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Structural Problems in Italian School Buildings of the Late Nineteenth Century: the School “Realdo Colombo” in Cremona

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Structural Problems in Italian School Buildings of the Late Nineteenth Century: the School “Realdo Colombo” in Cremona SAHC2014 – 9th International Conference on Structural Analysis of Historical Constructions F. Peña & M. Chávez (eds.) Mexico City, Mexico, 14–17 October 2014 STRUCTURAL PROBLEMS IN ITALIAN SCHOOL BUILDINGS OF THE LATE NINETEENTH CENTURY: THE SCHOOL “REALDO COLOMBO” IN CREMONA Alberto Grimoldi1, Angelo Giuseppe Landi2 1 Politecnico di Milano, Dipartimento di Architettura e Studi Urbani via Camillo Golgi, 39 – 20133 Milano, Italy e-mail: [email protected] 2 Politecnico di Milano, Dipartimento di Architettura e Studi Urbani via Camillo Golgi, 39 – 20133 Milano, Italy e-mail: [email protected] Keywords: School buildings, seismic safety, Cremona, Milano, Camillo Boito. Abstract. Camillo Boito is depicted in the history of the Modernist Movement, primarily as a critic although he designed a small number of buildings and restorations. In fact Boito chose his occasions carefully, and his works were highly successful. Details of the schools - in Pad- ua, the Reggia Carrarese (1877-80) or via Galvani in Milan (1886-1890) - were published in magazines and manuals and were models for hundreds of buildings. They were designed for the large student population generated by the extension of compulsory education, and reflect- ed the new and improved educational standards of the “Coppino” Law (1877). Even the typo- logical-structural conception was replicated. He foresaw three floors, with pavilions for stairs and services providing an interruption or end point with thicker division walls to the long buildings housing the classrooms. These were formed by the perimeter walls and a spine wall, which divided a wide corridor from the classroom, with large windows. The perpendicu- lar walls between classrooms, were also load bearing, and ensured a “box-like” behavior. Imitators often simplified the structural system, while copying the distribution and decoration. A significant example is the Realdo Colombo school in Cremona, where the structure is re- duced to long parallel walls of the façades and corridors. With little but carefully studied re- inforcing and additional transversal frames, seismic safety can be completely assured, leaving virtually intact the bright and dignified façades and interiors. The text illustrates some of the results of research on schools in Northern Italy built between the Nineteenth and Twentieth century and their structural problems, the research was made possible by funding granted in the framework of Art and Culture by the Cariplo Foundation. Research on schools in Milan and Cremona was conducted by Angelo Giuseppe Landi, while Alberto Grimoldi mostly concentrated on the case of Padua. Alberto Grimoldi, Angelo Giuseppe Landi 1 INTRODUCTION Camillo Boito the «happy patriarch of Italian architects» as he was called by one of his young opponents, Mario Ceradini [1], appeared in the historiography of the fifties essentially as a critic [2]. He designed a limited number of buildings and restorations which went unfollowed in the intense building activity of the late Nineteenth century. His architecture was considered only with regard to its neomedieval references, and reduced to one of the many expressions of eclecticism. Not even the new perspective (the work of Henry Russell Hitchcock being emblematic) which from the mid - Twentieth century gave a new reading to the architecture of the Nineteenth century [3], highlighting both its technical as well as its formal innovation, has led to a greater attention to the works of Boito. The architect himself had carefully delineated his public image, assigning a role to its multiple activities, and choosing not to leave his own archive; indeed even his letters to his many correspondents have only been published in part [4]. This “self-portrait” peremptorily discouraged any review and hindered those who might have been interested in reconstructing his busy public lifeand it would help to understand him, and through him understand many aspects of late Nineteenth century Italian society. Depicting himself as an architect, Boito has escaped historians, and even his literary works have remained the preserve of specialists and more sophisticated readers such as Luchino Visconti. The copious literature [5] dedicated to him has continued to focus attention [6] on his continuous and lively participation through numerous articles [7] in the debate on architecture and restoration, thus overshadowing his buildings especially in terms of their constructive aspects. In fact Boito chose his commissions carefully and his works were widely followed, thanks to the cultural/political role that he had carefully constructed. His schools are part of this strategy. The bill by the Minister Michele Coppino [8] published the 15th July 1877, extended compulsory schooling to the entire Italian state and required municipalities to implement this. 2 SCHOOL BUILDINGS DESIGNED BY CAMILLO BOITO In May 1877 Boito received from the City of Padua a commission to design a new elementary school in the heart of the city center, as part of the Fourteenth-century Reggia Carrarese [9], realizing a program under discussion since 1872 [10]. Figure 1: Project of the Reggia Carrarese school in Padua by architect Camillo Boito. This initiative would seem to offer tangible political support to a man of culture who was also interested in issues of building preservation; in 1888 [11] a proposed law on the subject, supported by Boito [12], failed to be approved. Furthermore, in his report of August 29, 1877 Boito himself refers to the directions of a ministerial committee on schools. A more thorough investigation might discover, in this reference, a play of roles: the influence of Boito on Ministries of Education and Public Works was constant. Boito conceived his school as a 2 Structural problems in Italian school buildings of the late XIX century: the school “Realdo Colombo” in Cremona generalizable model and promoted its spread. The solution appears rational and systematic in the type and construction, and was illustrated by a booklet [13] prepared by the Inspector of the City Schools, Pietro Vittanovich, republished as a timely article for the Politecnico [14]. Even earlier, in 1881, a series of eight photographs of the building was addressed to the most important Italian municipalities as well as the Pedagogical Museum of Palermo [15] and the Museum of Training and Education of Rome [16]. In the same year, Boito presented his drawings in the section dedicated to architecture at the exhibition of Milan [17]. Compulsory education was introduced in the State of Milan by the enlightened monarchy of the Hapsburgs [18], it had rarely translated into a building typology: in the cities, where the rapid increase of the population was concentrated the monasteries abandoned had mainly been used, or alternatively, large aristocratic palazzi whose rooms, exaggerated by of Nineteenth century life, provided the space prescribed by the “hygienists” [19]. The Padua school has three floors of classrooms, spread over two wings almost identical, one for male and one for female students, as well documented in a recent study [20]. The whole construction was carried out in regular brick masonry with a constant depth of 60 cm. The façades were reinforced by buttresses, corresponding to the spine walls and to the main beams between the windows of the classrooms. On the third floor they were connected by segmental arches which increased the thickness of the wall in order to better support the eaves. The wings of the classrooms joined at right angles in a square bordered on two sides by the two contiguous transverse walls of the classrooms. At the end of the two wings were formed two four-storey pavilions where, the last floor was intended for housing for the staff. These pavilions contained the stairs, in a compartment perpendicular to the corridor, and joined to this towards the courtyard a thinner construction, intended for services. The ground and first floors were 5 meters high while the second was 4.5 meters, this to meet the standard generally accepted by the hygienists of 6 mc per pupil [21] numbering 40-45 per classroom. The longitudinal central spine wall was pierced by large windows towards the corridor corresponding to those on the façade, thereby reduced to a series of masonry pillars. The access corridor leans against the body of the classroom building, the outer wall forming a series of arches which were glazed. The building company, despite being Milanese and apparently trusted by Boito, was not able to achieve either the barrel vaults lowered to the iron beams [22] foreseen in the corridors, nor the iron girders which were to bear the larch joists of classrooms. These were replaced by composite wood beams, an ancient solution, applied by G. Jappelli in the Caffè Pedrocchi. They ensured the rigidity of the floor and together with the lath ceiling reduced noise transmission downwards. In addition to the barrel-vaulted ceilings of the cellars, also the corridors on the ground and first floor were constructed with single head barrel vaults, while the top floor was lowered with double arches. Even the channels - the hot air heating, the gutters - had been studied in advance so as not to weaken the wall sections. However, the rationalist tendencies of the Nineteenth century resulted in great consistency: a distribution adequate to the use of the building corresponded to a regular and accurate geometry without sacrificing comfort to symmetry. The quality of the building was entrusted to a subtle interplay of proportions and variations that corresponded to various solutions that strengthened a still traditional, but refined, construction, characterized by the correct use of different durable materials. The same character can be seen in the elementary school in Milan, via Galvani (1887-1890): the building lot suggested a linear layout, oriented to the North West (with classrooms along via Galvani) and South East (with the corridor facing the courtyard garden). The length was remarkable, 120 meters and to provide balance, both from the formal and static point of view, Boito designed a pavilion at either end and a central projection.
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