings and social events) is different from the original one, it fits with relative ease the spaces of representation and housing of the bourgeois house. Thus, in the main house, the basement maintained its service floor character (kitchen, pantries, laundry, facilities for the staff) and the ground floor its condition of social reception (restaurant, bar, library). The rooms on the first floor were converted into meeting rooms or offices, while on the second floor a gym and an apartment were planned for the service staff. Although there was no need for significant transformations, Fernando Távora intervened surgically in the points that needed to be modified, in order to readapt the building without compromising its morphotypological identity. Among these operations, we can mention the introduction of a service staircase or the reorganization and the updating of the bathrooms on the first floor. It is remembered as an anecdote that Távora ordered to open a door on a wall, giving instructions for this to be done in the manner of the nineteenth century, with such precision and knowledge that when the workers began to open the hole, they discovered that at that point there had already been a door, just as the architect had conceived it [14]. In the annex building, Távora intervenes more freely, but always with maximum respect for the pre-existence, as the fact that he has restored the facade using the original colour and preserved striking elements such as the clock and the railings demonstrates. However, we can identify a series of spatial, formal and constructive characteristics that reveal a more clearly contemporary intervention. Perhaps the most obvious gesture of modernity is the placement of a metallic spiral staircase, located in the atrium and in a symmetrical position in relation to the access, assuming a sculptural condition. This element denotes an attempt to clarify and make visible the architect’s action and the differentiation between the pre-existing building and a new element. The staircase, in this context, assumes the value of a founding matrix of the organization of space. It is not by chance that the ladder is the selected element to synthesize and emphasize this dialectical relationship between the old and the new. In addition to this, other characteristics such as transparency, luminosity (skylight), chromatic uniformity (white), the formal simplicity of the new elements (such as the metallic profiles of the parapets), or the greater feeling of lightness (the curtains) show an affirmation of modernism. With regard to circulations, Távora reorganizes the circuits by means of the location of the new staircase and a different distribution of the rooms on the first floor, which are thus adapted to the contemporary modalities of housing and to the new program (en-suite rooms for University guests). For this purpose, non-structural walls are demolished and the set is redesigned in order to achieve en-suite rooms, cabinets and storage spaces. On the ground floor, the program is intended for the atrium and dining areas, with new glazed frames that intensify the relationship between interior and exterior. Their design demonstrates a great capacity of technical-constructive control able to guarantee a good thermal and acoustic efficiency and, at the same time, a harmonious integration in the composition of the facade. In addition, on the

32

D. Ordóñez-Castañón and T. C. Ferreira

first floor, a redistribution of sleeping spaces and their relationship with the bathrooms is taken into effect, in order to adequate the rooms to the new program (Figs. 2 and 3).

4.3 Tectonics, Materiality, Detail At the structural level the state of conservation of the house was acceptable, even though it had been vacant for years. The greatest damages were manifested in the roof and in the bow-window located to the west (the parts more exposed to the weather). The solidity of the house is due to its good construction and to the quality of its materials, as the architect describes: “The structural solution consisted of exterior walls and some granite interior walls, with careful masonry, roof frames and wooden floors. Roofing in tile; wooden floors, those of some rooms of the ground floor standing out for being veneered with diverse types of wood; partitions in a special plasterboard, and careful treatment of stuccoes on walls and ceilings; interior and exterior wooden frames, with lambris [wall panelling] in the stairway box and in the corridor of the ground floor; finishes with enamel or varnish paint on wood, water or oil paint on stuccoes and gold leaf in some more significant rooms” [15]. As he adds, the difficulties with regard to its recovery were “not so much in terms of information on pre-existences, once established the principle of recreating, as far as possible, all significant spatial values, but in terms of manpower capable of performing them” [15]. Thus, the recovery of the decorative elements was possible thanks to the commitment of the contractor, who brought in a group of experienced workers (plasterers, gilders, carpenters…) who were still familiar with these techniques, at the time already rare in construction sites: “I made a house here in Porto, which is […] for university professors, and I discovered two amazing guys, a plasterer who made all the nineteenth century stuccoes, and a retired old man that made all the gilding […]. Now, all this gives the works a certain identity, a certain specificity. This has also a lot to do with the nature of the customer and the availability of time. I really try to take each work as a kind of book, it is a novel” [16]. Part of the damaged floors and stuccoes were irrecoverable, so a workshop was installed on site where reproductions of the original ones were made in situ (Fig. 4). This compromise required slow and expensive work but ensured the exact preservation of the original decoration. However, Távora slightly reinterpreted the colour to achieve more neutral and homogeneous environments (in shades of gray, light blue and cream). In each room a very controlled chromatic palette was used (supported by his wife, Maria Luísa Meneres, graduated in Fine Arts), avoiding contrasts and standardizing walls and ceilings [14]. The attention given to furniture fits into the same effort to evoke the domestic atmospheres of the nineteenth century. Távora recovered original furniture, other pieces were bought from antique dealers and others rescued from the mansion where

Continuity and Innovation as Design Principles for Adaptive Reuse …

33

Fig. 4 View of the workshop set up on site, where reproductions were made of deteriorated pieces of flooring, stucco, woodworks, etc. (Photo: Carlos Martins)

the Faculty of Architecture was initially installed [2]. Still, some elements were updated (such as the adaptation of a gas lamp to serve as an electric lamp), and some furniture was also designed from scratch, namely two fireplaces, the bar counter, floor lamps, the library furniture and lamp, among others, with an aesthetic taste perfectly integrated into the space (Fig. 5). In addition, the spaces were dignified with works of art provided by ESBAP and FAUP. The project was thus conceived as a comprehensive work: “We avoided graphic elements related to pre-existence since nothing has been changed. We added the design of some pieces of furniture to reinforce the idea of comprehensiveness with which the project was confronted” [17].

4.4 Critical Reception The University Circle of Porto was inaugurated in 1988 by the President of the Republic and in 1990 the work of Fernando Távora received the João Almada Award for its renovation project. The award, established by the Porto City Council, aims to encourage the conservation of buildings representative of the architectural heritage of the city [18]. However, this work was almost not presented in other publications, although it was a reference among architects with regard to intervention in buildings with heritage value, for accepting its identity character along with the adaptation to new functional requirements (Fig. 6).

34

D. Ordóñez-Castañón and T. C. Ferreira

Fig. 5 Tectonics, materiality and detail: a Constructive detail of the new windows of the annex building (FIMS/FT/0231-PD0108). b Flooring and interior elevations of the main hall. (Private Collection of Carlos Martins). c Study drawings of the furniture for the library. (FIMS/FT/0231PD0007)

The annex building was hit by a fire in 2013, which damaged part of the roof, and was closed until 2016. In 2022, the University of Porto reoriented the purpose of the building, which became the “new home” of former students, “from a public service perspective directed to the academy, but also to civil society and the business community” [19].

Continuity and Innovation as Design Principles for Adaptive Reuse …

35

Fig. 6 a, b, c Interior views of the Porto University Club. d, e Exterior views of the Porto University Club. f Main façade of the annex building. g, h View of the atrium of the annex building, with the spiral staircase and the zenithal skylight. (Photos: David Ordóñez-Castañón)

36

D. Ordóñez-Castañón and T. C. Ferreira

5 Conclusions The renovation and conversion of the Casa Primo Madeira into the Porto University Club can be considered as a reference work of reuse of built heritage, as the architect managed to introduce new functions while preserving the identity of the nineteenth century residence. The aim is almost documental, with the objective of transmitting the original aesthetics and atmospheres. In fact, a great effort was made to recover the splendour of the ornamental repertoire of the main house, using skilled labour in traditional techniques, some of which were almost forgotten. However, the lesser value of the annexes and the need to mark another stage of the transformation process leads to a more affirmatively contemporary intervention, particularly evident in the design of the new staircase. Tradition and modernism are thus bridged in a balanced, natural and coherent way. Therefore, this work shows some of the main features of the architect’s method, based on a careful analysis of the pre-existence, respect for the previous spaces and construction systems, as well as sensitive introduction of new elements with subtle modern expression in continuity with the previous identity. He managed to keep visible “a consolidated historical image of the building” [20], while slight changes allow to meet the new requirements, contributing to an updated appearance. In a context of global vulnerability in which the conservation and reuse of buildings are fundamental issues of the work of architects, this paper presents the valuable contribution of Fernando Tavora in the adaptive reuse of built heritage, not only as something received from our ancestors, but also as “a permanent and collective creation” [21] to be transmitted to the future generations.

References 1. UNESCO (2016) Urban future, the global report on culture for sustainable urban development. UNESCO, Paris 2. Andrade SCA (2013) Reabilitação de prestígio: Prémio João de Almada tem um certo ar de família da Escola do Porto. O Tripeiro 32(10):291–294 3. Ferrão BJ (1993) Tradição e modernidade na obra de Fernando Távora 1947/1987. In: Trigueiros L (ed) Fernando Távora. Blau, Lisboa, pp 23–46 4. Távora F, Mendes M (2013) Encontro ‘Para a Edificios’. In: Mendes M (ed) Fernando Távora, Minha Casa. Uma porta pode ser um romance. FIMS, Porto, pp C1–24 5. Távora F, Frechilla J (1986) Fernando Távora: conversaciones en Oporto. Arquitectura 261 (67):22-28 6. Távora F (1982) Memória Descritiva do Plano Geral de Urbanização de Guimarães 7. Ordóñez-Castañón D (2022) Fernando Távora. La modernidad enraizada: continuidad e innovación como principios de intervención en la arquitectura tradicional (PhD Thesis). Donostia/San Sebastián, UPV/EHU 8. Ordóñez-Castañón D, Cunha-Ferreira T, Sánchez-Beitia S (2019) Towards a new approach of architectural heritage intervention in Portugal: Fernando Távora and the refurbishment of the Casa da Igreja of Mondim de Basto (1958–1961). WIT Transactions on the Built Environment 191:187–198 9. Távora F (1985) Pousada de Santa Marinha: Guimarães. Boletim da DGEMN 130

Continuity and Innovation as Design Principles for Adaptive Reuse …

37

10. Costa AA (2005) Quando o patrimônio é a casa do vilão. In: Milheiro AV, Afonso J (eds) Alexandre Alves Costa: candidatura ao prémio Jean Tschumi. Ordem dos Arquitectos, Lisboa, pp 80–85 11. Ordóñez-Castañón D, Cunha-Ferreira T, Sánchez Beitia S (2020) Intervention in vernacular architecture: the lesson of Fernando Távora. ISPRS Archives XLIV-M-1–2020:123–130 12. Arquivo Histórico Municipal do Porto. Licença nº 192/1899 13. Arquivo Histórico Municipal do Porto. Licença nº 475/1918 14. Personal communication from architect Carlos Moura Martins (12/5/2022) 15. Távora F (1995) O edifício do Círculo Universitário do Porto. O Tripeiro 14(5):131–133 16. Leal J (2013) Encontro ‘Fernando Távora sobre o Inquérito à Arquitectura Popular em Portugal’. In: Mendes M (ed) Fernando Távora, Minha Casa. Uma porta pode ser um romance. FIMS, Porto, pp O1–20 17. Távora F (1990) Memória descritiva para o projeto de reabilitação da Casa Primo Madeira. In: Arquivo de Fernando Távora (FT/0231), Fundação Marques da Silva 18. Rio FS (coord.) Premio João Almada 25 Anos. Caleidoscópio, Casal de Cambra 19. Universidade do Porto (2022) Casa Primo Madeira. In: U. Porto: Edifícios com história. https:// sigarra.up.pt/up/pt/web_base.gera_pagina?p_pagina=casa%20primo%20madeira 20. Leoni G (2005) Oltre il ‘moderno’: l’architettura di Fernando Távora. In: Espósito A, Leoni G (eds) Fernando Távora; opera completa. Electa, Milano, pp 34–87 21. Távora F, Ferrão BJ (1993) Tradição e modernidade na obra de Fernando Távora 1947/1987. In: Trigueiros L (ed) Fernando Távora. Blau, Lisboa, pp 23–46

Architectural Conservation Design Training in a Pandemic: Recent Resilient Experiences in Brazil Pedro Murilo Gonçalves de Freitas

Abstract The COVID-19 pandemic was severe and abrupt for Brazilian education, forcing adaptation and the development of new pedagogies. However, since conservation training deals with the observation and analysis of built heritage, mostly based on field activities, how training could continue under social isolation? This work presents educational experiences conducted at the Architecture and Urbanism undergraduate course of the Federal University of Sergipe, Brazil, aiming to describe how strategies were applied for training Architectural Conservation Design under the global health emergency in 2020. Methodology was based on problem solving during social isolation periods to promote conservation as a holistic design process. Although new forms of “remote” adaptations faced efficiency difficulties, the experience showed that any strategy to guarantee and enhance teaching quality of Higher Education in adverse scenarios must show resilience and creativity. Keywords Architectural Conservation Design · Education of architects · Teaching strategies · COVID-19

1 Introduction The COVID-19 pandemic in the world as of January 2020 has directly impacted contemporary education. The mandatory social distancing, which in the past could meant drastically reducing formal education, gained a new significance with the immediate operation of “online” alternatives. The availability of technological resources of distance learning made institutions of several levels of education transfer course contents into new teaching platforms, as well as demanding meetings, video conferences and recording lectures, in a new digital movement to cope with forced social isolation. However, also in the rhythm of the unfolding news and daily cases during that year, followed closely by economic and social dilemmas [1], this process was also P. M. G. de Freitas (B) Federal University of Sergipe, Laranjeiras, Brazil e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_4

39

40

P. M. G. de Freitas

severe and abrupt in Brazilian education. In Architecture and Urbanism courses, great resistance was felt due to the rising of warnings about how online classes could damage the experiential knowledge needed to teach architects. Arguments previously discussed in Brazilian institutions about the lack of quality of new bachelor courses in distance modalities were reproposed, making equally menacing the introduction of temporary distance learning tools for the future of the profession [2]. As stated in 2018 by the Brazilian Architecture and Urbanism Council (CAU): “Architecture and Urbanism is a profession that, like Medicine and Law among other important professions, has its exercise regulated because it is related to the preservation of people’s lives and well-being, the safety and integrity of their assets, and the preservation of the environment. For this very reason, it requires, in its training, a very close face-to-face monitoring in workshops, laboratories, experimental sites and other experiential pedagogical spaces, which definitely cannot be achieved in courses offered afar. (…) Architecture and Urbanism students must develop multiple instrumental and communicational skills until they are minimally prepared to articulate theory and practice in the qualification of the built environment and to be able to practice professionally. Distance learning tools (…) should always be considered as complementary to face-to-face training and never as a substitute for it” [3]. Despite of these supportive premises, one of the most impacted teaching areas was Architecture Conservation Design. It is important to remark that in Architecture, “conservative” guidelines of design for the built environment have different origins. They are a result of years of interpretations of interdisciplinary debates expressed almost 60 years ago by the Venice Charter [4], historically conveying concepts developed in experiences of reconstruction of damaged buildings after the Second World War. The Charter defines that Conservation, as a phenomenological method, requires activities as close as possible to historical materials to proceed with precise analysis and act accordingly. With these premises, training requirements were reaffirmed by the “Guidelines for Education and training in the conservation of Monuments, Ensembles and Sites”, a document published in 1993 by the International Council of Monuments and Sites (ICOMOS) that states: “Conservation requires the ability to observe, analyze and synthesize. The conservationist should have a flexible, yet pragmatic approach based on cultural consciousness which should penetrate all practical work, proper education and training, sound judgement and a sense of proportion with an understanding of the community’s needs” [5]. As warnings previewed and experience showed, improvised “remote” courses were implemented in Brazil throughout practically the entire year of 2020, reducing practical design to theoretical lessons or adapting traditional studio classes into online meetings [6]. In fact, there were efforts to support that the situation could be useful to test distance management tools of (mainly new) buildings’ design [7], although the psychic wear-and-tear of teachers and students.

Architectural Conservation Design Training in a Pandemic: Recent …

41

For Architecture Conservation Design training, basic field tasks such as survey, documental research, interpretation of built materials, decay analysis and risk assessment, procedures that are being considered fundamental to enhance quality of interventions [8] became extremely difficult to perform, since the buildings themselves had suddenly “disappeared”. For professors compromised with the quality of education in this field, it became difficult to measure how a student could exercise ways of collecting data, demonstrate complexity, interpret historical value, and maybe enhance community participation. Ultimately, how could it be possible to teach and learn Architecture Conservation Design in a context of social isolation? What would be the losses and gains involved in “observe, analyze and synthesize” abilities? This work presents experiences conducted at the Architecture and Urbanism undergraduate course of the Federal University of Sergipe, Brazil. It aims to describe how strategies were applied for teaching Architectural Conservation Design under the global health emergency in 2020. Methodology was based on problem solving, targeted on maintaining educational requirements during social isolation and promote conservation as a holistic design process [9]. Despite the pandemic disrupted the University’s calendar structure to work with daily, it was possible to critically analyze the experience as a tool to make visible underlying difficulties of Brazilian Architectural Conservation Design education.

2 Previous Background and Context It is important to remark that these questions are based on previous background on teaching and research in the field of Architectural Conservation Design between 2018 and 2022 in the Architecture and Urbanism Course at the Federal University of Sergipe (UFS), in Brazil. Therefore, to better articulate them, it is necessary to point out some contextualization notes. First, it is important to mention that the Architecture and Urbanism Course at UFS was part of an experimental undergraduate program designed to be “heritage driven” in its core. The course was created along with the undergraduate courses in Archaeology, Museology, Theater and Dance because of “Programa Monumenta” experiences conducted in the late 2000s by the Brazilian National Historical and Artistic Heritage Institute—IPHAN in Laranjeiras, Sergipe (Fig. 1). This national heritage public policy engaged the pedagogical programs of these courses so to create a public educational structure in the city. Laranjeiras is an eighteenth century urban settlement classified since 1995 and valued by its architecture and historical significance in the Cotinguiba river basin in the State of Sergipe. At the time, the valley offered contact with the first navigable stretch of Cotinguiba river, making possible the development of an urban environment built to export the sugar production in nearby plantations through characteristically riverfront warehouses called “trapiches”. This generated most of the city’s economic revenues and outstanding cultural importance in the nineteenth century. Despite local decadence in the following century, some streets, buildings, squares and riverfronts still preserve

42

P. M. G. de Freitas

Fig. 1 Laranjeiras’ Historical Center, Sergipe, Photo: Vinicius Barbosa, 2020

picturesque aspects and views, including several ruins, as a result of adapted traditional Portuguese colonial typology. In addition, a strong artistic quilombola community and their descendants (mostly black occupants formed out of escaped people from slavery work) keep traditional culture alive. As the Program aimed to combine efforts of different stakeholders to engage cultural preservation, the University accepted the proposal to create an “Art Campus” inspired by cultural manifestations in the historic city. Aiming, therefore, to include the local community and provide a new educational equipment, IPHAN allowed the restoration of several ancient warehouses [10]. Despite the good intentions, the plan was never fully completed or respected: several authors report problems in the elaboration and approval of what became a “low quality reconstruction”, especially in the management of contractors and other problems associated with archaeological research [11]. Without developing a conservation plan, most of the ruins were rebuilt, also at the personal request of different local IPHAN technicians and directors, in a conflictual decision that created a remarkable historical fiction, as already widely reported in the literature [12]. Furthermore, the provision of interdisciplinary courses in heritage subjects was never fully implemented as a practical educational policy, distancing new professors and students from these ideas. In terms of infrastructure, the lack of variety of services, uncomfortable installations and progressively fewer support for academic work, whilst distant 20 km from the Central Campus in São Cristóvão, have transformed the campus into a pendular destination: students and teachers do not stay in the city, contrary to what naively predicted the Program [13]. As a result, the population never fully recognized the University in town as a beneficial public investment, developing frequent severe antipathy.

Architectural Conservation Design Training in a Pandemic: Recent …

43

2.1 Recent Demands Today, after more than 15 years of its foundation, the campus is an active institution despite its several funding difficulties in 2022. It is linked to the Brazilian Federal Universities system and offers access to Higher Education, training students with public resources. As stipulates an internal policy, at least 50% of them comes from public high schools, a sector that traditionally educates unprivileged population. So, while it is evident the lack of correspondence between the campus—as an idea oriented towards heritage preservation—and its planned function to provide a significant historical environment for students’ and professors’ experimentation [14], nowadays, instead of blaming the results, there are new challenges ahead to reflect on what and how courses in the subjects of Architectural Conservation should focus. For instance, how should new scholars turn this ontological heritage deficit into an asset to review scientific refuted methodologies and consistently deal from now on with buildings of cultural significance? With this perspective in mind and aware of pedagogical experiences by previous professors [15], since 2018, new Architectural Conservation Design courses were developed as elective subjects, under the name “Special Topics”. On 4 different occasions, courses were created according to the best approach to offer students interest and motivation in expanding the activities linked to local architectural heritage, from urban documentation to aesthetics principles. Whenever possible, integration with student’s scientific projects, class monitoring and final examination thesis was sought, for instance, engaging joint classes to introduce better approaches of analysis of historical site using methods from Archaeology of Architecture to future architects [16]. Preliminary evaluations of these experiences concluded that, in general, due to curricular flaws in Drawing and Design, students have low stimuli in the production of essential architectural documentation, cascading difficulties in subsequent subjects of the Architecture and Urbanism course. Despite being in the core of an historical city, students develop low capacity to describe traditional constructions, to perceive building’s transformation over time and to develop accuracy in survey with traditional and digital methods [17]. This confirmed how the range of issues related with the course implementation are still undermining the quality of Federal University of Sergipe’s Architectural Education course, although convenient to say by the authorities interested in political benefits by heritage publicity.

3 A Remote Elective Course on Contemporary Theories of Architectural Design in Preexisting Features The outburst of the pandemic made extreme these issues in March 2020, when the first cases of COVID-19 became evident. Despite the Brazilian normal academic year goes from March to December, at the time, the 2019 academic calendar was

44

P. M. G. de Freitas

still running. Several delays in the past by strikes and other difficulties were still being balanced out, lacking just a couple weeks for holiday break when University was closed on 16 March 2020. This created a rush to finish assignments and concluding the academic year, creating further difficulties to the presentation of final exams. By May 2020, when digital platforms and “lives” became popular, professors had the opportunity to start discussing adaptation of classes with severe discontent with the available infrastructure for students to keep education quality high. Problems such as access to computers and internet connection at home, dedicated space for learning and, of course, the worldwide known denial of the disease by Brazilian government to keep the country “open” and “functioning” were frequently listed. Only by June 2020, University Council created a “special remote lessons period”, observing some of the solutions made by other Federal Higher Education institutions. This period was named “2019.4” and lasted 5 weeks between June and July 2020. Classes were supposed to have 4 h a day, completing 60 h. Celebrating the expansion of Microsoft Teams platforms for the academic community, professors from different departments were asked to propose intensive courses, preferably with a “theoretical” approach [18]. Despite being optional, this engaged a new pressure over humanities’ courses: it became evident a tacit prejudice in public forums. “Theoretical”, here, was mistakenly confused as “conference classes”, a delusive argument to cope with students disadvantages although the high cost of human resources in adaptation of content, teaching strategies to engage participation and creating exams in remote platforms, without mention issues regarding authorial rights of broadcasting lessons online and other information controls. Also, any course should have only a maximum of 50% of time as synchronous meetings, while other 50% should be designed as asynchronous exercises, readings or other activities that the students could do by themselves at home which by itself obliged almost a complete transformation of “in presence” courses. Although these rules, the proposal of a remote course with 25 vacancies on “Contemporary Theories of Architectural Design in Preexisting Features” turned out to be an opportunity to create a prototypical experience for testing the demands between learning afar and dealing with preexisting features. Apart from that, it could also assure the continuity of Architectural Conservation Design teaching experiences in the campus and recover student’s moral, a positive intention of UFS “special remote lessons period”. It also would become a way to refocus attention to the heritage site itself, suddenly abandoned. This would be made by proposing students to “virtually return” to a known environment, expecting that those lessons would somehow cope with the frustration of a short-term resolution for the pandemic, a question affecting not only Higher Education but different aspects of everyone’s life.

Architectural Conservation Design Training in a Pandemic: Recent …

45

3.1 Course Documentation By chance, the course was possible due to the availability of drone photographs made just 5 days prior to the mandatory social isolation in 11 March 2020 (Fig. 2). The main street of Laranjeiras called Getúlio Vargas Avenue (also known as “calçadão”) was photographed by an undergraduate scientific initiation project called “Operative Methods for the Acknowledgement of Urban Ruins: Identification and Documentation” (PIBIC-UFS Project n. PVF7455-2019). This research aimed to organize direct and indirect information about Laranjeiras’ street ruins and develop a method to better offer material representation of those spaces with the help of low-cost digital technologies. In March 2020, historical sources were finally collected and a digital survey protocol have been already created for the development of point clouds and models of selected spaces (Fig. 3). The models allowed viewing “inside” the structures that were preserved as an urban scenario, tuning the archaeological premise that “no land is a void” over a common depreciative bias in the town. The project would continue creating analysis of these sites and other areas to facilitate diffusion and technical data integration online. However, modelling coordination on unusual distant meetings took too much time, forcing adjustments into facilitating the creation of sections, plans, and projections as significant survey data for future conservation strategies and research [19].

Fig. 2 a Digital documentation of the historical center of Laranjeiras, Sergipe, with the use of drones. b Generation of point clouds using Dense Matching procedures in DJI’s DroneDeploy application. Photo: Pedro Freitas, 2019. Drone survey: Vinicius Barbosa, 2020

Fig. 3 Volumetric models of four areas considered “ruins” at Getúlio Vargas Avenue (“calçadão”), maintaining just exterior façades [20]. 3D Models: Hilton Santos, 2020

46

P. M. G. de Freitas

Fig. 4 a Ruins of the “ancient cinema Iris” at Getúlio Vargas Avenue (“calçadão”), in Laranjeiras, Sergipe. Photo: Pedro Freitas, 2020. b Building classification (still with a 2nd floor) recommending integral protection (grade 1) by the Laranjeiras Urban Plan made in 1975 [20]. c Orthophoto plan of the area made in March of 2020. Drone survey: Vinicius Barbosa, 2020. Photo: Hilton Santos, 2020

Therefore, as a course case study, it was selected the most famous ruin visible in the street, the “ancient Cinema Iris”. Material data was then selected and made available as it had outstanding updated information (Fig. 4).

3.2 Course Structure Instead of just abiding with University’s rules, the “synchronous-asynchronous” guidelines became part of course structure with the purpose of 6 modular topics based on the current bibliography of Architectural Conservation Design. The more formal “theoretical” content was selected to create proximities with Architectural history of best practices in a chronological orientation, starting from the Second post-war discussions to contemporary sustainable design strategies. With the exception of course introduction module and the last one (made to present a final proposal), 4 of those modular topics would provoke the need to produce and upload online drawings weekly, aiming to create progressive analysis of the site and design. This “practical approach” aimed to stimulate operative studies. To compensate the limited image resolution of the available ruin representation, different phases of proximity and scales were proposed as Exercises as the following Table 1. These exercises were combined, creating a “theoretical-practical” process of progressive development, with 3 synchronous panels of debate: A, for discussion of Exercises 1, 2 and 3; B, for discussion of Exercise 4 and preparing proposal; and C, for course seminar. A summary is presented in the following Table 2. It’s important to mention a key pedagogical strategy: in order to compare student’s interpretations, drawings should respect a common pattern. So, 4 A3 pdfs were given to students to download in the Microsoft Teams platform with the following preset

Architectural Conservation Design Training in a Pandemic: Recent …

47

Table 1 Exercises Definition and objectives

Exercise 1

Recognition

A perceptive exercise to discuss traces of historical materials in the site by the survey model, activating the definition of heritage attributes

2

Identity and use

A broader exercise to allow students share memories and reframe significance of the site to them, as a community, discussing rehabilitation needs

3

Form

A technical exercise, with a detailed approach, having studied active strategies of old/new design such as analogy, contrast, type, context and process

4

Urban scale

An urban mapping to facilitate the understanding of the form impact in a complex scenario, without subjecting the city heritage as just an aesthetical space

information in black and white: in the recognition exercise, 2 drone photos; in the identity and use exercise, a scene of the point cloud model; in the form exercise, sections in scale; and in the urban scale exercise, the whole urban orthophoto mosaic of the working area (Fig. 5a). As simple as it seems, this created an interesting discussion with the students that presented the first exercise, supposing that they could manage the information freely to best express their analysis. The problem was that they transformed the “site” (the pdf), acting in a disruptive way to the “exercise environment”. When difficulties to compare the analysis appeared, the students transferred the meaning of the course as also an attitude towards (graphic) design, because the exercise sheet had preexisting information to recognize. After this experience, taken as a funny “practical joke”, all the following discussions became extremely vivid, engaging the group to also defend a respectful design protocol (Fig. 5b).

3.3 Course Final Works The final work was developed in the fifth and last week of classes in July 2020, when the student should present a formal proposal revising the exercises. So, to support it, the approach of Synthesis exercise was more traditional, based on individual meetings during the week as A and B remote panels had already created a digital culture of online talks and exhibition of digital drawings. In other words, the students could freely update and adapt their exercises and integrate others’ observations and recommendations, as to refine their mistakes and better apply what they have learned in theoretical lessons. The exercises were then perceived as a method. Mention should be given in the revision of recognition and form exercises in the final works. In the first one, it became clear that the panel A created a “common

48

P. M. G. de Freitas

Table 2 Course structure Programmatic contents

Learning expectatives

Activities

0

Contemporary ethics of Conservation to design in the existing architecture

Conservation is an ethical field. To design is to transform, enabling reading or deleting the historical value

Diagnostic Use of digital Evaluation platforms (a brief survey on student’s conditions of learning at home and previous knowledge of the subjects)

1

The Italian experience in the Second Post-War: between the new and the old

Principles of Exercise heritage 1—Recognition intervention and its origins. Technical and cultural problems are related with architectural production

Classification and perception of materials as attributes of the site. Interpretation of site transformation over the time

2

The impulse of modern museology and the new cultural programs

Museology was a Exercise 2—Identity new program to and Use engage the reuse of damaged buildings with the need for social participation

Interpretation of values. Evaluation of use programs adapted to the site. Drafting ideas

3

Type, process, context, analogy and contrast as methods of design

How to build interfaces with the old and the new. The use of design analysis and examples

Adopt a narrower contact between ruin elements. Definition of potential design strategy

4

Revisions and expansions of heritage in the historical city: the urban dimension of design

How interventions Exercíse 4—Urban in urban Scale settlements allowed Panel B new concepts of heritage to impact the quality of design

Expansion of knowledge of current conservation principles. Observation of context and complexity

5

Historical and aesthetical complexity in large (and small) recent interventions

Discussion of contemporary interventions to study best practices, experiences and current challenges and opportunities

Affirmation of examples as repertoire with the help of several sources. Autonomy and liberty to develop a proposal

Exercise 3 – Form Panel A

Synthesis Panel C

Capacities developed

Architectural Conservation Design Training in a Pandemic: Recent …

49

Fig. 5 a Information of the case study distributed in 4 A3 pdfs. b Results presenting how the information was incorporated in the graphic design by students resulting in immediate comparable study. Works by Letícia Santana, Lázaro Rocha, Larissa Vasconcelos, Ellen Paiva, Wanderleia Santana, Pablo Galvão, Laino Góis e Daniel Ribeiro, 2020

agreement”: most of final works, when presenting the context, recreated the group discussion as a unified criteria to preserve in the proposal. The panel positively acted to turn physical attributes into values, making available interesting proposals that combined insertion, continuity, isolation, etc., as derivative strategies of Conservation Design (Fig. 6). However, in the second one, the same panel discussion might have interfered on insecure students, creating a miscorrelation of these two exercises. The result was the prevalence of intervention strategies that were not actually considered in the discussion as “good ideas”. For instance, almost half of the proposals tried to reimagine the ancient building in new materials, recovering (not without light impact) the historical scenery, in spite of constantly advising that these could be a dangerous idea but possible. Unable to control this rebuilding “temptation”, as contemporary conservation recommendations firmly avoid, distant meetings revealed here its limits on

50

P. M. G. de Freitas

Fig. 6 a Proposal of a multifunctional building made with a structural grid in timber to view the reminiscent parts of the ancient building and provide urban continuity. b Proposal of residential properties to create maintenance strategies of a new open space and ways to bridge current urban typology. Works of Pablo Galvão and Laino Góis, 2020

teaching persuasion. In order to review this problem for future classes, the discussion of Exercise 3—Form could be transferred to Panel B.

4 Conclusions As a general teaching experience, the course was extremely helpful in creating a positive framework of knowledge and study in such difficult times. Students have also concluded the Panel C with a lot of interest, being grateful for the opportunity in their formation while the dealing with uncertainties of COVID-19 panorama in Brazil.

Architectural Conservation Design Training in a Pandemic: Recent …

51

In detail, to assess how social isolation affected teaching Architectural Conservation Design, it is important to mention that the availability of a digital survey was very important, retaining a 3D image of the case study and making possible the acquisition of different views of the site by drone photographs and produced models and sections prior to the course. However, until classes do not have “digital twins” to work with, a model or a point cloud will always be a medium subjected to scale and resolution as information gathered by a machine in a specific date. Since reality is also subjected to time and materials to decay, even in this case, field work must always be preferred to create true learning impact on dealing with a wide range of visual sources and maintaining an adequate fidelity of interpretation. Also, the exercitation of successive tasks was proven important. It provided continuously ways to change subjects and to incorporate topics of theoretical classes to better perceive and understand subjective or theoretically dense modules. Distant training, however, made the analysis too restricted to architectural form, while other possibilities of interpretation of the existing ruin such as decay and a broader community assessment became almost impossible to detail. This correlation, in a revised (and in presence) course, can be further developed. Finally, all the students were able to propose an intervention. However, just some of them acknowledged the design tools provided by the course: fresh students demonstrated more difficulties to perceive them than veterans since they have already acquired some design autonomy and could correlate them better in the examples provided in the classes. Although the remote course demonstrated difficulties in the adaptation of individual training, the experience showed that any strategy if committed to guarantee and enhance teaching quality of Higher Education in adverse scenarios must show resilience and creativity.

References 1. Santos BS (2020) A cruel pedagogia do vírus. Boitempo, São Paulo 2. Wilderom M, Arantes PF (2020) Arquiteturas da distância: o que a pandemia pode revelar sobre o ensino de Arquitetura e Urbanismo. Archdaily, 3 ago. https://www.archdaily.com.br/ br/944738/arquiteturas-da-distancia-o-que-a-pandemia-pode-revelar-sobre-o-ensino-de-arq uitetura-e-urbanismo. Last Accessed 20 Aug 2022 3. Conselho de Arquitetura e Urbanismo (2018) Carta pela Qualidade do Ensino de Arquitetura e Urbanismo. Ofício n. 106/2018 ao Ministério da Educação. 27 abr. https://www.caubr.gov. br/wp-content/uploads/2019/03/3_Of.-106-2018-CAU-BR-MEC.pdf. Last Accessed 20 Aug 2022 4. International Council of Monuments and Sites (1964) The Venice Charter: international charter for the conservation and restoration of monuments and sites. Petzet M, Ziesemer J (2004) International charters for conservation and restoration. ICOMOS, Paris, pp 37–38 5. International Council of Monuments and Sites (1993) Guidelines for education and training in the conservation of monuments, ensembles and sites. Art. 5. ICOMOS, Paris. https://cif.ico mos.org/my-first-guideline/. Last Accessed 20 Aug 2022 6. Monteiro AMG (2021) Ensino de Arquitetura e Urbanismo à Distância, Remoto, Híbrido: Para onde queremos ir? Projetar 6(1):157–162. https://periodicos.ufrn.br/revprojetar/article/view/ 23865. Last Accessed 20 Aug 2022

52

P. M. G. de Freitas

7. Celani G (2021) Colaboração Remota no Projeto de Arquitetura e Urbanismo em um Contexto de Isolamento Social. Projetar 6(1):163–167. https://periodicos.ufrn.br/revprojetar/ article/view/23866. Last Accessed 20 Aug 2022 8. Torsello BP (1988) La materia del restauro. Marsilio, Roma, p 36 9. International Council of Monuments and Sites (2020) European quality principles for EUfunded interventions with potential impact upon cultural heritage. In; Recommendations & selection criteria (2018), 2nd edn. ICOMOS, Paris. https://openarchive.icomos.org/id/eprint/ 2436/. Last Accessed 20 Aug 2022 10. Nery J, Baeta R (2012) Entre reflexões e práticas: a experiência do Programa Monumenta em Laranjeiras/SE. In: Proceedings of II ENANPARQ. UFRN, Natal, pp 1–35 11. Costa TA (2013) Arqueologia como instrumento de preservação do patrimônio arquitetônico: a “Restauração do Quarteirão dos Trapiches” de Laranjeiras-SE. UFS, Laranjeiras 12. Brendle MBUC (2017) Restauro sem teoria e a falácia da intervenção oficial na preexistência patrimonial no Brasil: o malogro do IPHAN em Cachoeira-BA e Laranjeiras-SE. In: Proceedings of Arquimemória 5. UFBA, Salvador, pp 1–33 13. Bonduki N (2010) Intervenções urbanas na recuperação de centros históricos. IPHAN/Programa Monumenta, Brasília 14. Nery J, Baeta R (2022) Entre o restauro e a recriação: reflexões sobre intervenções em preexistências arquitetônicas e urbanas. EDUFBA, Salvador 15. Brendle, MBUC (2015) Cesare Brandi’s theory as a methodological framework for architectural intervention in the built heritage: a didactic experience in Brazil. In: Libro de Comunicaciones del II REUSO 2015. UPV, Valencia, pp 2172–2179 16. Ferreira T, Freitas PMG (2020) Metodologias ativas como estratégia pedagógica para a aplicação da arqueologia da arquitetura na restauração arquitetônica no Brasil. Arqueología de la Arquitectura 17(e107):1–16. https://doi.org/10.3989/arq.arqt.2020.015. Last Accessed 20 Aug 2022 17. Freitas PMG (2019) Documentação arquitetônica em centros urbanos históricos: experiências de ensino de arquitetos e urbanistas em Laranjeiras/SE. In: Proceedings of HBIM. IAU-USP/Unicamp, São Carlos, pp 235–240 18. Universidade Federal de Sergipe (2020) Edital n. 12/2020/PROGRAD–Chamada pública para oferta excepcional de componentes curriculares dos cursos de graduação da UFS, por meio remoto durante período letivo especial. UFS, São Cristóvão. https://prograd.ufs.br/uploads/ page_attach/path/8505/Edital_PROGRAD_-_Oferta_de_Componentes_e.pdf. Last Accessed 20 Aug 2022 19. Santos H (2020) Método operativo para o estudo de ruínas urbanas: estratégias de identificação em Laranjeiras/SE: Registro morfológico e ambiental. Relatório Final. UFS, Laranjeiras 20. Azevedo PO (ed) (1975) Plano Urbanístico de Laranjeiras. Grupo de Restauração e Renovação Arquitetônica/UFBA, Salvador

A Methodology for Historic Villages Preservation. The Case Study of San Giovanni Lipioni Anna Chiara Benedetti , Carlo Costantino , Nicola Mantini , Cristiana Bartolomei , and Giorgia Predari

Abstract The preservation of the built heritage in historic villages is often connected with the progressive abandonment by their inhabitants because of the lack of services and facilities. In the last decades, inner areas all around Europe have been facing that problem. It is, therefore, essential to elaborate and develop targeted strategies aimed at the conservation of the buildings’ typical characteristics, integrated with sustainable reuse practices. Restoration Manuals are valuable support as they are intended to convey intervention practices respecting the existing typical features and, at the same time, cultural-artistic traditions, parts of the intangible heritage. This research aims to define a strategy for valorising the village of San Giovanni Lipioni (Italy). It addresses the existing building stock mainly located in the historic centre and the surrounding rural territory. The methodology envisages the following phases: (i) on-site surveys and data collection about 51 building units, (ii) databases’ structuring and organising using specific datasheets, (iii) identification of recurring and significant characteristics or building elements that need to be preserved, and (iv) proposal of some interventions for improving structural safety and energy efficiency. Finally, drafting the Restoration Manual for the village of San Giovanni Lipioni allows for collecting and organising the insights from the previous phases and providing a tool that public administrations, professionals and other actors involved in the preservation process can use. Keywords Preservation · Reuse · Built heritage · Historic villages · Restoration manual · Inner areas

1 Introduction The urban population began to outnumber the rural one in 2007, and by 2050, cities will be inhabited by more than 68% of the world’s population [1].

A. C. Benedetti (B) · C. Costantino · N. Mantini · C. Bartolomei · G. Predari Department of Architecture, University of Bologna, Bologna, Italy e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_5

53

54

A. C. Benedetti et al.

Small village depopulation has been a significant issue in the rural territory of many European countries during the past few decades, with negative social, economic, and demographic repercussions [2]. As a result, the identity linked to traditional construction is directly threatened, along with the tangible and intangible aspects of the local culture. In Italy, the development of the National Strategy for Inner Areas (Strategia Nazionale per le Aree Interne—SNAI) and the ratification of legislative measures to address were intended to oppose the progressive abandonment of marginal areas utilising particular funding and financial resources. The SNAI identified 72 inner areas characterised by a shortage of services and exceptionally rich in natural and cultural heritage. The strategy follows two main goals: (i) strengthening the natural and cultural heritage and (ii) improving primary services (mobility, schools, health) [3]. The strategy presented in this contribution has been tailored for the village of San Giovanni Lipioni; however, the methodology and work phases could be applied to other European and similar contexts. The village of San Giovanni Lipioni is located near the border between Abruzzo and Molise, and it belongs to the Italian inner areas. It extends over an area of fewer than nine square km, and from the last Census data (2020), 149 people live there [4]. However, if we consider the permanent inhabitants, these are probably lesser. Moreover, if we look at the data on the resident population by gender and age provided by Istat (2020), 67% are more than 60 years old, 23% are 40–59 years old, 7% are 20–39 years old and only 3% are less than 19 years old, namely five people [4]. These figures clearly show the near future of this village if any renewal or valorisation programmes are not implemented. It is important to mention that during the summer, the population almost increases by three times, reaching about 500 inhabitants that come to San Giovanni Lipioni to spend their holidays. These are mostly relatives of people still living there or families that used to live there but moved to other Italian regions or even abroad in the last decades (after the booming economy) for work or study reasons. Only a few people are tourists. In 1951, the decreasing demographic trend started, and it is currently ongoing, resulting in drastically reducing the population from 906 people in 1951 to 149 nowadays [5]. The main cause of the progressive abandonment is linked to the absence of services and facilities that forced people to move closer to schools, hospitals, commercial retails, etc. In the village, there is currently a pharmacy, a small grocery shop, a café, a practitioner’s surgery and the postal office (open only a few days per week). There are no other commercial, tertiary, service or professional activities. The services and facilities are mainly located nearby bigger cities on the coast, where industrial companies have progressively established (i.e., automotive and glass companies, pasta factories).

A Methodology for Historic Villages Preservation. The Case Study …

55

2 Methodology The strategy presented in this contribution aims at the valorisation of the village and the surroundings. It involves many different actors: the leaders are the local association for social promotion (Associazione di Promozione Sociale—APS), “Nessuno Escluso”, founded by the San Giovanni Lipioni people, and the research unit of the University of Bologna. They strictly cooperate with the Municipality of San Giovanni Lipioni, the local action group “Maiella Verde” (for the promotion of the rural territory) and the village’s population, which is annually updated with events and participatory initiatives carried out during the summer. The engagement of citizens and the creation of a solid cooperation network are essential to ensure the realisation, feasibility and long-term sustainability of the project. This work is part of a wider research that addresses the urban area, namely the built heritage of the historic village and the rural territory, to develop an integrated program to show the weaknesses and strengths of the actual situation and effectively support future actions. These two main strands both focus on searching typical features of the built heritage or natural elements of the rural territory deserving to be preserved as they represent the local tangible and intangible culture [6] that otherwise would be forgotten. The promotion of the rural territory is based on the creation of several pedestrian trails crossing some points of interest that can be included in the existing trail network “Alto Vastese”. A detailed project of the maintenance and recommended works is then provided to make these trails accessible, and it is supported by an accurate communication strategy for the realisation and production of specific signals/markers for orientation and information [7]. This part will not be further explored in this contribution, as the main focus of this article is on the built heritage. San Giovanni Lipioni consists of the ancient part of the city, which is the historic centre, and more recent expansions following the main road for accessing the village, probably contemporary to demographic increase. However, no archival documents support the village’s expansion process, and some hypotheses could be made by studying the urban form and the urban fabrics. Fieldworks and survey activities confirm the presence of an ancient nucleus because of the presence of reinforced structures (e.g., buttresses) usually visible within ancient city walls, and narrow lanes. The methodology for the valorisation, preservation and reuse of the built heritage is based on the creation of a solid knowledge base to support the proposal of different intervention scenarios. The more accurate it is, the more reliable and effectively implementable the outcomes will be. The first stage (knowledge base) is supported by (i) on-site surveys with traditional techniques integrated with drone ones [8] and (ii) technical factsheets aimed at collecting, organising and structuring databases that can be used for further analyses and research questions.

56

A. C. Benedetti et al.

Fig. 1 Methodology’s work phases © ACB, 2022

The second phase is application oriented as it focuses on the definition of different interventions aimed at solving structural and conservation deficiencies and energy weaknesses. The list of suitable interventions comprehends the totality of recommended interventions depending on the various building elements (i.e., roof, vertical load-bearing structure, internal floors) and plant systems. This is a valuable decisionsupport tool for steering the possible interventions during the preliminary phase of a renovation project, as it allows for finding the fittest solutions for each building part in a housing unit. The third stage is centred on the dissemination and communication of the results provided by the previous phases with the drafting of the Restoration Manual of San Giovanni Lipioni and launching a promotional website with the association’s domain (“Nessuno Escluso”) [9] for fostering the valorisation of the built heritage (Fig. 1).

2.1 Creation of the Knowledge Base The creation of a solid knowledge base of the existing building stock is necessary to support the development of many research questions and interests. The built heritage of the village is mainly abandoned. The association “Nessuno Escluso” estimates that only 15% of dwellings are permanently inhabited, 57% are occasionally inhabited during the year, particularly during the summer, and 28% are currently not used [10]. According to property owners and the association, 51 building units were surveyed, mostly located in the historic centre (Fig. 2). On-site surveys with traditional techniques supported by photographic and video campaigns and integrated with expeditious drone surveys allow for the representation of each building unit’s plans, facades and sections.

A Methodology for Historic Villages Preservation. The Case Study …

57

Fig. 2 Map of San Giovanni Lipioni with the indication of the 51 building units © ACB, 2022

The traditional technique was applied for surveying the interior of the 51 building units, and it took about six days of work. As a result, the first version of the plans and sections was obtained. At the same time, UAV (Unmanned Aerial Vehicle) photogrammetry was used on the exterior of the same building units. Data elaboration produced several point clouds, not one for each building unit, but the same one refers to more aggregated buildings (or even portions of the historic centre) to which several units belong. The drone surveys followed three trajectories parallel to different planes: the first one to build a grid over the roof, the second one with the same metric on the facades, and the third one over the ground level for aggregated buildings with more complex forms. The photogrammetry models were elaborated with the software Agisoft Metashape® 1.6.5. High-resolution orthophotos were then extracted from each 3D model to draw the facades that were not surveyed with traditional techniques and overlap the plans and sections of the first survey to verify the external boundaries of each building unit and the overall accuracy [9] (Fig. 3). Lightweight aerial vehicles (e.g., drones) are suitable in this urban context, characterised by compact and low-rise (2–3 storeys high) aggregated buildings on narrow lanes. Moreover, combining information from these two sources ensures more precise representations and better comprehension of the complexity of aggregated buildings, whose property is fragmented together with their spatial distribution. During the surveys, other information about the state of conservation of the 51 building units (BUs) was collected and organised in the building summary factsheet. It is divided into five sections, which can be divided into other sub-sections, for structuring an easy-accessible database, and are the following (Fig. 4).

58

A. C. Benedetti et al.

Fig. 3 3D photogrammetric model and high-resolution orthophotos combined for checking the accuracy of traditional survey plans, sections, and drawing elevations © CC, 2022

Building identification data. Building identification code used in the survey campaign, location (address and geographical coordinates). Morphological/typological data. Isolated building or aggregated, number of storeys, eaves height, number of dwelling units, average height and average floor area [m2] per storey, construction period, use, building type (isolated building, row houses, multi-storey buildings, etc.). Metric/dimensional data. Number of rooms, useful floor area, accessory/service floor area (i.e., balconies, cellars), total useful floor area, overall floor area, namely the addition of useful floor area and 60% of accessory floor area, and gross floor area. These values are necessary for assessing the BU consistency from a cadastral point of view, according to Italian in-force regulations. Construction and conservation data. Typical stratigraphies of walls and floors with information about their state of conservation: for walls/vertical structures in terms of “Masonry Quality Index” (MQI) and degradation phenomena, and for horizontal slabs (internal floors and roofs) in terms of structural and functional deficiencies. This section is divided into four sub-sections referring to construction

A Methodology for Historic Villages Preservation. The Case Study …

59

Fig. 4 Sections 1, 2 and part of section 4 of the summary factsheet about the existing state of conservation of each building unit. © ACB, 2022

60

A. C. Benedetti et al.

materials/characteristics and structural/conservation weaknesses, respectively, about vertical and horizontal load-bearing structures. Vertical load-bearing structures. Type and material of external and internal walls with an indication of the extension (the same on all levels or different masonry panels, i.e., brick masonry and stone masonry), thickness as a range between a minimum and a maximum value in cm, and presence/absence of finishing layers (i.e., plaster, paint). Masonry Quality Index (MQI). Three different values for vertical, horizontal inplane and horizontal out-of-plane actions/loadings, corresponding to the masonry categories A, B or C. MQI can be calculated for vertical structures with the method elaborated by Borri [11]. This is based on the calculation of seven different parameters that characterise the regola d’arte (namely “with best practice”) construction of masonry panels. The parameters are the following: conservation state and mechanical properties of bricks or stones (SM), stone/brick dimension properties (SD), stone/brick shape (SS), wall leaf connections (WC), horizontal bed joint characteristics (HJ), vertical joint characteristics (VJ), and mortar mechanical properties (MM). Every parameter can be Fulfilled (F), Partially Fulfilled (PF), or Not Fulfilled (NF), depending on specific conditions clearly defined in the method. The F, PF and NF conditions for each parameter are related to determined values for vertical, horizontal in-plane and horizontal out-of-plane loading. These are combined using the following equation to obtain the three MQI values: MQI = SM · (SD + SS + WC + HJ + VJ + MM)

(1)

The result determines the masonry categories A, B or C, from best to worst, e.g., category A masonry will hardly have cracks and is considered of good quality, while category C masonry will probably collapse under seismic actions [11]. Horizontal load-bearing structures. Type, construction solutions, materials and thickness of the floors, distinguishing the following categories: floor slabs on the ground, internal floor slabs and roofs. Structural deficiencies of the horizontal floors. Classification of floors in a qualitative way considering the presence of construction deficiencies (i.e., insufficient dimension of structural elements, inadequate connections of floors to load-bearing vertical structures because of non-existent or ineffective reinforced concrete tie beam, inadequate support of floor structural elements to load-bearing vertical structures, namely less than 2/3 thickness of masonry, absence of semi-rigid load distribution slab; and maintenance deficiencies (i.e., evident and diffuse degradation on structural elements, presence of damp, attacks by fungi, insects, bacteria, biological agents, oxidation of steel profiles, etc.).

A Methodology for Historic Villages Preservation. The Case Study … Table 1 Vulnerability degree according to Ordinance No. 19 of April 7, 2017

61

Vulnerability degree HIGH vulnerability degree: IF α ≥ 2 OR (α + β) ≥ 6 SIGNIFICANT vulnerability degree: IF α ≥ 1 OR β ≥ 5 LOW vulnerability degree: IF α = 0 OR β < 5

Risk assessment. Calculation of the vulnerability degree state according to the method presented in Ordinance No. 19 of April 7, 2017, namely “Measures for the restoration with seismic improvement and reconstruction of buildings for residential use seriously damaged or destroyed by seismic events occurring on or after August 24, 2016” (Misure per il ripristino con miglioramento sismico e la ricostruzione di immobili ad uso abitativo gravemente danneggiati o distrutti dagli eventi sismici verificatisi a far data dal 24 agosto 2016) [12]. This national regulatory reference identifies 17 structural deficiencies for masonry and residential buildings and classifies them as structural deficiencies type α and type β. Their combination corresponds to three vulnerability degrees for seismic actions (Table 1). Finally, each building unit has its summary factsheet completed with an annexe with plans, elevations, and sections resulting from the survey campaign. The data collected in the summary factsheet allow for the definition of a schedule divided into three main sections with different kinds of structural, finishing and decorative/functional elements found within the 51 building units. Moreover, each construction characteristic has a dissemination percentage calculated from the frequency and the extension. The following features are included in the schedule (Fig. 5). Structural elements. (A) Vertical structures: A1 Irregular stone masonry, A2 Solid brick masonry, A3 Hollow brick masonry, A4 Hollow concrete masonry, A5 Regular stone masonry; (B) Horizontal structures: B1 NP steel beams and brick vaults, B2 NP steel beams and tavelloni (brick element for slab), B3 Wooden-beam floor, B4 Stone vaults, B5 Wooden beams and masonry arches, B6 SAP (No Provisional Reinforcement/Senza Armatura Provvisoria) hollow brick beams and masonry arches, B7 Masonry vaults, B8 Hollow brick concrete slabs; (C) Roof structures: C1 Two order of wooden beams and brick slab, C2 Primary wooden beams and wooden slab (wooden boards), C3 Two order of wooden beams and tavelloni slab, C4 NP steel not thruster beams and tavelloni (beams parallel to the ridge beam), C5 NP steel thruster beams and tavelloni, C6 Hollow brick concrete slabs, (D) Stairs structures: D1 Brick-vaulted stairs, D2 Reinforced concrete slabs stairs, D3 Steel stairs, D4 Wooden stairs, D5 Absence of stairs; Decorative/Functional elements. (E) Windows/doors frame decorative element: E1 Masonry arch and imposts, E2 Stone arch and imposts, E3 Wooden lintel and masonry imposts, E4 Wooden lintel and stone imposts, E4 Wooden lintel and stone imposts, E5 No elements; (F) Balconies: F1 Steel balcony overhangs, F2 Reinforced concrete balcony overhangs, F3 IPE steel balcony overhangs, F4 Terrace, F5 Stone balcony overhangs, F6 No terrace or balcony; (G) Eaves: G1 Romanella eave with two

62

A. C. Benedetti et al.

Fig. 5 Schedule with construction characteristics within the sample of 51 building units. It is divided into three main sections: structural elements, decorative-functional elements and finishings. © ACB, CC, 2022

layers of pianella bricks and one layer of imbreces, G2 Two layers of imbreces, G3 Tavelloni eave, G4 No eave elements, G5 Reinforced concrete eave; (H) Decorative elements: H2 Masonry fireplace, H2 Masonry oven, H3 Masonry oven and fireplace, H4 No elements; Finishing elements. (I) Openings (windows and external doors): I1 Wooden window frames, I2 Aluminium window frames, I3 Filled openings, I4 Openings without frames; (L) External finishing: L1 Plastered, L2 Masonry (not plastered), L3 Different type of plastered surface (e.g., some plastered portions and other with stone cladding); (M) Internal finishing: M1 Plastered, M2 Masonry (not plastered); (N) Flooring/pavements: N1 Unfinished flooring, N2 Brick tiles, N3 Ceramic tiles.

A Methodology for Historic Villages Preservation. The Case Study …

63

The summary factsheets, data collection and analysis allow for the identification of the building typologies of San Giovanni Lipioni, characterised by a combination of the most recurring features. The main building types are multi-level dwellings with internal stairs or multi-level buildings with services on the ground floor and housing on the others. These are characterised by: stone masonry vertical loadbearing structures, steel beams horizontal floors, wooden beams roofs, brick-vaulted stairs, windows and external doors’ frames made of masonry arches and imposts, typical romanella eaves, plastered or not plastered exterior facades, plastered interior and presence of a fireplace.

2.2 Intervention Scenarios The schedule resulting from data elaboration on the summary factsheet about the construction information allows for the identification of structural and distribution weaknesses for each building unit (Fig. 6) and the definition of different kinds of recommended intervention depending on the construction elements and the presence of determined structural, conservation and energy deficiencies. In particular, 70% of the 51 building units’ floors have low internal height in accordance with the habitability, health and hygiene in-force requirements. Also, dwellings have an insufficient floor area: they are very small and do not meet the minimum standard required now. Another diffused criticality concerns windows’ presence/number and size: these are often too small and do not respect the current natural ventilation and illumination requirement. Even if regulatory waivers exist, internal height, spatial dimension, and distribution are often inappropriate for residential use. All these issues affect the intervention strategies and future uses of these buildings. A matrix of suitable intervention is the basis for drafting the specific intervention factsheet for each building unit. This synthetic factsheet can be used to identify

Fig. 6 Main structural and distribution weaknesses found in the 51 building units © ACB, 2022

64

A. C. Benedetti et al.

the criticalities and deficiencies easily and the solution able to solve them (Fig. 7). The factsheet is divided into four main sections: (1) vertical structures, (2) internal floor slabs, (3) roof structure and (4) plant system. For these building parts, an accurate list of structural, conservation and energy deficiencies are defined, and each one is then associated with the recommended interventions, e.g., the construction schedule (Fig. 5) represents five types of different vertical structures, five lists (one for each type) identify the structural deficiencies and other five lists describe the recommended intervention. Sometimes, more kinds of building parts have the same structural weaknesses and recommended interventions (e.g., NP steel beams with brick vaults and NP steel beams with tavelloni); in this case, a shared list can be applied to both. The intervention factsheet is a valuable support during the preliminary phase, before the intervention, and can guide municipal administrations, professionals, and property owners for the future detailed/final proposals aimed at the renewal and reuse of the housing units. It is important to mention that the proposed solutions do not replace detailed design proposals elaborated respecting in-force regulations and specific contexts. The intervention factsheets act as guidelines, a compass for steering the choice between different solutions.

2.3 The Restoration Manual for the Village of San Giovanni Lipioni The Restoration Manual of San Giovanni Lipioni collects and presents all the information gathered during the surveys and in the conservation/interventions factsheets. In Italy, there is a long tradition of Restoration Manuals (i.e., Municipality of Rome, Palermo, Marche region, Abruzzo region, Città di Castello, Jesi, Ancient Genova, etc.). These must not be intended as design manuals but as guides for preserving the built heritage of cities and operational tools elaborated in compliance with local authorities. Their aim is not to identify standardised solutions for the city’s building types but propose detailed solutions following the idea of “preservation by fragments” [13]. These manuals are promoted by the need for preservation; passing on historical and cultural traditions, the memory of places and construction techniques; workers’ training; and connecting generations. They investigate and compare conservation versus replacement interventions on unlisted/unprotected buildings, trying to figure out how to solve structural and energy weaknesses and accessibility barriers in respect of historical construction tradition [13]. The Restoration Manual of San Giovanni Lipioni aims to preserve the built heritage and provide a tool that actors can use in the conservation process. More specifically, the manual explores the history and context of San Giovanni Lipioni, defines its specific objectives/goals concerning the village and a broader scale (e.g., at the national level), presents and analyses the main features of the built heritage (the

A Methodology for Historic Villages Preservation. The Case Study …

65

Fig. 7 Summary factsheet about the recommended interventions of each building unit for irregular stone masonry vertical structure, not plastered at the interior, and plastered on the facades © ACB, 2022

66

A. C. Benedetti et al.

same ones collected in the schedule in Fig. 5), proposes several types of recommended interventions and renewal design proposals of some building units. The last part of the manual is supported by the following: – Graphical drawings and production information of the traditional construction elements (Fig. 8), completed with detailed text description. – Graphical drawings and production information of recommended interventions in terms of structural behaviour, energy use, and finishing maintenance for each type of construction element, completed with detailed text description (Fig. 9). This part is essential for understanding the local materials used, their installation and geometry, work stages, and criticalities. For example, irregular stone masonry vertical load-bearing structure has the following vulnerabilities in terms of structural performance: high rate of internal cavity and tendency to form cracks due to horizontal and vertical actions; the danger of collapse in the case of perpendicular actions and walls with reduced thicknesses; poor interlocking between orthogonal walls. Then, the recommended interventions are injecting cement grout or filling joints or installing plaster reinforced with galvanised steel mesh.

3 Conclusions The preservation of rural villages that are facing progressive abandonment is a current and shared issue within the European territory. Programmes and design proposals aimed at their historical preservation are now essential to prevent local cultures and traditions will be forgotten. The strategy presented here shows a practical methodology that can be implemented in many other contexts expeditiously and economically during the preliminary phase, supporting future actions. Of course, the creation of knowledge with data elaboration and structuring is the most time and energyexpensive stage. However, it is the core of the methodology and the basis for identifying the built heritage’s typical and recurring features and defining the most suitable interventions. Moreover, combined with geometric and conservation data, the list of interventions can be used for simple economic estimates to calculate the financial resources needed. Also, Restoration Manuals and other promotional/dissemination tools are the main outcomes for long-term sustainability and engaging citizens and other actors to create a strong cooperation network.

A Methodology for Historic Villages Preservation. The Case Study …

67

Fig. 8 Figure from the Restoration Manual of San Giovanni Lipioni concerning the construction and geometric aspects of irregular stone masonry. Text © NM, ACB, CC, 2022. Illustrations, graphic work and page layout © NM, 2022

68

A. C. Benedetti et al.

Fig. 9 Figure from the Restoration Manual of San Giovanni Lipioni about irregular stone masonry with a detailed description, vulnerabilities and recommended interventions related to structural and energy performance and conservation aspects. Text © ACB, CC, 2022. Illustration, graphic work and page layout © NM, 2022

A Methodology for Historic Villages Preservation. The Case Study …

69

Acknowledgements This paper is part of two research projects funded by the Association for Social Promotion “Nessuno Escluso” and the Consortium Company “Maiella Verde” to foster the built heritage preservation and the territorial promotion of San Giovanni Lipioni. The authors are grateful to the members of the association and company and the population of the village for their great interest, hospitality and availability for the realisation of these projects.

References 1. United Nations, Department of Economic and Social Affairs, Population Division (2019) World urbanisation prospects: the 2018 revision (ST/ESA/SER.A/420). New York, United Nations 2. Ruiz Pulpón AR, Canizares Ruiz MDC (2020) Enhancing the territorial heritage of declining rural areas in Spain: towards integrating top-down and bottom-up approaches. Land 9(7):216. https://doi.org/10.3390/land9070216 3. Strategia Aree Interne (2020) Relazione annuale sulla Strategia Nazionale per le aree interne. https://www.agenziacoesione.gov.it/wp-content/uploads/2021/11/Relazione-CIPESS2020_finale.pdf. Last Accessed 28 Nov 2022 4. Istat, popolazione residente per sesso ed eta’, San Giovanni Lipioni. https://esploradati.cen simentopopolazione.istat.it/databrowser/#/it/censtest/categories/ITF1/IT1,DF_DCSS_POP_ DEMCITMIG_REG_62_ITF1,1.0. Last Accessed 28 Nov 2022 5. Istat, popolazione residente, serie storica, San Giovanni Lipioni. https://esploradati.censim entopopolazione.istat.it/databrowser/#/it/censtest/categories/TIMESERIES/IT1,DF_DCSS_P OPRES_SERIES_TV_1,1.0. Last Accessed 28 Nov 2022 6. Postiglione G, Lupo E (2006) Rural heritage and sustainable tourism: Humac village in Croatia. In: Scitaroci MO (ed) Manors & villas: cultural heritage as a generator of economic development. Zagreb University Press, Zagabria, pp 113–121 7. Costantino C, Mantini N, Benedetti AC, Bartolomei C, Predari G (2022) Digital and territorial trails system for developing sustainable tourism and enhancing cultural heritage in rural areas: the case of San Giovanni Lipioni, Italy. Sustainability 14(21):13982. https://doi.org/10.3390/ su142113982 8. Costantino C, Benedetti AC, Predari G (2022) UAV photogrammetric survey as a fast and low-cost tool to foster the conservation of small villages. The case study of San Giovanni Lipioni. In: D-site, drones–systems of information on cultural heritage for a spatial and social investigation, vol 2, pp 220–231 9. Associazione Nessuno Escluso APS. https://sangiovannilipioni.net/. Last Accessed 28 Nov 2022 10. Benedetti AC, Predari G, Gulli R, Monaco F (2022) Enhancement strategies for historic towns. A proposal for the village of San Giovanni Lipioni. In: Villages et quartiers à risque d’abandon. Stratégies pour la connaissance, la valorisation et la restauration. Firenze University Press, Firenze, pp 85–95 11. Borri A, Corradi M, Castori G, De Maria A (2015) A method for the analysis and classification of historic masonry. Bull Earthq Eng 13:2647–2665. https://doi.org/10.1007/s10518-015-9731-4 12. Ordinance No. 19 of April 7, 2017 “Measures for the restoration with seismic improvement and reconstruction of buildings for residential use seriously damaged or destroyed by seismic events occurring on or after August 24, 2016” (Misure per il ripristino con miglioramento sismico e la ricostruzione di immobili ad uso abitativo gravemente danneggiati o distrutti dagli eventi sismici verificatisi a far data dal 24 agosto 2016). https://sisma2016.gov.it/wpcontent/uploads/2017/08/Ordinanza-N.-19-Misure-per-il-ripristino-con-miglioramento-sis mico-e-la-ricostruzione-di-immobili-ad-uso-abitativo-gravemente-danneggiati-o-distrutti-coo rdinata-fino-alla-N.62.pdf. Last Accessed 28 Nov 2022 13. Argalia R, Boni G, Bruchi E, Cangi G, Giovannetti F, Giuffrè A, Orsini A (1992) Manuale del recupero del comune di Città di Castello. DEI Tipografia del genio civile, Roma

Application of New Technologies for the Graphic and Constructive Analysis and Dissemination of the Archaeological Heritage of Mérida, Spain Adela Rueda Márquez de la Plata , Pablo Alejandro Cruz Franco , and Jorge Alberto Ramos Sánchez Abstract Heritage is under constant pressure to be adapted for tourist use and is the economic lifeline of many cities. The aim of this research project is to propose a sustainable, new and inclusive tourist response thanks to virtual models that offer a new tourist experience. The project, led by the UEX as a forerunner in the digitisation of heritage, has the collaboration of the Consorcio de Mérida, which ensures access to the documentation and monuments for their digitisation and 6D survey. The methodology will use non-invasive tools such as GPR, UAVs, VR and AR technologies. The case study is the city of Mérida, a World Heritage Site, where tourism is an economic engine and the tourist use of monuments is very polarized, some with high impact, while others are highly unknown to society. The expected results are twofold: an effective interdisciplinary working methodology for heritage management and the creation of new tourist attractions such as inclusive physical prototypes, virtual tours of the most inaccessible places, new digital tourist routes and gamification to attract new audiences. Keywords Virtual twins · Heritage · HBIM protocols · Digital surveying · Prototyping

1 Introduction We present the research project “Application of VR technologies and 6D surveys for the implementation of universal accessibility in the archaeological heritage of Roman public buildings”, led by the University of Extremadura in collaboration with the Consortium of Mérida. This project has a duration of three years, from June 2021 to June 2024 (currently underway). In the development of this project, virtual twins are being generated from the use of non-invasive tools for the integral management of heritage, avoiding negative A. Rueda Márquez de la Plata (B) · P. A. Cruz Franco · J. A. Ramos Sánchez Polytechnic School of Cáceres, Extremadura University, Cáceres, Spain e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_6

71

72

A. Rueda Márquez de la Plata et al.

effects that may arise from its use. The aim of this system is, on the one hand, to mitigate the impact that tourism can have on monuments, and on the other, to provide an alternative to the most inaccessible structures and architectural elements due to different causes such as: conservation conditions, architectural barriers or their remoteness from the main tourist sites and the main infrastructures leading to them. In this project we have three clear objectives: the first is to create sustainable alternatives for the tourist management of heritage assets that sometimes suffer a strong pressure of their most tangible values, and secondly, to increase the tourist offer of the place by incorporating areas that are not currently accessible and/or visible to the public and finally, to transmit and disseminate to society and administrations the importance of the virtualisation of heritage and the advantages they offer us. Furthermore, the models generated as a tourist tool or resource will be carried out with a very deep scientific criterion, which will also allow us to show lost spaces or spaces that existed and have disappeared, but whose traces still mark our city today. With this type of technology, we will achieve new experiences of cultural tourism, managing the vast amount of information that is held on what is visited and what is not, and what is seen and what is hidden, would be available to everyone. Tourism in this type of city would have a much more complex and innovative component: it would be to engage them in experiences beyond the typical guided tour. The understanding of ancient spaces (often difficult to visualise for the layman) would be immediate and highly satisfying.

1.1 Funding Extremadura is increasingly committed to research, which is why every year there is a public call for applications for grants to carry out research projects in the Public I+D+i Centres of the Autonomous Community of Extremadura oriented towards the priority lines contemplated in the 6th Regional I+D+i Plan. This aid is 80% co-financed by the European Regional Development Fund (FEDER) of Extremadura. This research project is one of the 68 selected out of 182 projects presented in the call for proposals, with a budget of 149,078.60 e for the three years of the project’s development. With this research we contribute, on the one hand, to the scientific-technological leadership, as well as the internationalisation of the R&D of both institutions and their researchers, as there are currently no 6D GIS-BIM archaeological settlements developed for VR access. On the other hand, it establishes a scientific-technological specialisation in a very complete multidisciplinary team.

Application of New Technologies for the Graphic and Constructive …

73

1.2 Research Team The research team is made up of experts in the management and dissemination of architectural and archaeological heritage. Thanks to the collaboration between the Consorcio and the University, very advanced technical profiles are contributed to the project. The University of Extremadura provides architects with expertise in the fields of Accessibility and Heritage, civil engineers with experience in surveying and BIM technology and advanced technical support with a profile of physical engineer to carry out certain technical tasks and data collection “in situ” that require this experience. On the other hand, the Consorcio provides the more humanistic profiles, in which archaeologists, restorers and historians provide the historical rigour of the heritage elements and the didactic content of the virtual models they are creating. Organisational structure. For the effective management of the work, the team members are structured into 3 working committees. Each committee is responsible for supervising and verifying the fulfilment of the activities within the project work plan and the established objectives/results (Fig. 1). These would be: – Project management and monitoring committee – Scientific-technical and work development committee – Dissemination and communication committee.

1.3 Background This project is based on a series of previous works carried out both in Mérida and in the city of Cáceres, so this previous experience has contributed to the fact that some of the works proposed in the research have already been tested and proven. Along the same lines, we find work developed by some of the researchers who are part of the project team. On the one hand, virtual models have been made of eight large bridges in Extremadura [1], in this way, these historical infrastructures have been documented with a millimetre level of precision through the survey carried out with the combination of terrestrial (TLS) and aerial (UAV) photogrammetry, thus making it possible to document those points that are difficult to access, such as the intrados of the arches of the bridges. The results obtained from this digitisation may serve as support for future restoration interventions, studies and research on these bridges. Another of the works where members of the research team have applied these technological methods is in the section of the Cáceres wall, between the Socorro arch and the Cristo arch [2–4]. The results obtained have been very satisfactory, as it has been possible to detect original fragments of the wall, which had apparently disappeared because they had been swallowed up by the domestic constructions. This work has brought to light, through digitisation, elements that are currently hidden.

74

A. Rueda Márquez de la Plata et al.

Fig. 1 Organisation of the research team, distribution of responsibilities and tasks. Scheme JARS, 2022

In addition, the Polytechnic School of the University of Extremadura encourages the transmission of this learning among students. Researchers who are part of the project have tutored final degree projects where this knowledge is applied and at the same time new avenues of research are being opened in this line, among the most noteworthy works we can mention the assessment and proposal for accessibility in the historic garden of Arguijuela de Arriba (Cáceres, Spain) [5], physical prototyping of digital twins applied to the Torre Bujaco [6], the survey work carried out in the Alcazaba of Merida in support of an accessibility proposal [7, 8]. The application of this method to archaeology was demonstrated in a final Master’s thesis carried out at the Columbarium site in Mérida [9, 10]. This is an incentive to start this research path in collaboration between the University of Extremadura and the Consorcio of Mérida.

Application of New Technologies for the Graphic and Constructive …

75

1.4 Theoretical Framework of the Research The approach of this research follows the principles of the International Heritage Charters. First, special attention is paid to the digitisation of heritage as a method for high-precision documentation and recording, which has been necessary for the management of the historical legacy we possess today since 1964, in the Venice Charter. The use of 3D technologies for digitisation and generation of virtual twins has become widespread among professionals, due to the reduction in the cost of the tools, the simplification of their use, and above all the optimum results obtained. The growth of new technologies applied to heritage management has highlighted the need to develop work methodologies and protocols that guarantee the scientific rigour of the virtual twins generated. In 2006, recommendations were drawn up that were reflected in the London Charter, which was subsequently developed in the Seville Principles (2011). Interdisciplinarity, complementarity, authenticity, historical rigour and training are the principles by which we should be governed in the generation of virtual reconstructions. These are the criteria and principles on which we are based for the development of this project, so that virtual reconstructions of heritage can guarantee authenticity and historical accuracy. Currently, the Italian school is working with this same methodology (being a pioneer in this sense), thus optimising the processes of management and constant updating of the information of the vast heritage that they possess [11–13].

2 Approach and Methodology 2.1 Hypothesis The project is based on the premise that current tourism in many of the World Heritage cities has not been updated to the new possibilities that technology and resources offer us today. As a result, the sustainability of the tourist use of major monuments is being called into question and requires immediate action. What is needed is sustainable, inclusive and up-to-date tourism that allows us to see not only what can be visited today, but also the construction processes, the monuments that have disappeared, the buildings that are impossible for many to visit due to their great architectural barriers… this can be done thanks to digital surveys and the use of 6D models that disseminate, explain and lay the foundations for new future possibilities for the expansion of our most vulnerable and, at the same time, most beloved heritage.

76

A. Rueda Márquez de la Plata et al.

2.2 Objectives This project aims to generate 6D models of heritage and use them to generate new tourist experiences of monuments, including those that are inaccessible or very difficult to understand. These virtual twins will have a scientific-technical character, which will contribute to providing tourism with an exhaustive global vision of a specific historical moment, of a monument that is currently incomplete or of an area that is very difficult for everyone to access. This will bring the tourist experience offered closer to the sustainable and inclusive tourism that this project seeks. The development of the research is structured around the following objectives (Fig. 2). – Objective 1: To create a gradient of accessibility in the archaeological heritage of public buildings from the Roman period in the city of Mérida, including, for the first time, all buildings, buried buildings, areas closed to the public and those in danger of ruin or destruction. – Objective 2: To develop a methodology for the creation and development of 6D virtual models of archaeological settlements that are difficult or impossible to access for their virtual reconstruction. – Objective 3: To transmit and disseminate heritage among the scientific community and society through the virtualisation of heritage, using it as an accessible, efficient, and sustainable tourism resource. Fig. 2 Outline of objectives to be followed in the development of the project. Scheme: JARS, 2022

Application of New Technologies for the Graphic and Constructive …

77

Fig. 3 Stages and tasks for the development of the Project. Scheme: JARS, 2022

2.3 Methodology The work of the research project has been divided into three stages (Fig. 3) in order to achieve the objectives set, each of the stages is composed of tasks that are assigned to each of the members of the research team.

3 Project Development 3.1 Definition of the Working Environment Firstly, we designed a methodology of analysis that will serve as a tool not only for Mérida, but for any city where we want to work in this same line of research. In order to analyse the particularities of each monument with respect to the role it plays in the city’s tourist activity, it is necessary to tackle the problem at different scales, going back in time to validate the data obtained from the selected elements. Thus, although the system follows a clear order in the scheme (Fig. 4), both the general urban analysis, the specific analysis of the monuments, and studies of the factors affecting tourism will be carried out in parallel over time. Following the urban analysis carried out from the point of view of tourism, the Forum of the Colony of Augusta Emerita, which was the nerve centre in Roman times where all the public and management buildings of the Colony were located, has been chosen as the working environment. The reasons why this area of work has been chosen are as follows. On the one hand, this area of the city is very well documented on a scientific level, a large number of archaeological excavations have been carried out over time, in which a large amount of information has been obtained that has allowed the scientific community to determine what this forum complex may have been like. All the information has been collected and published in a specific monograph entitled “El foro de Avgvsta Emerita génesis y evolución de sus recintos monumentales” [14].

78

A. Rueda Márquez de la Plata et al.

Fig. 4 Procedure followed for the analysis of heritage tourism. Scheme: JARS, 2022

However, at the tourist and educational level, all this information is difficult to transmit in an informative and didactic way. This is due to the following factors: – Tourists can only visit a small part of the site: Among all the archaeological excavations, many were buried after documenting the remains, others are visible but not musealised and cannot be visited by the general public, in short, only a small part is musealised as a tourist resource for the city (Table 1). – The current urban fabric makes it difficult to see the archaeological area as a whole: Merida is a city with 2000 years of history, so the current urban planning coexists with the archaeological heritage. Because of this, the archaeological remains that we can currently visit in the Forum of the Colony are scattered around the city, making it difficult for visitors to find their way around and to relate some remains to others, which prevents them from getting an idea of the importance and monumentality of the whole area. Tables 2, 3 and 4 show all the archaeological excavations in which remains belonging to the Forum of the Colony have been found. These excavations have allowed us to know the limits, the different construction phases, materials, etc. We have classified the excavations according to the role they play in tourism: whether they are buried or not, and whether they are visible to the public or not.

Application of New Technologies for the Graphic and Constructive …

79

Table 1 Percentage data according to the visibility or not of the archaeological remains Current state of the archaeological excavations belonging to the Forum of the Colony

Nº of excavated plots

Percentage (%)

Buried

21

60

Unearthed

40

40

Not open to visitors

9

26

Visitable

5

14

Table 2 Archaeological excavations of Oriental Platform N. Int

Location

Visibility

Accessibility

2182

c/Sagasta, 8

Buried

–

2409 a

c/Sagasta

Buried

–

2016

c/Sagasta, 3

Buried

–

2484

c/Hernán Cortés, 3

Buried

–

6039

c/Baños

Visible

Not visitable

6042

Trav. Parejos

Visible

Not visitable

12005

Trav. Parejos

Visible

Not visitable

12006

Trav. Hernán Cortés

Visible

Not visitable

8149

c/Sagasta; c/San José

Visible

Visitable

2862/2950

c/Baños

Buried

–

These data are graphically reflected in the planimetry where we can see the relationship between the current urban layout and that of Augusta Emerita (hypothetical planimetry published in the monograph of the Forum of the Colony). We can see graphically the non-interrelation between the different archaeological remains (Fig. 5).

3.2 Development of 6D Virtual Models of the Archaeological Heritage Virtual models are being developed where we merge the virtual twin of the archaeological remains with a virtual reconstruction representing the complete buildings in a very rigorous way of how it was in reality. This model serves as a tourist tool and resource for the city, in which the non-specialist visitor can get a clear and concise idea of what they are seeing. Firstly, for the generation of these models, a standardised digitalisation and photogrammetric survey protocol has been generated, standardising the virtual twins. In this way, we have achieved a common language within the interdisciplinary team

80

A. Rueda Márquez de la Plata et al.

Table 3 Archaeological excavations of Central Platform N. Int

Location

Visibility

Accessibility

65

c/Sta. Catalina, 3

Visible

Visitable

23

c/Manos Albas, 2

Buried

–

2409 b

c/Sagasta

Buried

–

2321

c/Romero Leal, 30

Buried

–

14

c/Romero Leal, 22; c/Los Maestros, 1

Buried

–

2870

c/Dávalos Altamirano

Buried

–

2354

c/Dávalos Altamirano, 17

Buried

–

107

c/Los Maestros, 15

Buried

–

6021

c/Sta. Catalina and c/Berzocana, 3

Visible

Visitable

6025

c/Sta. Catalina and c/Berzocana, 4

Visible

Visitable

6028

c/Sta. Catalina and c/Berzocana, 5

Visible

Visitable

6035

c/Sta. Catalina and c/Berzocana, 5

Visible

Visitable

6036

c/Sta. Catalina and c/Berzocana, 7

Visible

Visitable

6040

c/Sta. Catalina and c/Berzocana, 8

Visible

Visitable

6029/6045

c/Romero Leal

Visible

Visitable

6044

c/Romero Leal

Visible

Visitable

6026

c/Romero Leal

Buried

–

8056; 12001

c/Dávalos Altamirano, 6-8-10

Visible

Not visitable

2899; 2940

c/Dávalos Altamirano, 6-8-10

Visible

Not visitable

2415

c/Dávalos Altamirano, 6-8-10

Visible

Not visitable

2880

c/Dávalos Altamirano, 6-8-10

Visible

Not visitable

1015

c/Dávalos Altamirano, 9

Buried

–

1020/12002

c/Dávalos Altamirano, 25

Buried

–

1026/2634

c/Dávalos Altamirano, 25

Buried

–

2397

c/Baños, 18

Buried

–

2953

c/Los Maestros; c/Los Peñatos

Buried

–

2951

c/Sagasta

Buried

–

Table 4 Archaeological excavations of Occidental Platform 1 (Southwestern) N. Int

Location

Visibility

Accessibility

146

c/Cimbrón, 11

Buried

–

8108; 2966

c/Los Maestros, 16

Buried

–

2727; 6043

c/Viñeros, 17

Visible

Not visitable

675

c/Cimbrón

Buried

–

771

c/John Lennon

Visible

Not visitable

Application of New Technologies for the Graphic and Constructive …

81

Current state of the remains found in the Municipal Forum Hidden remains (documented and buried) Excavated remains visible but not accessible to the public Excavated remains visible to the public and open to visitors Excavation without information Fig. 5 Planimetry where we can see the relationship between the current urban layout and that of Augusta Emerita and the state of each of the plots at the tourist level. JARS, 2022

that makes the collaborative work between the different professionals more efficient. In addition, the workflows serve as support for future work, which means an optimisation of the time and resources used. This interdisciplinary workflow between the two institutions involved in the project (University of Extremadura and the Consorcio of Mérida) has been tested with a previous pilot project, in the Roman funerary mausoleums called “Los Columbarios” [9]. The work consisted of generating an HBIM model that would bring together all the information generated to date and would be a working tool for future musealisation projects. Furthermore, this virtual model obtained allows us to use it as a tool

82

A. Rueda Márquez de la Plata et al.

Fig. 6 Photograph of the archaeological remains of the Forum Portico, which can be visited at street level. JARS, 2022

for the dissemination of the heritage asset in a sustainable way with respect to its conservation. Secondly, the heritage digitisation work has been divided into several phases, in which we are gradually adding the buildings that belonged to the Forum of the Colony. We have started with the so-called “Forum Portico”, which is the northern corner that limits the eastern platform of the forum complex. These remains are on display in a museum at street level (Fig. 6). Currently, the tourist is visiting a reconstruction and anastylosis of the original remains made in the 1980s, and is not able to discern between the original, the replicas and the interpreted. In response to this, and following the principle of authenticity, a colour scale has been implemented on the virtual twin to identify which part is original and which is not (Fig. 7a and b). Thirdly, in order to contextualise these remains in what was the whole of the Forum of the Colony, a virtual reconstruction has been carried out by applying the Extended Matrix method [15, 16] developed by E. Demetrescu, an Italian archaeologist specialised in virtual reconstructions. This system allows us to develop models with scientific and archaeological rigour, based on a formal language with which to keep a record of the entire virtual reconstruction process. It consists of creating a common framework between the archaeological documentation and the virtual model and taxonomically annotating which are the bibliographic sources on which we have based the reconstruction. As a basic example we present the Matrix of a column module of the Colonial Forum (Fig. 8).

Application of New Technologies for the Graphic and Constructive …

83

Fig. 7 a Virtual twin of the archaeological remains of the Colonial Forum Portico. b Visualisation of the virtual twin with colour scheme indicating what is original, what is reconstructed and what is a replica. Scheme: JARS, 2022

3.3 Dissemination of Heritage from a Tourism Perspective Following the analysis carried out, a catalogue of the monuments has been generated, which will be completely virtualised, and then of particular elements in order to visualise in detail elements (decorations, sculptures, mosaics, capitels…) that cannot be seen in detail at first sight. These selected monuments will be provided with didactic resources, accessible and inclusive resources that will have a direct application in the dissemination of the heritage at a tourist level (Fig. 9).

84

A. Rueda Márquez de la Plata et al.

Fig. 8 Extended matrix system applied to a column of the Forum Portico. Scheme: JARS, 2022

3.4 Applications of the Technologies and Tools Used The technologies used, although cutting-edge in their field, do not represent the innovation of the project, but it is the use made of them and the very novel applications that will help to achieve the project’s truly transcendental results (Fig. 10). UAV and TLS technologies. The present project is based on data acquisition based on SfM processing confronted with TLS and integrated in a HBIM model for heritage management and control. The work is being carried out by combining clouds obtained by SfM (with images acquired from UAVs and acquisition by SLR ground photogrammetry) and clouds obtained by TLS digital instruments. The result will be a three-dimensional HBIM parametric model that integrates different models (clouds, meshes, textures, etc.). In the field of heritage, the incorporation of UAV systems in combination with SfM methodologies has given an immense capacity for studying our buildings (Fig. 10a).

Application of New Technologies for the Graphic and Constructive …

85

Fig. 9 Virtual tour of the archaeological remains with VR technology. Scheme: JARS, 2022

Fig. 10 a UAV and TLS technologies. b GPR Technology. c VR and VRA technologies

GPR Technology. For the study of the subsoil, non-invasive ground penetrating radar (GPR) technology is being used. With this tool we intend to carry out a threedimensional survey of the archaeological structures that have not yet been excavated and thus be able to complete the information and archaeological data of the environment under study (Fig. 10b).

86

A. Rueda Márquez de la Plata et al.

The research team has experience in the use of this device in other heritage sites to obtain data from a hidden cistern in the palace in Tiendas street in Cáceres. This served as a test field to apply it to the site of Mérida. VR and VRA technologies. As part of the expected results, the aim is to provide the virtual models with didactic content to be used as a resource and tourist attraction. To this end, we will use virtual reality (VR) and augmented reality (VRA) technologies so that users can interact with the virtual environments of the monuments. The dissemination of heritage and the transmission of knowledge through this virtual space generates great possibilities in teaching and learning for users, where they can interact with all the layers and constructive structures of a building or object reconstructed thanks to virtual reality (Fig. 10c).

4 Partial Results Obtained The results obtained so far in the research are twofold: on the one hand, a working system has been established that paves the way for collaboration between public institutions for the implementation of new technologies in Extremadura’s heritage, and on the other, a virtual model has been created of part of the Portico that existed in the Forum of the Colony. This is a very powerful educational resource that will serve as a support for both virtual and face-to-face tourist visits. This model has several view options depending on the type of information we want to obtain, we can view the remains as they are presented in reality, but we can also see in great detail the pieces that decorated this set, on the other hand, we have the option to view the model with a colour scheme that tells us which parts are original, which are replicas and which parts are reconstructions, which parts are replicas of pieces and which parts are reconstructions, complying in this case with the principle of authenticity established in the letters of Venice. Finally, we can visualise a complete reconstruction of these archaeological remains, with a scientific basis following Demetrescu’s extended matrix method in which each modelled element is related to the source of information that has been used for each element. This digital resource is being used for the study and dissemination of Extremadura’s heritage through VR and AR tools (Fig. 11).

5 Future Development This research has a future development in the same line where this system of work will be established for the other archaeological remains that form part of the forum, in this way we will be able to create a model that will subsequently be provided with

Application of New Technologies for the Graphic and Constructive …

87

Fig. 11 Use of the virtual model as an educational and tourism resource. Scheme: JARS, 2022

informative and didactic content, serving as a support for the on-site visit and the interpretative panels installed in the different archaeological remains. This research opens up other lines of work in other enclosures containing archaeological remains such as those of the Curia, or the College for the children of the Roman elites, buildings that belonged to this forum complex, and which are not currently musealised or open to the public. In these cases, the models will acquire an added value to those already on display, and with this system we will be able to make the remains that are hidden available to society, as well as being able to link them together with all those that are scattered around the city (Fig. 12). With all of this, our objective and purpose of this research is to generate educational content based on this virtual model, with which we intend to be able to visit the forum in an immersive way with VR and AR technologies and thus make the fragment we are visiting understandable and contextualised in an accessible, sustainable and scientifically rigorous way. These inverse activities will mean that society will be able to transport itself in space and time from any part of the world. This is a way of disseminating and projecting our heritage worldwide. This project is a step forward for World Heritage Cities in cataloguing, documenting and understanding their heritage. Applying these low-cost, easy-to-use technologies with a high level of precision will allow us to update the databases of monuments, generating virtual models in multiple formats that will have a national and international projection of the monument.

88

A. Rueda Márquez de la Plata et al.

Fig. 12 Digitised archaeological remains that form part of the Forum complex of the Colony. Scheme: JARS, 2022

References 1. Franco PAC, de la Plata ARM, Cortés-Pérez JP (2018) Veinte siglos de patrimonio de Extremadura en ocho puentes. Documentación digital de las obras públicas, vol 1. Extremadura, p 208 2. Franco PAC, de la Plata ARM, Franco JC (2020) From the point cloud to BIM methodology for the ideal reconstruction of a lost bastion of the Cáceres wall. Appl Sci 10(18) 3. Franco PAC et al (2017) A lost fragment and gate of the Almohad wall of the world heritage city of Cáceres, Spain. In: IOP conference series: materials science and engineering, p 245 4. Cruz Franco J et al (2016) Evolución histórica de la muralla de Cáceres y nuevos descubrimientos. El postigo de San Miguel, un lienzo perdido de la cerca almohade. Revista de estudios extremeños 2016:1869–1910 5. Rodriguez Sánchez C (2021) Levantamiento y propuesta de accesibilidad en el jardín histórico de la Arguijuela de Arriba (Cáceres). Universidad de Extremadura, Cáceres 6. Pérez Sendín M (2022) Prototipado físico a partir de gemelos digitales aplicado a la Torre de Bujaco, in Construcción. Universidad de Extremadura, Cáceres. p, p 144 7. Gómez Bernal E (2021) Levantamiento planimétrico y propuesta de accesibilidad en la casa romana de la Alcazaba de Mérida. Universidad de Extremadura, Cáceres. p, p 144 8. Gómez-Bernal E, Franco PAC, de la Plata ARM (2022) Drones in architecture research: methodological application of the use of drones for the accessible intervention in a roman house in the Alcazaba of Mérida (Spain). D-SITE. Drines-Systems of Information on Cultural Heritage, Pavia, Italy 9. Sánchez JAR (2021) Utilización de la Metodología BIM en la gestión del patrimonio arqueológico. Caso de estudio el recinto arqueológico de los llamados Columbarios de Merida. Universidad de Extremadura. Cáceres, p 179 10. Sánchez JAR, Franco PAC, de la Plata ARM (2022) Achieving universal accessibility through remote virtualization and digitization of complex archaeological features: a graphic and constructive study of the Columbarios of Merida. Remote Sens 14(14)

Application of New Technologies for the Graphic and Constructive …

89

11. Paris L, Rossi ML, Cipriani G (2022) Modeling as a critical process of knowledge: survey of buildings in a State of Ruin. ISPRS Int J Geo-Inf 11(3) 12. Banfi F (2021) The evolution of interactivity, immersion and interoperability in HBIM: digital model uses, VR and AR for built cultural heritage. ISPRS Int J Geo-Inf, 10(10) 13. Intignano M et al (2021) A scan-to-BIM methodology applied to stone pavements in archaeological sites. Heritage 4(4):3032–3049 14. Ayerbe R, Barrientos T, Palma F (2006) El Foro de Avgvsta Emerita, génesis y evolucion de sus recintos monumentales. Anejos de AESPA, p 866 15. Demetrescu E, Fanini B (2020) The use of 3D tools to improve the transformation of the archaeological record into a virtual reconstruction. EMtools and EMviq open source software 16. Demetrescu E, Ferdani D (2021) From field archaeology to virtual reconstruction: a five steps method using the extended matrix. Appl Sci 11(11)

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges for the Future Francesca Albani

and Joe Zaatar

Abstract The Fairground of Lebanon in Tripoli, designed by architect Oscar Niemeyer in collaboration with many Lebanese architects and engineers, was built from 1963 to 1975 and never completed. It was occupied by armed forces and then by a foreign army during the “civil” war (1975–1989) until it was abandoned around 1995. Since such information is sensitive, it is not easy to find or gain access to documentation about the wartime period. The rare traces of the military occupation can be found in the archive preserved in the basement of the Fair, in some feasibility studies held by former politicians, in visible traces on concrete walls, and in some interviews. These sources confirm that this unique utopian place was used for a considerable time for violent actions. The paper aims to investigate what happened during these years (1975–1995). Recently, the high interest from abroad stimulated the promulgation of a law in March 2022 for its conservation and reuse. A knowledge of events during the war period could contribute to defining the strategy for the future of this architectural complex, as an outstanding example of Lebanese Modernism in architecture. Keywords Lebanon · Modernism · Oscar Niemeyer · War · Conservation

1 “A Comforting Spectacle of a Balanced Country” In March 1957, the Government of the Republic of Lebanon was studying the idea of building a trade fair site like the ones in the developed West. The idea was to promote trade and commerce with the world. Given Lebanon’s liberal structure, economic motivations were on the agenda of the central government. With the Ministry of Planning, a study was undertaken for a Trade Fair in the modern Capital of Beirut [1]. F. Albani Department of Architecture and Urban Studies, Politecnico di Milano, Milan, Italy J. Zaatar (B) Preservation of the Architectural Heritage, Department of Architecture and Urban Studies, Politecnico di Milano, Milan, Italy e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_7

91

92

F. Albani and J. Zaatar

Back then, after the Second World War, the Lebanese economy was closely related to that of the international developed countries, mainly for imports and less for exports. In July 1957, the local newspaper Le Commerce du Levant published a short article which stated: “At the end of a series of meetings during which measures likely to develop Lebanon’s economy were reviewed, the Exhibitions Commission of the Ministry of Plan proposed to the Government to organize on one of the plots of the former BirHassan airport, an international exhibition that would be called the ‘PERMANENT FAIR OF BEIRUT’. This project, the implementation of which requires significant bank credits, will be examined by the Council of Ministers over the next week” [2]. In the 1950 and 1960s, during the cold war, Lebanon was not officially allied to either of the fronts. From 1958 to 1961, Syria was a more powerful radical Arab State governed by the Egyptian President Abdel Nasser and an ally of the U.S.S.R., which conflicted with the economic liberalism system adopted in smaller Lebanon [3]. In the Middle East, following the withdrawal of the colonial powers, many Arab countries were governed by dictatorships. At the same time, Lebanon was a Republic open to outward services-oriented sectors (between the West and the Arab world). This freedom attracted the elite, enduring nationalisation in many Arab countries, and encouraged them to move to Lebanon, which improved the economy during the so-called golden age. In 1957, the journalist Kesrouan Labaki’s writings clearly explained the process: “Because, in the almost general uncertainty of the situation in the region, Lebanon conveys the comforting spectacle of a balanced country. Because Lebanon refuses adventures and remains faithful to its destiny, it increasingly appears the only haven of true peace in the Arab world. Everything that flees all around us today comes first to us and often settles in our homes. Everything, meaning, people, goods, and capital” [4]. On 4 January 1958, the Chamoun government communicated the continuation of the Fair’s program [5]. The International Fair project in Beirut was under study with a “Commission for the international fair of Beirut” at the Ministry of Plan. Charles Tyan was its President with eight members, Edmond Téhini, Paul Khlat, Moustapha Nsouli, Francis Ishac, Abdel Wahab Rifai, Abdallah Nourallah, Jean Ziadé, Rached Fakhry. The purpose of this commission was to prepare the necessary studies for creating an International Fair in Beirut starting in 1959. In addition, the members of the committee would have to deal with the following eight issues: (1) To establish the internal status of this Fair; (2) Decide where it would be built; (3) Submit an estimate of the costs that such a project would require; (4) Open the necessary credits to realise this project in collaboration with the Ministry of Finance; (5) Propose the appointment of a committee to develop the project; (6) Control all agreements that will have to be respected; (7) Set the opening date; (8) Make all the necessary proposals for this Fair’s smooth running and success.

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

93

Between March and June 1958, conflict started to break out in several parts of Lebanon. In Tripoli, the Arabists, supported by the political changes in Syria, led an armed conflict against President Chamoun’s decision to run for election again. When a coup in Iraq led by Arab nationalists was successful and destabilised the country, the Lebanese President required immediate Western assistance. The “Lebanonists” with a decisive intervention of the US Marines, stopped the opponents to his government. At the Annual Economic Congress of Lebanon, the Tripoli Chamber of Commerce urged the Ministry of Planning to carry out the project for the Lebanese International Fair and its headquarters in Tripoli. But for the following six months, until the end of the Chamoun government, the new Minister of Planning, Joseph Chader, pursued the program of the Fair but also to favour the Capital Beirut, which he called “the ideal city for a global exhibition” [6]. He worked on a general reorganisation plan with an ad-hoc committee inside the Ministry of Planning to develop that international event. The first armed conflict in the Republic of Lebanon ended in September 1958 with the conclusion of Chamoun’s mandate and the election of a new President, Fouad Chehab, accepted also by the opposition. This former General, who had previously modernised the Lebanese army [7], became the new President with a six years mandate. The country was divided into religious rather than secular communities: Christians (Maronites, Orthodox, and Catholics), Muslims (Sunnites and Shiites), and the Druze, who ever since the Ottoman period had lived in “strongholds”, while the modern capital Beirut and its suburban area progressively became cosmopolitan and multireligious (including many Jews). During this period, the region of central Lebanon, with its capital Beirut, was privileged compared to the other less favoured Lebanese urban and rural zones in the north, east, and south of the country [8]. President Chehab took decentralised decisions during his mandate from September 1958 until September 1964. In architecture, Modernism was the architectural language of the time, spreading to the young independent nation’s underdeveloped regions, cities, and towns. Bringing Modernism to Tripoli, the second biggest city of Lebanon was a response to the request from the most significant number of Sunnites in the country. Second, placing it in the North of Lebanon, far from the growing conflict with Israel, mainly in the South, was a safer decision. Third, distributing State wealth in the hopes of bringing a modern economy to a territory that had lacked prosperity since the beginning of the twentieth century (the Ottoman Empire had elevated Beirut to the status of an essential chief town called Elayet, making it independent from Damascus at the end of nineteenth century), would help overcome the long crisis of stagnation in the millennial city of Tripoli. Finally, applying this propaganda in a new Lebanese context would realistically rebuild a trusted relationship with the State and make it their unique referent for all Tripolitans from then on.

94

F. Albani and J. Zaatar

2 A Decentralised Fair Newspaper titles started introducing the name of Tripoli beside Beirut when mentioning the Fair’s location. Pierre Gemayel, the new Minister of Public Works, submitted “his” project to the Council of Ministers to create a Permanent International Exhibition in Lebanon. Given the importance of the project, the Council decided to hold a special meeting in December 1958. Again, the Economic bureau for the renaissance of North Lebanon sent telegrams to the competent authorities requesting that the International Fair, whose organisation was being studied in Beirut, should be located in Tripoli (Fig. 1). On Christmas Eve 1958, the local journal specialising in commerce reported on its front-page words that reveal a complex situation. This not only dealt with its location in a small country but also considered the uneasy relationship with Syria. The title started with “For a Decentralised Fair” and ended with “Pavilions can be set up in Tripoli, Saida, and Zahlé” [10]. The article referred to the subjects discussed by the Council of Ministers during the preliminary draft of the project. It appears that the Council of Ministers had several formulas to study. It gave attention during the meeting to a decentralised Fair set in a certain number of pavilions in the three Capitals of the Mohafazats (a term coming from the Ottoman period meaning Regions) of Tripoli, Saida and Zahlé. They put the following arguments forward: the distances between the Capital and the three main cities are relatively small compared to larger countries; the decentralised Fair will benefit each Lebanese region, not just the capital and its suburban area, hotels would be modernised and

Fig. 1 Tripoli with El-Mina, 1906, Baedeker travel guides [9]

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

95

stay open all year round at Zahlé and Saida, instead of in the summer period only. Plans would follow to build a grand hotel in Tripoli. Besides the location, the usefulness of the Fair was again recalled, pointing out textually: “Are we to repeat that the Damascus Fair should not prevent us from organising a Fair in Lebanon?” [10]. We cannot wonder if the journalist refers to the competition between the two Fairs as commercial attractions or something else. Probably the rest of his message clarifies this. He added: “Almost two years ago, on 2 March 1957, we addressed the same subject: (1) Damascus is neither Saida nor Tripoli. And the Lebanese leaders do not have to refrain from organising a Fair in Beirut to save the Fair of the Syrian Capital. The Damascus Fair offers only a discreet relative utility to our exhibitors in the current state of Syrian-Lebanese relations. (2) We had, in previous years, the opportunity to visit the Damascus Fair. And we must point out that this event has gone into regression. It is, therefore, likely sooner or later to close. (3) The Lebanese Pavilion at the Damascus Fair has always been miserable. All visitors agree that it is better not to be represented at any event than in these conditions. (4) With the economic dirigisme in force in Syria, Damascus is not ideal for an international exhibition. This is not the case in Beirut, which has become the financial and primarily commercial capital of the countries of the Fertile Crescent, Iran, Saudi Arabia, and the Principalities of the Persian Gulf. (5) Beirut is equipped with its port and airfield for a Fair. Suppose this Fair is organised, for example, on the site of the former quarantine district. In that case, the exhibited material can be transported easily to the various pavilions. If this material is to be shipped again, it will also be done under favourable conditions. Transport costs will be, in any case, minimal. (6) In a more general way, with all the liberal laws in force in Lebanon, with the free zone of the Port of Beirut, with everything that makes Lebanon the only major centre of wealth redistribution in the Near and Middle East, the whole country is already a huge permanent fair. For all these reasons, we are convinced that an exhibition is assured, at home, of the greatest success” [10]. The mere announcement of the upcoming organisation of a Permanent Fair in Lebanon had have an excellent psychological effect. It emphasised that Lebanon had regained its stability and was determined to avoid political adventures. In 1960, after the inauguration of Brasilia in Brazil, where the Lebanese diaspora and Government had contributed to its realisation, a dedicated Presidential brochure revealed a close relationship between the diaspora and the Brazilian President Juscelino Kubitschek. In 1961, President Chehab, like his Brazilian counterpart, wanted the famous architect Oscar Niemeyer to design the most significant public project that Lebanon was going to undertake. In 1962, the International and Permanent Fairground for Lebanon in Tripoli started to take shape in study models and on papers [11]. In 1963, the first stone was laid by Prime Minister Rachid Karamé, representing the President of the Lebanese Republic [12]. In 1964, the construction site was operational before the end of Chehab’s mandate. Delays, a shortage of funds, the Intra Bank crisis, wars or alliances with Israel, conflicts, or unions with Syria, struggles or cooperations with the Palestine

96

F. Albani and J. Zaatar

Fig. 2 Aerial view under construction, 1967. Photo: Maud Khlat, archive Emil Khlat

Liberation Organisation, a shortage of primary materials, and many other factors kept postponing the inauguration until work was almost completed around 1975 (Fig. 2). In May 1973, the Brazilian-born Lebanese director of the Fair, Amado Chalhoub, sent a letter to the Ministry of Economy to ask about the procedure to follow for the handover from the C.E.G.P. (Conseil Executif des Grands Projets) as current custodian of its construction, to the Fair’s personnel. The team made up of an appointed board of commissioners, chairman, director, and staff would be in charge of the funds and operativity after the completion of works. He received an answer from the head of the Trade department, Hamda El-Hajj, who suggested starting with the implementation of the decree 6247/1961, which had been put on hold by the law 10479/1962 after the resignation of the first board [13]. In the early 1960s, the C.E.G.P. became the guardian of the Fair’s funds and construction, because the first board was unable to cope with the complex studies and construction work for this monumental project.

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

97

3 “Civil” War 3.1 The Mini Fair The Fair’s inauguration, planned for June 1976, was suspended because in 1975 war broke out and would last almost 15 years. This notice was drafted in two official minutes of the meeting, one in French and another in Arabic, both signed on 19 May 1975 by Amado Chalhoub. The people present in this meeting were Noureddine ElGhaziri (architect member of the C.E.G.P.), Adib Mohamed (Head of the Buildings Management Service B.M.S.), Francois Salha (engineer-architect in charge of the Fair project), Hamda El-Hajj (Head of the Trade Department at the Ministry of National Economy) and Amado Chalhoub the key-man in the organisation of the Fair. The primary purpose of this meeting organised by C.E.G.P. was to inform the Ministry of National Economy about the completion of works. Since the war had started in Beirut and tension was rising in all of Lebanon, they needed to take the necessary measures in time to constitute a board with one chairman and six members ready with the employees to operate, manage, and administer the Fair (as per Law 6247/1961) [14]. Before 1967, Allen E. Beach from the International Executive Service Corps (I.E.S.C.) presented production and financial study recommendations for the C.E.G.P. concerning the Lebanese International Fair at Tripoli for an inauguration in the next 12 months, meaning in 1968. In March 1967, Robert Warner from the same American company continued his colleague’s initial work and completed his report with managerial strategies toward an economic opportunity customised for the Fair. His study took the delays of the uncompleted highway seriously and shifted the inauguration of the Fairground to the predicted arrival date of 1970–1971, meaning three more years at least. The highway did not reach the Fair in those years [15]. In 1975, before the war, an exchange between Amado Chalhoub and Roger Weber (Secretaire General de l’Union des Foires) revealed the name of the architect and founder of the Luxembourg Fair to assist in the new launching of the Fair. On 26 February 1975, Jemp Michels (or Jean-Pierre Michels) received an invitation from the C.E.G.P. He visited the Fair for the first time on 1 March 1975 (before the war) to establish a report on what part of Oscar Niemeyer’s buildings and landscape would need to be renewed. On 12 March 1975 he submitted a report with annexed plans for the necessary works that required modifications and changes to certain functions, such as the experimental theatre. The intention was to open the Fair by June 1976. On 31 July 1975 (during the war), he revisited the Fair for 15 days, where he presented a couple of brief reports and complaints about the unsigned future assignments. Four years later, in November 1979 (during the war and the Syrian presence), architect Jemp Michels visited the Fair for the last time to update his previous study in a project called the “Mini Fair”. The inauguration would be in June 1982. In February 1980, Roger Weber (Secretaire General de l’Union des Foires) again met the C.E.G.P. and give his endorsement for the “Mini Fair” [16].

98

F. Albani and J. Zaatar

3.2 The Traces of the War In 1976, the war halted work, since the Arab Deterrent Force (a coalition of Arab forces, of which over 90% were from the Syrian army and under the direct command of the Syrian regime) took possession of the Fairground and used it as a military base for its soldiers for a couple of years. Later, the Syrian army replaced them and remained in the Fair until the mid-1990s (The Syrian army, however, remained physically in Lebanon until 2005. Their military presence came to an end after the assassination of Prime Minister Rafic Al-Hariri). During the presence of both armies, some employees of the Fair were able to work on the Porch Entrance building and for a shorter period in the reception building and private residence. During that difficult period, Amado Chalhoub kept writing brief and precise reports to the chairman of the Fair about the ongoing contacts, works, interventions, and suggestions valuable for the Fair’s existence, until his death around 1978 [17]. Some physical traces of the war are still visible in the Fair (Fig. 3). One example is the graffiti in Arabic in black on the internal reinforced concrete wall of the customs and firefighters building, praising the Syrian army’s presence at the Fair. Another is the traces of bullets and minor explosions on the south side wall of the administration building. Both architectures in the north-west part of the Fair are in the zones least exposed to public view.

Fig. 3 Graffiti on the wall of the customs and firefighters building saying Arab Syrian shield forces. Photo: JZ, 27/9/2019

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

99

Another speciality of the occupiers during their physical presence in Lebanon was looting. They stripped materials from the buildings they seized in Lebanon took them back to their own country (toilet cabinets, ceramic tiles, marble, tiled roofs, wooden windows, etc.). No one can say where and how many architectural elements were lost, but at least one bulky piece has left traces in a report. On 2 September 1977, Amado Chalhoub wrote a letter to the Command of the Arab Deterrence Forces (northern division. It was hand-delivered to Captain Ali , asking for the return of the “huge” electrical generator for the Fair Cheib that was held in Homs by the Syrian government [18]. We did not find a written reply to the letter in the Fair’s archive. In the underground archive room of the Fairground, inside the folder C.C.I.B. Le président (Chamber of Commerce and Industry in Beirut), we found some first-hand technical reports and photocopies. The various files are written in French or English and cover the period between 1967 and 1981. As we mentioned, during these years, four foreign consultants were involved in different periods, visiting Niemeyer’s Fair and proposing studies for relaunching the Fair (or part of it). On 18 November 1977, a description of the conditions of the Fair was typed in a document in Arabic by the head of the B.M.S. Adib Al-Mohamed. He noted the poor state of the Fair and what needed to be done to revive it. He mentioned the damage done “during the events” of 1976 and 1977. He quantified the cost in Lebanese Liras and recorded the governmental funds available for the Fair. He proposed a program of intervention for the following years. At the end, he pointed out the need to evacuate the Arab Deterrent Force from the Fairground. This to-do list was essential to inaugurate the Fair by June 1982. In his report, Al-Mohamed was keen to mention that looting had left the buildings looking like “concrete skeletons, likewise damaged” [19]. A few weeks later, a similar report to the one signed by Al-Mohammed was drafted in a different order and with slight modifications by the C.E.G.P. (Conseil Executif des Grands Projets). The Council was still the supervisor of the construction of the Fairground, though it had been unable to perform this function ever since its occupation in 1976 by the armed forces. The 11 pages of the document listed the damage and looting, as well as the repairs needed to complete the third phase of the work essential to move towards an opening date [20]. Interestingly, both studies contained detailed estimates of the cost of repairs based on the materials stripped from the buildings and the resultant damage to the structures and finishes. The Minister for Public works and Transportation, Amin El-Bizri, presented a final version of this report edited and reordered to the Council of Ministers. The content was the same, and the last recommendation stated: “Give the order to the Arab Deterrent Force present in the Fair’s ground and buildings to evacuate” [21]. This meeting probably occurred in December 1977 before the 26th of the same month, when the director of the Fair, Amado Chalhoub, wrote a report asking for the return of the permanent employees that were before the war: Moustafa Ziedé (accountant), Odass Najem (editor), Madeleine Rassi (writer), and two others.

100

F. Albani and J. Zaatar

3.3 Uses and Decay Many reports from the 1980s are kept in another folder Foire de Tripoli, Le Président. In 1981, the Minister for the Economy Khaled Jumblatt expounded to the Council of Ministers the continuous collaboration of the C.E.G.P. with the board of the Fair and its employees. Again, the chairman of the Union of Fairs, Roger Weber, and the architect of the Fair of Luxembourg, Jemp Michels, were invited to Lebanon to update their reports and projects, which were submitted in 1975. In April 1981, Nazih Taleb, founder and owner of engineering firm Dar ElHandasah, was involved in the first phase of the construction of the Fair as a subconsultant for Lot B during the 1960s. He also submitted a complementary study for the C.E.G.P. The Council remained in charge of the previously received funds, while the Fair’s operativity was to the board. The accurate survey of Dar El-Handasah showed a detailed list of items looted between 1976 and 1977, estimated at a value of 15 million Lebanese Liras. The total amount to complete the restoration work, the fittings and finishes, the furnishings, the grounds, and the launching of the Fair, as per coordinated new projects, would reach the cost of 150 million Lebanese Liras. Between 1980 and 1982, the C.E.G.P. selected the vital interventions, and in 1982 they came up again with the project called the “Mini Fair”. They studied the proposals of the former European consultants to work on 40% of the total area of the Fair to restore some of the architecture and their grounds for a lower investment that would be more quickly achievable. The selected portion would include Lot B and have new access from the secondary entrance with parking for 1000 cars in the middle axis of the Dome (experimental theatre) and the outdoor theatre. The buildings chosen for restoration were the Pavilion of Lebanon, the reflecting pool, the outdoor theatre with 750 seats, the water tower, the private residence, and the bars. It was estimated the work could be done in six to eight months if a breakdown of security in Tripoli did not cause delays. In June 1982, the Israeli invasion of Lebanon and the Syrian army’s intervention against the P.L.O.’s intensive activities in Tripoli halted all ongoing repair work on the Fair. The Fair was still without a director and had been since 1978. On 12 September 1983, the newly appointed director of the Fair, the former accountant Moustafa Iqbal Ziedé, started a new inspection of the Fair’s buildings. The ongoing war in Lebanon did not allow the government, through the Council of Ministers, to elect new directors for the different public institutions in the country, including the Fairground. The death of Amado Chalhoub, most probably in 1978, left his position vacant for some time. The four-page report written in Arabic by Ziedé to the chairman of the board of the Fair, Adnan Al-Kassar, describes the worsened situation inside the buildings and the reduced presence of foreign military personnel [22]. He starts by revealing the state of the basements, filled with two to three meters of water. He says the infiltrations occurred many years before his recent visit, and the Municipality of Tripoli had tried to purge it after a neighbour’s complaints of this “infectious swamp” [22]. The stagnant rainwater inside the basements of the buildings also damaged the floors and walls. He also reported the new conditions of

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

101

the recently repaired reception building, which for a short period had hosted some employees, but the interior was completely wrecked. Thirdly, the conference hall, the reception building, the experimental theatre, and some outdoor areas had become stabling for cows and goats. Their imposed presence transformed an extensive area into a farm to serve the military personnel. Fourthly, the Arab Deterrent Force inside the Fair had become insignificant, because the Syrian army had replaced the former A.D.F. limited to the entrances, their number did not exceed 15 components. Minor problems were also reported too. However, the new director requested that preparations should be made to manage the Fair. He asked in the following order to assign a consultant firm to stop the infiltrations of water in the basements, carry out maintenance of the grounds and make repairs to the cracks, the implementation of the gardens and playgrounds, construction of the helicopter landing pad, and newly setting up the reception building for rental, and the organisation of new offices for the employees. He would call in the former security guards employed by the Fair to receive their assignments in coordination with the Arab Deterrent Force. Lastly, the open-air theatre and the conference rooms would need new equipment (the previous seating had been stolen). Ziedé reconstructed a brief history of the decrees issued for the Fair and specified that the most recent one, 10764/1975, was actuated in October, with Article 2 appointing the board and establishing its mission [22]. He added the C.E.G.P. has also been informed in 1975 of the future inaugurations, and since then, the Fair, in his opinion, was no longer a place to be built but a place to be organised and managed. Finally, he invited the chairman and the board to take a suitable decision to implement his legal and operative points. C.E.G.P.’s opinion was against Ziédé’s vision. They had even requested the return to the former decrees when it was the only guarantor of the Fair and the removal of the appointed director of the Fair for an “authentic and free one” [23].

4 End of the War 4.1 Taef Agreement and the Fair In 1989, the war ended in Lebanon, and the different parties reached an agreement in 1990. The Taef Agreement made the Prime Minister head of State, not the President. The whole country, and Beirut, was like a vast work site. The Syrian army still occupied the Fair designed by Oscar Niemeyer. In 1991, the C.E.G.P., merged into the Council of Development and Reconstruction C.D.R., employed a local consulting firm to “reactivate” the Fair. In 1993, The new Prime Minister Rafic Al-Hariri, with the endorsement of the President of the Republic, appointed Mustafa Dernaika chairman of Tripoli’s Fairground, replacing

102

F. Albani and J. Zaatar

Adnan Al-Kassar after he had held the post for 20 years. He accepted this challenge, asking in exchange from the politicians to make the Fair the only place to host international exhibitions. Someone had to negotiate with the occupiers of the Fair, the Syrian army. We do not know what deal was concluded, but before the inauguration of the first exhibition at the Fair, the consulting firm did an inspection and photographic survey. People in uniform escorted the personnel, and military vehicles belonging to the foreign army were parked inside the premises too (Fig. 4). In 1994, the board, with the chairman, inaugurated the first exhibition with a minimum intervention on a small part of the Grande Couverture building. In November 1995, decree 86/1995 gave exclusivity to the Fair for all international exhibitions in Lebanon. The case for exclusivity seemed solid, and the new chairman was confident international investors could be found to launch the Fair as he called it “a centre second to none in the whole region” [24]. The Build, Operate, and Transfer (B.O.T.) system was intended to attract the private sector to join the public one in investing in trade and commerce in the Fair site. Thought was given to running the Fair with a consortium for exhibitions in different sectors and cultural events. A few months later, the agreement with the Government fell through with the inauguration in Beirut of the BIEL Fair [25]. The various companies in the consortium quit, then the chairman and board resigned.

Fig. 4 Syrian army personnel and vehicles in the Fair during the 1990s. Source undisclosed

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

103

4.2 National and International Proposals and Projects for the Tripoli Fair Many proposals and projects have followed. In the last 15 years, there has been high interest from abroad in the Fair’s architecture (17 buildings designed by Oscar Niemeyer), status (mostly ruined or in need of preservation), its commercial potential (as a prime real estate location) or strategic advantage (facing the Mediterranean Sea and a seaport), and much else. The rush to reuse the buildings has undoubtedly led to unauthorised work inside the Fair, like transforming the collective habitat into a hotel. Other projects have been less aggressive, like restoring the reception building to host a contemporary Minjara (an Arabic word for wooden carpentry). Many architectural works in the fair remain in ruins. In 2006, then around 2018–2019, representatives of the Chinese Government visited Lebanese strategic partners at the site and proposed a masterplan project to transform the Fair into a Free Trade Zone for commercial products. Local companies connected to politicians are eager to transform the existing architecture wholly or partly and speculatively develop it. Since October 2019 and during the unprecedented Lebanese economic crisis, these ideas seem to be on hold. In 2018, a global institution like UNESCO commissioned the Getty Foundation Keeping it Modern initiative to study a Conservation Management Plan for the architecture [26]. All this interest from West and East recently stirred the curiosity of the current Lebanese governing class, which issued a law in March 2022 for the Reorganisation of the Fair. The Fair, consisting of a concentration of Modernist architecture, is still seen as a commodity rather than a Cultural Heritage (Fig. 5).

Fig. 5 A boot stepping the Fair. Photo: Maud Khlat, archive Emil Khlat. Edited by JZ, 2022

104

F. Albani and J. Zaatar

5 Conclusion In the past, many studies have dealt with the Fair, its conception, design, and implementation, but very few have looked at its use during the “civil war”. This place has acquired different meanings in opposition to what it was meant to be. It is critical to investigate more closely to understand the Fair’s different roles within Lebanon’s political history. During its conception, a similar Fair did not exist “between Italy and Japan” [27]. Designed by the renowned architect Oscar Niemeyer and built in a single phase (with highs and lows), the Fair had all it needed to host many visitors and workers from the beginning. The Fair was intended for trade, commerce, and exchanges, but Lebanon and the region have changed. In 2006, the International and Permanent Fair of Lebanon in Tripoli was included by the non-profit organisation World Monuments Fund in a list dedicated to one hundred monumental sites at risk of conservation. In 2019, the international competition for the design of the Knowledge Innovation Centre was launched by the Tripoli Special Economic Zone, the Lebanese government, the Lebanese Order of Engineers and Architects, with the endorsement of the UIA and the UMAR for the creation of a technological development hub in the area of the customs, firefighters and administration buildings in the Fair, with the aim of attracting investment to Tripoli. The on-off war in Syria, the tragic explosion in Beirut and the destruction of a large part of its port may perhaps shift the balance of trade towards Tripoli. We know it has already entered the interests of major investors including China. In all these processes, the local community is still excluded. The values and meanings of this complex go far beyond its architectural qualities and the political and commercial purpose for which it was conceived. This place, the image of different societies (before and after the war), is a record of how Lebanon’ political, economic, and cultural goals have changed. To highlight the multiple meanings of which the built heritage is the messenger, it is necessary to investigate even the most painful phases of our past, which we often want to forget, especially the recent past. Erasing the traces and signs of that evidence may be a first consolatory effort, but the elaboration of a aching past and the process of reconciliation with it, is long, and involves a broad discussion on the architectural heritage (from any period, including Modernist architecture). The debate on the conservation and reuse of the Fair, which has now acquired an international dimension, should involve this reflection linked to the troubled memory of the events that took place here during the war. The internationally known strategies, not only commercial, but also cultural and socially inclusive, would contribute positively to the internal peace process, which has become crucial at this time and in this part of Lebanon. The knowledge and awareness of the values and their meanings (positive and negative) of which this complex is part, can contribute, within the divided community of Tripoli to the beginning of a process of reappropriation of these places and achieving reconciliation with the truthful past, that of all, not a few, to preserve a unique architectural complex.

Fairground of Lebanon in Tripoli and the War. Meanings and Challenges …

105

References 1. 2. 3. 4. 5. 6. 7. 8.

9. 10. 11. 12. 13.

14.

15.

16. 17.

18.

19.

20.

21.

22.

Labaki K (1957) Actualité de la Foire. Le Commerce du Levant 2(3):1 Unknown author (1957) Une Foire Permanente à Beyrouth? Le Commerce du Levant 14(9):8 Salibi K (1965) The modern history of Lebanon. Weidenfeld & Nicolson LTD, London Labaki K (1957) La crise du Proche-Orient accélère l’expansion libanaise. Le Commerce du Levant 9:1–2 Unknown author (1958) Le projet de Foire Internationale à Beyrouth en voie de réalisation. Le Commerce du Levant 4(1):24 Dami (1958) Le Ministère du Plan à l’heure de Chader. Le Commerce du Levant 7(5):1 Malsagne S (2014) L’armée libanaise de 1945 à 1975: Du socle national à l’effritement. Vingtième Siècle t. Revue d’histoire 10–12:15–31 Zaatar J (2022) A modern neighborhood for prosperity. The case of the international and permanent fair of Lebanon in Tripoli by Oscar Niemeyer. In: Hadda L, Mecca S, Pancani G, Carta M, Fratini F, Galassi S, Pittaluga D (eds) Villages et quartiers à risque d’abandon. Stratégies pour la connaissance, la valorisation et la restauration. Firenze University Press, Florence, pp 389–397 Jidejian N (2006) Tripoli à travers les âges, éditions Aleph, p 121 Labaki K (1958) Pour une Foire decentralisée. Le Liban étant un tout petit pays, des pavillons pourront être aménagés à Tripoli, Saida et Zahlé. Le Commerce du Levant 24(12):1 Unknown author (1962) Niemeyer Soumet au chef de l’Etat les plans de la Foire de Tripoli. L’Orient 2(9):2 Niemeyer O (1962) Feira Internacional e Permanente do Líbano em Tripoli. Módulo, Rio de Janeiro 10:1–33 Chalhoub A (1973) Letter in Arabic sent to the head of the trade department at the Ministry of National Economy of the Republic of Lebanon Mr. Hamda El-Hajj, Archive Fairground. Entr Porc Build 10(5) Chalhoub A (1975) Minutes meeting in Arabic and French written in the offices of the C.E.G.P. meant to the Ministry of National Economy of the Republic of Lebanon, Archive Fairground. Entr Porc Build 19(5) Beach AE (1967) Production and financial study recommendation from I.E.S.C. for the Lebanese International Fair at Tripoli, report in French and English, Archive Fairground, Entr Porc Build (3) Warner R (1967) Foire Internationale Libanaise de Tripoli from I.E.S.C., report in French Archive Fairground. Entr Porc Build 14(3) Moukbel MA (1979) Introduction mentioning the death of former Director Amado Chalhoub part of Jemp Michels’ report translated in Arabic to the Fair’s chairman Adnan El-Kassar, Archive Fairground. Entr Porc Build (11) Chalhoub A (1977) Photocopy with the stamp conformed copy of the letter that was handed to the Syrian captain of the Arab Deterrent Forces northern division Mr. Ali Cheib requesting the return of the generator, Archive Fairground. Entr Porc Build 20(9) Al-Mohamed A (1977) First version of the survey report written in Arabic about the damages in each building and outdoors and quantification in Lebanese Liras for future restoration, Archive Fairground. Entr Porc Build 18(11) Conseil Executif des Grands Projets C.E.G.P. (1977) Second version of the survey report written in Arabic about the damages in each building and outdoors with annexed map and quantification in Lebanese Liras for future restoration, Archive Fairground. Entr Porc Build El-Bizri A (1977) Final version of the survey report written in Arabic about the damages in each building and outdoors and quantification in Lebanese Liras for future restoration and presented to the Council of Ministers, Archive Fairground. Entr Porc Build Iqbal Ziedé M (1983) Report written in Arabic about the damages and the reception proposal of the Fair’s buildings to the chairman Adnan El-Kassar, Archive Fairground. Entr Porc Build 12(9)

106

F. Albani and J. Zaatar

23. Moukbel M (1982) Letter entitled the relationship between the board of the Fair and the C.E.G.P. referring to the official complaints from the Council against the transfer of custody and the actual Fair’s director, Archive Fairground. Entr Porc Build 7(12):3 24. Unknown author (1995) Rashid Karami venue gets official backing. Leban Towar 2000:2 25. Zaatar J (2022) Local modernism in danger until this day. The case of the Lebanese pavilion in the international permanent fair of Lebanon in Tripoli by Oscar Niemeyer. In: Tostôes A, Yamana Y (eds) Inheritable resilience: sharing values of global modernities, global/local modernities, vol 3. Docomomo International, pp 924–929 26. UNESCO website. https://en.unesco.org/fieldoffice/beirut/RKIF-CMP 27. Bizri Fouad, Cenacle: reconstruction de la Maison Libanaise, Al Mouhandess, 30 Mai 1968, p 22–33

Sarajevo Military Brownfields. Principles for Adaptive Reuse Amra Salihbegovi´c

and Domenico Chizzoniti

Abstract Strategic military bases in Bosnia and Herzegovina sought to provide a defence system for the protection of the society and to transform the commonly viewed as complex and diverse historically, culturally, and socially interlocking territories into an ordered and unified identity. Today, this architectural and political project still witnesses the utopian visions of former military systems and their importance and collective power. However, this endangered heritage indicates the lack of integration into contemporary society due to complex political, social, and cultural misuses. Therefore, this research aims to shed light on the rather unexplored military architecture in the city of Sarajevo and to question the concept of power and protection as a source of revival for a new ideological role of social, cultural, and educational inclusion, where several principles of architectural regeneration are used as a guiding point for post-war reconstruction. Military brownfields are an enormous resource that can be transformed from the negative connotation those facilities have into a potential for architectural and urban regeneration of a war-torn city. Keywords Post-war reconstruction · Military brownfields · Adaptive reuse · Methodological framework · Sarajevo

1 Introduction The phenomenon of military architecture has been an inseparable part of human history due to the need to protect and defend the territory [1–4]. It became a materialization of political strength and transformation, and a process of recognition of diverse ethnicities. Especially, its integration into the contemporary challenges became a crucial question in several studies that aimed to provide possible future solutions [5–13]. Between the turbulent two world wars, the enormous architectural, political, and economic transitions that occurred implied the building of many military facilities A. Salihbegovi´c (B) · D. Chizzoniti Politecnico di Milano, Milan, Italy e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 H. Varum and T. Cunha Ferreira (eds.), Built Heritage Sustainable Reuse, Building Pathology and Rehabilitation 26, https://doi.org/10.1007/978-3-031-26750-5_8

107

108

A. Salihbegovi´c and D. Chizzoniti

dispersed in Europe for accommodation, weapon industry, training, and health facilities. As a reaction to a universal crisis, Le Corbusier published a monograph titled “Cannons, ammunitions? No thanks! Housing, please” [14] urging the governing institutions to shift their attention from military facilities, industry, and sources, to rebuilding housing for its citizens. While in the 1980s, after the fall of the Berlin Wall and the reorganization of the military forces, implied that a significant number of sites have been freed from military functions and are even today unused. They demonstrate the scarce effectiveness of actions, policies, and difficulties faced by local administrations in involving former military assets in sustainable strategies for urban growth. On European soil after WWII, Bosnia and Herzegovina became a place of demonstration of the immersive force a political system can turn against its citizens. The dissolution of former Yugoslavia added to the already complex cultural, political, and historical turmoil this area went through. The urban fabric of many cities on the territory of Bosnia and Herzegovina demonstrates the superimposition of different layers of these political transitions but also witnesses the leftovers of destruction, violence, and tragedy accompanied by those dissolutions and war events. In all these events the destruction of cultural heritage was the main target as it carries the historical, cultural, and social identity, and is an essential asset a society conserves and manifests. Vast military structures owned and built during different periods in Bosnia and Herzegovina testify to the former political power and complete neglect because of complex war history, where this substantial architectural body bears an utter abandonment by today’s society. Therefore, this research seeks not only to highlight the importance of this architectural legacy but also to question what could be its future outcome. It intends to provide a critical review of the value of the endangered heritage and to question methods for its adaptive reuse. The objective of the article is to trigger a new discourse on the legacy of the abandoned military architecture, and to rethink its use as a means for cultural revival. This architectural transformation has essential importance as it adds additional value for a cultural revival but also shifts the negative connotation these facilities have. For that reason, the research intends to pose the questions: what is the importance of the former military architecture in Sarajevo, and how to rethink the endangered heritage of these structures in contemporary society?

1.1 Spaces of Power—Political Order of Former Yugoslavian Utopia The territory of Bosnia and Herzegovina due to its complex war history and political transitions, represents a rich source of abandoned military heritage. These military compounds emerged through the interaction, research, and experimentation of architects, and engineers, and formed a defence system dispersed on some strategic points in the city and the countryside. Nowadays this rich legacy witness destruction due

Sarajevo Military Brownfields. Principles for Adaptive Reuse

109

to the negative connotations these buildings have, due to unresolved ownership, and their irrelevance for military purposes. Undoubtedly, the diverse changing political systems in Bosnia and Herzegovina produced a vast body of work that integrated the Western globalized attitudes and the regionalism of local heritage and originated in some innovative architectural solutions. However, the absence of accepting the past after the break of former Yugoslavia and an inadequate vision for a cultural revival completely abandoned these structures in the current design strategies or conversions. The problem of ownership especially became a key reason for the unresolved architectural development and contributed to the state of decay of many of these buildings. Currently, several databases of the multicultural heritage of former Yugoslavia deal with documenting, mapping, and preserving different types of buildings (WWI heritage [15], memorials [16], and cultural centres [17]). Aside from a digital database of a few WWI buildings, there is a complete absence of a comprehensive overview of military brownfields, only individual research conducted by neighbouring countries that lack a critical observation on the possible reuse. Especially several military facilities have been kept until recently as top-secret facilities and were completely left out of the contemporary discourse. The Centre for Peace Studies Zagreb as part of the results of a collaborative project published an interactive map documenting 231 military brownfields that the Ministry of Defence of Croatia declared as of no interest [18]. Apart from a critical introduction to the theme of military bases on the territory of Croatia the research even addresses the problem of ownership and the possibility of reuse [11]. Those military buildings undoubtedly represent an enormous resource that needs to be approached with the delicacy of the political, cultural, and social complexity. Evidently, the rethinking and re-envisioning of these architectural resources on the territory of Bosnia and Herzegovina could enable a possible cultural rebirth, reconciling the differences in this war-torn territory into a new contemporary cultural network. Above all, these buildings occupy some of the most important locations in the city fabric, and their future conversion could imply a strong urban regeneration. As shown in Table 1 it is evident that the military areas carry a manifold of heritage values from social, cultural, to economic values [19–22]. Additionally, it is necessary to note the theme of the identity of military structures and the architectural resources we can find in them. They are identified as closed, separated, autonomous, and independent structures, “enclaves” dispersed in the various parts of the city. It is, therefore, necessary to critically reflect on the hypothesis for regeneration, where through individual case studies the identity, not of the architectural artefact but of the underlying character, is safeguarded. In a comprehensive regeneration process that envisions an enhancement of the architectural heritage into a new concept of cultural asset that is not only a monument but imbues these buildings with added value. The second aspect concerns the recognition of the value of the asset and considering how modern techniques of surveying, simulating, and processing data would enable new transformation scenarios. The third concerns the relation between the analysis of the military heritage and the process of “humanization” of these spaces. There is a component of collective interest that in

110

A. Salihbegovi´c and D. Chizzoniti

Table 1 Heritage values in connection with former military areas [19] Cultural values

Socio-economic values

Heritage values

Sociocultural values

Economic values

Social identity

Social utility

Aesthetic

Historical

Use (market) value

Authenticity

Preserving the function

Historic

Cultural/symbolic

Nonuse (nonmarket) value

Integrity

Economic potential Scientific

Social

Existence

Uniqueness

Educational

Spiritual/religious

Option

Aesthetic

Bequest

Artistic Historic Diversity and attractiveness

Social (including Aesthetic spiritual, Political political, Special significance national, cultural)

the case of military buildings imposes a specific aspect of cultural heritage, where the symbolic, social, and anthropological value that must be ascertained and evaluated in its scope and significance prevail.

1.2 Three Principles of Post-War Architectural Regeneration In the war-torn territories of a former Socialist Federal Republic of Yugoslavia the question of the post-war reconstruction process, especially in the case of Sarajevo, the longest siege in modern history, became a playground for attempts to reimagine, reconstruct, and create a new future through several guiding principles. Those principles addressed the idea of highlighting the importance of the history of the city, re-attaching it from former Yugoslavia with remembrance and recognition of the past, to different contemporary scenarios for the cultural revival of the city. In that sense, the different projects introduced the importance of the city monuments, the significance of reinterpreting vernacular architecture or proposed even contemporary solutions. In his book War and Architecture [23], among different contributions, architect Lebbeus Woods addressed the ever-growing, crucial examples of how architecture should respond to the devastating human nature of destruction. He dedicated his work to the city of Sarajevo among diverse case studies. This complex theme Woods explored by providing three principles, ideas, or concepts that show the future architectural transformation guided by the premise of using the “potentials” of destruction. He even suggested that crucial in this theme of antidote between tragedy and new life, past and future, destruction, and reconstruction, is the possibility of reimagining a new life through the essential involvement of local architects. He stated, “My ‘war and architecture’ work was not aimed at proposing the reconstruction of particular

Sarajevo Military Brownfields. Principles for Adaptive Reuse

111

buildings—that should be the work of local architects—but at deriving guiding principles” [24]. The principles recall local regionalism through three ideas of radical reconstruction that address the most vulnerable and significant rule of architecture to rebuild. The first principle tackles the idea of restoring what has been lost to its pre-war condition. As noted by Woods, it should be applied in the reconstruction of city monuments since they carry a meaning that needs to be reawakened. The second principle implied the demolishment of the damaged and destroyed buildings by building something entirely new and leaving out history, memory, and all traces of destruction to its past, erasing in that sense any bond to the devastation. In the third principle, Woods claimed that the post-war city must create the new from the damaged old. This principle can be applied in the reuse of military cultural heritage since it envisions a future scenario of already existing demolished facilities. Through several design examples, he demonstrated the idea of the third principle on the example of the UNIS Towers (Fig. 1), Electrical Management Building (Fig. 2a), both designed by the renowned architect Ivan Štraus, and the proposal of High Houses (Fig. 2b). Through all proposals of reconstruction Woods imbued the idea of “freespaces”, spaces that have no program, no specific function but allow the reconfiguration of a new life for the citizens. Those “freespaces” aimed to offer a path towards the future, using mainly those parts that were demolished and converting them into a structural and architectural contemporaneity. On the other hand, the concept of High Houses (Fig. 2b) showed what could be a dual response to a demolished city, an interplay of steel-raised structures that in a utopian scenario of future regeneration contrast the left demolished areas. Woods explained that “These houses respond to people’s powerful need to achieve freedom of movement in space through a fuller

Fig. 1 Projects: The UNIS twin office towers, 1993. (Courtesy of Lebbeus Woods). Woods [25]

112

A. Salihbegovi´c and D. Chizzoniti

Fig. 2 a The Electrical Management (Elektroprivreda) Building in Sarajevo, 1993. b The High Houses, 1993. (Courtesy of Lebbeus Woods). Woods [25]

plasticity of experience, and to exist in the full dimensionality of space-to fly and yet, paradoxically, to be rooted, to belong to a particular place and time” [25].

2 Sarajevo Between Past and Future 2.1 Documenting Destruction During the Sarajevo siege, the multimedia exhibition Warchitecture–Sarajevo: A Wounded City, organized by the Bosnia-Herzegovina Association of Architects (Das-Sabih) in Sarajevo, showcased the extent of the city’s architectural destruction between 1992–93 documented through interviews, photographs, and recordings (Fig. 3a and b). Herscher noted that the title Warchitecture blurs “the conceptual border between “war” and architecture,” the term provides a tool to critique dominant accounts of wartime architectural destruction and to bring the interpretive protocols of architecture to bear upon destruction [26]. Additionally, the term Urbicide [27] became a focus of the public through the case of besieged Sarajevo, a city that became a playground of urban destruction and unlimited erasure of the urban identity. In the announcement of the accompanying Warchitecture events, the symposium Sarajevo: Cultural Resistance Under Siege, and exhibition Sarajevo: Dream and Reality, coordinator Prof. Rajka Mandic stated “In circumstances of general destruction, genocide and urbicide, where life is reduced to the satisfaction of elementary needs, architects are doing their best to maintain the spiritual quality and the creative energy necessary to develop the spirit of the city. We are trying to show to others, and to ourselves, the aspect of the city that we are dealing with, and the primary, accessible and quick interventions needed for its reconstruction and humanization. This exhibition, created to show procedures and examples that are feasible under physically and financially restricted conditions, is one of the results of our endeavours. Ideas for the reconstruction and humanization of the urban area and its systems,

Sarajevo Military Brownfields. Principles for Adaptive Reuse

113

Fig. 3 a Damaged Buildings Map, Pamphlet of the exhibition catalogue Warchitecture—Sarajevo: A Wounded City, mapping of the destruction of 40 buildings built over 500 years in Sarajevo, Storefront, New York, 1995. b Map of destruction in Sarajevo’s Bazaar, 1994. (Courtesy of Association of Architects DAS-SABIH, Warchitecture: Urbicide Sarajevo)

contents, and forms, are presented here. Our own designs are guided by originality and continuity and by our respect for the historical and geographical milieu. Since its beginning, in war times and in peace, Sarajevo has told, in technical and symbolic language, the story of the people who conceived and constructed it. Their beliefs and fears, love and hatred, kindness and cruelty, dreams and reality are some of the aspects presented in this exhibition” [28]. In the further underpinning of diverse levels of architectural destruction Bogdan Bogdanovic, in several writings, attempted to refocus the public attention on the destruction of Sarajevo and stated, “What does it mean to ‘murder a city’? It means to snuff out its strength, stifle its metaphysical eros, its will to live, its sense of self; its means of scattering its memory to the winds, annihilating its past along with its present…. Defending the city is the only valid moral paradigm for the future” [29]. Woods even noted that, “The steel and glass monuments to enlightened progress in an age of industrial society are gutted hulks, and with them the ideologies and values they embodied. Sarajevo’s skyscrapers were prime targets of gunners in the hills, together with minarets and domed mosques, the great library, the post office, the university buildings, and all others that symbolized reason and its promise of humane civil life” [30].

2.2 Visions for an Architectural Regionalism Long before the recent war, in 1957, Dušan Grabrijan and Juraj Neidhardt, a collaborator of Le Corbusier, in their manifesto Architecture of Bosnia and the way towards modernity [31], extracted the essence of architectural regionalism through the example of the city of Sarajevo, using a rich vernacular iconography, and

114

A. Salihbegovi´c and D. Chizzoniti

dissecting the aesthetic, cultural, philosophical origins of the architectural language that had some links to the postulates of modernism. Grabrijan and Neidhardt envisioned a metropolitan, green Sarajevo, that in its architectural language would carry principles that originate from traditional Bosnian architecture. They considered the idea of the courtyard, open green and water areas, the functional division between the private and public not only in the spatial distribution, horizontal and vertical division, but also in forming the urban identity, with the use of natural materials, and through the coexistence with the environment and its natural conditions. Le Corbusier, in the preface, noted that this book documents a local aesthetic and architectural culture and provides “…the opportunity of giving life to certain accords of the past, which can be found again in some common elements (as e. g. in a way of paving, a way of building, a special quality of mortar, a certain way of carving and working the wood, in a local and national human scale reflected in the selection of certain dimensions, etc.) you will build a bridge over the chasm of time and will…”[32]. The book demonstrated through several precedents, ranging from housing to urban planning projects, what are the benefits and peculiarities of vernacular attitudes and their correlation to a modernist-oriented design proposal. The book combines the Western globalized attitudes and the regionalism of local heritage and represents a manifesto of the traditional architecture of Bosnia and its application in modernist architectural projects, design proposals, and visions. In the architectural and visual collages that extract the qualities of the city of Sarajevo through its topographic, and geographic complexity, residing between the mountains in a valley intersected by a river, we encounter the longitudinal urban fabric characterized by a set of rich architectural elements (Fig. 4a). Those elements of the traditional Bosnian architecture are the significance of the wall between the private and public, the porch as a vertical transition of two different housing areas, the cantilevered first floor (“doksat”) that enables diverse viewpoints, the courtyard as an interior public area for socializing, and the domes that enable richness of skylights and a figuration of the rooftop (Fig. 4b). The usage of these vernacular elements in their entirety cannot be applied for the adaptive reuse of military brownfields, however they could certainly intersect the design process.

2.3 Military Brownfields—A Methodological Framework Reconstruction as an act of rebuilding or recreating a new architecture out of some pre-existence already shows that in its core lies an antidote of two polarities between past and future, its memory and new life that should evolve. Especially reconstruction becomes even more questioned in the case of former military architecture that initially served as a defence but became the source of destruction, war planning, demonstration of violence, political and military propaganda, to even conversion into war camps and prisons. Besides the common difficulties of regeneration due to political problems, recognition, and unresolved ownerships, these buildings stand

Sarajevo Military Brownfields. Principles for Adaptive Reuse

115

Fig. 4 a Conceptual representation of the city of Sarajevo. b Elements of Bosnian architecture, collage1955 (Courtesy of Juraj Neidhardt)

also as a witness to a destructive and even difficult history since their connotation in the individual experience opens rather unpleasant memories. The four years long siege of a city, not only left the devastation of the city but engraved this military heritage with the burden of political shifts and converted potential urban fabric into abandonment memorials of destruction. Of 180 buildings previously owned by the Ministry of Defence, 32 buildings are located in the city of Sarajevo (Fig. 5), while a significant number still needs to be allocated to different municipalities [33]. They represent an enormous architectural potential that could follow up with the prospects of a new urban regeneration.

Fig. 5 Mapping of former military sites located in the city of Sarajevo (AS, 2022)

116

A. Salihbegovi´c and D. Chizzoniti

Table 2 Framework for the assessment of military cultural heritage [34]

4.

Process model 1. Assess heritage significance 2. Understand your context 3. Vision / options appraisal Assemble stakeholders – Consult community 5. Feasibility studies 6. Conservation management Plan + identify resources 7. Agreement 8. Implement 9. Evaluate

The collaborative project ASCEND—Achieving the Socio-Economic Re-use of Former Military Land and Heritage (2000–2006) developed a methodological framework for the assessment of military cultural heritage starting from determining the heritage worth to the final stages of evaluating different future scenarios (Table 2). Precisely a process model that is comprised of nine key stages that should serve as a framework in dealing with former military heritage, where when arrived at a certain stage it is crucial to re-enter and revisit from the beginning to verify the findings and conclusions made. Even though the methodological framework needs to be verified and rethought in several milestones it could represent a universal approach to assess, evaluate, and rethink future design solutions for military cultural heritage. On the other hand, the Framework Plan developed by the International Bank for Reconstruction and Development—The World Bank and the international built environment consultants Arup aimed to present and incorporate measures for a resilient urban redevelopment plan in the case of the Sarajevo University Campus situated on the former military barracks, Maršal Tito. The Maršal Tito former military barracks reshaped the city and marked the urban fabric due to its character of an enclosed unifying urban structure that represented the largest and most important military complex in the city of Sarajevo (Fig. 6a and b). Built during the Austro-Hungarian period in Sarajevo in 1897 it portrayed a synonym for the future expansion and development of the city. The project area of around 13 hectares determined the city’s character and was recognizable in all historical maps. Due to its unique and autonomous urban structure composed of ordered and regular architectural buildings, the military complex resembled a city on its own. It contained an enclosed array of 47 buildings that were positioned on the perimeter of the project site with an internal distribution of dispersed perpendicular buildings and created a significant presence in the city (Fig. 6b). The architectural legacy remained untouched throughout the historical, political, and social transitions, but after the siege of Sarajevo became a place of continuous erasure of the former military buildings, due to massive destruction occurring in the 90s and the rather unrecognized heritage value of this military complex.

Sarajevo Military Brownfields. Principles for Adaptive Reuse

117

Fig. 6 Historic barracks location and layout. Legend: black—used buildings, red—demolished, grey—ruins (AS, 2022)

Although the project site denotes the lost potential of the architectural regeneration of the military barracks due to the transformations that arose during the last years, where strategic and complete demolishment of a significant part of the project area neglected the principles of architectural reuse. However, the recent project proposal of the parameter plan highlighted the key principles of simultaneously blending the new and old through the creation of a new open, and welcoming campus identity. The project reframes the possibility of merging advantages of the remaining buildings into a future design solution, through an attempt to mediate the history into a new university campus. It proposes consolidating academic uses for an efficient

118

A. Salihbegovi´c and D. Chizzoniti

Fig. 7 Parameter plan for the development of the University Campus. (Courtesy of The World Bank 2020). The World Bank [35]

campus, designing multifunctional green and blue infrastructure, ensuring safe built environments, and creating social amenities for the citizens [35] (Fig. 7).

3 Conclusions Post-war reconstruction processes in the case of the city of Sarajevo even today prove difficulties due to urban planning regulations, problems of ownership, or economic deficits. The inability to respond to turbulent historical moments even further reinforced the neglect of highlighting the importance of the history of the city, some of its most-important historical traces in ex-Yugoslavia, abandoning the theoretical or practical guidelines and scenarios for a critical reconstruction of the city. An outlook of contemporary interventions rather lacks an appropriate aesthetic, cultural or social response. If we take into consideration the importance of the architectural heritage, the significance of the local culture and tradition, and the plan for future development of the city, it is quite complex to respond to a process of post-war reconstruction due to interlocking cultural breaks and transitions superimposed over the city of Sarajevo. The urban fabric of the city of Sarajevo displays layers of a dense agglomeration imbued with a complexity that extends from natural diversity, cultural mixture, and historical turbulent transitions to traces of a rich architectural heritage. The question of military brownfields needs to be addressed with enormous attention and crucial

Sarajevo Military Brownfields. Principles for Adaptive Reuse

119

considerations of a co-creative process that contains the mentioned theoretical frameworks and principles and reflects on local regionalism. Each case of adaptive reuse of military brownfields should incorporate a comprehensive analysis, a systematic methodological framework, and a co-creation process that reflects upon the local architectural values and aims to provide resilient architectural reuse. For that reason, the research intended to reframe the question of military heritage through the example of the city of Sarajevo by denoting several crucial aspects necessary in envisioning a cultural revival that could offer a sustainable network of spaces for cultural, social, and educational inclusion. The principles for adaptive reuse addressed reflect on the documentation of destruction that enables a better understanding and assessment of these brownfields, the importance and integration of vernacular principles as a response to the qualitative characteristics of the context, and finally, a coherent methodological framework that tackles the specificity of the building typology. Acknowledgements This article is part of a postdoctoral research grant 2022–23 financed by the Fondazione Fratelli Confalonieri in Milan, Italy, for the project “Valorizzazione del patrimonio culturale dell’architettura militare in Bosnia-Erzegovina”.

References 1. Richter F (1900) Handbook of architecture, part iv., section 4: buildings for military purposes (Handbuch der Architektur, IV. Teil, 4. Abschnitt: Gebäude für Militärische Zwecke). Arnold Bergsträsser Publishers, Stuttgart 2. Mallory K (1979) Walls of war: a history of military architecture in North/West Europe 1900– 1945. Astragal books, London 3. Denman DS (2020) On fortification: military architecture, geometric power, and defensive design. Secur Dialogue 51(2–3):231–247 4. Piana M, Carlsson C (2014) Archaeology and architecture of the military orders: new studies. Routledge, London, and New York 5. Brzoska M (1999) Military conversion: the balance sheet. J Peace Res 36(2):131–140 6. Rodrigues L, Glebov S (eds) (2009) Military bases: historical perspectives, contemporary challenges. IOS Press, Amsterdam, Berlin, Oxford, Tokyo, Washington, DC 7. Cidell J (2003) The conversion of military bases to commercial airports: existing conversions and future possibilities. J Transp Geogr 11(2):93–102 8. Havlick D (2007) Logics of change for military-to-wildlife conversions in the United States. GeoJournal 69(3):151–164 9. Krcho J (2013) From military bakery to Kulturpark: the problematics of the regeneration of the former military warehouse complex in Košice. Arch Urban 3–4:254–265 10. Kádár K (2014) The rehabilitation of former Soviet military sites in Hungary. Hung Geogr Bull 63(4):437–456 11. Kradov K, Tabak I (2014) Who owns the former military property? Experiences of conversion in Croatia Zagreb. (Kome pripadaju bivse vojne nekretnine? Iskustva prenamjene u Hrvatskoj Zagreb). Centar za mirovne studije i Zavod za sociologiju Filozofskog fakulteta u Zagrebu, Zagreb 12. Guida A, Pagliuca A, Damone G (2014) “New life” for defence military architecture: the case of the sighting towers in Basilicata. WIT Trans Built Environ 143:29–39

120

A. Salihbegovi´c and D. Chizzoniti

13. Clark C (2015) Coming into the light: the rediscovery and reuse of naval heritage buildings. WIT Trans Built Environ 79:33–44 14. Le Corbusier (1937) Des Canons, des Munitions? Merci! Des Logis, SVP: Monographie du “Pavillon des Temps Nouveaux” a l’Exposition Internationale “Art et Technique” de Paris (Cannons, ammunitions No thanks! Housing, please: a monograph on the Pavilion des Temps Nouveaux ...) 15. NETWORLD. Networking in preserving the first world war multicultural heritage in the Danube countries. https://ww1sites.eu/index.php?id=34&L=0. Last Accessed 02 Sept 2022 16. Spomenik database. The monumental history of Yugoslavia. https://www.spomenikdatabas e.org. Last Accessed 21 Oct 2022 17. Domovi kulture (cultural centres). https://domovikulture.ba. Last Accessed 05 June 2022 18. PINS (Public Interest–Nonsaleable), IPA 2010 EU funded project. Centre for Peace Studies, Zagreb 19. Morar C, Nagy G, Boros L, Gozner M, Niemets L, Sehida K (2021) Heritage, culture and regeneration of the former military areas in The City of Oradea Romania. Architektúra & urbanizmus 55(1–2):76–87 20. Faracik R (2014) Which cities are historic? An attempt to define the phenomenon in the context of tourism development opportunities. In: Enhancing competitiveness of V4 historic cities to develop tourism. Visegrad Fund, Debrecen, pp131–145 21. The Burra Charter. The Australia ICOMOS Charter for Places of Cultural Significance (2013). https://australia.icomos.org/wp-content/uploads/The-Burra-Charter-2013-Ado pted-31.10.2013.pdf. Last Accessed 21 Dec 2022 22. The Getty Conservation Institute (2002) Assessing the values of cultural heritage research report. The J. Paul Getty Trust, Los Angeles. https://www.getty.edu/conservation/publicati ons_resources/pdf_publications/pdf/assessing.pdf. Last Accessed 21 Dec 2022 23. Woods L (1993) War and architecture. Rat i Arhitektura, Transl. by Aleksandra Wagner. Pamphlet architecture, vol 15. Princeton Architectural Press, New York 24. Woods L (2011) WAR AND ARCHITECTURE: three principles. https://lebbeuswoods.wor dpress.com/2011/12/15/war-and-architecture-three-principles/. Last Accessed 10 May 2022 25. Woods L (1997) Radical reconstruction. Princeton Architectural Press, New York 26. Herscher A (2008) Warchitectural theory. J Arch Educ 61(3):35–43(35) 27. Campbell D, Graham S, and Monk S (2007) On the genealogy of the term “urbicide” introduction to urbicide: the killing of cities? Theory Event 10(2) 28. Warchitecture-Sarajevo: A Wounded City, Storefront for Art and Architecture, exhibition and seminar pamphlet, New York, February–March 1994. http://storefrontnews.org/archive/warchi tecture-sarajevo-a-wounded-city/. Last Accessed 06 June 2022 29. Bogdanovic B (1994) Defending the city: a letter to my Sarajevo friends. Index Censorsh 23(4–5):117–19(119) 30. Woods L (1997) Radical reconstruction. Princeton Architectural Press, New York, p 17 31. Grabrijan D, Neidhardt J (1957) Arhitektura Bosne i Put u Suvremeno (Architecture of Bosnia and the Way [towards] Modernity). Državna Založba Slovenije, Ljubljana 32. Grabrijan D, Neidhardt J (1957) Arhitektura Bosne i Put u Suvremeno (Architecture of Bosnia and the Way [towards] Modernity). Državna Založba Slovenije, Ljubljana, p 7 33. Estimate of military brownfields according to law proposal and principles for military ownership presented at the Parliament of Bosnia and Herzegovina 34. Adapted according to the ASCEND. Achieving the socio-economic re-use of former military land and heritage (2000–2006), model management framework. https://keep.eu/projects/950/ Achieving-The-Socio-Economic-EN/ 35. International Bank for Reconstruction and Development. The World Bank (2020) Improving Sarajevo’s resilience through urban regeneration: University of Sarajevo-parameters for development. World Bank Group, Washington, D.C. http://documents.worldbank.org/curated/ en/615171612178379238/Improving-Sarajevo-s-Resilience-Through-Urban-RegenerationUniversity-Of-Sarajevo-Parameters-for-Development. Last Accessed 21 Dec 2022