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ENGLISH VERSION “romantic” interpretations. Menéndez- he rejected outright Boito’s idea of Pidal’s training combined the two great differentiating added fabrics or elements lines of thought about architectural from the original ones and prioritised restoration in vogue at the turn of the the overall appearance of the building. Miguel Martínez Monedero century: the “preservationist” and the Preference for the plastic understanding ARCHITECTURAL “restorationist” schools, defended of the work took precedence, for the RESTORATION OF LUIS respectively by Leopoldo Torres Balbás first time, over respect for its material MENÉNDEZ-PIDAL, ARCHITECT and Vicente Lampérez y Romea. The truth and historic alterations, which, OF THE PRIMERA ZONA interesting debate that took place at the with the passage of time, was to be an start of the last century between the invariable aspect of his method, with Luis Menéndez-Pidal was one of the supporters of the “stylistic” discourse few exceptions. leading restorers of Spanish heritage (Lampérez) and “scientific” renovators Another early project, before the Civil buildings in the last century, and (Balbás) was the culture broth in which War, was the restoration of the particularly during Franco’s regime. the young architect started his career. Monastery of Guadalupe (Cáceres). He From the start of his professional career His next reference was to be the was commissioned to restore this in 1920 until 1975, the year he died, he historian Manuel Gómez Moreno, who important and conflictive monument by worked through political change and proposed Menéndez-Pidal for the the direct mediation of Vicente different social circumstances, at a time restoration of Santa Maria del Naranco Lampérez, who reserved for his ex- of unrest and a crucial period for the or the Palace of Ramiro I in Oviedo student at the university a challenge that current discipline of architectural (1929-36). This important personage would show him what he was really restoration. In the 55 years of his acted as his tutor for these works and, capable of achieving. Menéndez-Pidal professional career, Luis Menéndez- more importantly, the method they was the conservation architect of the Pidal restored some 200 buildings in his developed together had a great influence monument for 51 years. The importance different posts in the Administration, but on his posterior development. Gómez of this monument, not only at the early mostly as Conservation Architect of Moreno and Menéndez-Pidal defended stages but throughout his career (1923- Monuments of the First Zone (1941-75), the restitution of Santa María del 75), was vital for this architect. The during which time he refurbished the Naranco to its “original state”, which complicated task of caring for it most important works in the provinces was to be brought to light by means of a provided Menéndez-Pidal with the best of Asturias, León, Zamora, La Coruña, methodology based on archaeological possible lesson, which he later applied Lugo, Orense and Pontevedra. The study and historical research. Archaeological, on the many occasions that arose, either of his work and his intellectual because both professionals performed in the early days, in repairing the evolution is therefore an excellent tool archaeological research on the fabrics of damage caused by the Civil War on the with which to approach the restoration the building, concealed under multiple Cantabrian coast or from his post as the of monuments in this long and historical additions. And historical, head of the First Zone. The extensive fundamental period in architectural because they consulted all sorts of work on the Monastery of Guadalupe, restoration in Spain. scientifically authenticated historic which lasted almost as long as his documentation that helped get to the professional trajectory, is the best Education and methodological bottom of the sought after “original example to show the ideas and evolution development state” of the building (such as the of his particular restoration Due to the many different influences didactic lithographs made by Pacerisa in methodology. From the first years, that accompanied Menéndez-Pidal’s 1856). The archaeological interpretation where respect for the monument, cultural and methodological of the building and the search for its reference to his academic period and the development, together with the changing initial state by studying the remains principles of “modernity” were more historic circumstances that took place conserved and the historic noteworthy, to the last reports, where during his professional life (1920-75), it documentation was learnt by our confidence in his position in the Spanish is impossible to classify his restoration architect at the time and was to become cultural milieu and the assurance that he criteria within any particular trend. The a constant feature of his methodological would continue to be the sole ideological stance we can deduce from development. However, the conservation architect of the monument, his writings and acts is extremely responsibility of his first project in led him to take excessive risks. All of meaningful, showing him to be an heir Asturias put Menéndez-Pidal in a this puts before us an evolution that of Viollet le Duc’s “neomedievalist delicate position of compromise between pursued the “idea of the building” as his rationalism”, added to an eclectic his more “modern” renovating proposals ultimate goal, which materialised little education loaded with different and the need to obtain satisfactory by little over the years. The ultimate references, all of which were present in formal results. In many aspects, the goal that consisted, as we shall see, in architectural restoration in Spain at the restoration of Santa María del Naranco recuperating the “authenticity” of the beginning of the twentieth century, such lacked the “scientific” rigour of his first work, although this involved rebuilding as “archaeological”, “scientific” or even projects (Nieva and Guadalupe), since or replacing the missing parts,
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sometimes following an of extensive damage to the heritage and, Pedro de Nora, among others; drastically “archaeological” and sometimes a among other things, the new affected by the damage suffered, the “stylistic” method. His continuous care administrative and political organisation reconstruction meant that the “modern” of the building and his search for that arose after the war. The pressing postulates of his early career were “originality” led him to address the need to tackle postwar reconstruction replaced by more interventionist architectural integrity of the whole site brought about a hurried renovation of methods to ensure the recuperation of from a revisionist viewpoint. the rigorous “modern” principles in the monument. However, in his recent After his first trip to Italy in the mid vogue at the time; in this context, post at the service of the newborn thirties, a new influence was added to Menéndez-Pidal, like all the other regime, Menéndez-Pidal suffered a those already in existence. In Italy he professionals who worked on postwar retrocession in his methodology and saw many viable alternatives to the reconstruction, saw from his own firmly recuperated obsolete concepts of “stylistic” method, among which we can experience that the “scientific method” “structural integrity” and “unity of include the exemplary archaeological of the 1931 Athens Charter was style” in the recuperation of the restoration works performed by inapplicable in many of the cases that damaged heritage. The “reconstruction” Giuseppe Valadier, which had required repairs. The systematic was seen by the new institutions as an anticipated the “scientific” discourse and destruction of the monumental heritage indisputable objective, which in many modern theses about the restoration of suffered by Spain in the Civil War, just cases included a “stylistic” revision of monuments defended by Boito. He also like Europe in World War II, had a its morphology. Besides, like in the rest discovered the work of Antonio Muñoz, crucial effect on the transformation of of the cities affected by World War II, who had developed an interventionist the general restoration concepts in the the destruction served as an excuse for archaeological method in the twenties 20th century. Menéndez-Pidal to correct or improve similar to the one adopted by our The following stage in Menéndez- defects or erroneous items according to architect years later. Also an heir to Pidal’s intellectual and methodological a positivist (and in many cases a Luca Beltrami’s “historic” method, development took place during the Civil “stylistic”) posture, with a view to Muñoz created with his interventions an War. His firm support of the national restoring the building to a better state. archaeological profile that Menéndez- side allowed him to act on the His interventions, with some exceptions, Pidal shared. The recomposition of conservation of the architectural heritage remained on the margin of the buildings by stylistic confrontations that under military law. But it was his denouncement of the historic fact of sought the “ideal model” on the basis of appointment as Representative of the destruction, and the “artistic value” and true scientific elements as the result of Informative Reconstruction Board when monumentality of the building were the historical and archaeological research the north front fell (October, 1937) most important factors to take into was an argument common to them both. along with Pedro Muguruza that brought account, ignoring the responsible Our architect saw the examples of Santa him in contact with the monuments in “scientific” denouncement of Sabina (1914-19), San Giorgio al the area of Cantabria that had a destruction. On the other hand, the Velabro (1923-26) or Santa Balbina definitive effect on his development. training of traditional professional (1927-29) and added them to his cultural The war years were complex, troubled building experts involved in the baggage. Besides, Muñoz’s intervention times that conditioned the methodology reconstruction of these examples during on the Basilica of Santa Sabina bore a of our young architect. But that did not the terrible years of the Civil War was to clear similarity to what Fortunato Selgas mean it was a less rich phase in his become one of its most solid values; the ands Lampérez had done on San Julián training, as the number and importance archaeological fidelity of the procedures de Prados (Oviedo, 1912-15), dubbed of the monuments he was put in charge guaranteed his interventions on the “flawless” by the critics at the time, and of provided him with excellent structural continuity of the buildings. was highly considered by our architect preparation for the difficult postwar Menéndez-Pidal’s commitment to the and taken as a reference to add to his years ahead. Many interventions were new regime was acknowledged by the education. made by the Service during the war and department of Regiones Devastadas immediately afterwards. A large number (Ravaged Regions) and he was The Civil War of little Asturian churches were selected commissioned the most important The eclectic and learning period of his between 1938 and 1941 and put under projects along the Cantabrian coast over first years was followed by profound the care of Menéndez-Pidal, who drew the next few years, even before the end changes and sad events in the national up emergency projects and performed of the war. The first project for the new panorama of architectural restoration. the most essential works to safeguard Administration was the reconstruction of The uprisings in Asturias (1934) and the the constructional and structural the Holy Chamber of Oviedo cathedral Civil War (1936-39) were a time of integrity of the buildings. This was the (1938-42), which is a token of the ideological regression of the concepts case of the churches of San Julián de importance the capital Asturias was learnt towards positions that had already Prados, San Salvador de Fuentes, San gaining because of its outstanding role become outdated during the Second Salvador de Priesca, San Andrés de of “Resistance”. Of all the monuments Republic. These changes were the result Bedriñana, San Juan de Amandi and San rehabilitated, the reconstruction of the
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Holy Chamber was the one that best very extensive geographic area, which very negative effect on the integrity of reflected the attitude adopted by provided him with knowledge about the the fabrics. Menéndez-Pidal in those years; the most varied monuments, styles, building The archaeological fidelity in the reconstruction was supported by the methods, etc., which gave a definitive restoration techniques, limited by the institutions as a way of erasing the slant to his methodology. Recognition of absence of means, was a positive destruction caused in the past and the his task was further reinforced by his argument to be found in many of his establishment of a “New Order”. The continued work on the Monastery of early works as the head of the Service. “artistic value” was given precedence Guadalupe, abandoned during the war This was the case of his interventions on over any other “scientific” issue and the until 1942, which was a veritable pre-Roman Asturian buildings, where his conservation of the historic fact of exception within the strict administrative constructional contributions were based destruction was an insignificant, structures of the regime, reserved to on an archaeological interpretation of dispensable argument. So the double very few professionals. the well conserved models, as we can political and propagandistic strategy In his new post, Menéndez-Pidal not see from his reconstruction of the church involved in the reconstruction was only acquired greater responsibility on of San Salvador in Priesca (1942), Santo clearly stated and Menéndez-Pidal was heritage but exceptional freedom to act Adriano de Tuñón (1946-48) or San obliged to ignore the more “scientific” as an architectural restorer in those Pedro de Nora (1940, 1952); the reconstruction proposed by his colleague years. From then on, his projects were following years, after these first Alejandro Ferrant and address the conceived and developed according to restorations had been completed, he problem from an “archaeological” his own criteria, requiring only the undertook less conservative, more viewpoint that would restore the approval of his “superiors” to put them invasive and traumatic repair works, building as closely as possible to the into practice. Nevertheless, it was a which allowed him to advance in his formal image and built materiality. freedom of action limited by “service” own particular “idea of a building”. Similar criteria were adopted in the to the ideals of the regime and by the Furthermore, the first works on the rest reconstruction of the Gothic tower of maintenance of the criteria that had been of monuments in the First Zone were the Oviedo cathedral (1938-53). Mutilated followed in the reconstructions most urgent repairs to safeguard the by artillery during the war, Regiones performed in the years immediately after physical integrity of the architecture Devastadas ordered it to be integrally the war. Therefore there was no such (with projects limited by the fractioning reconstructed. The tower was restored to thing as renovation, and much less any of several dossiers and a scant budget), its former state by an equally reference to the modern restoration as in the church of the Santa María la archaeological process that, apart from school in Europe; the ostracism our Nueva monastery (Lugo, 1946-53), the repairing the damage caused by bombs country underwent conditioned the church of Santa Eulalia de Bóveda and artillery, rectified some earlier assimilation of the postulates imposed (Lugo, 1953) or the collegiate church of interventions that, in Menéndez-Pidal’s by the institutions. Both Menéndez-Pidal Sar (La Coruña, 1946-51), for example; opinion, from a corrective, revisionist and other architects performing the other monuments were saved from viewpoint, were poor. restoration of monuments in Spain had imminent ruin thanks to the repairs to do their work during those years performed in his first years, like the The Postwar Period. Conservation without any knowledge of what was monastery of Santa María de Osera Architect of Monuments of the First happening in other countries affected by (Orense, 1949-60). In Zamora, the Zone. World War II and forgetting the intervention on the cathedral (1942-66) At the end of the war, Menéndez-Pidal’s experience gleaned in earlier times was the example that best illustrated the career flourished under the new regime. because it went against the national consolidation of his deductive When he was appointed Conservation cause. His responsibility at the head of archaeological intervention method. Architect of Monuments of the Service the First Zone opened up a broad Here he addressed the restitution of the for the Defence of the National Artistic horizon of interventions before him, most singular architectural features Heritage, after a brief spell as where the economic and technical comprising its Byzantine cimborio and Commissioner (1939-41), he set out on a precariousness of the first years of the its stone roofs, which our architect new phase in his professional trajectory, regime limited his tasks to the most rediscovered and restored to their which was to be characterised by repairs necessary repairs. These usually affected original state. This interest in to the damage caused during the war, as the roofs, which guaranteed the physical archaeology was also patent in the well as looking after the abundant integrity of the structure. The scarcity of intervention on the cathedral of Santiago heritage in the First Zone, the largest of material means and the lack of modern de Compostela (La Coruña, 1941-42, the national territory, comprising the technologies forced him to base his 1945-61), where his work consisted provinces of Asturias, León, Zamora, La interventions on what he had learnt of practically exclusively in investigating Coruña, Lugo, Orense and Pontevedra. traditional building methods, which the archaeological substratum, apart The new attributions of his post meant he avoided using unsuitable from the usual repair works. Similar permitted and required him to address an modern solutions that were common archaeological tasks were performed in enormous number of monuments in a practice in other countries and had a many other examples, the most
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outstanding of which were his monastery was influenced by the pursuit instrument of the regime. Paradoxically, interventions on the collegiate church in of the pristine state of the building, Menéndez-Pidal’s ideological stance in Toro (Zamora, 1942-57), the cathedral where the alcove behind the altar, the 1956 coincided with the start of his most of Tuy (Pontevedra, 1942), the towers of antechapel and Our Lady’s throne invasive period on heritage. The the Oeste in Catoira (Pontevedra, 1944- (1942-44, 1953, 1957-58) were interesting concepts he had stated in the 56) or of Santa María la Mayor church monumentalised and conceived as the Academy gave way to positions that are (Pontevedra, 1946-53). More modern most outstanding elements inside the hardly defensible when compared to methods were used, however, in the building by Menéndez-Pidal. those he spoke up for in his pragmatic intervention on the church of Santa opening speech. These years saw the María Del Campo (La Coruña, 1945-50), Final Stage. Ideological Turning Point. most unjustified, arbitrary interventions where he solved the serious structural The end of autarchy and Menéndez- of his career. “Stylistic” and reformist problems in the vaults by means of an Pidal’s appointment to San Fernando attitudes overshadowed with increasing interesting process of research and Fine Arts Academy in 1956 was a clarity his early “modern” stance. They analysis. turning point in his ideas and were years of contrast, where the fact According as the postwar repair works methodological evolution. This last that he continued to be in charge of the were completed, new ideas about the period, characterised by the conclusion maintenance of monuments permitted monumental heritage gradually began to of the postwar reconstruction, opened up him to take unjustified risks, more and arise. Thus, one of the qualities that our a new panorama that set aside mere more evident as he got older. It was the architect most appreciated was the repair works to embark upon personal moment to put into practice the image of the building in its reconsiderations based on the experience particular “idea of the building” that our surroundings, whether natural or urban. gleaned that were to materialise in the architect had for each concrete case, and This landscape was conceived, in many years that followed. which in many of them he implemented cases, with the same aesthetic intention His discourse upon entering the and carried through to the end. As in as the building itself. An “appropriate” Academy was an ideological earlier periods, but now more clearly, setting was achieved by overcoming any compilation of his many personal the concepts of “historical veracity” or sort of contamination or by manipulating experiences along with the assimilation “authenticity” were replaced by “formal the natural landscape at will. In pursuit of the different European currents in the value” and the plastic qualities of the of this exterior perception, quite a few discipline of restoration, which was our work, often falling into “stylistic” clearing works were performed, architect’s first and only incursion into excesses and historicist picturesqueness, following “stylistic” theories and the field of theory. He had previously so common, on the other hand, in the ignoring the important historic role contributed merely with unimportant final years of Francoism. Menéndez- played by additions. In spite of the fact data about the criteria or procedures he Pidal was aware that these were the last that he was familiar with the applied to his projects (1954). With the years he would devote to heritage, and contributions of Giovanonni, Menéndez- title “The Architect and his Work in the saw his interventions as the final, Pidal always defended the removal of Care of Monuments” (1956), this definitive result of the building’s life. whatever historic alterations he document constituted a thorough In this way he kept up the same methods considered “annoying”, and preferred to account of the different influences that and procedures he had used at his earlier recover the authentic appearance of the he had assimilated, from the doctrines of stage, but applied them more radically monument rather than maintaining its Viollet le Duc to Ruskin, Beltrami, and adamantly. His prominent position historic veracity. In this process he Boito and Giovanonni, combined with in the technical competency of the First manipulated and in many cases isolated his own personal experience; Menéndez- Zone, coupled with the increase in the surroundings to achieve perfection, Pidal produced a real ideological, funds, allowed him to take risks he had as in the clearing of the church of Santa didactic and eclectic compendium, in an been unable to take in earlier years. For María del Naranco (Asturias, 1929-34), attempt to introduce and stir up the example, the continuation of the works Santo Adriano de Tuñón (Asturias, stunted debate about restoration that was on San Salvador de Valdedios (Asturias, 1946), where he “amputated” the south taking place in Spain at that time. Of all 1953-72) gave rise to the dubious portico, or San Martín de Castañeda his writings and publications, it is construction in his later years of the side (Zamora, 1946-63). undeniably his most updated and chapel in the north, a perfect replica of In the Monastery of Guadalupe, the first interesting document, as it contains and the south one. Without any documented phase of works for National Education lays before us his perfect knowledge of archaeological remains, its was the start of the restoration of the the history of the discipline. His reconstruction turned into a formalist whole complex (1942-75). After the first appointment to the Academy was the exercise of “completion” of the “modern” interventions, that is. The acknowledgement of the brilliant career monument, based exclusively on the works carried out prior to 1936, the of a figure who had performed the most obvious “stylistic” postulates. confidence the Administration had in our restoration of some of the most Arbitrary reconstructions found in the architect permitted him to plan his outstanding buildings in the postwar continuation of his intervention on the works over time. His work on the years in Spain as an institutional church of San Pedro de Nora (Asturias,
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1952-64), where in the last years he the nature of the building and introduce discourse, his deductive method became reformulated its architectural reality by harmful structural conditions in spite of his most solid basis, stronger than any building a new freestanding narthex scrupulously respecting its exterior ideological convictions. Menéndez- (1958), transferring the Santullano appearance. In this way he differed from Pidal’s method was founded on a archetype and thus reducing the possible the constructional rationalism of the historical and archaeological morphological differences in this small “historico archaeological” method he investigation to discover the original family. Nevertheless, his most dubious had used at earlier stages, and, either out state of the building by an analytico intervention was the building of a new of convenience or a mere desire to be deductive process. The data found in his freestanding bell tower (1963) on modern, he adopted the most unfortunate observations and investigations were nonexistent foundations, which altered postulates of the “scientific method”. In compared with the information deduced even more the outline of the monument this last period he had roofs and fabrics from similar examples (usually and its relationship with the landscape. refurbished and structures reinforced submitted to certain common laws) in The restoration of León cathedral (1948- with strange supposedly modern search of the most truthful and 71) showed an equally revisionist solutions that introduced unknown and convincing historical phase for the attitude; he dismantled and reassembled often incompatible variables, like the restoration. It was a method understood its south gable (1961). In San Isidro de reinforced concrete slabs that were from a double strategic viewpoint, León (1958-74), the interest aroused by placed on the intrados of vaults to scientific and artistic: scientific insofar the church and its crypt as a tourist ensure stability, but which endangered as it depended upon his historical and attraction encouraged him to make a the structural system. This unlikely archaeological research (and “stylistic” recomposition of the interior panacea was applied in the second phase interpretations), and artistic insofar as when turning it into a museum. The of Horta church (Zamora, 1960-68), the final result had to have an aesthetic same thing happened with the convent among others. Structural excesses were coherence capable of communicating its of San Francisco in Lugo (1951-69), performed, like the tie beams in the plasticity. Thus the lost or damaged adapted into a provincial fine arts vaults in the church of San Rosendo de elements could be replaced by identical museum. But the most surprising work Celanova (Orense, 1963-66), concealed or even better ones, more “authentic”, in of his late period was the complete in the intrados. A similar system was pursuit of the “original state”. reconstruction of the church of Santa used in the chapel of Osera Monastery Menéndez-Pidal always put the María de Bendones (Asturias, 1958-71), (Orense, 1958-60). In the same line of legitimacy of the “restoration” as a on top of questionable archaeological procedures, the chancel of the church of necessary step to restore the lost remains. This intervention was the most Acebeiro Monastery (Pontevedra, 1959- “integrity” of the building above controversial and risky work of his 63) was consolidated with a traumatic fashions and trends and strove to whole professional life and perhaps the reinforced concrete beam, which makes guarantee its survival. But it was always best example of the excesses of his the whole building rigid and alters its an intervention kept within certain particular archaeological methodology. structural behaviour. limits, marked by his own deductions, in Furthermore, in this last period there In the Monastery of Guadalupe, the many cases obviating historical fidelity was a great deal of systematic clearing increase of funds our architect received and therefore documentary value, which of buildings in pursuit of formal after his 1962 report opened up a new often caused him to incur in a “historical “authenticity” (in spite of the criticism path, where the planning of more falsehood”. The experience of the of this practice he had made in his important interventions led to the aftermath of the war made him see the speech); thus the church of Santiago formalist revision of his architecture and concept of “artistic value” as a priority, Peñalba (León, 1949-71) was cleared of the pursuit of his “idea of a monument”, beyond the “historical” value, the traditional houses that surrounded it, which materialised in the years that anticipating the ideas brought up years and he also systematically cleared the followed until his death in 1975. later by Cesare Brandi, with his “theory walls of León (1962-72), Zamora (1956- of restoration” and the contribution of 75) or Lugo (1949-63). Conclusions “critical restoration” after World War II. Menéndez-Pidal continued to practise As can be deduced from looking over However, his historicism and his methodology in the same historical his professional career and his different archaeological pursuit of the “original and archaeological manner that he had periods defending heritage, Menéndez- state” prevented him from falling into used in his previous works; however, in Pidal’s methodological experiments the excesses of modernity in his final years, he clearly introduced were always supported by his “distinguishing the new from the old”; new technologies, which were adopted intervention methods, the result of his on the contrary, he always sought a with the sole condition that they would particular view of architectural logical, rigorous and beautiful link with not be noticed. The priority he granted restoration. Forged in his first years and the past. Continuity in the choice of to “aspect” rather than archaeological consolidated with repairs to the disasters material so as not to alter the formal and fidelity made him turn original structural of the war and the knowledge, acquired chromatic qualities of the ensemble was and constructional parts into modern through his own experience, of the a constant feature of his methodology. contrivances with new materials alien to impracticability of the “scientific” And in this way, if imitation was
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permitted in order not to clash with the Biographical note: and repairs of many monuments that original building, reconstructions were Luis Menéndez-Pidal was born in received sufficient attention to stop justified, according to Menéndez-Pidal, Pajares del Puerto (Asturias) in 1893. them falling into rack and ruin; among in exceptional cases such as war or He studied at the School of Architecture others, it is worth mentioning especially collapse. Overcoming the traumatic in Madrid, where he graduated in 1918 the continuation of the reconstruction of events of the Civil War had made him with the second highest mark of his the Holy Chamber, which had been believe wholeheartedly in this opinion, promotion. There he received his first destroyed in 1934 during the uprising, which might seem risky but which was influences in the world of restoration, and whose reconstruction had initially necessary in the postwar interventions. from two projects professors, Vicente been organised by Gómez Moreno and A token of this is the Holy Chamber of Lampérez and Leopoldo Torres Balbás. Alejandro Ferrant. His appointment to Oviedo cathedral (1938-42) or the tower Both architects stirred up the then this new job in 1938 meant he would of San Tirso de Sahagún in León (1949- languishing debate about the restoration impose his own ideas and methods until 72), both of which were completely of monuments in Spain, holding its conclusion some years later. The end replaced “down to the slightest detail” opposite positions that were very of the war (1939) saw the start of by a scientific and archaeological enriching for the education of our man. frenzied activity to save the damaged process. Although these works may be His final dedication to the field of heritage; and Regiones Devastadas justified, other cases, such as the architectural restoration took place in included Luis Menéndez-Pidal among reconstruction of the ruins of Santa 1923, when he was commissioned its select architects for its double María de Bendones in Oviedo (1958-71) by the Ministry of Public strategy of reconstruction and or the bell towers of San Pedro de Nora Instruction and Fine Arts to restore the propaganda. Now living in Madrid, he (1952-64) aroused serious misgivings Monastery of Guadalupe in the province was made Commissioner of the about the wisdom of his method. So of Cáceres. Even before the Francoist Cantabrian Zone that same 1939, which there was a broad field of period, he was given another project meant he continued the tasks he had experimentation between the different that was to set him even more solidly undertaken during the war. In his new sensibilities that existed in Menéndez- on this path, this time in Asturias: the post he carried out the vast and profuse Pidal’s evolution that he explored in his restoration of the pre-Roman monument task of reconstructing and repairing the interventions. His skill resided in his Santa María del Naranco (the Palace of monuments “adopted” by the Service. ability not to stick to a single criterion Ramiro I) in 1929, a token of the Among the monuments selected by but to take advantage of all fruitful and success of his work. Gómez Moreno’s Regiones Devastadas and placed under relevant ideas, understood as intercession was a key factor in his the care of our architect were: Oviedo accumulative or alternative but not receiving this commission and was the cathedral (where the spectacular exclusive. In spite of the interpretative cause of the clear “historical” and reconstruction of the spire was excesses to be found in many of his “archaeological” influence he performed), Covadonga Sanctuary interventions on monuments, assimilated during the project. After the (where the Cave was totally particularly in his last period, we must uprisings in Asturias, the outbreak of reconstructed), the collegiate church of not underestimate the many fortunate the Civil War surprised him in Madrid. Arbás, in León, and countless little works we owe to his personal way of His political inclination towards the Asturian churches (Santa María de understanding restoration. Perhaps the nationalist side put his life in peril Villaviciosa, San Julián de Prados, San most transcendental criticism is the several times. During this time, Luis Salvador de Fuentes, San Salvador de mistake he made, quite common at the Menéndez-Pidal had the militarised post Priesca, San Pedro de Nora, Santo time, in seeing his intervention as an of Agent of the Service of Artistic Adriano de Tuñón and others), which isolated and definitive act on the history Recuperation, dedicated to saving the received vital urgent repairs that of the monument. Many of his country’s badly damaged artistic conserved their architecture under the interventions attempted to restore the heritage. In December 1937, by the economic hardships of the time. work to a complete, perfect and closed direct indications of Pedro Muguruza After the war, he presented several state, in some cases with the typical Otaño, he was appointed Representative works at exhibitions in Spain and discriminations of modern practice, but of the Informative Board of abroad and got to know European in many others, with the licences Reconstruction by San Fernando Fine cultures by travelling around Italy, contemplated in his own personal Arts Academy, and he held this position France, Belgium, Portugal and methodology. The conviction of his until the end of the war. Germany. It was from Italy and France views and his profound knowledge of This appointment involved looking after that he extracted the greatest influences the monuments made him see himself as the monuments in the Cantabrian Zone, in the field of architectural restoration. capable of restoring the building to its and in particular Asturias, during the There he discovered the “scientific” former splendour, without Civil War, and this connection debate that was going on at the time and understanding his true role as a link in continued to exist until the end of his the influence of the 1931 Athens the long chain of people who care for days. Around that time, Luis Menéndez- Charter, and at the same time he studied each one. Pidal was in charge of the protection the works and doctrines of Viollet le
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Duc, Camillo Boito and Gustavo “Destrucciones habidas durante…” Architecture and Art. Both disciplines Giovanonni. (1941), “Notas sobre la reconstrucción provided him with the necessary basis to Back in Spain, at the National Fine Arts de la Cámara Santa” (1941) or “Los act in his work with the self assurance Exhibition in 1941, his work received monumentos de Asturias, su aprecio y that he always showed. Methodical and the recognition of the new political restauración desde el pasado siglo” vehement, his strong character was the institutions with the First National (1954). His tireless activity and cause of constant attention to “his Medal for Architecture as an award for permanent connection to his native monuments” and won him more than one his seventeen years’ work on the Asturias was first acknowledged when opposer to his doctrine, often giving rise restoration of the Monastery of he was appointed a member of the to friction and obliging him to defend Guadalupe. That same year he was Institute of Asturian Studies in 1951. his position. He was greatly admired as appointed Monument Conservation With a monograph about Covadonga an architect at the time. Apart from Architect of the Service for the Defence Cave, he explained the restoration of that political ideals or adhesions, always of the National Artistic Heritage, and he site and at the same time reinforced the debatable, his staunch intervention was put in charge of the First Zone double religious and artistic criterion he principles and his confidence in his (comprising the provinces of Asturias, had kept in mind while restoring it, as in “method” provide us with what we León, Zamora, La Coruña, Lugo, Orense most of the works he performed. consider a perfect tool to study a and Pontevedra). He held this post until However, his definitive recognition in fundamental period in architectural the end of his days. He took over the the national cultural milieu was his restoration in Spain, often rejected post from Alejandro Ferrant, who, less appointment to the Royal Fine Arts because it is scarcely known. Menéndez- favoured by the institutions, was put in Academy of San Fernando in 1956 (with Pidal’s restorations, in this context, charge of the Cantabrian Zone. Besides, medal number ten, under the direct provide a great deal of information about our architect continued to oversee the sponsorship of Pedro Muguruza). His the period during which they took place restoration of the Monastery of well known and widely publicised (from the reign of Alfonso XIII, during Guadalupe, which he had begun before speech “El Arquitecto y su obra en el the Second Republic and throughout the Civil War and on which he continued cuidado de los monumentos” contained Franco’s regime). In a word, Menéndez- to work extensively for the rest of his his ideological and methodological Pidal devoted his life to looking after his life. In his new post, he was in charge of convictions about restoration and monuments, with monastic dedication, as all the monuments in the First Zone, demonstrates his perfect knowledge of he said himself: “…since God did not whose conservation depended the modern debate about restoration. bless me with children, he made me exclusively on his criterion. His Our architect continued to look after the dedicate myself with absolute abnegation privileges included absolute autonomy in monuments in the First Zone and to to the monuments that are my offspring” deciding which monuments to work on restore the Monastery of Guadalupe (1974). and how, and in distributing the funds during the final stages of his assigned to the service as he saw fit. His professional career from his privileged freedom to act and plan was absolute position in the national panorama, and so were the works he performed on operating with greater and greater the architectural heritage. freedom on the monuments and with a Fernando Vegas & Camilla Mileto During those years, Menéndez-Pidal had clearly interventionist evolution as he RAFAEL GUASTAVINO: A control of the most important approached the end of his career, HISTORY OF ARCHITECTURE monuments in this large area, among assuming risks he had avoided in his FROM BEHIND THE SCENE which it is worth mentioning especially: early years. So his life went on, the cathedrals of Oviedo, Zamora, León. dedicated exclusively to taking care of There have been some absolutely Santiago, Mondoñedo and Tuy; the his monuments until he had a serious transcendental builders, engineers and monasteries of Carracedo, accident in 1973. It was on one of his even architects in the history of Montederramo, San Martín de countless visits to the works, this time architecture whose names are unfairly Castañeda, Ribas de Sil, Osera; the on the church of Santiago de Peñalba in concealed behind the names of the main churches of Santiago de Peñalba, San the Valle del Silencio in León. A few architects of projects for different Miguel de Escalada, Santa María del months later he died, on Friday 28th circumstances. A Spanish proverb says Campo and the pre-Roman churches in February 1975. He was buried at the that credit is not always given where Asturias, to mention but a few of the collegiate church in Arabs (León), one of credit is due. This has been so for some buildings he restored during that time. his most dearly beloved monuments, time now: let us mention the importance Apart from his busy professional agenda, thus following the medieval custom and in Walter Gropius’ work of the architect his great capacity for work permitted his devout spirit. There he lies, in a Adolf Meyer until his untimely death in him to produce some publications about monumental tomb that he had himself 1928; or the British Maxwell Fry in both his personal experience and research into prepared years before. Gropius’ work in England and Le the monuments he worked on, a token of Luis Menéndez-Pidal was a cultivated Corbusier’s plan for Chandigahr; Pierre which are the well known works man and a great scholar of the History of Jeanneret’s human touch in his cousin’s
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oeuvre; the importance of the engineer at the time, endowing them with of California, Chicago, Columbia, Komendant in all of Louis Kahn’s work; structural resistance and making them Cornell, Harvard, New York, Pittsburgh, the irreplaceable presence of Félix fireproof, and was also economical. Virginia, West Point and Yale, among Candela as a designer of works that Before he was even eighteen, his son many others; some twenty or so schools; paradoxically do not bear his name; or Rafael Guastavino Expósito (1872-1950) about forty banks, including the Federal Ove Arup’s fundamental in furthering became more and more involved in the Reserve Bank in New York; city the careers of many architects, like management of the business, with the councils or municipal buildings in Berthold Lubetkin, among many other invaluable help of the accountant Binghamton, Buffalo, Cleveland, examples. The case of Rafael Blodgett, who introduced a certain Plattsburg, Detroit and government Guastavino Senior and Junior is similar. amount of order in the anarchy of the buildings in Washington, Nebraska, New Their influence and direct contribution company’s papers and accounts. He took York, Charleston; almost two hundred to the history of architecture both in over the management so easily that, temples, synagogues and churches, Spain and the United States is not when his father died after partial among them the cathedral accompanied by the recognition that has retirement in 1908, the clients did not of St John the Divine in New York; so far been given their work. notice any change in the services a dozen hotels, sixteen courthouses and Rafael Guastavino Moreno (1842-1908) rendered by the company. What is more, some ten public libraries, was born in the city of Valencia and Rafael Guastavino Junior modernised including the ones in Boston and moved to Barcelona in 1981, where he and updated the company by creating as Washington; fifteen museums, the studied to be a master builder and was many patents as his father had before Metropolitan in New York, among not long in developing a professional him, especially as regards the acoustics others; over twenty hospitals, one of career as an architect and builder of both of the firm’s famous vaults. which is Mount Sinai, also in New York; residential and industrial projects. From After twenty years of great prosperity, sixty mausoleums and commemorative the outset, his architecture was commissions began to wane in the monuments; some thirty railway characterised by an extensive use of thin nineteen thirties because of the new stations, including the famous Grand masonry vaults in combination with the styles, materials and building methods Central and Pennsylvania in New York, new cement mortars that at first he had that were gradually becoming popular in and those of Chicago, Buffalo, Detroit, sent from England. This system was architecture. This was the inexorable Houston and Toronto; sixty residential better than the traditional vault, limited announcement of the end of the buildings, mainly in New York; theatres, by hydrosensitive gypsum and slow company, which closed down in 1962, religious seminaries, stables, post setting lime, thanks to the waterproof twelve years after the death of Rafael offices, private clubs, spas, offices, quick setting cement mortar. The Guastavino Junior. garages, planetariums, elaborate stability and resistance of this cement staircases, etc. mortar made it possible to increase the Examples of buildings erected by the diameter of these vaults whose thrust Guastavino Company The Guastavino stock could be absorbed by inserting metal Of the thirty buildings that Rafael The figure of Rafael Guastavino Senior, beams. Guastavino designed and constructed in born the same year as another great In 1882, at the height of his professional Catalonia, scarcely ten or so remain builder, François Hennebique, arose as a career in Barcelona and during a crisis standing today, the most outstanding of result of the combination of several in his marriage, he decided to emigrate which because of the good state of factors: his familiarity with traditional to the United States with his younger conservation are the factory of Batlló timbrel vaulting thanks to his family son, then ten years of age. After a time Hermanos (today the Diputación background in his childhood and youth, of economic and cultural hardship, he Provincial and an Industrial School) and both applied to monumental and gave up his category of major architect the Teatro La Massa in Vilassar de Dalt. vernacular architecture; his interest in and devoted himself to being a builder The rest of the residential buildings have structural research encouraged by along the East Coast of the country, been seriously altered in several Professor Juan Torrás i Guardiola, thanks to his collaboration with famous interventions in the past. an excellent master of several architects like McKim, Mead & White, In the United States Guastavino and his generations of architects; his deep Bertram Goodhue, Ralph Adams Cram, son erected nearly a thousand buildings knowledge of building materials, and Cass Gilbert, Henry Hornbostel, Carrère or part of them in 28 different states, particularly mortars, ceramics and iron, & Hastings and Warren & Wetmore, along with about ten in Canada. Unlike as a result of his early work experience among many others. St the end of his his work in Spain, many of them are and later research; his knowledge of the career, even Frank Lloyd Wright was on churches of different religions and history of architecture and building the verge of hiring his company to cover important public buildings. From a long and his extraordinary skill at marketing one of his typical architectural spaces. list of extraordinary buildings the and publicity, which explains the rapid His building system of timbrel vaults following deserve special mention: success he enjoyed both was the result of the need to create different lecture rooms, academies, in Barcelona and the United States representative spaces in public buildings colleges and chapels of the universities after starting from scratch.
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Rafael Guastavino Junior inherited from to understand this phenomenon acoustic appearance and qualities. his father his knowledge of materials, in the history of architecture. Charles di Santo’s article tells us about techniques and structures for the The files of the Guastavino Co. that the experience of restoring the vaults of perfected construction of thin walled Professor George R. Collins bought Queensboro Bridge in Manhattan, a vaulting and some of his commercial from the company when it was in the really interesting case because of the skill. He opened up new lines of wind up process, safely guarded in the number of stresses to which it was research and application of vaults with Avery Library at Columbia University, subjected and because of the simple, his patents of ceramic tiles, artificial New York, represent a mere fraction of respectful and elegant solutions applied, stone and gypsum with acoustic the information the company possessed. some bordering on pure genius. Robert properties, which prolonged the life of Research into each building under Silman’s article evaluates the excellent the company even when the crisis restoration individually is bringing to behaviour of these vaulted structures in arising from the introduction of new light a great deal of information to add fires, thanks to his experience in industrial building procedures or to what we already know. restoring several buildings by this materials like concrete arrived on the The extraordinary quality and architect and in particular the famous scene. composition of the mortars in vaults of the Oyster Bar in Grand Guastavino’s works is still a mystery in Central Station in New York, with Contribution to the history of spite of the attempts made so far to interesting references to the tests of architecture discover the secret of the mixtures, structural resistance and fireproof Their contribution to Catalan aggregates and procedures used. Greater capacity that Guastavino commissioned architecture in particular by means of knowledge of these details will not only over a hundred years ago. the Batlló factory, built entirely with allow us to evaluate his technical We trust that this little introduction to timbrel vaults for prevention against contribution but also to carry out more Guastavino and Co. and their buildings fire can be clearly seen in the popularity discerning and sensitive repairs in New York, thanks to the secrets of this technique among the Moderniste on his vaulted spaces. discovered in these preliminary studies architects of the next generation, who Finally, although he worked mainly in and restoration projects, contributes to were shown this industrial building as a Spain and the United States, the appreciation of this extraordinary paradigm when they were still studying Guastavino’s work can be found in architect and the substantiation of his architecture. Their contribution to twelve countries all over the world. work in the history of architecture, Spanish architecture occurred indirectly In might be especially interesting to always in need of new interpretations. through other figures who knew him examine the buildings he erected in personally or who knew all about him Mexico, which, it seems, are scantly from his work, as is the case of the documented and partly unknown, after architects Mariano Belmás Estrada or his courtship of and second marriage to M. Mar Loren M. Luis Moya Blanco, respectively. the Mexican Francisca Ramírez. WORK PERFORMED BY THE His magnificent contribution to the As regards this point, it would be worth GUASTAVINO COMPANY IN NEW construction of the city, the public space delving into the system YORK. CONDITIONS & and the architectural identity of the of commercial promotion that led to RESTORATION TODAY United States by means of the thousand such remarkable success. or so buildings he erected in America This article offers, in the first place, (over 300 of them on the island of Presentation of articles in Loggia some ideas about the contribution of the Manhattan) is recorded in the article by In this issue of Loggia, Arquitectura & Guastavino Company to the History of Mar Loren Méndez published on these Restauración, three articles on different US Architecture, from the viewpoint of pages. We can state without a shadow of examples and aspects of the restoration the conception of thin masonry a doubt that the character of many of of Guastavino’s works are presented. structures to generate public space with the emblematic spaces in Manhattan is The article by Mar Loren Méndez architecture of urban dimension. From due to this Valencian architect’s skill in provides an overview of Guastavino’s this viewpoint, which complements the building vaults. work in New York from the impact he more general reading of his role in the made on the city to the first preliminary transference and modernisation of a Issues pending investigation studies related to research and specific building method like timbrel Such an important architect does not restoration works, some of which she vaulting, we can understand the suddenly appear from nowhere but is analyses and examines in context. Of importance of his work today, when it is the fruit of his own expertise linked to a special interest is the section on the undergoing a gradual protection certain education and context. evolution of the company’s intervention and restoration process, which began in Investigation into the background, on acoustic vaults, comprising attitudes the sixties and became more context, training and the melting that go from the complete obliteration generalised in the nineties. pot of Rafael Guastavino Moreno still of their auditory properties to the The pragmatic resources of the requires to be delved into in order painstaking conservation of their American system have been
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implemented and a line of research has The Modern Metropolis/The Historic of the city, which is after all the commenced for the specific purpose of North American City/Vaults as construction of its identity. restoring and rehabilitating the Generators of Public Space A large percentage of these buildings Company’s buildings in the United The US nation had founded its bases on made by the Guastavino Company have States. Furthermore, the almost Jefferson’s 18th century rural myth. today been catalogued and refurbished, universal ignorance of the timbrel Intellectuals and activists as important thanks to the efforts of citizens and vaulting system in the US combined as Thoreau or Poe saw the city as a kind institutions to conserve what they with the way the profession is of cancerous growth. This anti urban consider their Heritage, their historical considered there have brought about a conception was opposed in the industrial and architectural identity. These tendency towards specialisation, so that US of the 19th century, where the city architectures form part of the historic both the diagnosis and restoration of was the perfect medium for the more memory and in time have become the the Company’s buildings have been left aggressive capitalist system. Its reticular principal landmarks that Americans and to a small group of enterprises in this implantation in the territory sought no foreigners recognise as a fragment of the sector. Finally, the durability and other end than the efficient distribution very definition of the USA. The gradual solidity of the Guastavino vaults have and control of private property. The process of discovery, appreciation, aroused great admiration and involved result is the provisional city, criticised cataloguing and restoration of their an approach of almost blind faith in by Henry James on his return from works have opened up a line their quality in their restoration and Europe; a city with no history and with of research in the US focused on interventions that were no time for history. This nostalgic understanding these constructions in mostly limited to general diagnoses or perception reflected the reality of the US order to repair them. epidermal replacement of the vaults. metropolis, immersed in a continuous Brief notes about Guastavino’s cycle of destruction and reinvention. American pragmatism. contribution to the american city New York is undoubtedly the paradigm Restoration as a major line of research Since he began to work in Barcelona in of the city as a productive medium. Its The Americans were undeniably the first the second half of the 19th century, 1811 Plan foresaw the filling of the to carry out monographic studies into Rafael Guastavino i Moreno dedicated whole reticle, with the exception of the the Guastavino Company. So far the himself to the renovation of central square that was later occupied by study of the Guastavinos has focused on architecture, and members of the Central Park, affirming that free space the discipline of Construction regarding generation that followed like Dominic i was not necessary for total functional their role in the systemising of vault Montaner described him as an “artist optimisation. The limited effectiveness building. The 1968 article by George R. with exceptional skill” whose of the reticle became critical and the Collins is an essential referent of all the architecture was “revolutionary”. His first draught of the metropolitan plan in current monographic texts, the only move to the United States in 1881, his the early 20th century contained the precedent being the article published in constitution of a building company, his academic ideas of the City Beautiful 1901 by Peter B. Wright about the modernisation of the vault system and movement. Besides identifying its Guastavino Company in a specialised his entrepreneurial endeavours led to functional shortcomings, the plan building magazine. something more than a technological represented a new commitment to the Columbia University is at the head of development; they were the first stable public by proposing the incorporation of this research, under the directorship of and recognisable item in the modern spaces for collective activity into the Professor George R. Collins, thanks to American city that chronologically and urban weft. However, the pressure of the fact that it possesses the collection formally coincided with the historic private property impeded the insertion of of material of the Guastavino Company city. public spaces such as parks or it purchased before it closed down in the The Company’s greatest creative and boulevards. Since this public space sixties, combined today with the Avery productive moment, 1890-1940, was could not be built into the city reticle, it Library’s Guastavino Collins Collection. simultaneous with a fundamental was excavated in the centre of the The fact that the US is at the head of period in the development of the United buildings and this is where the this research is for heritage reasons: States as a nation, with a widespread Guastavino Company made its great since the seventies buildings of pursuit of “Americanism” contribution. The large vaulted spaces fundamental importance in the American accompanied by in depth changes in the built by the Company are really architectural world have required repairs democratic paradigm. By participating authentic public spaces in the North and happen to have been built by the in the great buildings of the time, he American city, unfailingly identified Guastavino Company. Theodore signalised, with his geometry, tectonics, with the contemporary city, which for Prudon’s informative article opened up scale and technology, a new concept of the first time attempts to become a this line of research in 1989. public space excavated in his historic city. The Company’s In the nineties the growing need the US architecture, conferring upon the participation in the qualification of these felt to understand Guastavino’s building interior of buildings a new urban spaces became generalised in each and systems in order to repair them gave rise dimension. every chapter of the building to academic studies in postgraduate
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programmes at American universities, the acoustic materials or the behaviour of three fundamental aspects to understand what is known as “Master Theses”, the structures during earthquakes are the way to approach Guastavino vaults. addressed above all at constructing a analysed. The lectures were published in 1. In the first place, they all agree as to corpus of knowledge for restoration the monographic issue of the American the ignorance that exists regarding the professionals. In 1992 Anne K. magazine The Association for building system used. The Guastavino Milkovich was working at Pennsylvania Preservation Technology Bulletin (APT Company kept it quite secret, and the University about aspects of durability Bulletin). fact that other companies could not use and conservation of several buildings the It is true that the work of Rafael the system because of patent regulations Company had built in Philadelphia. In Guastavino i Moreno is known in Spain hindered its diffusion, and, besides, it did 1995 Kain M. Link drew up a more thanks to the studies on cohesive not belong within their building thorough study at Oregon University that building carried out in the nineteen tradition. Richard Pieper went so far as focused on the analysis of restoration sixties and seventies, with the to describe it as an “esoteric historic works following the case study method. uninterrupted production of authors like construction technology” among other The author speaks about the almost total Belmás, Goday and Maya Blanco, who voices that cry out for specialisation in ignorance of the timbrel vault and her appreciated concepts like structural the specific field of the Guastavino vault. main aim is to provide knowledge for simplicity and constructive clarity in his In the nineties there emerged a small professionals performing restoration work. Nevertheless, these authors did not group of professionals in the sector works on any of the Guastavino write specific monographic studies about involved in restoration works whose buildings. She begins by speaking about his work and it was not until 2001 that companies are now often linked with the aspects like reversibility in the the first exhibition was held with the Guastavino Company. restoration of Guastavino buildings first monographic text about the Such is the case of Robert Silman, although her final conclusions are of a Company’s production. The contents, considered the greatest expert in the general nature and not specifically about however, are rather academic and do not structural diagnosis of the Company’s the vault system. That same year Richard address the specific field of restoration. works. Although his vast experience in Pounds proposed a detailed study of It was not until December 2004 that a this discipline permits him to establish acoustic materials and Daniel R. Lane of specific section on “the Restoration of general guidelines, he himself admits he the mortars used. The latter addresses a Rafael Guastavino’s vaults in New York” has no objective tools for calculating the subject of major interest for restoration: was included in the 27th edition of the behaviour of Guastavino vaults. In the the complexity of the materials used by Course on the Intervention on process of his structural analysis, he the Company in its mortars, revealing the Architectural Heritage by Barcelona describes two actions: presence of gels, several additives and Council, directed by the Professor of a) Those that attempt to calculate the even the use of lime mortars in certain Architectural Constructions José Luis load that a vault is capable of resisting works. Professionals like Robert Silman, González. The author of this article shall according to its geometry and thickness from Robert Silman Associates, an provide an overview of the importance at different points. In a lecture delivered engineering consultancy firm that has of Guastavino’s work in the history of 22nd June in New York, he stated that at intervened in the diagnosis and repair of US architecture and the restoration of his the present time there is no mathematical many Guastavino buildings, confirms the work. Charles DiSanto explains his model to allow this nor a specific line of Guastavinos’ use of “secret ingredients” intervention on Queensboro Bridge and research, as these would be theoretical in their mortars that still have not been Kent Diebolt, from the firm Vertical studies that the clients are not as yet identified today and that Stilman wittily Access, who is an expert on the works to willing to promote. compares to Coca-Cola because of the be restored, explains his deep b) The second and more common action care taken keep its ingredients secret involvement in the diagnosis of the focuses on studying the degree of In 1999, due to the growing interest in vaults. Finally, in June 2005 a seminar stability and safety of a structure after it the Guastavinos’ work, Columbia on restoration of architectural works was has suffered some specific damage. University held the first series of held in New York and contact was made Robert Silman admits he does not know professional and pragmatic monographic with the people most involved in the how to analyse Guastavino vaults and lectures. The sponsor, New York recuperation and diagnosis of says he depends on his intuition and a Landmarks Conservancy, is an Guastavino’s work and a large number of blind faith in the system. This total organisation whose objective is the buildings were visited, some of which confidence in these constructions leads restoration and conservation of New are currently being restored. him to the conclusion that the York’s architectural landmarks, and professional should aim to restore the therefore the contents of the lectures Restoration of Guastavino vaults. The structure to its original state, alleging, “if were technical and delivered by case of New York they have proven stable, resistant and professionals who have worked in the An approach to the restoration process solid for around a century, they will be restoration of Guastavino buildings in of Guastavino’s works able to resist another hundred years if we the United States completed by others, Both authors and professionals in the restore them to their original state”. It is where aspects of a general nature such as field of restoration in the US coincide in a rather disconcerting statement, for if
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one does not know how seriously an pieces were replaced in the Oyster Bar limited once again to a mechanical agent has affected the structure, one can on the consideration that the vaults analysis by hitting the pieces in the first hardly restore it to its original state and themselves were structurally stable. layer with a pneumatic hammer. The much less predict the lifespan of the Some of the pieces that came loose were results confirmed the reputation of structure if it is restored to that state. reused, although those directly damaged Guastavino vaults, for the restoration 2. Faith in the Guastavino Company’s by the fire had to be replaced with new consisted in substituting 17 ceramic work is the second aspect about which ones. In short, the diagnosis and repair pieces out of the 28,282 that form this the professionals involved in restoration works were limited to checking which impressive dome. hold a unanimous view. Without pieces had come unstuck from the In the nineties the hall built by the exception, they express their total faith second layer –in the next section we Guastavinos was expressly catalogued, in its architectures, praising the high shall see what this analysis consisted in– since it was considered the most quality of these constructions as regards and then removing and substituting representative element of the original structural resistance, solidity and them. The structure was not subjected to building although it had been built at a durability. a structural analysis or repair works. The later date. It is interesting to note that James Rhodes, an architect from same applies to most of the restoration even though it is the largest space, it Preservation Design in New York and works on Guastavino vaults, where, was decided not to use it to exhibit involved in the restoration of different thanks to the great solidity and material: The Guastavinos’ structure and works of the Guastavino Company for durability of the system and the the historical value of this important twenty years as an architect of the firm confidence it arouses, only superficial building that witnessed the formation of Beyer, Blinder & Belle, said that the repairs have been carried out. the nation is thus the major exhibition Guastavinos undoubtedly had a better This is also the case of the main hall of piece. understanding of building than American the Immigration Centre on Ellis Island, 3. In the third place and as is becoming architects and engineers today. This where Guastavino replaced the interior evident from the works quoted, everyone expert in restoration underscores their of the ceiling of the vestibule after it agrees that the causes of the dominion of material and geometry in collapsed in 1916, although the original deterioration of the structures are almost works of high quality and great roof was respected. Guastavino covered entirely due to agents that have nothing sophistication where the structural the inside with rectangular groined to do with the vaults. Therefore, their system was at the same time a vaults of different width alternating with dilapidation is not related to an error of decorative system. those that define the entry of light, thus calculation, bad building methods or the Thanks to this unanimous faith in achieving surfaces of different curvature poor quality of the materials used. Guastavino’s work, the tests of and creating gradients in the luminosity External agents such as fire, water or loadbearing and fireproofing made by of the space. This building was closed vibrations have put the Company’s the New York Department of Building, for over thirty years, since 1954. constructions to the test. Even in to which the Company submitted its Because of its historic importance in the extreme conditions, the vaults and products in April 1897, are used in the construction of the identity of the domes built by the Guastavino Company diagnosis of restoration works today. American people –over 40% of are still amazingly long lasting and Robert Silman’s firm concluded that the Americans are genealogically connected solid. Kent Diebolt, from the firm vaults of the Oyster Bar at the Grand to the immigrants who went through Vertical Access, emphasises the Central Terminal were still stable and Ellis Island– it was made part of the magnificent state of the Guastavino resistant after the fire that broke out in National Monument of the Statue of structures after years of total neglect. In 1997 based on the Company’s tests. It Liberty in 1965. From 1986 to 1990 it these cases it is external agents that have was also concluded that the loss of the was rehabilitated as the Immigration caused deterioration in the vaults, and first layer of tiles was not a consequence Museum. The building was in a very they have resisted magnificently even in of the loss of resistance or stability but a poor state of repair and due to the total such extreme conditions. result of the contrast in temperature loss of insulation in the roofs and walls, In the specific case of the vaults that the between the extreme heat of the fire and it was literally wet, and particularly in Company built under Queensboro the water used to extinguish it and the the main hall water was leaking through Bridge, the deep cracks and extensive pressure of the water. This conclusion the Guastavino vaults onto the floor. loss of material are due to the vibrations was not reached after performing a Again it was a case of a construction caused by traffic from the principal stress test on the vaults over the Oyster built by the Company subjected to metal structure of the bridge and rusting Bar but again on the basis of the results external agents derived from pathologies and water infiltration. Even so, in a of the Company’s tests, where the vaults located in other elements of the lecture about the restoration of the also lost the first layer of ceramic tiles building. After drying the building with structure delivered by his firm, Walter in the fire, although when stress tests pressurised air for 15 months, the vaults B. Melvin, Charles DiSanto said the were later carried out it was found that were diagnosed. It is surprising to note solidity of the vaults, which have the loadbearing capacity of the vaults that the structural diagnosis carried out suffered external agents for years, was remained undiminished. Therefore 1800 after suffering such serious damage was surprising and it is unlikely that any
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other sort of structure would have absorption power than any masonry or intervention in the seventies, in which withstood similar conditions. ceramic construction of the period 100% of the Rumford acoustic tiles were In the case of the Battery Maritime thanks to the porosity it acquired during sealed with a solution of Kyanize Clear Building, cracks have been detected in the manufacturing process. Made of Latex Sealer (L-0560). The pores of the the vault built by the company in the clay, feldspar and vegetable soil (which Rumford pieces used both in the vertical loggia located on the first floor. Daniel allowed pores to form when burnt), it surfaces and the vault covering the Lane, an architect of the firm Pokorny & was very good at absorbing sounds in church considerably increased the Associates, explained that these cracks the frequency band of the spoken voice reverberation time of the architectural are due to the differential subsidence of (500-2000). However, it was not very space, thus resulting in greater quality the building. The vault can be seen to profitable to manufacture it because of for the music played there although it have suffered slight damage at the the lack of homogeneity and quality lost quality somewhat for the spoken corner where the main structure, also achieved in its production. Two years word. Besides, this material gave a shiny metallic in this case, has descended and later they patented a new product, finish to the surface, so that it looks the vault in this case has conserved its Akoustolith Cast Stone. This was not a almost metallic when illuminated, rigidity and remained in place, although ceramic material but portland cement changed its texture completely and it no longer rests on the structure. mixed with sand and ground brick or provided a rather unfortunate overall stone with a grain similar in size to sand effect that has still not been resolved. The most suspect material: Acoustic and water. The graded porosity achieved In the Church of Heavenly Rest, also on material in a religious space. Light and in its manufacture permitted it to absorb Fifth Avenue, although a little further to shade in the products patented by the a very broad band of tones and the north, it was also decided to change Company. frequencies, a decisive factor for the the acoustic conditions, but in this case The acoustic products patented by the product’s market success. In this way, a detailed study of the acoustic Company after the nineteen twenties are the Company offered an solution behaviour and the materials to use was the most often doubted proposal and as a integrated into the constructive process, carried out beforehand. Although the result the most often subjected to which did not make the work much acoustic study was performed in the late restoration works specifically addressed more expensive since the same pieces seventies, the restoration works carried at altering the characteristics of the that have a structural and aesthetic out by Allen, Harbinson & Associates product offered by the Company. function were now endowed with took place in the nineties, and by that Although patent 464,563 Cohesive acoustic properties as well. time sensitisation had taken place Ceiling Floor is a token of Rafael However, in spite of the success the regarding the need to respect the Guastavino i Moreno’s concern about products enjoyed in the first decades of original building in such interventions. the acoustic qualities of his materials, it the 20th century, these materials actually In this case, Klepper Marshall King was his son Rafael Guastavino i prepared the liturgical space in the best Associates Ltd., acoustics experts who Expósito, with the collaboration of possible manner for the spoken word had worked on quite a few places where Wallace Clement Sabine, who patented although they drastically impaired their the Guastavino Company had installed and manufactured materials that behaviour for music. Indeed by their products, first analysed the substantially altered the acoustic indiscriminately increasing the power of acoustic behaviour of the church. Their behaviour of the architectural space. acoustic absorption, nuances and advice was to seal 75% of the Indeed the Company’s use of acoustic sonorous continuity disappear and, in Akoustolith acoustic pieces in the materials became generalised for the other words, the ideal equilibrium church. This measure was meant to interior of churches and it was the between the spoken word and music is solve two problems: on the one hand, to architect Ralph Adams Cram who not achieved. Although in the mid 20th make the space suitable for musical and convinced Guastavino to improve the century it began to be crucial for choral events, diminishing the absorption coefficient and thus reduce churches to have good acoustics for absorption of medium and high reverberation inside ecclesiastic spaces. musical interpretations and the first frequency sounds, but also to achieve It was this architect who commissioned interventions were carried out on greater equilibrium and homogeneity in Sabine to measure the absorption Guastavino’s work, it was not until the the sonorous distribution of the whole coefficients in the chapel of the military seventies that congregations started to church. In fact, in the tests performed, academy West Point, built by the use their temples as concert halls either there were found to be differences of up Guastavino Company in 1911. for charity performances or celebrations to 9 decibels in different places in the After manufacturing and installing of the community or a institution. Saint interior. experimental material in the First Thomas Church on Fifth Avenue, This intervention also included a Baptist Church in Pittsburgh and thanks designed by the firm Cram with thorough study and at first it was to two years’ research with Sabine, the Ferguson and Goodhue in 1914, for concluded that a coat of L-0560 could Company patented the Rumford which a very interesting asymmetrical be followed by a coat of Kyanize L- Acoustic Tile in 1914. This was a solution is applied to a little site on a 0561 to make it matt again. However, its ceramic tile that had six times more corner, underwent a rather aggressive use was banned before the works were
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performed because it was toxic during capacity for acoustic absorption. For that in a perfect state of repair and the application. In 1994 the firm ProSoCo, reason, James Rhodes himself states the adherence between the layers is perfect, specialised in cleaning, restoring and cleaning was done dry and entirely by the energy reflected will be greater than protecting buildings, carried out tests hand, one piece at a time, with very hard that absorbed and the sound obtained with different materials because there sponges called wishab imported from will be clear and pure. was no specific product for the Church Germany. The total surface covered with The interpretation of the data obtained is of Heavenly Rest’s problem at the time. Akoustolith is 350 square metres. In one made by four specialists, who listen to After performing the tests, it was hour a worker can clean 10 square the sound and evaluate the state of the decided to use a product normally metres using seven wishabs. vaults. Therefore, the process is not employed on exteriors to prevent objective, since it depends on the leaking, also made of latex. Three Diagnosis and characterisation of the auditive capacity of the four people, undiluted coats were applied and the Company’s constructions. with all the problems that this involves. acoustics was improved without altering Given the ignorance concerning 3. This system is a variation of the the texture and matt appearance of the Guastavino’s work, the diagnosis phase previous one. It also consists in striking Akoustolith. was a key moment in the intervention on the pieces and analysing the acoustic Nevertheless, other religious their constructions. The analyses made data obtained. However, with this communities still give priority to the for the diagnosis of the Guastavino technique, the data are analysed by a spoken word in their churches without vaults to discover their state of repair receiver, which transmits them to a any electronic installation. Such is the are of three types: computer, calculating the degree of case of the Jewish congregation, the 1. Visual analysis. Only a visual analysis deterioration and segregation of the vertical surfaces of whose main place of is possible in areas of difficult access. different layers in an objective analysis worship, the Emanu El Temple, were Video cameras are used to monitor these of the sound absorbed and reflected by covered with Akoustolith tiles. In this large surfaces. the vault. case, the Akoustolith does not attempt to Due to the great expense of installing This is really an adaptation of a imitate stone, and although the basis of scaffolding, the workers were suspended diagnosis technique for sheets of the material is portland cement, both the from the vault. To this end, it is concrete in brick covered vaults. Kelly format and the colour should have a necessary to perforate the structure in Streeter wrote her engineering master’s ceramic appearance. The pieces are certain places. This technique has been thesis in this field, evaluating problems about 50 cm tall to accentuate the generally applied in Guastavino’s works in concrete sheets according to their verticality of the space. The pieces were and specifically it was the firm Vertical response to ultrasounds. At the present made in more than ten different shades. Access that used this system on many of time the Vertical Access company is Here the architecture firm Kohn, Butler the restoration works like, for example, adapting these concrete evaluation & Stein collaborated with the Saint Thomas Church. Only in Saint techniques to Guastavino constructions. Guastavino Company again to Paul’s Chapel at Columbia University Apart from converting this ultrasound emphasise the verticality of the temple did they use an elevating apparatus to diagnosis method into objective studies, by placing the pieces at a gradient with avoid these perforations. it was a solution for vaults that could the paler colours at the bottom and the 2. Mechanical analysis. This consists in not be accessed from below. It also darker at the top. After every four striking each of the pieces with a permits the diagnosis to be made from pieces, golden strips also made by the pneumatic hammer and analysing the above, since most vaults can be accessed Company were inserted to emphasise state of the vaults on the basis of the from above. This is the case, for this effect and to enhance the acoustic data collected. It is a diagnosis example, of the diagnosis made on the appearance. system that has been generally adopted Battery Maritime Building, where this This temple is now undergoing global and is applied almost systematically on system was applied. The vaults can be restoration works worth 25 million all the Guastavino works that need to be reached from above and this makes it dollars directed by the firm Preservation diagnosed, whether they are to be possible to receive the acoustic signal Design, founded by the architect James restored or not. easily. In this case, except for the Rhodes. In the case of the Akoustolith A vault that has lost consistency fragment affected by the subsidence of tiles, the community underscores this between the different layers of pieces the building mentioned above, the vault material’s great capacity from an –whether they are ceramic or cement in is a good state of repair and is not acoustic point of view and has no based, as in the case of the Akoustolith delaminated. intention of modifying its tile– and the mortar made of portland In contrast, in the diagnosis made on the characteristics. Far from it: when cement will be segregated from each domes of the Federal Reserve Bank in considering cleaning them, they were other and the space between them will the nineties, this technique led to the afraid that the use of any product absorb the acoustic energy. The energy conclusion that there was almost total containing detergent or even water reflected will be less and the sound segregation of the first layer, in this case might damage the colour, texture or obtained will be more “blurred” and less made of Akoustolith tiles, from the rest porosity of the tiles and therefore their clear. If, on the contrary, the vaults are of the structure. This is very unusual, as
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they are not brick lined vaults but a keystone. The Guastavino vaults were in New York after the fire that broke out metal structure holding a plaster base to replaced completely reproducing the in 1997 mentioned above, Robert Silman which a sheet of merely ornamental geometry of the vaults with concrete analysed the composition of the original Akoustolith tiles was attached. In any reinforced with fibreglass and then mortar and reproduced it. It was a 1:1:6 case, the ultrasound system made it lining this shell with ceramic tiles. It is mixed mortar used to replace the pieces possible to diagnose that this sheet had therefore a rather aggressive of the first layer and latex was added come loose from the substructure and its intervention where the form and the instead of an unknown substance stability was seriously endangered, so a texture have been conserved but the detected but not identified as part of the conglomerating product was injected to building system has not. This sort of mortar. The shape and size of the joints adhere it and guarantee the safety of the intervention would not be possible is also a faithful reproduction of the pieces. today, as the New York City Landmarks original solution, where the joint was T- This ultrasound technique opens up a Preservation Commission has shaped in order to increase its thickness. very interesting field of study to get to established much more respectful and In this work, the Commission even went know the characteristics of vaults, and stricter criteria for conservation in the so far as to propose reproducing the discover the number of sheets in a vault last few years. In the restoration of the original furniture installed when it was at each point of its geometry. The vaults under Queensboro Bridge, these built at the turn of the century, although amount of sound reflected is thus vaults were in very poor condition with they later rejected the idea. They also inversely proportional to the number of huge cracks caused by vibrations from controlled the illumination system and sheets; the more layers, the more the main structure of the bridge. the materials that were to be used. acoustic energy is absorbed and However, the initial work was totally Although the Company had used 12 therefore the less sound is reflected. respected and reversible repairs were different shades, in the negotiations with This technique has been applied in Saint practised with flexible joints in the the owners due to the great expense of Thomas Church and has located the use cracks keeping the original structure and reproducing it exactly, it was agreed to of two, three, six and eight layers, permitting the movement of the structure reduce it to three shades. whose greatest thickness is at the so as not to transmit this stress to other In the restoration of the Battery springing points. parts of the vaults. Maritime Building, the idea of replacing Only one of the vaults had to be the fragment of the vault affected by Patrimonial considerations in replaced because the main metal subsidence was discarded, as the restoration works structure of the bridge was literally objective of the architects Pokorny & Finally, all the agents involved are piercing the vault causing the obvious Associates is to show the utmost respect unanimous in emphasising the problems of direct transmission of not only for the original solution but patrimonial value of the Guastavinos’ vibrations and damage caused by the also for the original vault built by the work in American architecture. Its dilatation of the rusted structure and Company. For this reason, now that it is cataloguing and protection has also more serious problems of damp. To this under restoration, they are thinking of influenced the approach to architecture, end, the original brick lined vault building a concrete framework in the avoiding aggressive interventions and technique was used with the only space between the roof and the vaults controlling them by means of difference that stainless steel from which to hang the last 15 metres of institutions like the New York City reinforcements were added. The the vault in order to unload the weight Landmarks Preservation Commission, introduction of metal reinforcements and prevent it from further deformation which since the nineties has been was common practice for the Guastavino and cracks. imposing reversible rehabilitation Company and even specifically St Paul’s Chapel at Columbia techniques as far as possible and called mentioned in their patents. In this case, University, however, is undergoing for respect and the use of the Company’s however, it seems the Company was serious loss of pieces from the first original building methods and materials. responsible for this pathology due to an layer. St Paul’s is considered the jewel To illustrate this change of attitude error in the calculation of the vault’s in the crown of the pieces made by towards rehabilitation, it is very useful geometry. Guastavino in New York, for in this to compare different restoration works Within the most orthodox line of work the Company’s products were performed at different times. In the restoration promoted by the New York mostly used. In this case, Kent Diebolt restoration performed by Beyer, Blinder City Landmarks Preservation says the pieces that have fallen belong and Belle on the canopy over the taxi Commission and supported by to parts of the church where they were entrance at Grand Central Station, the professionals in the field of restoration located at a later date, that is, after brick covered vaults served as a sort of with profound respect and admiration building the vaults and domes, and that framework resolved with metal beams. for Guastavino’s work, the mortars used they are therefore not structural pieces The rusting of the beams and the in the works are analysed and but merely decorative. There are serious ensuing dilatation compressed the vaults reproduced today. In the restoration of doubts in the restoration milieu about and they broke along the line of the the Oyster Bar in Grand Central Station whether the layer of bricks was installed
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first as shuttering or last as a decorative following the consolidation of the ft. of exposed vaulted ceiling graces the finish. Greater City of New York from the five underside of the bridge road way. There Like in the restoration of the Battery boroughs in 1898. Prior traffic between are no less than five primary geometric Maritime Building, it has been the two boroughs was limited to ferry forms of vaulting: spherical, modified suggested that each and every one of the boats, and it was expected that the spherical (at shop area), segmented pieces considered decorative in St Paul’s bridge would facilitate the exploitation elliptical, straight barrel, and curving should be replaced by new ones, which of cheaper land in Queens for light barrel. should be installed with a mechanical industry and manufacturing. All vaults are finished in the signature method of pressure screws without any In keeping with the city's desire to Guastavino herringbone pattern of mortar. Although this proposal is being celebrate the civic grandeur of such ribbed, glazed face tile (6 in. by 12 in. studied, it is surprising since it goes significant transportation improvements, by 3/4 in.), with two or three layers of against the respect for heritage we spoke the designers of the bridge, engineer larger red backup tile. The whole is of above, especially in a work like St Gustav Lindenthal and architect Henry cohesively bound in a cement mortar Paul’s. Considered the paradigm of the H. Hornbostel, embellished the state of matrix of approximately 4-1/2 in. over Guastavino Company’s work, where the the art technical and engineering aspects all thickness. The thickness of the vaults use of a building method and ceramic of the structure with architectural grace varies from two layers of backup (plus materials was crucial for the and sensitivity to detail. Nowhere are face tile) at the top of the dome to as architectural formalisation of the edifice. these intentions better realized than in much as nine layers at the rib spring This loss of material is accompanied by the soaring vaults of the Bridgemarket point. While the four bays of the First the appearance of cracks in segmental space below the roadway of the Avenue vaulting rest on granite clad arches located at the sides whose origin Manhattan approach. arched girders that span 120 ft. across is unknown at the moment. The first step The vaulted Bridgemarket was the street, most of the spherical vaulting is always to guarantee the safety of the conceived as a sheltered public market is stiffened and supported by built up structure so metal pieces have been that would occupy the otherwise tile ribs, which in turn rest on shelf inserted to correct the lack of cohesion unutilized area below the Manhattan angles at the terracotta clad, structural of the vault caused by the crack, even approach to the Queensboro Bridge. The steel lattice columns (fig. 2). These though the cause of these pathologies is space was originally open to the street, columns continue past the vaults to as yet unknown. but in 1916 it was enclosed with large, support the roadway of the Manhattan Concluding with this case of the steel sash windows. The Bridgemarket approach. pathologies found in St Paul’s Chapel, closed in the 1930s and fell into The spherical vaults at the Bridge market we can see that according as diagnosis disrepair. Traffic increased on at the area are truncated from a 22 ft. radius and restoration works are being carried roadway above, and moisture leaked dome with a 5 ft. rise over a 30-ft. by 30 out on Guastavino works in New York, a through the bridge deck. The ft. bay dimension. There are 34 such group of experts in these works has been Bridgemarket was designated a New vaults. The remaining two bays at the east consolidated (again we find Vertical York City Landmark in 1974, and the end near the Manhattan anchor pier were Access, Robert Silman in the diagnosis restoration is expected to be complete modified in the original design by the phase) and although they themselves before 2000. removal of a central column to allow for still insist they know very little about an uninterrupted view of the central area the building methods, their professional The Manhattan Approach and of the abutment. The resultant vaulting career is now undeniably associated with Guastavino Vaulting extends across two bays and is terminated the Guastavino Company and the The Manhattan approach extends from at the free edge by an elliptical rib restoration of its works. Second Avenue at 59th Street eastward supporting four radiating, triangular vault to the Manhattan anchor pier near York sections (“pie vaults”). When viewed Avenue and includes road and pedestrian together, these vaults approximate the ramps, massive load bearing granite side shape of a half dome (fig. 3). walls, and four distinct areas of Charles DiSanto Guastavino tile vaulting. Of these areas, Program and Project Requirements RESTORATION OF THE the Bridgemarket space, between First Because the Queensboro Bridge and QUEENSBORO BRIDGE Avenue and the Manhattan anchor pier, Manhattan approach are designated as GUASTAVINO TILE VAULTS: A is the largest (at approximately 32,000 city landmarks, all work on any aspect CASE STUDY sq. ft.) and most prominent (fig. 1). of the bridge requires the review and The vaults at the First Avenue over pass, approval of the Landmarks Preservation The Queensboro Bridge, built between sign shop/maintenance area (12 bays), Commission. The New York City 1901 and 1909, was designed to carry and trolley entrance kiosk make up the Department of Transportation's Bureau horse, trolley, and elevated train traffic balance of the Guastavino fabric at the of Bridges administers and maintains the between Manhattan and Queens site. In total, approximately 60,000 sq. bridge and thus assumed the role of the
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owner. The firm of Walter B. Melvin, tile and mortar. Face tiles were found to General Repair Approach and Architect, was engaged as a consultant have an average compressive strength of Methodology to Steinman Engineering in 1992 to 6530 psi and absorption of about 9% The restoration program identified the survey, design, and specify repairs to the (24-hour soak). Backup tile tested at extent of the problematic conditions of architectural elements of the Manhattan 3750 psi and 8% absorption. Both tiles the vaults and sought to effect repairs that approach, including a new pedestrian were acceptable under ASTM C62, would meet the following challenges: access ramp, and to shepherd the work severe weather grade. Mortar was Salvage and retain as much original, through the city agency review process, characterized as ASTM Type N, with no sound material as practically possible. including the landmarks approvals. evidence of sulfate attack. The original Utilize repair and replacement materials The architect's mandate was to satisfy pointing mortar was determined to be that are compatible with original the pragmatic concerns of the ASTM Type S. Review of original components and physical properties. Department of Transportation with drawings provided important insights Prevent future deterioration of vault and respect to structural repairs, replacement into the intended construction details column elements where possible by the of lost material, and stabilization of and configurations, particularly with inclusion of water and drainage controls existing fabric, while retaining the basic respect to the relationship between and soft joint repairs. architectural features of the spaces and vaults and the bridge roadway Utilize modern materials and approaches materials involved. The project was superstructure. where observations indicated inherent primarily conceived of as a structural The deterioration of the vaults is difficulties in the original design. stabilization but was approached from a attributed to three primary causes: water The repair and restoration of the preservation perspective. infiltration and its effects, thermal Guastavino vaults at the Queensboro movement of the structural frame of the Bridge included the employment of both Survey and Observed Conditions bridge (superstructure), and vibration traditional and modern materials and General conditions of vaulting, ribs, and stresses carried from the roadway to the methods. These modern materials columns throughout all areas of vault construction. included stainless steel rods (fig. 7), Guastavino construction were Water infiltration from the roadway flexible sealants, and polyurethane significantly deteriorated at the initiation above, particularly at perimeter areas waterproofing systems. All other of the project in 1992. In 1993, survey and poorly maintained movement joints, materials utilized in the restoration were work began of all vaulted areas, as well resulted in direct saturation of vault traditional terra cotta and mortar based as the 56 terracotta clad structural masonry, corrosion of shelf supports components. columns at the Bridgemarket and sign (lifting the shell and ribs at the spring Repair categories are shown in Table 1. shop areas. Investigative work included point), accumulation of salts, and The initial field survey established a two pronged approach of field survey freeze/thaw damage. The geometry of primary reconstruction, crack locations, work and related materials research. All the vaults was such that water ran to the and broad areas of efflorescence and vaults and columns were inspected from column (low point) areas from the top suspected tile delamination. Once the the ground and (where necessary) from side of the dome section, causing dis- vault areas were cleaned from below, an personnel lift (boom) equipment. In placement of terra cotta column additional level of repair was identified addition, all vault areas were accessed cladding due to the expansive forces of based on field criteria established for use and inspected from above to identify corrosion and freezing on the internal by the city's inspection engineers. relevant top surface and roadway lattice columns. Clearly, any restoration Criteria included the following physical conditions. At the same time, original effort needed to address this primary characteristic observations: sounding construction drawings were studied, and concern. with a wooden or acrylic mallet, lab testing was performed on selected Another source of damage to the vaults identification of the quantity and core drill samples of the vault arose from the significant influence of distribution of crazing and cracks at the construction to ascertain properties of the bridge superstructure. Columns and tile glaze, and resistance of mortar to constituent materials. beams supporting the roadway above knife edge probing. This criteria utilized The field survey information was gathered the vaults transfer thermal and vibration simple field tests applied on a tile by tile and recorded on individual vault-plan stresses to the thin shell tile vaulting, basis and resulted in additional and more diagrams, showing the typical herringbone which in some areas encase the column detailed quantification of face tile and tiles and perimeter ribs of a 30 ft. by 30 ft. cross bracing (these conditions were pointing mortar replacement. It was bay. Visible areas of efflorescence, observed physically from the top side of extremely important to perform a hands deteriorated pointing, spalling, tile the vaults during periods of moderate to on inspection of each tile to identify delamination, cracking, and lost material heavy traffic flow). The moisture these types of repairs. were identified, quantified, and recorded infiltration and thermal and vibration on the survey sheets. These sheets were stresses combined with years of Waterproofing and Control of Moisture later compiled to assemble overall deferred maintenance to create the Infiltration reconstruction plans of the vault areas. deteriorated conditions noted during the In April 1995 the Graciano Corporation Research included materials testing of survey phase.(figs. 4, 5). was awarded the contract for vault and
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column restoration at the Queensboro thermal and vibration movement of the Conclusion Bridge. Prior to the execution of any bridge superstructure remain unchanged, For over fifty years, the soaring vaults repairs to the vaults or columns, the and it was determined that a solid repair and elegant columns of the Bridgemarket control of ongoing water infiltration from to such cracks would raise the risk of were hidden from the public eye and the roadway above was established as a future recurrence. 1 The challenge was allowed to deteriorate without meaning priority. Although major repairs to the to strengthen the joint in a flexible ful repair. Significant failures of mortar, roadway greatly reduced the infiltration, manner and replace the broken face tile tile, and vault and rib construction were it was expected to persist to some degree. while allowing future movement to apparent throughout. Still, the Guastavino The top surface of all vault areas was occur in the stress crack areas. The vaulting has withstood the elements, the first coated with a compatible detail developed for this repair made use abuses, and the longterm neglect with cementitious waterproofing material of a flexible reinforcing rod and a relative success. There are few, if any, (Thoro seal foundation coating) to seal special, slotted face tile that was not comparable construction systems that can small cracks and minimize absorption of bonded to the backup vault material. be exposed to such conditions of occasional moisture into the vault Flexibility in the rod itself was achieved environmental and structural stress, masonry. The low point collection areas by a bent configuration that would allow including excessive water infiltration, (at the columns) were built up with elongation without a full transfer of cracking, and loss of material, and still be lightweight concrete to create a new low stresses into the masonry at the considered restorable. This fact alone is a point and divert water away from the embedded rod ends. tribute to the superior qualities of the steel columns (fig. 8). A flanged scupper The slots in the special face tile allowed design and execution of the Guastavino tube was installed at this location and for a “suspended” installation, and tile vaulting (figs. 13, 14, 15). stripped in with a polyurethane water was free to move relative to the backup The repair and restoration program proofing membrane throughout the vault materials. The back face of the sought to accommodate the difficult collection area. The scupper drain tube slotted tile was not scored to receive environment of the Manhattan approach extended throughout the vault tile at this mortar and was covered with a bond while maintaining a sensitivity to its new low point, which avoided damage to breaker sheet prior to installation. unique architectural qualities. The repairs the more significant column terra cotta, Sealant was injected in the crack area of were grounded in an established while also penetrating the vault at an area the shell (between backup tile) and was scientific base, but in the tradition of of thinner cross section. The membrane applied along the herringbone joint of much of Guastavino's work also relied on waterproofing material was brush applied the special face tile in the manner of a instinct and experience with the behavior to the vaults, the steel cross bracing, and traditional soft joint. The result was a of other masonry construction. The the lightweight concrete fill at the low stitched seam that accommodates completed restoration has retained point basin. movement and remains virtually significant original character while Once the waterproofing and scupper indistinguishable from the adjacent introducing changes that should prevent drainage effort was in place and pointed joints. Cracks at some face tile future deterioration. Time will reveal the functional, work could begin on the tile that did not extend through the thickness effectiveness of the decisions made vault and column repairs. In order to of the vault were also sealed with this today. replace damaged terracotta cladding material. units at the columns, ribs at adjacent Rebuilding of vault sections where vaults required shoring (figs. 6, 9). In all, significant loss had occurred was over eight hundred terracotta cladding accomplished in a straightforward and Robert Silman units were replaced, along with repairs traditional manner utilizing reproduction STRUCTURAL REPAIRS TO FIRE and resetting of several hundred salvaged tile and mortar that matched the physical DAMAGED GUASTAVINO TILE units. Boston Valley Terra Cotta properties of the original, along with VAULTS AT GRAND CENTRAL fabricated the reproduction units. Some stainless steel reinforcing rods at the TERMINAL'S OYSTER BAR terracotta column cladding was removed perimeter of the reconstruction area entirely and reset to address general (figs. 11, 12). Full tiles were replaced at Structural repairs to the fire damaged displacement due to corrosion of the both top and bottom layers. Guastavino vaults at the Oyster Bar in structural steel column. Exposed steel The repointing work utilized mortar of Grand Central Terminal presented was scraped, primed, and painted with identical composition and color and several interesting challenges (figs. 1, rust inhibitive paint. included the distinctive “raised profile” 2). Guastavino restorations are always joint so commonly found in challenging because of their minimal use Crack Repairs and Movement Guastavino's herringbone design. This of material in structurally simple yet Accommodation joint, which accentuated the lines of elegant solutions. Still, from churches The forces that caused tension cracking adjoining tiles while presenting a (St. John the Divine and St. through the vault construction were uniform width, was tooled by the Bartholomew's in New York City) to assumed to be only partially related to contractor using custom site built college buildings (at Barnard and moisture infiltration. Stresses due to striking tools. Columbia) to industrial buildings (a
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printing plant in New London, Structural Assessment of Fire Damage that the finished tile was applied last Connecticut, now converted to housing), The first assignment from the owner of came from the observation that mortar Robert Silman Associates has the Oyster Bar was to determine the dabs held the tiles in place rather than a experienced how remarkably these safety of the remaining portions of the fully parged collar joint. With this vaulted structures accept repairs and vaults immediately following the fire, so information in hand, it was determined adapt to new uses and modifications. as to allow clean up and repair that the original red clay tile vaults had operations to begin immediately but been self supporting prior to the initial Oyster Bar Vaults: A Description without subjecting the workers to any installation of the finished tile; absent The main vaults at the Oyster Bar are danger. any observed distress, they were still configured from a part of a sphere, First, an acrylic faced mallet was used to adequate to remain as free standing which is then forced into a square by tap each remaining face tile to determine vaults. cutting vertical chunks off the sphere to if it was loose, a technique that had been A structural analysis of the vaults would form a four sided shape (fig. 3). Rather developed in the examination of the have been a time consuming and than directing all of the load from the Ellis Island Registry Room ceiling some expensive exercise that was not vault into the pendentives in each ten years ago. This procedure identified considered necessary. Instead, it was corner, the Guastavinos trimmed the entire fields of loose face tiles, as well determined that since the vaults had curved openings on the four sides with as isolated individual tiles with behaved satisfactorily for 84 years, and very substantial, wide tile arches that insufficient bond. All loose tiles were there was no observable damage to the carried a good portion of the vault load. removed immediately (fig. 6). backup tile or mortar, there was no The loads from the vaults and the arches However, when an isolated tile was reason why the face tile should not were delivered to the steel columns of shown by sounding to be loose and was simply be replaced and the vaults the main Grand Central Terminal subsequently removed, all of the returned to service. This is an important building (fig. 4). The history of the surrounding tiles became destabilized, principle in a structural engineering Oyster Bar and the description of the with loss of bond detected upon evaluation of an existing system. original system, as well as the damage resounding. Mathematical analyses of shell caused by the fire, is described The face tiles had formed an structures whose configuration is similar elsewhere in this issue. independent vault of their own, one tile to these vaults show that very high The vaults of the Oyster Bar were thick, which, once disturbed, lost its bending stresses occur in the constructed for the most part of three vault like capability to behave like a pendentives and adjacent to the cut layers of tiles, one being the glazed face shell and failed. Thus it became edges of the vaults where they meet the layer and the other two consisting of red apparent that the most prudent approach tile arches; a two tilethick unreinforced terra cotta. All were bonded together was to remove all the face tiles in the masonry vault would be a very poor with high strength portland cement most heavily damaged bays. structure to resist these theoretical mortar along their edges, as well as As part of the safety analysis, the bending stresses. There is no between the layers (the parge coat). At remaining red clay tile vault was documentary evidence that the the pendentives it was customary for the observed to determine whether it was Guastavinos used sophisticated Guastavinos to use several more layers structurally adequate without the mathematical analyses; indeed, the of tile; however, Robert Silman presence of the face tiles. It was noted mathematical analysis of shells was not Associates did not probe these locations, that the central portion of each vault developed until the 1930s. and thus the number of layers of tile emanating from the crown was The Guastavinos relied upon load tests actually used there is uncertain. constructed of only two layers of red to prove that their vaults were more than Many face tiles had fallen off during the clay backup tile and one layer of beige adequate to stand up to the required fire. This may be attributed to two glazed finish tile. Further observation loadings. The two most interesting load causes, most probably acting together. revealed that the vaults were not load tests are thoroughly documented in the The first was thermal shock caused by a bearing – that is, they did not support Guastavino archives1. These two tests rapid heating and concurrent expansion the load of the terminal floor above, were actually fire and water tests of a of the tiles, followed by a rapid cooling which was basically carried by steel I single vault, constructed in a manner when water from the fire hoses was beams with independent shallow tile similar to that used in the Oyster Bar, sprayed on the ceiling, which likely barrel vaults (fig. 5). Finally, it was with plan dimensions of 11 ft. by 14 ft generated sufficient movement and apparent that the finished glazed tile (fig. 7). The first test was conducted on a stress to cause the bond in the mortar ceiling had been applied to the underside vault whose general thickness from the parge joint to fail. Additionally, there of the red clay tile vaults after they were crown down was three tiles, with a was sufficient stress from the force of completed, which was the best way to superimposed load of 150 pounds per the fire hose stream against the tiles to achieve a clean, uniform herringbone square foot (psf). The temperature under knock them off. In no case was damage pattern and the only way to apply the the vault was taken up to more than to the red clay backup tiles or the mortar final mortar bead to the exposed surface 2000° F. (fig. 8) and held for four hours. joints observed. of the tile joints. The major evidence Then, the underside was observed, and
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water was sprayed on. The water caused work in the chapel by Carmen Pérez’s difficult to get into the space to restore the lowest layer of tiles to fall off team, through a little hole in the the paintings. According to the opinion completely, much as in the Oyster Bar Baroque vault the first sight of the expressed in the reports about work fire. After the fire test was concluded, frescoes painted by Francesco Pagano safety that were requested and as we the vault was loaded to 600 psf (fig. 10). and Paolo de San Leocadio in 1477 discovered in practice during the months No cracks were observed, and the commissioned by Rodrigo de Borgia the restoration of the frescoes was deflections measured before, during, and appeared, at the same time as the carried out, it was not possible to do so after the fire were well within the range architectural context where they were from the chamber. of acceptable. In fact, under the 600 psf located, and their state of conservation So, if the paintings were to be saved, load, the incremental increase in was seen (fig. 2). The paintings were there was no choice but to dismantle the deflection was only 0.195 in. or 1/677 of found not only to decorate the Gothic Baroque vault to reach them in safety to the span – a remarkably low number that vault but also the Gothic interior panels apply the necessary treatment. indicates an extraordinarily stiff and the windows, also hidden behind the Fortunately, the supporting structure in structural system. Two weeks later the vault and the Baroque windows made in the Baroque vault the was the Gothic fire test was repeated on the same 1687 at the orders of the architect Juan ashlar ribs made by Arnaldi Vitalis in structure, but first a new layer of tile was Bautista Castiel based on a project drawn the second half of the 13th century at installed from the underside to replace up by Martínez De Urrana (fig. 3). the orders of Bishop Andrés de Abalat the layer that had failed in the first test. A few months earlier, we had completed and, of course, the walls enclosing the This application was similar to that in the reconstruction of the stellar Gothic apse. Pérez Castiel had adjusted himself the Oyster Bar. Under the sustained load vault in the Chapter Room of La to these structures by placing lunettes at of 150 psf the vault performed very well Valldigna Monastery, attributed to Pere the five windows of the vault, three during the second fire test, with the Comte and of similar dimensions, also octagons and two half octagons lowest layer of tiles falling once again commissioned by Rodrigo de Borgia springing from the Gothic structural when subjected to the hose stream. At when he was the abbot of the monastery. keystone, which is still in place, and the conclusion of the second test, the Perhaps for that reason, the Heritage eliminating part of Gothic decoration, slab was loaded with 450 psf, resulting Section of the Valencian Culture which was lost forever (fig. 6). in a deflection reading of 0.18 in. Department entrusted me with the task Judging from the metre high excrements (V733). of studying the condition of the two that filled the space between the two The intensity and duration of the Oyster vaults in the cathedral to facilitate the vaults, doves had been nesting on the Bar fire was not nearly as much as the restoration of the Renaissance paintings fabric of the chamber formed by the 1897 test vault, and there was no if that was the decision finally adopted. extrados of the curved lintel of each of superimposed load on it. Nevertheless, Meanwhile the restorers of the chapel the Baroque windows for centuries. the behavior of the lowest layer of tiles gleaned more and more information These brick fabrics of the lintel and in the Oyster Bar closely paralleled the about the state of the paintings and at jambs were not joined to the Gothic original fire test. The fact that the basic the same time experts from all over the ashlar fabric or the archivolts of the structural integrity of the vault was not world drew up reports about their windows, which rose freely to the impaired by the fire allowed an effective, quality. Gothic vault until the Gothic arch. The efficient repair to be executed (fig. 9). On 20th December 2004, from a Renaissance paintings on the Gothic scaffold erected nineteen metres above windows and walls, although they were the ground I had my first glimpse of the in very poor condition, could be seen Renaissance frescoes. Although I am not here, and this decoration was expected an expert in painting, their beauty to be found in the parts hidden behind Salvador Vila Ferrer RESTORATION OF THE GOTHIC impressed me deeply and I wondered the Baroque windows as far as the sill, VAULT IN THE APSE OF what had been the reason to conceal as was discovered in a probe made at the VALENCIA CATHEDRAL such great paintings (fig. 1). The answer base (fig. 7). had to come from art historians and the The quality of the materials of the explanation would surely be found in the decoration containing the whole The project ecclesiastic Counter Reformation, when Baroque repertoire from the base of the The discovery of the Renaissance everything connected with the Borgia presbytery to the keystone through the paintings that were concealed behind the pope, Alexander VI, was covered over. ribs was poorer above the eleven metre Baroque vault in the main chapel of the The space that remained between the cornice. Above this height, marble was cathedral was followed by the process two vaults was only thirty centimetres at no longer used, but all the windows, for their recovery. Their existence was a the keystone (fig. 4) and a little over a cornices and ribs were covered with known fact; books about the fabric said metre near the facades (fig. 5). The imitation marble and gilt paint. This they were in very poor condition, but segments of the vault came down as far lavish decoration made us suspect that it nothing was known about their quality. as the springing points, about eight would be impossible to remove the During the restoration of the Baroque metres lower. Therefore it was extremely Baroque decoration on the ribs, which
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also, logically, bore Renaissance alternative solution for the consolidation roof, were recovered. The original flat paintings, as we could see from the and restoration of the Renaissance roofs of the Chapter Room, the chamber. The springing point of the frescoes. ambulatory and the apse chapels still Baroque ribs from the interior walls It was quite a challenge to draw up the had to be retrieved. would have required chases to be made project. Apart from the problems Taking into account the most important in the Gothic ashlar fabric, which would inherent in working on a monument like facts of the background described above, indeed have seriously impaired the Valencia cathedral, it was necessary to the project commissioned by the public Renaissance decoration at the top. show the maximum respect for all the foundation of the Generalitat Valenciana The works involved in freeing the layers of architecture that appeared so as La Llum de les Imatges was completed archivolts of the Gothic windows with to combine them in the best possible on 25th April 2005. This project the Renaissance paintings would be just manner, at least until the Baroque included the definition and justification as difficult, since the Baroque lintels cladding was returned to the main part of all the works required for the crossed all the thickness of the walls to of the church. restoration of the Renaissance paintings the exterior, affecting the façade, where However, throughout its history, on the vault, the interior walls over the the height of the Gothic windows was Valencia cathedral had already been cornice and over the Gothic windows. reduced almost by half, because the through similar situations of The jambs and lintels of the Baroque sloping roof with curved tiles added to superposition. Conrad Rudolph’s windows were not to be dismantled and the 19th century ambulatory also Baroque door (fig. 10), which could also the decoration on the Gothic ribs was to interfered, and the sloping canopies at have been built by Pérez Castiel, be left intact. the level of the exterior Baroque lintels although he was not commissioned to In general terms, the intervention would on each of the windows (fig. 9). perform the work, is a token of this. The consist in breaking two solid brick With all these important formal features Obra Nova, made by Miquel Porcar segments with their plaster ornamental in the ensemble, and always with a view according to Gaspar Gregori’s design elements (fig. 16) and dismantling the to try and recuperate the Renaissance (1566), was the most important work on wooden boss of the Baroque keystone decorated surface, we began to prepare the exterior of the cathedral in (fig. 8), restoring the roof of the apse the project. All the structural, Renaissance style. Gilabert’s classical and the five exterior facades, clearing constructional and ornamental intervention between the 18th and 19th the five Gothic windows and removing difficulties that had to be solved were century left traces of arches, above all in the sheds over them (fig. 14) and aggravated by problems relating to the the transept under the cimborio leading recovering the original flat roof over the justification of the intervention into the chapels in the lateral aisles (fig. ambulatory (fig. 15). Finally, the according to the 1998 text and the 2004 11). Many chapels share solutions in illumination of the inside and the amended version of the Valencian different styles, as is the case in most outside of the apse had to be adjusted. Cultural Heritage Law in force at the cathedrals. time. Even so, Valencia cathedral is basically The works Valencia cathedral is a monument that a Gothic construction, where the height The works began on 13th September was appointed an Asset of Cultural of the centre aisle and the two side 2005, and priority was granted to Interest in 1932. All its parts, even aisles is practically the same and its dismantling the vault so that restorers though they date from different periods original decoration is in keeping with could start work as soon as possible on and are superimposed on top of the Cistercian simplicity (fig. 12). The the paintings and interior wall surfaces. original fabrics, are equally protected by volumetry of the chancel with an It was important to decide how to cut this law. But naturally the law also ambulatory and apse chapels, the portals the material based on the knowledge obliges us to preserve concealed and the large size of the Miguelete bell gleaned while studying to prepare the elements of recognised value. The tower or the old Chapter Room, today project. For this purpose, the company conditions for the intervention in the the Chapel of the Holy Chalice, and hired to do the work set up a small scale event that parts of the monument must above all the impressive cimborio, all replica of the vault with the same type be removed to guarantee the survival of dating from the 14th and 15th centuries, of segments and lunettes in their studio. other important parts are double: the are a token of this (fig. 13). Back in Samples of brick were taken to parts removed must be documented and 1961 this was the opinion of the specialised companies to try out cutting the procedure must be reversible. architect Segura de Lago when the systems with laser beams and high The project was carried out under these process of removing the NeoClassical pressure water. These are machines that premises, and was shown to the relevant decoration began, to reveal the Gothic can make clean cuts with both these professionals from the Culture interior we can see today. Similarly the procedures for trials, but in this case Department during development. There original flat roofs on the main nave and specific machinery had to be designed to was never consensus among all those the side aisles, over the cimborio and the work on the scaffolding. The high supervising it, although those who were apse, which had been covered over with pressure water method was discarded against the project did not suggest an a most unsuitable sloping curved tile first. The large dimensions to be cut
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made it unsuitable for working inside of original stone and the remains of found it was a flat brick roof, repaired in the cathedral, as well as expensive, polychrome also dating from the the second half of the 20th century, with because it required the manufacture of Renaissance period, because on the wire netting and waterproof treatment, special pieces to cut the fabric that could space that concealed the Baroque but the framework had begun to rust and be used by a mason on the curved keystone the decoration of the ribs we there were holes in the sheets of asphalt surface. The laser apparatus, even found over the interior cornice had not (fig. 19). A similar solution was applied though it was more precise and easy to been completed (fig. 18). to the entire surface. Taking special care handle (we must not forget it is used in The solid brick Baroque vault, placed around the edges, to make sure the surgery as well as industry). Also flat with one or two layers and decorated waterproof treatment reached the required a specific design to work so with stencils, was dismantled from top perimetrical coping, which it had not high up, although it was less unwieldy to bottom by breaking pieces about fifty before. The truncated pyramidal fabric and lighter than the water machine, was centimetres high for the undecorated necessary to hold the pin to which the more complicated and expensive to surfaces (fig. 17). In the case of the Baroque keystone was attached was make. However, in both cases the long parts with plasterwork, larger in size and reconstructed (fig. 20), leaving the hole manufacture and adjustment period of anchored to the vault by means of metal running through it, but closing it with a high risk equipment because there was nails, the pieces cut were larger and the glass cover, so that now light goes no way of knowing how it would cuts attempted not to interfere with the through all the fabrics and when visitors operate beforehand made us insist on most important parts of the decoration. look at the Gothic keystone from the using traditional cutting methods. This system of cutting had been centre of the apse they can see right At the same time, different traditional provided for in the plans of the project, through it (fig. 21). machines were tried out on the replica of made on the topographic maps that had Cracks in the five facades of the apse the vault, such as circular or electric been drawn up by taking over ten were repaired and sealed, and the chinks saws. The conditions we demanded were thousand points from the Baroque vault in the ashlars were filled with mixed the following: under no circumstances and a large number of photographs. The lime mortar that were coloured must they damage the paintings either cutting of the vault was reconsidered according to the place they were located. because of their size or their handling; and the new design was drawn on the Missing parts of the ashlars were no more than one centimetre should be tracing paper protecting the whole replaced in areas where stone was a lost in the cut; the cut should be surface. Dismantling was carried out in working element of a wall or an arch, perfectly clean and not scatter particles alternative octagons with their and mortar was used to repair superficial onto the paintings. The radial system corresponding lunettes and it took three breakages that were a testimony of was the fastest, but produced more dust months to complete the whole operation, historic interventions (fig. 22), such as, and noise and was less accurate. The resulting in a total of three hundred and for example, the chases made to fix the electric saw was slower, but produced fifty six pieces, which were stored in the sloping tiled roof of the ambulatory. less dust and noise and was easier to crypt of the chapel of Moncada As we said above, the Renaissance apply to all the little joints in the vault seminary, duly protected and labelled. paintings not only covered the Gothic with its decorated plasterwork. This After making sure that the fabric of the segments of the vault but also the five method was finally chosen and used for Gothic vault was the same as the other interior panels and the archivolts of the the works. vaults in the cathedral (because as it was Gothic windows. The support work for The first thing that was dismantled was the oldest, it might have been built of the restoration of the paintings on all the polychrome Baroque keystone that stone like the vault over the east transept these surfaces began by clearing the was held in place by a vertical iron leading to the Romanesque door), the Baroque additions that covered the brace, which went through the original most important cracks that did not allow frescoes around the Gothic windows. We Gothic keystone and the vault through a the restorers to do their work were needed to find a solution that would hole bored in the structural ashlar fabric. repaired. The fabric, which is a single make the remaining parts of the Baroque The brace went up to the ceiling and layer of header bond bricks thirty bays compatible with the recuperation of was attached to an exterior truncated centimetres thick, was not seriously the Gothic bays. But this gave rise to a pyramidal brick fabric, placed on top of cracked and the existing chinks followed problem in inserting the five Baroque the roof by metal crossbars. The Gothic the stereotomy of the brick fabric with stained glass windows that the chapter keystone, made from a polygonal ashlar loss of lime mortar in the joints. wanted to conserve. These were which is still intact, has paint on the It was also important to make sure that logically smaller than the Gothic space. sides and is chipped on the bottom, and the roof of the apse over the Gothic To solve this problem, a new stained its decoration disappeared when the vault of the cathedral with the glass window was designed that would Baroque keystone was installed. The Renaissance paintings was completely occupy the Gothic bays instead of the dismantling of the Baroque boss waterproof. For that purpose, tests were Baroque windows. For the new design, revealed new Renaissance paintings first performed to find out the state of 13th century Cistercian windows were around the Gothic keystone, its section the fabrics and their composition. We used as a reference, considering that
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they might be similar to the original Again it was by chance that during the vault of the cathedral. The conclusion ones. Specifically the windows at restoration of the walls of the apse reached was that the dismantling of the Eberbach in France were used, façade we discovered ceramic leaders Baroque vault and the restoration of the simplifying their complex composition inside them near each corner, which paintings had been impeccable, and that, but maintaining the geometric solutions originally served to drain water from the due to the importance of the frescoes of of interlacing circles and their plain roof of the apse. On assuming that there angels for the world at large, they colour scheme (fig. 23). Before were no flying buttresses, the missing should be left visible to be admired and installing each complete window, volume was reconstructed over the studied in future. A report by the protected on the outside with a safety buttresses of the ambulatory (fig. 31). Heritage Department dated 29th glass to protect it from ultraviolet rays, Finally the pipes underneath these December 2006 finally authorised the the exterior archivolt of each Gothic buttresses and the gargoyles were removal of the Baroque vault from the window were restored (fig. 24). restored so that they would fulfil the apse of Valencia cathedral and ordered In order to clear the Gothic windows on purpose for which they were created, to that the disassembled elements be the outside, it was necessary to eliminate drain the roof, which also collects conserved. the 19th century sloping tiled roof over rainwater from the apse, which in turn The architectural intervention has the ambulatory, which came almost half collects water from part of the cimborio served, as expected, to restore the way up to them forming a little and the transept aisles. Renaissance frescoes that were courtyard (fig. 25). To build this 19th Inside work on the surfaces of the concealed by the Baroque vault and century roof, at least two rows of interior facades continued, repairing the partly by the Baroque windows. But the ashlars, the perimetrical coping and the breakages caused by inserting the process required has also served to supporting corbels had been removed Baroque lunettes in the Gothic ashlars. enhance the value of part of the chancel from the ambulatory façade (fig. 26). Repairs were made with the support of the cathedral and to discover many The original Gothic roof was underneath mortars the painting restorers requested things previously unknown that should the partitions, in a very poor state of so as to restore the greatest possible be taken into account in future repair and with traces of several repairs. painted surface. The only thing left was interventions. If possible, the There were remains of brick and mortar the mark of the interior capitals crowned relationship between the architectonic paving that made us think the original with the little interior columns of the space and its surroundings must be as might have rested on a bed of lime Gothic windows, which had been sincere and coherent as it was designed mortar (fig. 27). It was decided to give demolished when the Baroque vault was to be almost seven hundred years ago the roof a solid brick cladding like the built, probably similar to the windows and it is our obligation to retrieve, rest of the cathedral already restored. It that still exist in the transept (fig. 34). preserve and divulge it for future was necessary to discover the The last intervention consisted in generations (fig. 32). dimensions and height of the providing a suitable lighting system for perimetrical coping. We were lucky the interior and exterior of the apse. In enough to find the mark of the original the interior, it was decided to install a coping at both ends where it joined the Led illumination system with multiple Francisco Juan walls, which provided us with the lights and cylinders, which would be ...AND THE ANGELS dimensions and level of the pieces we completely innocuous for the valuable EXTINGUISHED THE STAR OF had to make and their exact location. frescoes. The layout of the lamps allows THE BAROQUE Ashlars were made out of stone from a visitors to see the Baroque remains of quarry in Montesa, and fashioned the the vault with a soft, warm, filtered In June 2004, during restoration works moulding of the coping and the lower light. The paintings on the segments are on the main chapel of Valencia corbels with a plain piece, because we illuminated by unfiltered lights, more cathedral, the frescoes painted by the were not quite sure of their formal cold and natural, emphasising the starry Italian artists Paolo de San Leocadio and configuration (fig. 28). sky where the angel musicians singing Francesco Pagano on the vault of the It was rather more complicated to make to the Virgin Mary are located, which Gothic presbytery between 1472 and a decision about the crowns of the was originally at the Gothic keystone 1481 were revealed conserved buttresses at the sides of the ambulatory and removed when the Baroque vault underneath the current Baroque vault. façade that end in large cantilevered was built (fig. 33). The exterior They were found to be in a better state gargoyles supported by ashlar pillars at illumination of the apse is provided by of repair than might be expected. each end (fig. 30). These buttresses, spotlights at the centre of each façade The paintings, exquisitely executed, and truncated because of the insertion of the with halogen bulbs that enhance the very beautiful, are believed to be the sloping roof, made us think that there architecture of this part of the cathedral. first manifestation of Renaissance art in might have been flying buttresses that On 19th and 20th January 2007, an the Iberian Peninsula. Their principal served to drain water from the roof of international symposium of experts was motif is a choir of twelve angel the main nave, like on all the other held in Valencia, to discuss the future of musicians placed in a circle around the lateral aisles of the cathedral (fig. 29). the Renaissance frescoes on the Gothic altar. The importance and transcendence
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of this discovery was enormous, and was within the original Gothic space with a brilliantly. Its geometry comes from the unanimously acclaimed both in technical and compositional complexity Gothic, transforming it with great skill academic circles and among experts and that was a token of the skill of the into a new modern spatiality, covering intellectuals who showed interest in the craftsmen of the time. This the deep rampant ogives with smooth, subject. refurbishment, like most of the works gently curved surfaces. The lunettes and Outside these circles, there was an extra carried out during the Baroque period, the ribs spring from the vertices of the point that aroused people’s enthusiasm: sought a deliberate integration, which octagon, in continuity with the pilasters, the frescoes had been concealed for over materialised in what some authors have form a half star and finish in a three hundred years. Nobody had seen described as “complex totalities”, with voluminous gilt bossed central keystone, them in all that time. The last Valencians the capacity to articulate but not which closes the ensemble. to see them, many generations before, decompose. The result is one of the most harmonious were still under the jurisdiction of the It has many remarkable merits. The skill spaces in the history of Valencian Austrian monarchs. Since then, oblivion, in applying the architectural order on the architecture. Conceived as a splendid an ingredient added by the atmosphere polygonal design of the Gothic majestic background for the longitudinal of mystery sought by best sellers today, presbytery, with giant pilasters in the axis of the central nave, beyond the which filled people with expectations corners, placed at an angle and running luminous vertical axis of the cimborio, it that were crucial to the eventual along the entablature to the large became the symbolic destination of all outcome. And the “culprit” of this cornice; the novelty of the successful the spiritual paths of the diocese. And its punishment, the reason for the oblivion double bodied portal shaped motifs set effect was enhanced by the fact that it and concealment of these magnificent in the classical porticoes on each side was extraordinarily concentrated in the paintings, was still standing: the (fig. 3); their composition with a central presbytery and did not spread to the rest Baroque vault over the main altar. A bay and a tiered lintel, flanked by of the Gothic temple; a clear example of rich, complex space that became an solemn Solomonic columns crowned these “complex totalities”, easily awkward obstacle after the paintings with scallop shaped moulding in the articulated but impossible to decompose. were discovered. For that reason it form of split fastigiums and the upper The work, typical of its time, manifested deserves special attention now. level with a shrine adorned with (and still manifests) the extraordinary beautiful marble reliefs flanked by vitality of the Valencian society during The Baroque works pilasters in the shape of truncated the Baroque period, a token of the The works for the “refurbishment, inverted pyramids and crowned with a skilful execution of all the crafts cladding and finishing of the main part curved pediment; the impeccable connected with architecture. It expresses of Valencia cathedral” was the first execution in black Alcublas stone, the ostentation of the skilled workers, definitive architecture to be created in Tortosa mottled marble and the best and is a valuable testimony of the direct the Kingdom of Valencia in the marble available in the kingdom; and all individual work of the best craftsmen of magnificent spirit of Baroque decorated with an exquisite gold covered the time. Following the plan and at the ornamentation. The contract dates from ornamental repertoire. orders of the obrer de vila (master 17th February 1671, and the works And although these values are not to be builder) Juan Pérez Castiel, there were consisted in many plain and mottled underestimated, they would be no more stonemasons (like Juan Escrivá or marble architectures associated to the than a luxurious finish if it were not for Bartolomé Mir), sculptors (like José preceding festive celebrations (fig. 2). It the happy solution of the “modern style” Artigues or Tomás Sancho), wood is the principal sample of Valencian cloenda or timbrel vault. It is precisely carvers (like Sebastián Martínez), Baroque vernacular architecture. And the octagonal vault with lunettes that carpenters (like Felipe Coral), gilders this is not surprising, for the presbytery closes, or rather used to close the chapel (like Gaspar Asensi or José Caudí) and of the cathedral was the symbolic and that characterises the new space and painters (like Pablo Pontons), all representative heart of the diocese, the endows this work with the category of remarkably skilled at fine tasks. nucleus from which the aesthetics of the architecture (fig. 4). Without it, this The new chapel was highly regarded, new post-Counterreformation spirit was fabric would be no different from some and became a major reference. This first to spread, seeking an image that would altarpieces or certain ephemeral crucial initiative embarked upon under bring the people together and with monuments of the time except for the the Archbishop’s authority was followed which they could identify, so that they nobility and luxury of the materials. The by most of the towns in the area, giving would feel they were a single, renovated vault alone makes this fine cladding of rise to what was no doubt the most community. false fabric the first real Baroque important refurbishment enterprises This Baroque work was not made so architecture in Valencia. Because it is undertaken in our land in the last few much with the intention of concealing the cloenda that generates the space. It centuries. One by one the towns the previous architecture under a mere gives it meaning and resolves the “modernised” their parish churches. cladding as of generating a new space. It crowning of all the lower part with Taking the cathedral chapel as a model, was architecture in every sense of the surprising coherence and at the same and at the request of the people, the word. The new structure was included time it fits into the existing ogival vault Gothic structures of the churches were
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covered in Baroque style and thus the unpopular today, and vice versa), the Can the two works remain together in temples adjusted to the new aesthetics, fact is that the cultural heritage belongs the same place in such a way that both generating new spaces with extremely to those that partake of it. And here, we can be contemplated and admired elaborate ornamentation. must admit, Baroque architecture is at a without seriously impairing either of The success of this space was so great disadvantage. them? It seems undeniable that a that, in spite of posterior fashions that satisfactory, viable, affirmative answer repudiated exuberance and rich The dilemma to a proposal of this type would have ornamentation, the main chapel has We find ourselves, therefore, faced with given rise to an efficacious, successful continued to be Baroque for over three two magnificent artistic manifestations solution that would have made hundred years. After a century of its life, with great patrimonial value inside the everybody happy. But the question was academicism, which kept such strict same architectural structure. It turns out never brought up, because it was control over artistic aesthetics and, in its that one of them was concealing the considered impracticable. The institutional orthodoxy and other and the intention, for reasonable Renaissance frescoes were irremediably uniformising, centralist and censoring and legitimate considerations, was to confronted with the Baroque vault. The attitude, embarked upon a “crusade” make it possible to see and appreciate affirmation of one of them implied the against Baroque excess, maintained them both. A serious dilemma with a negation of the other, and vice versa. intact and in place Pérez Castiel’s difficult solution. And at the same time, And nevertheless I am convinced there chapel. Even though in 1774 Antonio an exciting project, both because of the was (and still is) a positive answer in Gilabert started to refurbish the whole extraordinary value of the works this respectful, committed line. However interior of the cathedral, adapting it to themselves and the unusual complex delicate and complicated the process the new aesthetics of “real architecture” situation. As a strategy, it would have might have been, it would have been in NeoClassical style. In the 20th been prudent and wise to try to prevent worth doing it, because obviously we century, Rationalism, positivist, abstract rivalry between the works. Ideas about would never have come up with an easy, and not at all fond of ostentation and restoration that were sustained in the “commonplace” solution. On the pomp, respected the Baroque style. And past and involved putting certain periods contrary, it would have taken time, the not even in the thorough refurbishment above others are now totally outmoded. generous, effective intellectual work performed on the cathedral in the Our laws say that none of the historic contribution of expert institutions and nineteen seventies, whose result was the sequences of a monument is dispensable, individuals, refusal to dismiss outright current restored Gothic appearance of for they are all testimonies of its new fangled systems and techniques, a the cathedral, did anybody dare interfere complex cultural expression. So each of great deal of imagination and serious with the magnificent architecture of the the parts of a building, whatever period and rigorous methods of research and central altar. We can then add another it may date from, is part of our heritage experimentation. merit to this architecture: the credit due and therefore deserves to be preserved. The cathedral chapter did not make to all survivors. But at times it is not so easy to be things easy either. Wary because of However, in the individualistic and judicious and objective. Soon after the recent experiences of the same type, pragmatic world today, lacking in paintings were discovered, the press they did not want to hear of “research” authorities and hierarchies, the chancel brought out tendentious headlines or “experimentation” in such an of the cathedral has a serious saying, “The Baroque vault of the important place as the main chapel of shortcoming: it is an “addition” not to cathedral to be taken down” or “The the cathedral. They were not even the liking of the general public. Few Archbishop’s see and the local willing to prolong the duration of the aesthetic terms have such pejorative authorities have decided to take down works already initiated any more than connotations today as “Baroque”, the Baroque vault in the cathedral to necessary because of the inconvenience generally applied to fussy and display the frescoes”. And in this way, they were causing (workers, scaffolding, overelaborate elements. And it is logical maybe without meaning to (but without noise, dust and dirt). And logically, they that this should have come about since trying not to either), people were wanted an agile, diligent result. In our society has been educated in the induced to take sides for one or other of general it is not wise to rush through methods and principles inherited from the works of art, and even to express any intervention on a cultural asset (with enlightened Modernity. Accustomed as preference for one particular solution. the exception of urgent emergency we are to the positivist tradition, as R. As though there were a conflict, the repairs). In this complex case, where Venturi pointed out, we lack the mental citizens became divided between those there seemed to be no objective reason agility (not to mention the attitudinal in favour of the frescoes (much more that would justify urgent action, there agility) to understand the magnificence, numerous) and the defenders of the was no need to rush. But unfortunately complexities and subtleties of the Baroque vault, an awkward situation the timeframe involved in political Baroque tradition. And however much which did little to favour a wise, well decisions today is not measured by the we say that the appreciation of our pondered decision. same yardstick as the timeframe for heritage must never be a matter of taste In view of this dilemma, the initial idea works of art. And these frescoes are a (what was popular yesterday may be should take into account the following: good example of this fact: they were
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painted over five centuries ago, have would only be a replica of the original every part of it, as an asset of cultural been concealed from human eyes for ones. In this sense, with the logical interest, should also have been over three hundred years, and they were differences, it would have been an guaranteed. Especially if there was a supposed to be “unveiled” in a few operation a little like what was done in viable alternative. Probably much more months. the Altamira Caves. But the principal expensive, slow, difficult and risky, but advantage of this solution would have another alterative after all and therefore The solutions been respect. No door would have been worth taking into account. Under these circumstances, the only closed. Everything would have been The formula chosen to evade these viable solution seemed to be to conserved in its original place, which “architectural” misgivings was the formulate proposals that would be easy would have given time to think things “reversibility” of the process. A to understand and execute. A reasonable over slowly and calmly in search of a controversial concept that lacks a option would have been to finish the definitive intervention. unanimous definition when applied to cleaning and restoration works already Nevertheless, in view of the way things our architectural heritage. Some sustain under way on the Baroque work were going, we must admit that this that in architecture, given today’s (sponsored by the Department of alternative would have caused a certain technology, everything is reversible if Culture, Education and Sport of the amount of frustration. From the citizens’ the proper media are applied. A Generalitat Valenciana) according to point of view, renouncing the discovery nefarious way of interpreting its schedule, and simply provide faithful, of the original frescoes would have been meaning, because in such a case the comprehensive documentation of the tantamount to disappointment since it concept itself would be pointless. At the real state of the frescoes so that they was the desire of the majority to see the other extreme we find those who hold could later be reproduced in detail real paintings in their proper place. This that nothing is reversible, because if it somewhere else. For example, in a drawback could have been lessened with were, it would be anything but replica of the original Gothic presbytery a lengthy, didactic explanation of the architecture because of its ephemeral of the cathedral built for that purpose. In arguments in favour of this solution, nature. And until an agreement is this way the paintings would have been although it would have required a great reached, our laws impose a diffuse safeguarded in keeping with the deal more decision and political precept on interventions with recommendations of all restoration determination… contributions that are not original. Of charters and under the laws protecting The objection raised by some restorers course this prescription attempts above heritage, and both architectures would was better founded: the frescoes, all to establish a strategy guaranteeing have been preserved (the Gothic in the although they were not in bad repair, the preservation of the “authenticity” of frescoes and the Baroque covering them) required urgent, in depth restoration. It the building: everything new that is in the same way as they have reached us seems that the need was so great that if added on must be designed and executed today. Besides, with this solution, both they were not restored in a reasonable in such a way that it can be removed in artistic manifestations could have been length of time (they said months), their the future without damaging the original admired in their natural surroundings integrity would be endangered. There work. And this is precisely what was not (the frescoes, or rather their was no objection to this point. Above all done with Pérez Castiel’s vault. To start reproduction, in a replica of the else, the safety of the paintings should with, it was brick lined cloendas, clad medieval chapel, and the Baroque space, prevail. However, this is where the with gypsums and plasters, that were complete and unitary, in the chancel of largest number of discrepancies arose. neither designed nor fashioned to be the cathedral), which would undoubtedly For those in charge of the works, the “dismantled”. Therefore it was not have increased their value. And it would paintings could only be properly “reversible”. In the second place, they also have been easy to offer the visitors restored if the Baroque vault that were themselves original pieces whose both a distant vision of the angel concealed them were removed authenticity should be preserved. And in paintings in their architectural space beforehand. There was no other viable the third place, its real value as (from below, at altar level) and provide solution. So this was done without any testimony of a traditional way of the means to see them in detail (from misgivings. The Baroque vault was covering architectural spaces with two or three metres away), a real removed after dividing it up into many masonry methods was lost forever by privilege that would have allowed them pieces. But you do not have to be an cutting it up with a saw or laser beams. to appreciate first hand their great architect or an expert to realise that this By reassembling those pieces in their beauty and skilful workmanship. It action would profoundly damage the original place, the original appearance would even have been advantageous to Baroque work. Its “complex” unity was would never be achieved. At the back, preserve the original paintings in their broken, thus ruining a fundamental they would be all seams and scars. So dark chamber, controlling them element: precisely the one that, with the idea of “reversibility” is not hygrothermally. It would not have great coherence, closed and generated applicable in these works, however mattered that the paintings be the brilliant architectural space. And much they insist that it is so. overilluminated or overexploited from a there is no need to say that the Once the vault was removed and the museistic point of view, because they preservation of this architecture and frescoes were successfully and
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brilliantly restored, a “board of experts” There is still hope that things will not be the 16th and 18th century. Almost all of pronounced their decision that the left for posterity as disappointing as they them have a four pointed star on a paintings should be left uncovered. And stand today. Hope that the matter may square plan, that is, a design of ogives under the circumstances, there is no not be considered settled. Hope that or diagonals, joints (ribs linking the doubt that that was the best thing to do once people’s wishes have been secondary keystones to the principal at that point. But nothing was said fulfilled, the dilemma will move away one) and liernes (fig. 2). A drawing by about their opinion of the Baroque from the public eye and can be Philibert De l’Orme (1567) shows the space. Of course they had no reconsidered slowly and calmly. Hope width and side of the ribs, and the same opportunity to see it whole. When the that the Baroque space may be applies to those found in a book by experts set their eyes on it, the recuperated (including the vault), albeit Vandelvira (1575-80), in the notes by an presbytery was filled with scaffolding with different elements, lighter and unknown author signed by Alonso de (fig. 5). This permitted them to see the easier to dismantle. In this way perhaps Guardia (c. 1600) and in a treatise by paintings close up; of course it was the the Baroque chapel and the Renaissance the Majorcan master stonemason Joseph best way to do so, but at the same time frescoes may finally exist together. The Gelabert (1653). These three Spaniards it prevented them from seeing the former in the usual way, recovering its appear in figure 3 with Hernán Ruiz. overall effect and consequently from central role in the chancel of the Although Hernán Ruiz does not provide judging and thinking over the global cathedral and the latter exhibited on any data about profiles, it is possible to result of their decision. The important certain special occasions, which would make a rough calculation based on the thing were San Leocadio’s angels. The help preserve them and maintain diameters of the keystones. In the case Baroque chapel did not matter. And it is enthusiasm about them. Not everything of Gelabert’s five keystone chapels, the precisely from below, without has been lost (except the Baroque thickness of the members, although scaffolding, that we see the angels cloendas, today little more than a well possible, suggests a rather small vault. today, irremediably inserted in the ambit packed pile of glorious rubble). All that From other details that would take us of the exuberant central chapel. is required is the will, commitment and away from the subject, Gelabert can be And as a few of us feared, the most high mindedness of the people who have confirmed as a late follower of the questionable part of the whole the power to make decisions. We must medieval tradition, which came down to intervention resides, without a doubt, in not forget that interventions like this one him somewhat deformed. However, the the result. The angel musicians, sunk in depend on a few, but can give pleasure manuscript signed by Alonso de Guardia the ogives, are foreshortened behind the to many. is a totally improbable design, as it brilliant rocaille ribs that frame them. obtains the templets of the ribs’ intrados, Set among gold ornaments, they lose which would be a reasonable practice their pre eminence. Besides, located as for the voussoirs of a spherical vault but they are in an unsuitable place very unnecessary in a groined vault; besides, different from the sober medieval Enrique Rabasa it is evident that given the thickness of chapel for which they were designed, PRINCIPLES AND the arches it would have been preferable they are seriously adulterated (fig. 6). In CONSTRUCTION OF GROINED to reject the ribcladding system and the vault, without the lunettes and the VAULTS build it with ashlars. Vandelvira’s design bossed keystone, the ribs look sad, is complicated with a couple of circles lacking the references that gave them As part of an editorial project of the and joints of the ribs without keystones, meaning. The presbytery space, with Centro de Oficios in León, a school like De l'Orme’s. Baroque walls, Gothic vaults and where stonemasonry is taught, among That is why it was decided to use Renaissance paintings, is incoherent and other subjects, I managed to build a Hernán Ruiz’s more general and disconcerting. An invented space that groined vault with tiercerons and five conceptually original design as a model, never existed before, incapable of keystones and three metre spans, with as it was also feasible. Nevertheless, provoking the evocative emotion of the intention of demonstrating the when making our vault we altered works that come from our past. A Gothic system and building methods. somewhat the dimensions of the solution does away with the vitality The experiment posed certain secondary keystones to avoid transmitted by its authenticity, turning unforeseen problems, and served to excessively horizontal joints. The the chancel unto a sort of museum of confirm something we already knew, or problem of the interlocking of the ribs at itself (fig. 7). Because restoring and thought we knew, about the construction the spring, arranging them at different unveiling the frescoes, even though it of groined vaults. points and not just equidistant from the might have been advisable, should not The model used was a drawing found on corner, as the drawing by Hernán Ruiz have been the only task undertaken. An one of the pages of a manuscript by seems to suggest. identifiable architectural purpose, a Hernán Ruiz (1558-60) (fig. 1). We have project, was lacking, an integral idea other drawings, in treatises or Principles that would have guided the process and collections of designs, explaining the The treatises mentioned above coincide oriented the decisions. form of groined vaults made between in simplifying the explanation by using
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the four pointed star as a model. But But the text contracts and loses towards the space can be very diverse. Gothic ribbed vaults are not limited to brilliance when explaining how, since In the simplest cases, it is a question of these simple vaults with tiercerons and the 16th century, building is locating the keystones in such a way that variations of them, but, as is evident, subordinated to the wish to obtain the longitudinal or transversal section of they can be extremely complex in form. previously conceived forms, spheres, the vault –the rampant– acquires a more On the other hand, they respond to very cylinders, cones, of classical elements or less rounded shape or the relative different traditions depending on the and their intersections, that do not elevation of the highest parts is different nationalities: German reticular immediately appear as the result of reasonable. In the second half of the vaults, English fan vaults, more classical reflections about building. 16th century this was done so expertly French vaults or the plurality of Spanish This other approach to the project, the that the alteration of the profile of the vaults provide a very broad range. conception of (classical) form and the ribs became a game or a show. Finally it However, the principles are common to technical resolution of the problems that was possible to adapt the reticle to any all of them; and when I say principles, a come up has given rise to episodes of previously conceived form; so stars were term very often used by classical French interest in the history of construction. grouped to form a single vault or the authors of building history, Choisy or Renaissance forms were resolved in mesh was adapted to s classical shape. Viollet le Duc, I mean, as they do, the Italy with masonry, but in France and (The latter is what was done to achieve, way of approaching building, the overall Spain what are apparently the same for example, the spherical, groined vault design and the detail, in relation with a surfaces are obtained as intrados of over a hexagonal plan, which illustrates conception of space and the role of the complex bonding of stone carved the article by Benjamín Ibarra that designs control it uses the term Principle voussoirs. This implies an effort in the appears in this same magazine.) or Principles with several different spatial conception of the pieces, the As the ribs are arches over vertical meanings. Some of them are similar to development of the surfaces and the planes, their joints, intersections of our usual meaning, as when we speak graphic obtainment of dimensions to be vertical planes, are vertical axes. The about physical laws, when we establish applied to the carving process, which keystones are therefore developed these laws as elements or principles, that reached its peak in the 18th century vertically –with exceptions that prove is, the beginning of a reflection that when this knowledge and these the rule. And the ribbing corresponds gives rise to a way of acting, or when procedures were given the name vertically to the plan, which appears we refer to the more moral issue stereotomy. materially during the process, as we concerning sticking to certain principles. However, let us return to the principles shall see. In many parts in the texts by Choisy and of the groined vault. It is a volumetric, Viollet the term “principle” could be spatial object, controlled nonetheless by The Design replaced by “postulate”, “premise”, two dimensional designs of round arches In the simple case we mention, the “cause”, “basis”, “rule” or “regulation”; on vertical planes. The verticality of the design is limited to coordinating four but the most common word used to members even of the decoration and the types of arch. The ogives or transepts replace it tends to be “idea”. It is an idea reference of these members to the are semicircular, as is usual. The four or conception about a material horizontal projection, to the plan, direct perimetrical arches –groined or bonded possibility. It is not, therefore, the idea the design of the large lines, they are its according to their location in the that guides the project because of principles. There is no abstract building– are pointed arches with a more similarity with something exterior, the homogenous space such as we are used or less high keystone. The tiercerons are idea of doing something as though it to conceiving, but a network of material obliged to project vertically and rise to were something, or organising the references where we can speak of the height of the secondary keystones. ensemble in a general way, which must perpend, rather than vertical, and level The ligatures join these secondary be resolved by building skill and instead of horizontal, as was to occur in keystones with the central one, which experience in layout. It is, on the literature concerning building techniques they reach horizontally. We shall leave contrary, the idea of a feasible until a very late date. the details of the design and the configuration, which can be developed The rules for the design of Gothic ribbed alternatives and decisions for the in many ways, which refers to the reality vaults are few and they are not publication mentioned, but it is clear of equilibrium, the way of watertight. The horizontal projection is a that some basic knowledge of flat manufacturing and assembling and the mesh; by raising its nodes –what we call geometry is enough to fulfil this geometric link that the design makes keystones– vertically, to a suitable coordination of arches over vertical possible and whose efficacy will height, this mesh adapts to the planes (fig. 4). determine whether it deserves to be volumetric form desired. In this spatial The design the vault requires is a developed further. elevation, the segments that unite the schematic plan and the elevations of In Choisy’s Histoire de l’architecture the nodes become ribs and these ribs, to each of the ribs, which are only round evolutional developments of some begin with, are merely round arches arches that must be properly designed to principles, the series of Greek temples over vertical planes. The aim of this sort link two given points. That is sufficient or Gothic cathedrals are outstanding. of inverted projection of the plan to make the pieces. The medieval
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builder did not know, nor did he need to graphic models will make it possible to account, naturally, the added mortice know, how to make a cross section of foresee the resulting appearance and and tenon the rib can offer to be inserted the vault such as we can find in a 19th better explain to the workers the forms into the vault. century treatise (fig. 5). sought, but this is really only interesting Indeed the ribs are arches made out of for us, inexperienced designers and The Detail voussoirs, and to make them it is stone carvers who have never before Having mentioned the design of the sufficient to know the curvature or come up against the problem. If a 16th profiles, it is worth explaining what profile or section. Formal problems, century stonemason had had similar criteria we have followed to make the which today we would call stereotomic, means, perhaps he would have used templets. There is little information concentrate at the toothing and the other building methods, but if he available about this matter, since it is keystones, that is, at the places where the decided to go on making groined vaults not easy to obtain an exact map of these ribs meet or intersect with each other. his methods would not have been very sections from the ground, and during We can summarise here the way to carve different even if he had had such means. restoration works, data collection is not unique pieces, whose details we have Detailed drawings of the rib design, that always performed. But in general, described elsewhere. The pieces of the is, of the simple elevations we besides the schemes that attach the rib to toothing, which are separated by mentioned, have not been conserved and a rectangular shape, there are many horizontal beds, are carved according to there are very few horizontal others that have reeding and keel the upper and lower flat sections, which projections. This is probably so because moulding following a convex concave are marked directly on the stone, the drawings were made on provisional convex shape, therefore with a central without any more requirement than to surfaces of the apparatus holding the projecting part, which allows support on know the plan, the profiles of the ribs centering. But there are some drawings the centering and lateral roll moulding and the distance between them at each that reproduce this process. In the one that may simplify the task of raising it level, which can be obtained from the that appears in Hernán Ruiz’s notebook, manually or with pincers (fig. 12). Apart design of the separate elevation of each the ribs are represented by the curve of from the formal design, which followed rib (fig. 6). And the keystone pieces are the centering. The same applies to many this criterion, the profiles had to be carved (fig. 7) according to an operation others. However, in De l’Orme’s dimensioned according to their function surface, as the English archaeologist drawing for an estimate for the vaults of in the vault. In this respect, the only Willis called it in the mid 19th century, the parish church in Priego (Cuenca), in written document that gives any clue the horizontal plane of the intrados, Gelabert’s and in some German about the original uses is the one which contains the designs, the drawings, all the outline of the rib can quoting the words of Rodrigo Gil de directions of the ribs of the plan; to be seen, that is, the line of the intrados Hontalón in Simón García’s manuscript. locate the couplings leaving the too. The edges of the ribs are established keystone and joining the normal It makes sense to show only the line of there and even the weight of the voussoirs of the ribs, only one piece of the intrados, as it is a necessary and keystones, depending on their location information had to be added: the sufficient guide to carve the pieces and and the width of the vault. Applying inclination of the rib when it reaches the the line common to the arch and its these proportions to ours, three metres keystone, which can also be obtained centering. In the vault at León, however, wide, we obtained such thin edges that it obviously in the design of the we decided it was wise to draw the would have been very difficult to carve elevations. parallel line of the ext5rados also. On them out of stone and, if they had been, So the general design of the vault is designing the profiles of the ribs, the with exceptional craftsmanship, the reduced to the plan and the height of the ogives were given a greater thickness vault would have looked like a maquette keystones. The plan, the reticle, is quite than the tiercerons and the ligature, as a and not a real groined vault, like so random –in Spain there are enormous result, it was necessary to make sure the many that exist with these dimensions. differences in the drawings– and the several surfaces of the intrados of the Consequentially, it was clear that the height of the nodes of this mesh is also ribs that reached the same keystone were proportions stipulated by Rodrigo Gil chosen freely to a certain extent. If we on a level with each other, so as to were intended for the usual width of add to these initial decisions the design guarantee correct support for the surface large church naves, and not so much for of the profiles of the ribs, there are no of the vault cladding. Attending to this the cloisters. other general variables. The way these simply involves making sure the height Once the pieces had been designed, they elements are combined in the ceiling and of the intrados of the rib at the keystone were fashioned by students from the the construction is so evident that is a few centimetres higher or lower; but Centre over several years, because the anyone who has to make this type of there can be no possible confusion if the work had to be alternated with other vault today will use the same methods as whole edge of the rib is drawn, which tasks that would guarantee thorough a medieval builder. explains why this was common practice training in stonemasonry. In any case, it The design is made up of flat elements; in some of the representatives took many hours of work, of painstaking the possibility of using the resources of mentioned. When we speak of the edge carving of mouldings perfectly executed. descriptive geometry or computer and the intrados, we do not take into In this detail perhaps, paradoxically, this
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vault differs from those it aspires to 19th century, and that always attempted that might clash with the general imitate. If we look closely at the ribs of to determine the precise shape of the inclination of the zone. But in many the original vaults, we can see a certain pieces. The drawings of groined vaults others, the keystone is not really a amount of tolerance regarding the we have spoken about here are mere keystone, a meeting point of ribs, but a craftsmanship, understandable if we are sketches, showing the ribbing in some decorative broadening of the ribs. Or it sure no one can get close enough to see lines, but more a general guideline receives single curved ribs. (This also them clearly. We could even say that the rather than a specific design; stereotomy, occurs in some keystones in the vault of imperfections give some life to the on the contrary, defines the volume of Teposcolula.) stonework. In contrast, in neo Gothic each of the ashlars. As an extreme exception, we can see vaults and in the one in León, the that some vaults in Prague disobey all execution is impeccable, not only due to Assembly the rules of verticality, offering twisted their short lifespan or good state of To assemble the vault, the text attributed ribs whose profile has a longitudinal repair, and although it is desirable from to Rodrigo Gil de Hontañón (fig. 18) development. the viewpoint of learning the trade, it was followed. It contains a description We must add that, before setting up the distinguishes them clearly from those that says –and this is one of the clearest platform to place out vault, the toothing made according to Gothic tradition. parts of a text that is generally not easy with all its pieces was solid with a very The shaping of a mould always starts to understand– that a horizontal platform advanced centre of gravity, so much so with an approximation where the curves “with lots of planks” has to be set up that it could easily swing inwards. In a of the profile are replaced by straight where the toothing meets the vault real vault the toothing would be joined lines; first a mortised piece is carved proper. On it, he adds, the horizontal to elements of masonry that would and the edges are fashioned until they projection of the ribs is drawn. at the prevent this falling forwards. Let us become rounded (fig. 14). To verify the spot where a keystone is to be located a remember, on the other hand, that a correct carving of the mouldings in this stanchion is placed at a suitable height, filling of rubble and mortar is usually vault, especially in the toothing, it may and the piece is placed on it, resting on added to the gaps in the intrados on this be sufficient to use a curved truss or a strut. Trusses are placed between the zone of carved stone. ruler with the curvature of the rib as a stanchions to hold the centering of the The initial model had been, as we said guide. But it is true that, strictly ribs, and finally the gaps between them above, a design from Hernán Ruiz’s speaking, this truss would only fit are filled with cladding. notebook. In it, apart from the sketchy perfectly in one place (fig. 15). If the This is what we did, setting the platform drawing of the vault and the map of the truss follows the curve of the intrados on a dismountable frame, which for a ribs, piers were represented at the four designed, in theory it would only have real vault would be a scaffold reaching corners, probably as a reminder of the to be applied at the central line of the rib down to the floor or resting on the problem of stress for didactic purposes. profile. That is why the workers from construction described above (fig. 29 In our case, the volume of stone the Centro de los Oficios have added and following). necessary to reproduce these piers would other references, like the design of more Thus the assembly is conceived with the be excessive, keeping in mind the easy profound curves with different radiuses, same principles as the design and the alternative of using perimetrical braces, special gauges and countertemplets used carving, the supremacy of the plan and which can show to what extent the vault to check the roundness of the mouldings the vertical correspondence of the is actually thrust. During the removal of (figs. 16, 17). As a result, the elements on it. To summarise, we can the centering, there was no symptom of workmanship is perfect. say that the design is the spatial this thrust –no movements or sounds According to the degree of strictness projection of the plan of a reticle; that that suggested thrust– and the braces did regarding this sort of detail, it may seem the carving of the toothing and not seem to be tenser or to have lost the difficult to control the shape completely. keystones only requires a rough slight curvature of their own weight. We said above that the possibility of knowledge of that plan and some arches This is not surprising, if the toothing having computer images of the result over vertical planes; that it is assembled offers a considerable mass in relation to sought does not substantially change the by setting up the plan and the elements the ribbing and, as we have seen, also design necessary to do the work. But it that are just dropped on top of it. tend to push inwards. However, we still is true that the stonemason who has a The system is easily conceived, elastic have not added the cladding, which will computer model may be obliged to deal and admits variations. Among the latter, increase the stress. We have left this with details the Gothic builder would the design of the curved horizontally finish to be added when it is finally not have noticed. projecting ribs, which are often elements located somewhere. However, the geometrical conception of that are supported (by the segments) and The counteraction, which we have only the general lines is, as we have seen, not loadbearing elements, as Rodrigo mentioned at the end, is, nonetheless, a relatively simple. Much more than what Gil would say. very typical case in Gothic building. For is required by the dismantling of We can also find keystones whose axis Viollet le Duc, Gothic principles are classical stereotomy that was developed is not vertical. In some cases the form essentially ways of experimenting with with more and more complexity until the has been forced to soften a verticality balance. Indeed French cathedrals take
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to extremes this reflection, especially America. For all of us who participated was between the 16th and 17th developed in the transversal section of in these restoration works it was a very centuries. Between 1553 and 1559 churches. However, Gothic architecture unusual and enriching experience; the teachers were appointed at Teposcolula as an efficacious, standardised system of social and economic situation provided monastery for each of the subjects building vaults, which is basically the sufficiently suitable conditions to taught to students of the order. In same all over Europe, could not be contemplate the possibility of restoring historic documents, Teposcolula is understood without the particular the 12 metre wide vault using the same commonly mentioned as a vicarage, and conception of form and details that we building methods and materials that as such it was recognised in the have briefly described here, the were used in the 16th century, that is, province. Around 1550, with the principles of its geometry and design. carving the stone by hand to replace the Dominicans’ work and the wish to create ribs and segments that had been lost. a building that would identify the new The first part of this text describes the urban settlement, the need arose to build research performed by the author, and the open chapel and atrium to hold Benjamín Ibarra Sevilla the intention is to familiarise the religious services. There was sufficient RESTORATION OF THE VAULT readers, in a very simple way, with the social support to start to construct the OF THE OPEN CHAPEL AT basic elements they require to ambitious religious complex. TEPOSCOLULA IN OAXACA, understand the type of building we are MEXICO dealing with and why it is so important. The Atrium – Open Chapel System The second part strives to explain and In 16th century American religious For many years, the architectural share the experience of what it meant to architecture, it was common to find a heritage of Mexico has suffered from reconstruct that vault following the rules structure consisting of an atrium and an neglect and lack of maintenance. Due to of stereotomy and the building process open chapel, the result of the the influence of different historic events, used in the 16th century, an important combination of different spatial today we face the challenge of healing task in the context of architectural conceptions and different ways of the wounds of some historic buildings restoration at the end of the 20th performing religious ceremonies; on the and doing whatever is necessary to century. one hand, the use of the open space of prevent many others from collapsing. the Mesoamerican world, and on the Although ideas about conservation and The open chapel at Teposcolula, Oaxaca other, the use of covered space of the restoration have changed at the same Teposcolula in History European world. In the task of rate as in other parts of the world, in On 2nd February 1526, the first group of christianising the Mesoamerican people, Mexico the number of patrimonial Dominicans embarked on a voyage to the atrium as an open space played the buildings is greater than the capacity of New Spain, and at the end of June of role of a real temple and the chapel was the institutions to look after them, which that year, twelve monks landed at the reserved for the altar, the priests, the can clearly be seen from the state of port of Veracruz. In 1528, two new choir of singers and the principal many convents, open chapels and other groups of monks arrived, making twenty parishioners. buildings that are no longer used. four in all. By that time, the monks of The atrium, a constant element in 16th Preservation strategies vary according to the Franciscan order had already century religious architecture, is a the institutions, regions and number of occupied the native centres near Mexico horizontal piece of land usually located heritage buildings in their care. Oaxaca City. The Dominicans decided to go at the front of the religious complex and is one of the richest states in the south to fulfil their apostolate, because, generally enclosed by an “atrial fence” Republic of Mexico as regards cultural in fact, “they had no choice”. The with several entrances. For the different heritage, with a large number of creation of provinces was the basis of orders the large outdoor space was very preHispanic structures, town centres, the structure identified by convents and useful for their religious activities; colonial houses, natural sites, ethnic vicarages it controlled and worship in the open air was familiar to groups, traditions and customs that make administrated. The convents were the American natives and they soon it a very interesting place. Between 1994 usually in cities or in a place where a considered it their own. George Kubler and 2002 a great effort was made to city was to be built. The vicarages mentions the atrium and open chapel restore and maintain the most controlled a portion of the territory of system as a token of a broad, generous outstanding buildings. Interventions the province and were established in concept of space, generous and tolerant focused on 16th century buildings that accordance with the existing towards American concepts of space were still standing, as a living testimony organisation of the regions and the and in keeping with ancient customs of of the encounter of the Mesoamerican political, social and territorial structure both Christian and native rites (fig. 4). and the European world. In 1995 it was was often respected after negotiations Don Manuel Toussaint is believed to decided to restore the vault of the Open between the Mixteco lords and the have been the person who gave the Chapel in Teposcolula to save a building viceroys’ commissioners. name “Open Chapel” to a type of that is often cited as one of the Several studies agree that the moment of architectural item that was created in masterpieces of colonial architecture in splendour of the Lords of Teposcolula America in the 16th century and he says
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that this may be the only possible height of the impost of the vault, whose elaborate network of secondary ribs. analogy between the Christian church flat roof forms the terrace, and the All the arches that form the ribs of the and the Mesoamerican teocali. In second, at the height of the capital of the vault are generated by vertical sections general and in a very simple way, these columns, forming the floor of the choirs. of the sphere (perpendicular to the plane buildings are an open bay that leads to These horizontal planes form the formed at the impost), with the the atrium through one or several structural core of the building in a exception of the double curved ribs that arches. The open chapel was essential transversal direction. On the other hand, connect the diagonals with the tiercerons when there were few monks and there are three vertical planes that run forming a more “whimsical” pattern. We particularly in communities that covered longitudinally from north to south. If we shall discuss this type of ribs and their several separate settlements. Later on, look east, the first corresponds to the stereotomy below. The position of the some open chapels were turned into the façade, the second to the intermediary keystones in the sphere and the presbyteries of churches, but many arches and the third to the solid wall at relationship of the ribs with each other others conserved their relationship with the back (fig. 10). The most importance is resolved in the flat projection of the the open space. Some examples are still space in the building, where the altar vault with a fairly logical series of standing in Mexico, and the variety of stands, is covered by a vault contained in designs, with the hexagon in which the solutions shows us how freely the a hexagonal prism; there is a pier at each vault is located as the point of departure, matter was dealt with.The Open Church arris. Underneath, at each side of the and, in consequence, forming smaller at Teposcolula prism, there are bays with the main and smaller equilateral triangles inside The heritage of the town of San Pedro arches; the piers thicken towards the it, as many as the tip of the pencil and San Pablo Teposcolula in the Alta bottom to the impost of the main arches, permits (fig. 17). At the centre, the Mixteca region in the state of Oaxaca which in turn rest on columns continuing circle of the keystone lies within a still possesses the most remarkable of with the hexagon to the ground (four couple of triangles from this series, and all the open chapels; its design is very vertices of the hexagon in freestanding the foliated cross (the symbol of the beautiful, and suggests an excellent columns and the other two in columns Dominicans) obtains its geometry from technical and compositional feat for the attached to the solid wall at the back) to the geometry of the vault, reinforcing time, since there is no other building in achieve the desired transparency. On the the idea of taking the triangles ad America with a vault of over 300 tons west façade there are a couple of flying infinitum, where the vault has a supported by columns. No doubt it was buttresses. In the arch behind, the keystone that in turn has the vault with a well trained European architect with buttress leans on a rampant arch coming its keystone inside… and so on (fig. 16). experience in stereotomy who instructed out of the capital shared with the impost Even though the structural calculations the Mixteco builders. The solution of of two main arches, and continues in the demonstrated that the work on the vault the building speaks of spatial air towards the north and south is a self supporting spherical membrane exploration, and its scale and originality respectively on little arches resting on 30 cm thick (the thickness of the made it a symbol of the town and the smaller columns (figs. 11, 12). Two segments), the design of the ribs is religious institution. This building was buttresses are attached to the wall at the intended to take the stresses to each avant garde in its day. It is now back of the building (fig. 13). vertex, where the columns hold the considered a classic. Its composition weight (fig. 14). has transcended fashion, superficiality The vault and mere inventiveness The vault that originally covered the The reconstruction of the vault (figs. 5, 6). open altar at Teposcolula, whose The deterioration Composition of the Building reconstruction shall be described below, It is not clear when exactly the In an attempt to find the design behind required that two conditions be complied deterioration started, but it could have the architecture, some ideas were put with:1. that it would cover a 12 metre been at the end of the 19th century that forward. The first shows the relationship bay (the impost is 11 metres high) the vault began to collapse. In the early that exists between the ground plan and 2. that the weight of the vault be nineteen twenties, Manuel Toussaint the elevation (fig. 8). The second shows supported by props or columns. visited Teposcolula and published a that the proportions between the length This vault was conceived as a half description of the building accompanied and width are generated by three sphere. The centre of this sphere is at by some photographs showing its state hexagons grouped in both the ground the level of the impost and the length of at that time. Toussaint’s graphic plan and the elevation (fig. 9). A third the radius is the distance from the centre information shows that the flat roof in shows the importance of the presbytery, of the vertices of the hexagon. At each the north was no longer there, and the the axis of symmetry towards the centre, vertex there is toothing and the sphere is most serious damage was to the south of which attracts the eye to the place where intersected by the vertical planes of the the altar with the loss of the the altar and the altarpiece stood (fig. 7). hexagonal prism. The vault has ribs that intermediate arcade that had collapsed To understand its structure, at the north work structurally forming three round along with a third of the vault. The and south ends of the building we find arches, the diagonals that go from vertex keystone was still in place, held up by two horizontal planes; the first, at the to vertex in the hexagon and an some diagonal arches that were still
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standing. Some ribs and some keystones Preliminary works for recuperation damaged from damp and roots. Once the were still in place. From this time Before tackling the reconstruction of the thick layer had been removed, the onwards, the vault deteriorated rapidly. vault, a series of preliminary tasks had stonecutters followed the stratigraphy As the century went on, large pieces to be carried out: and the grain of the stone to obtain large continued to fall, but the rest of the 1. A wooden staircase was built at the blocks. Only 10% of the stone extracted building remained standing. In the front of the building, in the north, to could be used. The quarry was divided second half of the twentieth century, in give access to the roof and the vault into three work zones. When the work the publications by J. McAndrews and during the building process. rhythm was at its highest point, there G. Kubler, we can see some photographs 2. A steel roof was built with perforated were between six and eight people of the building, showing that about 25% beams, for two purposes: working on each zone. The tools used of the vault approximately was the only I. To protect the work area from rain were picks, crowbars, spades, part still standing (fig. 15). and sunshine. wheelbarrows, wedges and mallets. II. To hang the carved pieces to put Without any other tools, holes were Hypothesis of the deterioration them in place in the vault. made by hand and gunpowder was Based on the photographic material and 3. A wooden scaffold was inserted up to inserted to extract the stone. With a few the structural analysis, the deterioration the impost level (11 metres high) for “tricks” the workers moved the rocks, process was found to be as follows: two purposes: some weighing over a ton, put them on - Lack of maintenance in the roofs led to I. To form a perfectly horizontal the lorry with the help of a pulley and water infiltration, the growth of platform to record the details of the took them to the atrium in Teposcolula vegetation, infection by moths and other pieces still in existence (figs. 22, 23). destructive agents, which brought about II. To support the intrados of the vault c) Stonecutting the loss of the flat roofs and the floors and the weight during the building The rough stone arrived at the site, of the choirs and the collapse of the process (scale model in figure 20). where a loggia was built. A team of horizontal planes that connect the walls, 4. A pulley operated by a petrol engine stoneworkers fashioned the stones piece which are so important to the structure. was installed to raise the carved pieces by piece with a hammer and chisel. It is - The intermediate arcades without roofs and other material to a height of 17 worth mentioning that no machinery was or choirs are in a very precarious state metres. used. The stereotomy lines had to be of repair, as the solid part is at the top 5. Sections of arches were cut out of followed and the drawings were given to and rests all its weight on the columns. timber. Once they had been assembled, the master stonecutter with the most During an earthquake (whose date is the trusses were placed on the important measurements. unknown but it is believed to have been scaffolding platform following the The stone was “faced” (that is, a flat towards the end of the 19th century), the geometry of the ribs of the vault (fig. 19). surface was fashioned) to draw on it the intermediate arcade in the south, which actual projection of the piece. Then the was also a buttress, collapsed. Stonework planes between the joints were Immediately afterwards, the column, the The stonework was performed in fashioned. On these planes the section of two main arches resting on it and a third different activities that can be classified the moulding was drawn with the aid of of the vault fell (fig. 21). as follows: a metal templet and the excess was - What remained of the vault was not a) Locating the quarry removed from the stone. According to functioning properly from a structural The aim was to find the quarry where the the complexity of the piece, the number point of view, and pieces went missing material for the building of the 16th of drawings, bevel squares and templets throughout the 20th century; by the century open chapel originally came required was greater or lesser. When the nineteen nineties only 25% of the vault from. Covering a radius of some 20 km, rhythm of work was at its peak, more was left standing (fig. 18). we visited different sites where we knew than twenty stonecutters were fashioning there was stone. We finally found the pieces for the vault. Depending on the Interventions in the sixties and stone 9 km away from the town, very difficulty of the piece, a stonecutter was seventies close to what used to be the road to chosen and a price was set. Every worker Between 1960 and 1970, interventions Yanhuitlán. There we found traces of the had a job he could do and he was paid that consisted in reconstructing the extraction and large stones that had not according to his skill (figs. 24 to 28). intermediate arcade and the two main been used. The quarry had been unused d) Placement arches were performed. The roofs and for about four centuries and we had to The general strategy was to put all the the floors of the choirs with their open up a road for a lorry to pass through ribs in place first and then fill in the respective beams were also in order to carry the stone to the works. segments between them. Before placing reconstructed. The rest of the vaults b) Extraction of the stone them, a network of horizontal lines was were left untouched. There is little It was necessary to remove a thick layer lain out to mark the axes of the ribs at information available about these works, of vegetation that had grown on it over about eight metres over the impost level, but they helped save the building from the years. When the stone was resting on these lines and with a plumb total destruction. uncovered, we realised it was badly the position of the piece was marked on
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the timber intrados according to studies. Even though the drawings speak - Low curved ribs: these are four drawings previously made in the studio, for themselves, I shall try to give an circular directrix pieces that appear in placing their centre and the position of example to illustrate what this work pairs on each side of the V and end at the joints with the other pieces. To raise involved and how it was performed. the tiercerons keystone. Because of the the cut stone to its place in the vault, the development of these pieces, the rough stone was lifted 17 metres high with the Stereotomy stone had to be more than a cubic metre. mechanical pulley. Once raised, the We already said that the diagonal arches - Tierceron keystone: this is the piece was tied to pulleys, which in turn and tiercerons are vertical sections of keystone closest to the impost of the were fixed to the framework of the the sphere. The voussoirs that form vault. It is another voussoir of the ceiling, and the segment of rib was these arches were fashioned in the tierceron arches, so the joint and the carried through the air and set in place. ordinary way, although there are central axis of the director of the This operation was called the “Tarzan sometimes intersections or keystones cylinders are facing the centre of the stunt” by the workers (figs. 29, 30). The that make them rather more complex. arch formed by creating a vertical piece was put on the intrados, the However, I would like to include here section in the sphere, following the line correct position and verticality was some studies and drawings I made for of the arches in the design. The joint checked by placing a level at one side pieces that I consider of the utmost with the curved ribs is resolved on the (as we said above, the geometry of all interest. They are curved ribs that fit plane where their true shape and the arches is generated by vertical into the sphere and are therefore pieces magnitude can be seen. The size of the sections in the sphere). On some we called “double curve”, although they rough stone was over one cubic metre. occasions, the stone needed to have one are not really. - High curved ribs: these are two of its sides cut for an exact fit. We circular directrix pieces that spring from always tried to have the piece a little The case of the node of the keystone of the tiercerons keystone and meet the extra large to be able to cut it to size. the tierceron arch diagonal arch. The joint with this arch is Depending on the position, complexity Several pieces were created here: the directed at the centre, and an extension and weight of the piece, it took a longer keystone and the curved ribs of the must be made with the keystone for the or shorter time to put it in place. Some tiercerons (fig. 31). These ribs have a pieces to form a joint. The rocks did not of them took up to two working days. different geometric generation from the need to be over half a cubic metre. The team of workers was made up of six ordinary voussoirs. In the layout they do Below I shall attempt to give a brief or eight skilled workers with their not correspond to a clean line in the explanation of the procedure followed in respective assistants. relationships of the hexagon and their making the drawings from which the structural function is practically projections were obtained to provide the Waterproofing nonexistent, that is, they are merely information necessary to understand and In America, timber and tile roofs were decorative. No flat projection or fashion the pieces. not generally used to protect vaults from elevation of the pieces (parallel or 1. To tackle the problem, the first step the rain as they were in most of Europe. perpendicular to the horizon was to make a list of the existing pieces. In colonial architecture, the extrados respectively) provides sufficient Their geometry was deduced from the was covered with ceramic tiles and the information to carve them. In order to drawings of the elevations in order to water was channelled to the exterior by obtain the necessary data by means of a make the new pieces similar. The means of gargoyles. So this work was drawing it was necessary to use some projections of the traces in the ground performed by covering the extrados with very simple resources of descriptive plan were taken on the horizontal mortar to achieve a spherical surface geometry. On the other hand, it was wooden platform and in elevation taking that was then covered with a plastic essential to use large rocks, because they the vertical distance of the platform to waterproof sheet and a layer of are very long curved pieces and the each point of the piece selected. Data previously waterproofed ceramic was set moulding becomes deformed due to its were also obtained to draw the section in place with mortar. position within the sphere. of the mould that is “deformed” in So it is a single problem that provides relation with the section of the rest of Office work the solution for six pieces in the sphere the ribs. An office was set up in the choir on the facing the tympanum towards the 2. The projections for the new pieces north side of the altar, which strangely keystone that I gave the following were drawn using the old ones as a enough is the only one that can be names to: model. It was necessary to find the real reached by a staircase inside the wall. - V shaped piece: this stone rests on the shape and size of the projection in order All the plans, models and studies keystone of the tympanum and on which to have sufficient data to carve them. In required to do the works were drawn up lie two low curved ribs and whose order to find the desired projection, a in this office. Practically all the circular directrix is on the same plane as change of plane was drawn parallel to drawings were made by hand on tracing the ribs it supports. The rough piece the directrix curve of the piece (about paper. The most interesting part of the weighed approximately 0.7 cubic 60º in relation to the horizon). All the work was undoubtedly the stereotomy metres. other projections were drawn on this last
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projection and thus we gleaned the depend on the traces because the - Concrete floor and roof slabs with necessary information to shape the original work had little flaws in the draped steel mesh or other wire pieces (fig. 32). design and it was necessary to “adapt” reinforcement. 3. With the V shaped piece it was to them to achieve visual continuity in - Brick exterior walls and parapets, often necessary to obtain the surface that joins the rib pattern. At the same time, embellished with extensive terra cotta, the low curved ribs. Some changes of templets were made for every moulding stone or cast stone ornament. plane and rotations were drawn on the to guarantee continuity and the correct - Simpler brick court walls, often plane formed at the joint between the assembly of the pieces. constructed of a reflective, or light pieces until the correct shape and size colored glazed brick. were projected. The mould to cut the - Terra cotta and brick back up masonry, templet was obtained. The rest of the solidly bonded to the facing brick. piece was determined by the projections - Granite bases with Indiana limestone Charles DiSanto obtained from the elevation of the cladding at the lower (two or three) THE RESTORATION AND original pieces (fig. 33). floors. REPAIR OF HIGH-RISE 4. To solve the assembly of the - Projecting balcony and cornice APARTMENT BUILDINGS IN tiercerons keystone with the low curved elements. NEW YORK CITY ribs, the projections were drawn up to - Regular fenestration of wood or steel the line parallel to the directrix of the windows (the latter particularly popular The early part of the 20th Century ribs. Thus a change of plane was in the Art Deco buildings of the 1920s saw a building boom in New York City performed, approximately 60º with and early 30s). that culminated in the late 1920s relation to the horizon, to obtain the - Steel lintels and stone, cast stone or (predepression era) with the construction pieces from the front, that is, the terra cotta sills framing regular masonry of scores of high rise apartment projection plane parallel to the openings. buildings in Manhattan's Upper East Side tympanum or, in other words, one side - Modest penthouse construction, and Upper West Side neighborhoods. of the hexagon. Then, in another larger usually of lesser quality materials such This boom was fueled by a combination scale drawing, the projection parallel to as terra cotta block and light steel of factors: a rise in immigration, the the generatrix of the keystone cylinders framing with cement (stucco) or sheet returning of soldiers from the First World (or perpendicular to the directrices) was metal covering. (Many of these areas War, and a general economic expansion resolved. In this way we obtain a were originally designed as laundry, that found its center in New York City, projection where we can see concentric servant or storage spaces.) the world's first "Modern Metropolis". circles. This is the projection that has - Multiple chimneys (serving apartment Prolific and talented architectural firms sufficient data to provide the fireplaces) stair and elevator bulkheads, such as Rouse & Goldstone, Rosario stonemasons with the necessary and water tank towers constructed on the Candela, J .E. R. Carpenter, and Emery information to draw it on the surface of roof top environment. Roth built their reputations designing the stone and carve the piece. Then the - Flat roof and walk on terrace areas (the luxurious residential buildings during projection of the ribs was taken to where latter largely developed in response to this period, which saw the formalization the plan coincides with the horizon. setback laws established under the 1916 of the skyscraper building type. These 5. For the high curved ribs, the Zoning Resolution to promote daylight "mansions in the sky" combined the projections of the tiercerons keystone at street level). refinements of upper class living with a and the pieces at the intersection with - Concrete sidewalks, often constructed growing industrial approach to housing the diagonal arch were drawn and a above vaults at the building's basement to produce some of the City's most change of plane was made parallel to the level, where building services, boilers, enduring symbols of wealth and civility circular directrix of these ribs fuel storage, etc. are housed. the prewar apartment houses that line (approximately 45º in relation to the Central Park, Park Avenue, Riverside horizon). By drawing all the projections Socio-Economic Context Drive, and many of New York's other we obtained the proper size of these In addition to the common physical finer streets and avenues (see pieces and it was possible to determine attributes associated with the New York illustrations 1, 2 and 13). the assembly surfaces of the ribs with City high rise apartment buildings of the the different pieces they touch as far as age, there are other factors worth Typology the place where the plan coincides with considering in a discussion of the As a building type, there are common the horizon (fig. 38). circumstances of these buildings. architectural elements to these structures 6. After resolving the general problems, Primary among these is the particular which have come to influence our current each particular detail was attended to. form of ownership and control, which is approach to restoration and repair of For this purpose a drawing and a templet currently predominant in New York and these buildings. These include: was made for every curved rib and every consists mostly of cooperative - Steel structural frame, usually built to keystone in the vault. Little details corporations. In cooperatives, groups of 12 or 15 stories, but sometimes soaring to changed from piece to piece. We had to owners collectively own an apartment 30 or more.
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building, and pay for essential services, Typical Conditions high rise structures in Manhattan, a short taxes, energy costs and upkeep through As most of the classic prewar residential list of which follows. These repairs monthly "maintenance" fees. The shares high rise buildings approach 75-100 years represent the most common interventions the individual residents (or of age, the effect of time in the physical in response to the conditions described "shareholders") purchase upon entry context of New York has resulted in a above, and the evolution of these repairs correspond to the apportioned value of steady stream of restoration, has largely led to the industry standards the particular apartment in which they reconstruction and repair activity in the which are utilized today. reside. Most of the day to day City that has continued essentially - Parapet reconstruction, including the management of staff and coordination of unabated since the early 1980s (see introduction of new waterproofing professionals (attorneys, accountants, illustrations 3, 4, and 5). It was during membranes and flashings (to protect the architects) engaged by the building is this time that New York City passed a interior structure and prevent leaks into handled by a management company, but law requiring owners of all buildings in the building), vertical and horizontal the key decisions are made by an elected excess of six stories in height to have reinforcement, anchorage and new Board of Directors. regular inspections made of the facades masonry (see illustrations 7 and 8). This system tends to promote greater to establish if any unsafe conditions These repairs often lead to the care and stewardship of the building existed. The inspections are focused on reinforcement/replacement of corroded itself, as resident owners are more likely those elements of the building envelope structural steel, which is generally not to protect their investments in a long which are ubiquitous in the prewar waterproofed in the original term manner. (This was not always the (WWII) high rises, namely the projecting construction. case, as the City's financial woes in the sills, band courses, balconies and - Corner reconstruction, particularly as a 1970's corresponded to a period of cornices which give these same buildings consequence of vertical cracking due to deferred maintenance and ill advised their unique character. (Later structures, thermal movement, which in turn short term repairs that left many large particularly from the 1950s and 60s, are promotes infiltration and corrosion of buildings in a poor state through the much more streamlined and restrained structural steel columns. Such corrosion succeeding decade.) with respect to ornament.) This law expands the original steel to 8 or 10 (Local Law 10/80, recently revised and times the original dimension, the force Physical Context renamed Local Law 11/98) has had an of which displaces the adjacent brick In addition to the social and economic enormous impact on the overall public masonry. Newly rebuilt comers are factors, the unique physical environment consciousness of the physical condition provided with waterproofing, anchorage of New York City must be taken into of high rise facade construction, and has and renewable soft joint detailing (see account in order to understand high rise been a boom to architects, engineers and illustrations 9 and 10). buildings. The location of New York in contractors specializing in the area of - Lintel reconstruction, including the the climatological zone of the facade restoration and repair. replacement of exposed (ferrous) northeastern United States results in a Many restorative projects evolve from the supporting angles with hot dipped condition of regular freeze/thaw action, to required inspections (which must be, in galvanized or stainless steel, as well as the detriment of most building materials. part, conducted from scaffolding in a waterproofing. (This is the most Temperature swings in excess of 1000 hands on fashion), and the guidance of common source of interior leak damage Fahrenheit (380 C) over a yearly period professionals is more often sought in in buildings of this type.) The result in extensive building movement not connection with facade work than prior to waterproofing must extend along the anticipated or fully appreciated by the the passing of Local Law 10/80. lintel, but critically must turn up at the original designers of these buildings. In addition to playing an inspection and ends to prevent accumulated water from Wind driven rain, particularly from the enforcement role, the City also acts to dropping into the building interior (see northeast direction, is prevalent in control the quality of restoration, repair illustration 10). Manhattan, and is particularly potent and new construction through the NYC - Replacement of sills, band courses, along the wide avenues, parks, and river Landmarks Preservation Commission. balconies, cornices and other projecting drives where large apartment buildings This agency is responsible for reviewing and decorative elements. These are concentrated. High levels of urban and approving projects at buildings in replacements utilize in kind (stone and pollution and acid rain as well as designated neighborhoods (as well as terra cotta) materials, as well as cast excessive vibration (due to subways and significant individual structures), and concrete, resin reinforced cement and underground trains) and wear and tear helps to assure that decision making is in fiberglass. The need for such customized also serve to deteriorate structures over accordance with established guidelines alternative material has spawned a time. These factors, taken as a whole, and that modifications are variety of mid size companies which create a continuing breakdown of sympathetically carried out. supply and support the restoration envelope components and materials in industry today (see illustration 12). buildings, which must be addressed Repair Approaches - Replacement or restoration of through maintenance, repair and There are a wide range of typical repairs windows, which must take into restoration. that one encounters when dealing with consideration aesthetics, performance,
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and cost. (In recent years, the additional The result is, more often than not, that a "strong yet flexible" approach to costs associated with abatement of lead "restoration contractor" in New York has construction. The flexibility not only based paint and asbestos containing all the skilled labor to execute a allows for in field adjustment of newly putty in older windows has resulted in multifaceted and complex envelope introduced materials to the existing less restoration, as replacement windows repair project, from the initial building fabric, but also assures that the are usually cheaper than a proper scaffolding to demolition, long term effects of thermal movement restoration.) Cooperative buildings have waterproofing, masonry installation, on the envelope components will be devised a number of strategies to sealant, painting, welding, roofing and duly accommodated. (The development finance, promote and control window concrete work. This full service of the sealants industry, initiated in the replacement, one of which is the approach may be unique to New York, 1950s, has been critical in this regard.) development of "master plans", which and is certainly in direct response to the The matching of new materials to the are preapproved by the building's Board market demands posed by hundreds and existing building is equally important in of Directors and the Landmarks agency hundreds of large cooperative apartment restoration, and as sensitivity and an in the City, and which allow for buildings throughout the Metropolitan appreciation of architectural detail has piecemeal but uniform replacement over area. The most successful of these firms grown over the past 20 years, so too has time. are medium (50+ employees) to large the supporting industry of custom - Repointing or renewal of mortar joints, (300+ workers) in size, and maintain reproduction fabrications. It is no longer which involves the fairly disruptive strong and hierarchical control over the the norm to strip buildings of their process of grinding out the existing work product through the use of skilled ornament in response to localized mortar with electrical tools, and foremen and supervisors, whose daily failure, as the means now exist to more replacing it with new materials (see communication of job issues to both the economically repair and retain these illustration 11). This is probably the resident managers (building critical components. Finally, the most common "repair" undertaken in superintendents) and the project importance of teamwork and buildings of this type. managers in the architect's or engineer's communication via the sharing of - Replacement of roofing, both service staff ensure proper execution of the information among the owners, areas and "walk on" terraces, with new work as it evolves. contractors, fabricators, conservators, modified asphalt or resin based systems, architects, and engineers has allowed for with paver or quarry tile overburden, Conclusions a continual and progressive movement new flashings and drains. Most new The particular environment of New towards a fuller understanding of how to roofing systems carry an extended York, both historically and presently, has treat these buildings successfully. warranty of up to 20 years. led to a unique set of opportunities with - Replacement of sidewalks and curbs, regard to building restoration. High rise Case Study - 850 Park Avenue and waterproofing and structural repair apartment buildings constructed in the There is an old saying, "if at first you of underlying vaults. early 20th Century utilized the finest don't succeed, try, try, try again". At 850 materials, craftsmanship and design in Park Avenue, two repair campaigns were The Construction Process the context of tremendous urban performed to the street facades over a 15 Many of these necessary repairs are building activity to create a housing year period. The first managed to challenging enough on their own, but stock well worth preserving. Although address numerous unsafe and because the buildings are occupied the lessons learned and techniques deteriorated conditions, but fell short of during the work, these projects become developed during the last 20 years are, a full restoration as budget concerns much more difficult. Couple that with in many ways, particular to New York precluded certain "optional" items. The the fact that most of the restoration City, there is general application to the recently completed project more closely work takes place off moving or fixed wider arena and growing knowledge returned the building to its initial state scaffolding, and that the contractor is base of building restoration and repair. of grace, and included the reintroduction responsible to maintain the watertight These include an appreciation for the of a decorative cornice, removed ca. integrity of the building envelope, and importance of understanding materials 1970. the challenges multiply (see illustrations and the relationship between building 850 Park Avenue is in many respects a 3, 4 and 5). components. The need for waterproofing typical prewar cooperative luxury Despite the challenges, a wide range of in rebuilt envelope sections is inherently apartment building in New York City. exterior restoration contracting at odds with the original construction in Designed in 1913-14 by Rouse & companies have evolved to fill a that membranes are bond breakers. One Goldstone, Architects, this 12 story growing market. One time roofing or needs to reconcile the separation of structure at the southwest corner of 77th sheet metal contractors have added exterior and interior construction via Street and Park Avenue utilizes terra masons and stone setters to their crews, waterproofing with the desire to cotta Italianate detailing to embellish a and successful bricklayers have learned integrate the reconstructed work robust and rustic brick wall design. A the particular skills of waterproofing structurally and mechanically. This is variety of band courses, window and flashing associated with their trades. achieved through careful detailing, and a surrounds, and balcony features serve to
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ENGLISH VERSION
embellish an otherwise reserved facade, In the intervening years, some other pay dividends in terms of resale value of and deeply set windows with thick slate exterior projects were undertaken at the apartments in the building. sills help lend the building a strength building, including court wall repairs, A concern with the overall height of the and presence lacking in most modern window painting, and penthouse wall cornice, for which no original drawings examples of the residential building cladding. At some point, the protective were found, related to the development type. The brick is both textured in its copper cover at the fourth floor water potential of the penthouse area surface and varied in its hue. Mortar table was removed and the terra cotta (currently utilized as service space, but joints are wide and coarse, and produce coated with elastomeric paint. coveted as a possible apartment). It was significant shadow lines. We were reintroduced to the building in important to minimize the extent to Although the building is framed in steel, 2003 after a Local Law 11 inspection which existing viewing vantage points thick masonry walls and the relatively revealed some cracked terra cotta (in would be impacted by the cornice, so recessed structure belie the conservative areas not previously repaired) and some the design stressed horizontal projection nature of the original design, as the further deterioration at the water table. and detail development over height, evolution towards curtain wall Early discussions with the Board while attempting to generally conform to technology was still in its infancy in the confirmed a serious level of historic photographs (see illustration early 20th century. Still, the very commitment to restoration, not just 20). The design was approved by the presence of carbon steel in the building, repair, of deteriorated elements. This Board and the NYC Landmarks particularly as it related to support for was partly attributable to the increased Preservation Commission, which has the projected terra cotta, created value of the property, but also reflected jurisdiction over facade alterations in problems as the building aged and a broader awareness by the owners of this historic district. The design also moved, and poor maintenance the causes and effects of long term incorporated discrete scaffold cable contributed to the state of affairs first deterioration and a greater level of "sleeves" within the overall construction studied in 1990, following the loss of a sophistication regarding the expected to allow for hanging scaffolding to be portion of a fourth floor terra cotta water outcome of such an effort. installed without the need to cantilever table. There were four main components to the over the entire cornice. The water table at 850 Park Avenue is a recently completed (January 2005) The water table was completely continuous projection of bracketed terra facade restoration: water table reconstructed in new, hand pressed terra cotta situated at the fourth floor of the replacement, miscellaneous terra cotta cotta units on a new stainless steel building. The water table visually repairs/replacement, brick and mortar support system (see illustrations 16). defines the building's "base", and also replacement (particularly in areas This work was particularly satisfying provides a critical water shedding previously repaired with poorly matched given not only the previous decision to function. Corrosion of internal steel materials), and a new cornice. repair this element, but the proximity of "outrigger" supports and the perimeter The idea of reintroducing a cornice the new material to the street, where its angle led to displacement and failure of created much internal debate among the visual benefit and crisp detail can be the terra cotta at the face. Although building owners. On the one hand, the more fully appreciated. various alternatives were studied during cost to erect new structural steel and Higher in the building, precast the initial repair campaign, the building new (fiberglass) cornice material, along reproductions were again utilized, owners opted for a partial repair with a cornice roof and inside wall although more significant rebuilding approach at that time, using precast cladding, was not inconsiderable. On the included new and salvaged material concrete reproduction units and a other hand, the tangible benefits of a while allowing for a meaningful leadcoated copper cover to limit future water shedding overhang at the top of waterproofing of concealed structure. infiltration in the support structure, the building could not be discounted, Finally, both brick and mortar were which was largely retained. (Other terra and experience has borne out the carefully analyzed and painstakingly cotta damage at balcony and window assumption that a lack of such protection matched with available replacement surround areas was similarly replaced served to promote deterioration at the materials. In all, five different face brick with cast concrete reproduction units, upper floors of larger buildings like 850 selections were made and blended which still exist and remain in good Park Avenue. There was also the less according to specified proportions. condition after 15 years.) tangible but equally compelling All of the work was performed from a The 1991 project also included some rationale to improve the building's fixed pipe scaffold and planking, and comer reconstruction, slate sill appearance, especially in the context of white debris netting covered the replacement, pointing and cleaning the wide avenue, where most buildings scaffolding, protecting the public while work. Reintroduction of the original have a consistent height and massing, maintaining a bright environment for the cornice design was considered cost and where 850 Park was conspicuous workmen, residents, and neighbors. The prohibitive given the extent and nature within the streetscape by its lack of work was completed in 12 months at a of the base project, which consisted defined "top" (see illustrations 13 and cost of $1,500,000. largely of "emergency" or unplanned 15). Many on the Board also felt a repairs. higher quality facade restoration would
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Kent Diebolt and James V. Banta diagnostic or preconstruction phase of a contractors, saving the building or INDUSTRIAL ROPE ACCESS: repair or restoration project. structure owner time and money. Before SPECIALIZED INVESTIGATIONS Compared to the expense of preparing construction documents, such OF HISTORIC BUILDINGS IN conventional means of hands on as conditions reports, drawings, and THE UNITED STATES inspection via typical scaffolding, specifications, it is ideal to have a clear Vertical Access provides low cost, picture of existing conditions and the Beginning in the 1980s, mainly in innovative solutions for planning practical benefits of a hand on France and England, a new approach to building repairs and maintenance. investigation should not be accessing different types of vertical Furthermore, Vertical Access employs an underestimated. Erecting scaffolding structures emerged. This approach, now approach that prevents overt physical prior to beginning a repair or restoration known as Industrial Rope Access, allows disruption to the building, a feature that project is almost always an ineffective trained technicians safe and ready access is especially important where delicate use of valuable time and money to a variety of “extreme” work sites. architectural components are of concern. when compared to the relative Industrial Rope Access is currently speed and flexibility of performing a practiced in countries world wide, How Industrial Rope Access Works rope access investigation during the including Spain, and has an excellent Industrial Rope Access utilizes planning stages. There are other reasons safety record. lightweight, highly adaptable rigging not to erect scaffolding in the In the United States, the governing systems to position workers in hard to preconstruction of discovery phase, such bodies active in establishing reach vertical locations. This field of as compromises in building security, professional standards for Industrial expertise developed out of techniques diminished aesthetics and potential Rope Access are: SPRAT (Society of used in rock climbing and cave liability problems arising from designing Professional Rope Access Technicians), exploration, as well as search and rescue the wrong scaffold for the work that is and OSHA (Occupational Safety and operations that use specialized rope ultimately required. Health Association). skills. Furthermore, Industrial Rope Access is Although international standards exist, Industrial Rope Access systems rely on often the best solution when building Industrial Rope Access in the U.S. is two independently anchored ropes on size and configuration – or the still evolving towards certification which technicians are suspended in surrounding landscape/streetscape standards. In the United States, SPRAT industry specific climbing and conditions – inhibit the use of is a trade organization that serves the suspension harnesses. One rope is conventional means of inspection and same function as the European IRATA termed the “working line” and the testing. Specific areas that pose access (Industrial Rope Access Trade second, redundant “fall protection” line challenges are steeply pitched roofs, Organization) and is in the process of provides fall protection. Chosen for their spires, domes, steeples, tall parapet or creating standardized safe practices and low stretch properties, rope access screen walls, and towers. certification for rope access technicians companies use static kernmantel ropes Vertical Access’s on site documentation in the U.S. For over 15 years, IRATA as opposed to dynamic ropes that are techniques began with simply making has been the organization involved in designed to stretch, particularly under notes on paper. In recent years, safety, training, and certification for dynamic loads such as might occur when however, VA has integrated live feed rope access work in the U.K. and much catching a falling climber. video, hand held computing devices (i.e. of Europe. Technicians typically tie off ropes to Personal Data Assistants), and tablet In Spain, ANVETA (Asociación immovable structural members at the computers into a more precise and Nacional del Empresas de Trabajos) roof, tower, or attic. Rigging and efficient documentation process. Most plays a role similar to IRATA, anchors are highly adaptable and always importantly, the development of pen establishing guidelines for rope access site specific according to the conditions based tablet computers has allowed work, and provides an online listing of of the work area, building or structure. Vertical Access to use AutoCAD as the accredited companies. Most rope access Technicians use specialized “hands free” primary graphic tool for recording companies working in Spain carry out descent control devices that facilitate existing conditions on site. maintenance and rehabilitation work maneuverability and ease in recording While all of the tools used in Vertical such as façade restoration, painting and information as they descend on the Access’ annotation system are native to cleaning. ropes. AutoCAD releases 2002 and 2004, some Approximately 14 years ago, Vertical customized features have been designed Access pioneered the use of Industrial A Powerful Tool for Architects and to further automate the documentation Rope Access for inspection and testing Engineers process, including automatic of buildings and structures in the United Integration of Industrial Rope Access fault length and area calculators and the States. Working with architects, techniques into the initial survey team capability of linking digital photos with engineers, and conservators, Vertical allows architects and engineers to data blocks. See our website for more Access provides highly skilled and present more fully developed scopes of information on the Tablet PC specialized services during the work to clients, building owners, and Annotation System (TPAS):
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http://vertical- Access provided to the client consisted in order to inform the conservation access.com/resources.html. of 41 annotated AutoCAD elevation treatment of bronze sculptures located drawings, copies of videotape made 400’ above street level. Safety in the Industrial Rope Access during the course of the investigation, Designed by Alexander Milne Calder, Workplace and more than 500 photographs. grandfather of the famous creator of Vertical Access strives to maintain the In the summer of 2002, Vertical Access mobile sculptures, the figurative statues highest regard for health and safety of identified and located different types of at Philadelphia City Hall weigh 12 to 18 all persons potentially involved, stone and terra cotta deterioration tons and are up to 28 feet tall. Each including employees, clients, building including spalls, cracks, and exfoliation sculpture or figure group is a hollow occupants, and pedestrians. To ensure due to salt fretting. Specific bronze casting that has a hatch in the safety for all parties it is often necessary information, such as the size of cracks, rear. Through these removable panels, to close streets, sidewalks, entrances, or was recorded to provide the architects Vertical Access was able to perform a public spaces surrounding a building or with information as to the magnitude of thorough inspection of the interior structure. In instances where additional repairs required. In the interest of conditions with specific attention to the precautions are required, or heavy traffic public safety, technicians removed corroded base plate bolts.A key feature exists, Vertical Access may also employ potentially hazardous terra cotta and of the investigation was a real time/live security personnel and sidewalk bridges. stone during the inspection. video and audio transmission of the Furthermore, all Vertical Access In order to avoid potential conflicts of conditions to sculpture conservators technicians are trained in rescue interest and keep the tasks of contractor asked to bid on the treatment methods procedures for the rope access and preconstruction investigation for the bronzes. With a hand held environment and a minimum of two separate, Vertical Access typically does digital video camera and two way radio employees are always present on site. not engage in actual repair or contact, Vertical Access technicians restoration work. However, in certain could converse with conservators inside Projects cases such as this, Vertical Access may the tower while they watched the video. Vertical Access has experience with a undertake measures to mitigate Observation of the live feed video was a wide range of historic and modern hazardous conditions during the significant part of the mandatory on site building materials and has provided planning process of a long term repair walk through for all bidders on the inspection and testing services for a or restoration. work. variety of structures. Since 1992, Once again, in 2004, Vertical Access This project was an exercise in Vertical Access has completed returned to Buffalo City Hall to make in efficiency and effectiveness. Instead of investigations employing these situ measurements of individual stones the great time and expense required to techniques on a wide range of religious, in order to help the architects’ prepare erect scaffolding outside the tower, it educational, commercial, and detailed, stone by stone drawings for took three Vertical Access technicians government buildings, as well as construction documents. Drawings that only four days to accomplish the entire monuments, sculptures and bridges. accurately depict the actual scope of work. measurements and configuration of Buffalo City Hall, Buffalo, New York existing conditions are valuable and Hanging Flume, Uravan, Colorado Architect: George Dietel and John Wade often rare assets when it comes to Architect: Thomas B. Barber with Sullivan Jones planning the appropriate intervention Date: 1880s Date: (completed in 1932) methods. Currently, the building awaits Owner: United States Bureau of Land Owner: City of Buffalo, New York government funding for phased façade Management In collaboration with: DiDonato restoration. In collaboration with: Alpine Associates, Engineers and Richard Archeological Consultants, Inc.; Pieper, stone consultant Philadelphia City Hall, Philadelphia, Anthony & Associates, Inc.; Bureau of Buffalo City Hall is a massive 29 story Pennsylvania Land Management; Colorado steel framed Art Deco building clad in Architect: John McArthur Preservation , Inc.; Colorado Center for sandstone and limestone with a granite Date: (completed in 1901) Community Development; Cultural water table and extensive polychromatic Owner: City of Philadelphia Resource Planning; Jerald Reid; State terra cotta ornamentation. Vertical In collaboration with: Keast & Hood Historical Fund; Robert Silman Access has been working at Buffalo Engineers, for the City of Philadelphia Associates, P.C.; Western Colorado City Hall since 2002 and plays a major Public Arts Council Interpretive Association; Photographer role in creating a baseline In the case of Philadelphia City Hall, Tyler Young documentation of existing conditions, Industrial Rope Access was selected as In this remote location, the logistics for providing temporary stabilization the optimal means of providing as much safety and communication added to the interventions, and assisting in planning hands on examination as possible within usual challenges of accessing areas for significant future repairs. The a limited budget. Vertical Access helped difficult to reach. Located up to existing conditions report Vertical determine and record existing conditions hundreds of feet below the main road,
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and several hundred feet above Dolores ceramic construction materials – lies in In collaboration with: Wiss Janney River, the Hanging Flume could not be interpreting the type of noise made upon Elstner Associates, Chicago office reached with conventional means of tapping. Technicians listen for a dull This famous icon of Chicago access such as scaffolding, swing rather than a ringing noise that usually architecture is a magnificent steel frame staging, man lifts, or even industrial indicates a sound or well attached tile structure clad in limestone and built to cranes. that is not cracked. resemble the Cathedral of Rouen's Work included documentation of Butter Tower. Gothic Revival stone construction details and existing Low Library, New York, New York elements surround the top of the tower conditions, with a focus on how Architect: McKim, Mead & White and the base of the building. determining the flume was constructed. Date: 1903 Vertical Access performed a critical Vertical Access also provided logistical Owner: Columbia University inspection at the 25th-35th floors of the support for the entire team, included live In collaboration with: Robert Silman tower and safely removed potentially feed video, assistance with Associates, PC hazardous material, such as stone spalls, measurements and observations, Vertical Access installed sensors used loose mortar and failed cementitious Schmidt hammer testing of the rock for for remote location monitoring of repairs in over 20 hard to reach surface hardness, and use of a wood movement. These sensors, often called locations. Vertical Access provided the densitometer for analysis of the wood “crack monitors” are highly sensitive client with annotated elevations, integrity. Additionally, Vertical Access electronic devices installed at key electronic AutoCAD drawings, and provided training, “guiding” and the locations where structural stress is of detailed photographic documentation. means for engineers from Robert Silman concern. The data recorded by the Additionally, Vertical Access technicians Associates to inspect the flume structure sensors is relayed to an on site computer installed fixed permanent directional themselves. These engineers created the that constantly keeps track of anchors to allow future inspection of the sketches and detail drawings while incremental movement over time for the buttresses using Industrial Rope Access suspended on ropes that are needed to engineers working on the project. techniques. This fact represents inform decisions about what will be progressive foresight on the part of the done to preserve and interpret this Chrysler Building, New York, New York building owner, architect, and engineer highly unique and endangered example Architect: William Van Alen and long term acceptance of Industrial of mining technology. Date: (completed in 1930) Rope Access. Establishing sound anchor points Owner: Tishman Speyer Properties without the usual structural elements to In collaboration with: LZA Technology Why Industrial Rope Access? tie off to added a level of complexity to The 77 story art deco skyscraper is a This review of projects offers a this project. Anchors were created by tour de force in art deco style and was sampling of the variety of solutions utilizing existing geologic features or briefly the world’s tallest building. The Vertical Access has employed in the through the installation of redundant 7 story pinnacle with stainless steel documentation and testing of existing steel anchor bolts. cladding and the gleaming automotive structures. Due to its flexible and light The further challenge of working on inspired gargoyles and ornaments are weight rigging systems, Industrial Rope such remote ruins rather than a structure juxtaposed atop the more traditional Access techniques can accommodate an in a more urban environment ensured light brick cladding of the steel tower increased survey or testing area while that technicians would be exposed to below. minimizing disruption to building potentially loose or highly decayed Vertical Access was hired to perform an occupants and reducing the physical construction materials. investigation of the stainless steel spire impact to a structure. In addition to to determine the cause of increasing employing these techniques, Vertical St. Paul’s Chapel, New York, New York water infiltration. The project included Access provides its clients with state of Architect: I. N. Phelps Stokes flood testing to find locations of the the art technology and unique Date: 1904 leaks. Flood tests were conducted on documentation services. The ultimate Owner: Columbia University the exterior of the building’s crown, as goal behind Vertical Access’ work is the In collaboration with: Robert Silman technicians sprayed water in specific collection, management, and Associates, PC locations while personnel on the interior communication of condition survey data Using a 1 lb. acrylic hammers to lightly verified water penetration. for the design professional, who tap or “sound” masonry materials is a understands that the precise routine part of many Vertical Access The Tribune Building, Chicago, Illinois documentation of existing conditions is investigations, particularly on masonry Architect: Raymond Hood and John fundamental to making informed or terra cotta clad structures. The Howells decisions in maintenance plans and challenge in hammer sounding Date: (completed in 1925) restoration projects. Guastavino tiles – as is true for other Owner: The Chicago Tribune
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