Feeling the Table Without Touching the Cloth Design Report

Crossings, Tables & Scales Feeling the Table without Touching the Cloth Design Report

Marek Sivák

University of Edinburgh_School of Arts Culture & Environment_Architecture Architectural Design Thesis Closure_U00769 May 2010 Thesis & Haptics

‘Haptics is a sense of the project. Haptics is perception beyond traditional senses1. Haptics is experience of the world, environment and us, full and complex. It is materialization of Merleau-Ponty’s flesh2. Haptics3 is the ultimate state of perception.’

1 Sometimes referred to as Aristotelian senses: vision, audition, gustation, olfaction and tactition. Nonetheless haptics is neither restricted to other more recently classified senses like equilibrioception, nociception, thermoception, magnetoception, kinaesthesia, etc.

2 Occurrence of reciprocity either abstract or material in between the perceiver and the perceived. See Merleau-Ponty, Maurice (1968). The visible and the invisible, ed. Claude Lefort. Evanston, Ill.: Northwestern University Press 3 Matter of Haptics is further elaborated in essays ‘Haptics’ and ‘Haptical museum of Florence’ by the author.

3 Thesis & Haptics

In the thesis Florence is explored under the theme of Urban Museum where everyday plays out monumental and monumental everyday. Through series of orchestrated touches I intervene urban, architectural, historical, instrumental and socio-political spheres of Florence1.

Dining is an everyday action but can also be a ceremony; it is a delegate of Ital- ian culture that stretches athwart contemporary and historical, wealthy and indi- gent. I employ dining as a narrator that spans three selected interventions.

Three prima facie unrelated private commissions at three sites in Florence with three programmes set around dining are called Breakfast, Lunch and Dinner. The interventions play out the Haptics of their immediate and distant context. Each intervention is built on tectonics of trivial and transcendental, programmatic and phenomenological, literal and metaphorical, present and absent, physiological and that of the flesh.

1 Florence is viewed as a very specificUrban Entity. It was founded as an ‘cosmically ideal’ Cartesian (axes cardo and decumanus) grid of Roman castrum. Following several hundred years a pure necessity and law of survival guided the city’s dimensions and appearance over any vision or idea. During the golden age from Renaissance to 18th century thoughts of geniuses fertilized the city’s fabric. Florence was now an architectural gem but no overall urban idea, nothing of the kind we would call a masterplan, touched the city until 19th century sanations and adaptations to Italian capital. I locate my interest into Brunelleschian Florence where absolute clarity of an architectural masterpiece within its context was everyday standard of the master (meaning Filippo Brunelleschi but on a wider scale and to a certain extent every master of the time) but no desire to master the entire city ever entered the thoughts or practice of his. Every little gem was placed with utmost respect to the neighbouring and distant gems by other masters but the time, state of affairs or the mentality did not ask for more significant cut of the overall city’s diamond. Based on such strategy, my project’s urban attitude is fractional intervening, orchestrated touches. Urban consistency is reflected chronologically, spatially and through grammar legacies and reciprocal ties. For further elaborated argument see ‘Urban Statement’ essay by the author.

5 Thesis & Haptics

Haptics is an overall attitude, point of view in the project. Haptics started simply as an architecture using touch rather than vision as primary means of perception but it evolved into much broader scheme. Haptics contains both physiological and metaphysical denotations of perception. Dining is a good example of such ambig- uous hapticality. When Blood flows around me and I see no blood 1 but I smell it. Theory of Haptics pursues the phenomenological elaboration of perception and And when the Sea transpires its salty odeour senses by Maurice Merleau-Ponty2. It is also underpinned by works of ecological and I smell no salt psychologist James J. Gibson3. Key for Haptics is Merleau-Ponty’s flesh, an occur- but I hear it. rence between the perceiver and the perceived, their reciprocal relation. Haptics is Blue. applicable both to the perceivers - us - and the perceived - environment, urbs and architecture. Haptics in architecture works with a version of genius loci, uncovers ‘A certain blue of the sea is so blue, that only blood would be more red.’1 and amplifies historical, contemporary, geographical, social & political, tangible and metaphysical layers of places. My designs should mediate Haptics of places to 1 Merleau-Ponty, Maurice (1968). ‘The intertwining: The chiasm’, The continental aesthetics reader, Clive Cazeaux (ed.). London: Routledge: 165, cf. Claudel. its users or passers-by.

In the end Haptics lost nothing of its tangibility, it is still an object to touch, no matter if the object is a story, history, social relation or an aesthetic shape, no matter if the touch is done by hands, eyes, ears or our brain.

“Senses, as we think to know them, are lost. They are sleeping beauties. Senses, as we call them haptics, are inside us, around us, in the cries of seagulls. Tact and vision are nice words indeed. First is wave in the sea, second cloud in the sky.“

1 For a detailed theory on Haptics see essays ‘Haptics’ and ‘Haptical Museum of Florence’ by the author. 2 Merleau-Ponty, Maurice (1968). The visible and the invisible, ed. Claude Lefort. Evanston, Ill.: Northwestern University Press . 3 Gibson, James J. (1983, c1966). The senses considered as perceptual systems. Westport, Conn.: Greenwood Press.

7 All Three Museums Altogether

Breakfast, Lunch and Dinner are Museums. They might be even called Museums of Dining or Haptic Museums. They encompass many qualities museums connote. But they are certainly not museums as we would imagine denoting the word.

This is the key to understand the reciprocity and necessity of all three 'museums'. As much as senses bear a certain essence of indiscerptibility when they can still work after destruction of one but never to the same extent or quality, the 'museums' might exist without one or two of the others but never in their present shape.

The Table Instrument of Florence is a map showing all three interventions together in relation to Cupola (dome of Santa Maria del Fiore) - the metaphor for relating piece in Florence, each of the museums has such relating piece of its own in its local context. Breakfast relates to real Cupola, Lunch to tower of Palazzo Vecchio and Dinner both to Ponte Vecchio and Cupola. The Table (usual prerequisite for Dining) is an instrument that 'draws new Florence' - it took important part in understanding relations in Florence and consequently placing interventions into the city.

The Tower is a personification, a blending concept, of Breakfast, Lunch and Din- ner. All are entangled around the same narrative of haptics, dining, culture and history. All feature several ‘tables‘ vertically displaced (nested) and joined by series of staircases / ramps which metaphorize the journey from induction to resolution. All feature its own ‘Cupola‘ - a relating monument, point of localization in Florence. Dinner furthermore contains its own materially present ‘cupola‘1.

The white card Tower is chronologically third - tangible - tower in a series. All Towers work as adumbrations of the next step. Non-dependant on being an object or eidolon they constitute ideals that shield and stimulate factual architectural interventions.

1 Note the difference:cupola (lowercase) refers to the newly built extension suspended above the Dinner building while Cupola (capital C) refers to the dome of Santa Maria del Fiore.

All Three Museums Altogether All Three Museums Altogether

Object of three tables, metaphysical but tangible 'museum' encom- passing quality of Florentine haptics: All parts of the Materiality and Tower: immateriality Table (3x) Reliefness of the city and its Cupola façades Ramp / Stairs - Verticality of its leading element structures and from happening horizontality of A (induction) its far-going re- to happening B lations (resolution)

Sociality and Three-table as- politics of its semblage and dining , tables bearing pillars and gathering ,

Reflection of its history

Inseparability from its presence

12 13 Dinner - Borgo San Iacopo 20 and 22, Florence, Italy

Dinner is a living mall. Dinner is composed of two neighbouring buildings, one dating to 1200’ and the other 1950’. The party wall then sections in between the historical and contemporary. It is an authentic palace and post-war facsimile, quãle of the border of bombing. Dinner investigates the flesh of touch of the old brick and the new brick. Dinner is an expenditure in Bataille’s sense1, heap of gold and jewellery - a prosthetic arm of Ponte Vecchio2. It is an everyday life in flats, gold bought into the flats, it is an evening theatre but also a theatre of that everyday life. But foremost it is the Dining: dining in breakfast bar, lunch bistro, dinner restaurant, cupola3. Dinner is a key to Breakfast and Lunch. It is incar- nated Cupola. Dinner is an evening ball in the ballroom, dancing tango on top of the roofs, suspended in the air.

1 Bataille, Georges (1985). ‘The notion of expenditure’, inVisions of excess: Selected writings, 1927-1939, ed. Allan Stoekl. Minneapolis, University of Minnesota Press: 116-29. 2 Since 1593 Ponte Vecchio has been made a marketing place for goldsmiths and jewellers exclusively by order of Ferdinando I de’Medici, Grand Duke of Tuscany. Dinner is located on the south bank of river Arno, 120 metres west of Ponte Vecchio, virtually around the corner. 3 Note the difference:cupola (lowercase) refers to the newly built extension suspended above the Dinner building while Cupola (capital C) refers to the dome of Santa Maria del Fiore.

15 Dinner Dinner

Two houses, Bor- go San Iacopo 20 and 22, on the border of demolition

One authentic, one copy - bombed in World War II Dinner as such The copy is not a literal facsimile, Dinner suspend-

it is a facsimile ed, dinner din- Two houses on the border of demolition of the history ing , dinner full an authentic of staircases and a copy Theatrical pre-existence The party wall is columns, col- height of floors two houses create precise border the border be- umns filled with but! watch the quale between the touch of old brick and new brick, the flesh of such touch tween authentic- staircases, din- if the border was invisible inscribed in vision and tact but never seen or touched ity and facsimile ner dancing an if only the floors that reveal true difference were the houses evening dance, and not the walls

The clear line ball in the ball- the condition of such an encounter of difference between the genuine house and the house that resides on genuine genius washes away. Au- room, dinner but takes on theatrical coat thentic casts au- sexual, suspend- Would be suspension suspension of such haptical quality thenticity on the ed tango above in the mid-air suspension of floors copy, facsimile roofs, dinner full hanging like teeth - stolen of walls makes us doubt of gold, art, the- Would be rotation

stir of genuine and falsified of the authentic atre, eating and reflection of certain quale of ingenuity in the false certain quale of theatricality in the genuine drinking , formal illusion of never ceased existence

We join two and informal, Flesh of something of the ingenuity something of the theatre buildings into staying late to quale of ingenuity on the theatre quale of theatricality on the genuine

one. Party wall the night And the suspension of these entities, of the flesh somewhere in the mid-air - touch of the And the rotation, of the evening dance old brick and the new brick - is cannibalized and penetrated

We hold two buildings together with the table - cupola

16 17 Dinner Dinner

Programme:

Suspended Din- ner & Dance Restaurant

Breakfast Café

Lunch Buffet with Goldsmiths gathered around their nuggets

Dinner Restau- rant with chef Mr. Steffano Site: Gold Merchants including Mr. Site maps Tronfi on the ground floor Cupola and in- while his Wife & side Cupola Daughter work one floor up Ponte Vecchio Alternative The- atre under Diret- tore Alessio Vannini

Flats of following people : Lady born in Hungar y married to Diret- tore ; Mr. Porter from Piazza della Signoria 4A (site of Lunch); Din- ner Designer’s flat and attic study

18 19 Dinner Dinner

Haptic section Section through Technic section Lunch column (Both through Section through Cupola and Cu- Dinner column pola counterpart)

20 21 Dinner Dinner

Existing party wall Dinner elevation Penetrated party detail wall after intervening

22 23 Dinner Dinner

Eighth floor

Three plans pre- sented at larger scale - ground All plans in the floor, second building floor and eighth (cupola) floor.

Second floor

Ground floor

24 25 Dinner Dinner

Dinner context model roof landscape with testing Cupola

Sketches for Dinner model Final key Haptic and context Model of Dinner being developed. Dinner site The model is model 1:500 to divided into four model city of sections with Florence each of three section lines bisect- Diagrams : ing the interven- 1. Border of tion - Lunch and demolition Breakfast col- 2. Different umn; Cupola and height of floors Cupola coun- 3. Cupola hold- terpart; Dinner ing both build- column ings together Shafts for Din- Sketches for ner and Break- Dinner showing fast column and importance of for Lunch stair- different height case are clearly of floors visible as well as the inner court- Laser cutting yard. My façade drawings for interventions existing context are painted red. and new inter- Pillars of Lunch ventions. Total column already of 43 sheets was peer out above cut for the model the model Old Dinner model showing 'dancing' gears

First conceptual Dinner model

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Planning and Regulations Legal Framework Economics and Cost Control Bibliography Planning Permission Health and Safety Expenditure Statement Fire Regulations Universal Access Precedents Building Regulations

Ponte a Santa Trinitá Planning and Regulations XII - XIV century buildings Planning Permission

Dinner Brief Borgo no. 22 Dinner intervenes existing fabric within the historical centre of city of Florence. Located in Oltrarno district (on the south Borgo no. 20 bank of river Arno between Ponte Vecchio and Ponte a Santa Trinitá) the ‘museum’ is incorporated inside, in-between and on 1950’ - 1960’ buildings the top of two buildings addressed Borgo San Iacopo no. 20 and 22. Borgo spans entire area between the two bridges, Dinner

Ponte Vecchio building is found in the middle of the street. Houses in the street are of a dense urban pattern and range from three to nine floors of various heights. Eastern half of the row (from Borgo no. 20 to Ponte Vecchio) collapsed during second World War Borgo San Iacopo bombing and was substituted by 1950’ - 1960’ development. The western half (from Borgo no. 22 to Ponte a Santa Trinitá) comprises medieval 12th - 14th century buildings.

Classification Borgo San Iacopo no. 20 is a class 5 building in ‘Comune di Firenze PRG’ (Piano Regolatore Generale 2010 - in comparison Dinner site_old to UK planning system this would be a local framework of Development plan) which is defined as ‘Edifici d’epoca successiva compatibili con il contesto’ (recently constructed building conformable to its local context). Borgo San Iacopo no. 22 is a Old City - Oltrarno and new fabric class 0 building which is defined as ‘Edifici notificati vincolati, L.1089/39’ (listed building1). in Borgo San Type of construction is classified as Ristrutturazione (structural alteration) and Sopraelevazione (roof extension)2. Iacopo_context of Oltrarno Function Use of the existing buildings is primarily residential (flatted development is Sui Generis (not classed) in The Town and Country Planning (Use Classes) (Scotland) Order 1997) although a shop is incorporated on the first floor of Borgo no. 20 Dinner site_Pi- (class 1(a) ibid.) and a restaurant on the ground floor of Borgo no. 22 (class 3 ibid.). ano Regolatore Generale 2010_ Use of the buildings after conversion will reflect the existing function as well as historical functions of the vicinity (gold merchandising at Ponte Vecchio). Ground floor will change to gold and jewellery retail hall (class 1(a) ibid.), floor 1, half of building classes floor 3, floor 5 and lower level of cupola extension to various restaurants (class 3 ibid.). Floor 2 will be left for performatory within the old and theatrical use (but not furbished as a regular theatre; Sui Generis ibid.), and upper level of cupola for a dance hall (class city 11(d) ibid.). Floor 4 and half of the floor 3 will retain the residential function (Sui Generis ibid.). Floors 6-8 comprise a service area and an access to the cupola.

From the list above it is apparent that the only new class within the development is class 11 and the Sui Generis performance space. The ratios of the existing classes shift. Planning permission will be required for this type of development.

Technical Data Borgo San Iacopo no. 20: Borgo San Iacopo no. 22: Built up area: 150 m² Built up area: 130 m² Total building volume before conversion: 3515 m³ Total building volume before conversion: 2850 m³ Number of floors before conversion: 7 + basement Number of floors before conversion: 5 Number of floors after conversion: 9 + basement Number of floors after conversion: 5 Total floor area gross before conversion: 1130 m² Total floor area gross before conversion: 690 m² Total floor area gross after conversion: 1385 m² Total floor area gross after conversion: 715 m² (including cupola)

1 Listed building as it would be defined by ‘Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997’ under the Scottish Law. L.1089/39 refers to the definition by the Italian Act ‘Legge’ from 1 June 1939.

2 Both correspond to section 26(4)(c) of Town and Country Planning (Scotland) Act 1997: structural alterations of or additions to buildings.

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Joint data: Total floor area gross after conversion: 2100 m² Total floor area increment after conversion: 280 m² Typical floor area for a 1 storey after conversion: 300 m² Total building volume before conversion: 6365 m³ Total building volume after conversion: 6925 m³ (including cupola) Number of staff estimate: 60 Number of public estimate: 400 Dinner_present Design Statement context_view New designs and alterations of the buildings in Borgo San Iacopo no. 20 and 22 respect the historical and architectural val- from Borgo San ues of the existing buildings. The project complies with the policy of sustainable development1 as defined by planning office Iacopo in Scotland. The project’s ambition is to significantly change the present perception and operation of the buildings without intervening more than necessary into the existing structures. While the existing buildings function as separate tenements divided into sub-parts of floors, the converted ‘museum’ will act as a single entity with transcending formula of Raumplan2 / Dinner_histori- classical flooring. The apertures in floors / party wall / roofs are designed for effectiveness, often taking advantage of exist- cal context_view ing openings in order to minimize interventions. The habitable spaces are being enriched not degraded. across river Arno Requirements And Feasibility As Borgo no. 22 is a listed building, a special authorization (in Scotland by the planning authority or the Secretary of State, Dinner_present in Florence by ‘Soprintendenza ai Beni Architettonici ed Ambientali’3) will be necessary to obtain prior to any work com- context_view mencement4. Alterations, demolitions or additions will be assessed more rigorously. Detailed historical-critical analyses5 of across river Arno the entirety of the building is requested under Florentine regulations. Considering on one hand the present Florentine conservation office practices6 and on the other hand the extent of alterations although minimised to necessary, it will be unlikely to have the authorization granted. As such the project rather aims at the shift of the conservation policy which could allow Dinner_river el- for more daring but still respectful designs. evation_proposal

1 ‘Sustainable Development is an environmentally responsible development which avoids harming the long term needs of the community and environment. The Planning Procedure helps to encourage sustainable development by controlling and influencing changes in land use and influencing designs of new buildings. The Planning Procedure supports: (1) The use of old development sites and empty or derelict land. (2) The use and re-use of buildings to make local areas more attractive. (3) The conservation of wildlife and recreation area. (4) The protection of historic buildings and areas of natural beauty.’ Planning Procedure In Scotland: http://www.onlineplanningoffices.co.uk/html/additional_advice/planning_procedure_in_scotland.php

2 Raumplan: as used in connection to Adolf Loos.

3 Commission for the Architectural and Landscape Heritage, a peripheral organ of the ‘Ministero per i Beni e le Attività Culturali’ (Ministry of Culture). Requirements for works involving listed buildings found in: Norme tecniche di attuazione del Piano regolatore generale, Comune di Firenze, Direzione Urbanistica: 14, 15.

4 ‘Subject to the following provisions of this Act, no person shall execute or cause to be executed any works for the demolition of a listed building or for its alteration or extension in any manner which would affect its character as a building of special architectural or historic interest, unless the works are authorised.’ Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997: section 6.

5 ‘Analisi storico-critica’. For details on the content of analyses please see Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze: 35-36. Note that in Italy Building Regulations are issued by the municipal or regional council not by the central government as in Scotland.

6 I have not been able to find any official statistics showing ratios of approved / rejected projects, especially those involving a redevelopment of listed buildings. Nonetheless based on opinion of local architects (consulted during the MArch programme visit to Florence, November 2008) it is impossible to presently accomplish any radical alteration or new development inside the historical centre. There are almost no distinctly new projects found inside Florence (compared to e.g. Vienna). The largest presentmuseal or residential development involving a medieval building is probably a new entrance to Uffizi gallery and a conversion of former monastery and prison Carcere delle urate to flats.

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Breakfast column Cupola counterpart Fire Regulations

Brief The building is designed for fire safety. Functions are distributed in such a way that the majority of people will be located on lower floors (ground floor - shopping mall, first floor - dinner restaurant; exception to this is fifth floor with lunch res- Lunch column taurant). The design significantly improves safety of the existing buildings. Nonetheless the change of use brings in higher amount of users which needs to be taken into account. Dinner column Access For Fire-fighters The building is located within the dense medieval fabric with narrow streets. Primary ground access is through Borgo which Cupola above is not wider than 6 m at the level of the building. A wider opening is found at the crossroad 20 m east of Dinner building where fire engines can turn or gather. An efficient access for a fire-boat offers river Arno (the building is positioned directly on the river bank). Dinner_inter- vention dia- Fire Compartments gram_ground The design of the ‘museum’ balances two factors. From haptical point of view the interplay of both buildings is key, therefore floor interconnections, horizontal and vertical, are necessary - a certain openness holds spirit of the design. On other hand the fire safety requirements ask for frequent compartmenting. The solution is given by the division of the building into the street and river sections. The street sections comprises all main escape routes and service areas divided into separate fire compartments. Dinner_access The river section is a multi-storey open area that contains most of the public spaces with an exception of the basement and cupola level floors. River Arno for fire-fighters Fire-boat access The building will be divided into following fire compartments: 1. Main multi-storey area: contains restaurants, performance space and shop on the ground floor (selling non-flammable gold and jewellery) - classified as an entertainment building with max. area of single fire compartment not exceeding 4000 m² and long fire resistance duration1. Dinner building 2. Fire escape staircase 3. Fire escape lift 4. Goods hoist Borgo San Iacopo 5. Corridor adjacent to the fire lift, hoist and staircase including toilets 6m Place of pull up / 6. Each flat individually 6m turning of engines 7. Basement of the building 8. Roof extension above the 6th floor

9m 5m 9. Cupola

1 Scottish building standards, Non-domestic Handbook May 2009: section 2.1.1.

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Private flat

Escape Routes Theatre café The nature of the building reveals that the most burden fire escape routes will be stairways as the building is rather superel- Theatre café Table sitting Kitchen / Bar evated than elongated. Italian Fire regulations require a fire staircase at distance not larger than 30 m or not larger than 15 m where there is only one means of escape1. Florentine building regulations request one staircase up to the total area of 400 m² per floor2 (compared to Scottish requirement of 1 exit for up to the 60 people in the room / floor)3.

Existing buildings contain one staircase each located in the street section directly next to each other across the party wall. I decided to abandon one of the staircases as the party wall is now passable. The present staircases are unsatisfactory in their Dinner_emer- profile, width and number of steps4. Because the existing shaft will need to be used certain concessions must be taken. I gency evacuation decided in favour of complying profile and width while keeping the same amount of steps as present. The staircase will be a separate fire compartment. Next to the staircase a fire lift will be installed substituting existing lift as another means of an diagram_third emergency exit. Additional staircase is placed in the river section of the building cutting through both tenements and func- floor tioning as a gateway in between them. This staircase complies fully to the regulations and can be used as a second escape route leading to the floors below and then to the fire staircase. This staircase is open and it is not a separate fire compartment. It Dinner_emer- serves all public areas up to the 5th floor but does not connect to private flats. Gold merchants Public entrance gency evacuation Materials diagram_ground The height of the building (over 18 m) prescribes for all the materials comply with long fire resistance duration (R 120 for floor structural elements)5. Materials used in the building both existing and new are mostly classified as non-flammable (stone, bricks, concrete blocks). The only exception is the use of wood. Wood is predominantly employed for non-structural func- Public entrance tions such as partitions. All the wood in the building will be treated with fireproof coating with regular prescribed maintenance. Special care will be given to structural elements made of wood such as the top of ‘Cupola counterpart’ (the ring built Jewellery shop Gold merchants inside the inner courtyard) and the cupola itself.

Goods income

Emergency evacuation vertical communications (separate fire compartments)

Main escape routes

Alternative escape routes

Emergency access to the river

Alternative access from higher / lower floors 1 Regola tecnica di prevenzione incendi per la progettazione, costruzione ed esercizio delle strutture sanitarie, pubbliche e private: 6.

Separate fire compartment - e.g. passage or flat 2 Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze: 73, 74. (main multi-storey fire compartment in white) 3 Scottish building standards, Non-domestic Handbook May 2009: section 2.9.1.

4 There are some differences between Italian and Scottish Regulations, e.g. Italian fire regulations ask for max. 15 steps in one flight which is larger number than in UK. See: Regola tecnica di prevenzione incendi per la progettazione, costruzione ed esercizio delle strutture sanitarie, pubbliche e private: 4. Also see: Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze: 73, 74.

5 Scottish building standards, Non-domestic Handbook May 2009: section 2.D.

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Building Regulations

Design For Energy Saving Italian policy in accordance with the whole-European trend targets improvement in thermal performance of buildings, mini- mization of thermal losses and sustainability. The law is generally more indulgent in the case of existing buildings, such building are to comply with Legge n. 10 del 09/01/19911. The Dinner building aims to improve existing conditions but as well negotiates with historical value of façades, finishes, doors & windows. The existing buildings show intelligent approach and correct ratio of apertures2 - south (street) façade accommodates smaller or set-back openings (shaded balconies) while north (river) façade is more open. The lighting of rooms is aided by the inner courtyard. Façades are mostly of uninsulated plaster-finished brick. Their significant thickness allows for thermal accumulation and certain level of thermal insulation. During the conversion window and door panes will be upgraded to double glazing while preserving the existing frames if any historical value is identified. Plaster finished outer (brick) walls will be fitted with thin layer of mineral insulation. Where stonework is disclosed no insulation will apply (street façade). Special care will be paid to new designs to comply with current Dinner_details regulations3. Attics and roofs (areas most vulnerable to thermal gains/losses) will be properly insulated. New roof extensions Service strip containing identical sanitary provisions / alterations will be made of layered wood - solid in walls and spaced out in front of apertures. Such design will provide for on 6 out of 8 public floors of building enve- natural shading as if louvres were employed. Cupola as a main place of overheating hazard is transparently glazed only within lope insulation the strip height of 2.2 m. The lower part is made of insulated wood while the upper part is composed by a system of blind solutions panes and external and internal louvres / curtains. Within the both habitable cupola floors a system for natural ventilation is Disabled toilet Goods hoist Toilet incorporated which sucks at the cupola lantern (bottom of cupola) and exhausts at the climax of the sphere.

Dinner_serv- Piping And Sanitary Provision ice strip in the The design establishes the street section of the building as a service section. All public sanitary installations are placed in the ‘Lunch column‘ 1950’ tenement. The piping is contained within the risers at ‘Lunch column’ and ‘Breakfast column’4. The sanitary provisions are sized for 60 members of staff in the shops, restaurants and the theatre and 400 members of public ibidem. According to the Metric Handbook5 the building will need 4 WCs and washing stations for members of staff (51-75 members), 4 urinals Pipe risers and 2 WCs (or 6 WCs as an alternative) for male members of public and 8 WCs for female members of public. This totals 18 WCs. Because the building operates in the unusual scheme of related horizontal / vertical spaces it was decided in favour of shared use of facilities. The design then provides for 6 male toilets, 6 female toilets and 6 disabled toilets on 6 out of 8 public floors. Excessive number of disabled toilets which is provided for disabled persons’ convenience can be used as a unisex toilet by members of public/staff. The number of designed WCs totals 18. Each toilet includes its own washing station. All restaurant kitchens and food stores are equipped with necessary number of contactless washing stations / water supplies. All flats are equipped with private WCs, bathrooms and kitchens.

1 Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze: 68. Legge n. 10 del 09/01/1991: Tabella A: Regole tecniche per gli interventi di cui all’articolo 8 nel caso di edifici esistenti.

2 Buildings should have about 40% of south façade glazed for ideal ratio between winter heat gains and summer overheating. This should also provide sufficient lighting.

3 Italian D.P.R. 380/2001 and European Union EN ISO 7730:1995.

4 See ‘Intervention diagram’ figure.

5 Adler, David (ed.) (2008). Metric handbook: planning and design data, 3rd edition. London: Architectural Press.

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Legal Framework Health and Safety

Statistics Health and safety in the construction industry is a serious issue in Italy. According to ‘Istituto Superiore per la Prevenzione e la Sicurezza del Lavoro’ the construction industry is leading official statistics for work-related fatalities1. The numbers are alarming. In years 2005-2006 104 out of total 528 fatalities occurred in the construction industry and in years 2007-2008 176 out of total 799. This indicates the numbers are rather rising than decreasing and the construction industry brings about more than 1/5 of total work-related deaths. Compared to UK2, Italy has 2.3 times more work-related deaths per number of inhabitants3.

Legal Brief In UK, health and safety in construction industry complies to Construction (Design and Management) Regulations. CDM 2007 Objectives are4: 1. Improving health and safety in the industry 2. Having the right people for the right job at the right time to manage the risks on site 3. Focusing on effective planning and managing risk - managing the risk not the paperwork

Designers duties under CDM 2007 Regulations are: For all projects5: 1. Eliminate hazards and risks during design Cupola_lighting 2. Provide information about remaining risks and ventilation For notifiable projects6: diagrams_1_150 3. Check that the client is aware of their duties and that a CDM co-ordinator has been appointed 4. Provide information needed for the health and safety file

Definition of notifiable projects is: ‘those lasting more than 30 days or involving more than 500 person days of construction work’7. The dinner project is notifiable under UK law.

Under Italian law (D.Lgs 494/96, 528/99 e 276/03) il coordinatore per la progettazione (design co-ordinator) and il coordinatore per l’esecuzione dei lavori (CDM co-ordinator) must be appointed for projects involving more than 200 person day of construction work8.

1 ‘Il Sistema di sorveglianza nazionale degli infortuni mortali sul lavoro. Elaborazioni sui dati del quadriennio 2005-2008.’

2 HSE: Health and Safety Statistics 2008/09.

3 Calculated by the author on the basis of before mentioned statistics.

4 HSE: Health and Safety website: http://www.hse.gov.uk/construction/cdm.htm.

5 ‘(1) No designer shall commence work in relation to a project unless any client for the project is aware of his duties under these Regulations. (2) The duties in paragraphs (3) and (4) shall be performed so far as is reason ably practicable, taking due account of other relevant design considerations. (3) Every designer shall in preparing or modifying a design which may be used in construction work in Great Britain avoid foreseeable risks to the health and safety of any person— (a) carrying out construction work; (b) liable to be affected by such construction work; (c) cleaning any window or any transparent or translucent wall, ceiling or roof in or on a structure; (d) maintaining the permanent fixtures and fittings of a structure; or (e) using a structure designed as a workplace. (4) In discharging the duty in paragraph (3), the designer shall— (a) eliminate hazards which may give rise to risks; and (b) reduce risks rom any remaining hazards, and in so doing shall give collective measures priority over individual measures. (5) In designing any structure for use as a workplace the designer shall take account of the provisions of the Workplace (Health, Safety and Welfare) Regulations 1992 which relate to the design of, and materials used in, the structure. (6) The designer shall take all reasonable steps to provide with his design sufficient information about aspects of the design of the structure or its construction or maintenance as will adequately assist— (a) clients; (b) other designers; and (c) contractors, to comply with their duties under these Regulations.’ The Construction (Design and Management) Regulations 2007: 11.

6 ‘(1) Where a project is notifiable, no designer shall commence work (other than initial design work) in relation to the project unless a CDM co-ordinator has been appointed for the project. (2) The designer shall take all reasonable steps to provide with his design sufficient information about aspects of the design of the structure or its construction or maintenance as will adequately assist the CDM co-ordinator to comply with his duties under these Regulations, including his duties in relation to the health and safety file.’ The Construction (Design and Management) Regulations 2007: 18.

7 The Construction (Design and Management) Regulations 2007: 2 (3).

8 D.Lgs 494/96, 528/99 e 276/03: Art. 3.

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Design co-ordinator (presumably an architect) is then responsible for preparing: 1. ‘Il piano di sicurezza e di coordinamento’ (a safety and co-ordination plan) 2. Health and safety files1.

Risk Identification And Assessment In Dinner project three remarkable stages of works involving risks will be present. These are: 1. Demolition and preparation of works 2. Construction works 3. Use and maintenance

Demolition And Preparation Of Works Demolition works comprise obviating of parts of load-bearing structures and partitions on the top floors of the building and puncturing load-bearing structures and partitions with new apertures2. The design provides for carefully curated interventions (dimensions of apertures, distances between them, use of existing apertures) that should not evoke any static danger. Static survey and analysis must be carried out prior to any work commencement and safety measures specified. All structures must be ensured against collapse and / or disintegration. Most of the works, especially those on the lower floors, will need to be carried out using small machinery and personal tools. On higher floors heavy machinery (such as a crane) will assist. Foundation constitute another risk. Piling inside the historical buildings is extremely demanding and provision to the type of soil it can even involve risk of collapse. Careful static surveys and analyses must asses risks and suggest risk prevention. Dinner_party wall_ demolition Construction Works The construction will proceed in the surrounding of structures of existing buildings built up on medieval plan. This makes and penetration a significant inconvenience as no heavy machinery can be used on lower floors and number of labourers must be restricted. diagram There is distinctive hazard of confined spaces and work in heights. The workers will be aided by scaffolding / construction bridges. One of most important safety measures is careful planning and timing of technological stages with specifying the concurrence of different stages to prevent unexpected hazard encounters. Many heavy objects will need to be lifted using man-power or small machinery. Works at upper floors will be aided by a crane (perhaps a boat-crane or crane based on a construction deck above the river). Design reflects this in the prefabricated element sizes where the ones employed on lower floors are significantly smaller and lighter than the ones put in-place by the crane. Generally all new structures are frag- mented into smaller size members.

Use And Maintanance The use and the maintenance of the building should not constitute a significant risk apart from the servicing of the wooden parts that will require regular fireproof paint re-coating. Another less frequent demand for repairs could appear on outer skin / louvres of the cupola. A special suspensory system will be installed in the outer cupola ring (at the level of dance floor) which will allow for easy attachment of harnesses. Similar system will be employed under the top ramp of Cupola counterpart (the ring built inside the inner courtyard). The nature of the building (straitness of the inner courtyard and visual exposure Demolitions / new apertures of most of the surfaces) does not allow for a service bridge. All cupola supporting columns are equipped with service ladders accessible from the roof / terrace.

1 ‘1. Durante la progettazione dell’opera e comunque prima della richiesta di presentazione delle offerte, il coordinatore per la progettazione: a) redige il piano di sicurezza e di coordinamento di cui all’articolo 12 comma 1; b) predispone un fascicolo contenente le informazioni utili ai fini della prevenzione e della protezione dai rischi cui sono esposti i lavoratori, tenendo conto delle specifiche norme di buona tecnica e dell’allegato II al documento UE 26/05/93. Il fascicolo non è predisposto nel caso di lavori di manutenzione ordinaria di cui all’articolo 31, lettera a), della legge 5 agosto 1978, n. 457. 2. Il fascicolo di cui al comma 1 lettera b), è preso in considerazione all’atto di eventuali lavori successivi sull’opera. 3. Con decreto del Ministro del lavoro e della previdenza sociale, di concerto con il Ministro dell’industria, del commercio e dell’artigianato, della sanità e dei lavori pubblici [2], sentita la commissione consultiva permanente per la prevenzione degli infortuni e per l’igiene del lavoro di cui all’articolo 393 del decreto del Presidente della Repubblica 27 aprile 1955, n. 547, come sostituito e modificato dal decreto legislativo n. 626 del 1994, in seguito denominata ‘’commissione prevenzione infortuni ‘’, sono definiti i contenuti del fascicolo di cui al comma 1, lettera b). [2] Il decreto di cui all’articolo 4, comma 3, del decreto legislativo n. 494 del 1996, è adottato entro il termine di sei mesi dalla data di entrata in vigore del presente decreto.’ D.Lgs 494/96, 528/99 e 276/03: Art. 4.

2 Mainly the floors and the party wall will be punctured but new openings can be found within the entire building.

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Universal Access

Circulation The circulation inside the building is designed to offer alternative routes and accesses. Two principal horizontal divisions are the new (1950’) and old (1200’) tenements that encircle the central courtyard. The tenements are joint in the place of ‘lunch’ and ‘dinner’ columns and ‘Cupola counterpart’. Circular route is embedded on the most floors. Vertical circulation works on the same bases as horizontal: ‘Lunch column’, ‘Dinner column’ and ‘Cupola counterpart’ contain stairwells and a lift and thus constitute the main means of vertical communication. Above the roof only ‘Lunch column’ stairwell and lift protrudes which serves as the access to cupola.

Design for disabled Existing buildings’ condition has been improved to comply with universal access policy and Disability Discrimination Act1 Dinner_universal wherever possible. Present lift has been substituted by a lift suitable for wheelchair users. The lift furthermore complies to access diagram_ emergency evacuation regulations. The lift operates at all floors including basement and it is designed to stop at different heights of both tenements (height of the same floor differs at both tenements). The design provides for spacious communica- fifth floor tions wherever allowed by present conditions for convenience of wheelchair users. Disabled toilets are placed on 6 out of 8 public floors. The design also solves the problem of floor level skipping within the old tenement. Public floors were chosen to render the least obstacles - the stairs are low enough to be substituted by ramps. Higher stairs within the private flats stay intact. Circulation within the floor level In the case of fire wheelchair users will be evacuated using emergency evacuation lift. The waiting area for the lift is a sepa-

Level change on the floor rate fire compartment. Heterogeneous nature of the building should contribute to memory allocation of spaces and therefore the easy orientation. Communication to other floors The inner courtyard constitutes a good overview point to locate oneself. For convenience of sight impaired persons any ob- Obstacle for a wheelchair stacles (steps) etc. will be clearly differentiated by colour and material. (level change via staircase)

Passable for a wheelchair Phenomenology (level change via ramp or lift) The concept of the building lies in a phenomenological design for senses which does not restrict to vision. The building Point of visual orientating should offer full-value experience to all people including those with disabilities and impairments. (vistas to inner courtyard)

1 Italian legal work on the subject includes Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze: 45, 55-56 and D.P.R. 24 luglio 1996, n. 503.

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Economics and Cost Control Expenditure Statement

It is particularly difficult to specify and evaluate building cost in the project. This project is not economical in the primary meaning of the word and it has never aimed to be. Certainly it would be possible to develop other project with the same out- put of square meters and services for much reduced cost. The value of this project lies in the immense care from the whole to the detail, uniqueness of treatment of the existing. Although clever solutions safe money, the material finesse of details does not - not in the initial building cost. This project is about expenditure, not saving. This project will almost certainly never be realized unless someone is willing to spend. It is like a diamond, you do not want to buy diamonds for bargain prices. You Dinner_golden buy diamonds because you want to spend1. The advantage of such an expenditure is that the quality of materials and details will save much in the life-cycle cost. cupola expendi-

ture_enlighten- If anything should reduce the budget of the project, it would be removal of cupola from the design. The two major cost driv- ing light of thea- ers are: tre lantern 1) demolitions and preparation of works (foundation of columns, static works on existing structures) 2) cupola (with its glulam beams and double curved windows)

Cupola can be got rid of, the columns will be then built up without anything topping them and so it will be left for future generations to top it according to their taste. It is like the ring with diamond. If you want to cut down budget significantly, you get rid of the diamond in the ring. You don’t get rid of the gold which is much cheaper. You wear it with a hole ready for diamond to be inset when fortune comes back. But then, would we really wear a ring with an empty hole ready for a diamond? Wouldn’t we just buy a plain golden ring? Would we not choose a completely different project? When we save up enough to afford a diamond some gold on top of it will be no cost. This project is about wealth, about the reciprocity through which the wealth have been subsidizing the art for centuries. Cupola is not a cherry on a top of a cake. It is the core of the project. If we don’t want to spend, we talk about a different project.

1 For better comprehension see: Bataille, Georges (1985). ‘The notion of expenditure’ inVisions of excess: Selected writings, 1927-1939, Allan Stoekl (ed.). Minneapolis, University of Minnesota Press: 116-29.

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Precedents

Brief For an estimate of a budget range I will make use of two precedents. To issue an accurate number is impossible without any site and static surveys - as written above one of two major cost drivers would be foundation and alterations in the existing structures and the cost depends significantly on the static health of the structures, type of soil, depth of existing foundation etc. Precedents are chosen to match the most important features of the project - unique approach to restoration / reconstruction, unique detail and careful treatment of the existing. Because we deal with 1200’ building many professional surveys will have to be undertaken in the preparatory phase to specify value and condition of parts of building and furnishings. Both precedents pioneer such thoughtful approach and ethics.

Museo di Castelvecchio First precedent is Museo di Castelvecchio, Verona. The castle was built between 1354 and 1356 but some structures date as Carlo Scarpa_ early as 12th century - the critical dates are identical with Borgo no. 22. The principal reconstruction was undertaken by Carlo Scarpa between 1958 and 1973. I chose this project for many historical / programmatic correspondences to my project Castelvecchio_ and particularly because of Scarpa’s ultimately careful and unique approach to restorations that I am immensely inspired Verona_1973 with. The project had been funded by public sector and recorded cost was 250 mil. lire1. After recomputation with purchasing power parity and conversion to pounds sterling it totals ₤ 1.6 mil2. I have not been able to discover any precise numbers for floor area of the castle museum but the estimate from the plan measurements3 equals 8000 m². Recalculation to Dinner David Chipper- project floor area gross (2100 m²) returns cost of ₤ 420 000 which is rather optimistic. field Architects_ Neues Museum_ Neues Museum Berlin_2009 Second example is the Neues Museum, Berlin. The museum was built between 1841 and 1859. After a second World War air- raid half of the museum lay bombed down. A competition for rebuilding the destroyed wing and restoration of the surviving one was won by David Chipperfield architects. The project was carried out between 1997 and 2009. I chose this precedent for the level of professionalism, respect to restoration charters, infinite number of surveys carried out and many new contribu- tions to the field4. The cost estimate of the project is € 250 mil. = ₤ 219 mil. Listed floor area gross is 20 500 m². Recalcula- tion to Dinner project floor area gross returns total cost of ₤ 22 mil. which makes the other end of the scale.

Conclusion I do not deem that the complexity of the design / restoration practices would reach the level of Neues museum. Neither I deem that Museo di Castelvecchio budget is, although recalculated, matching intended expenses. I estimate the project cost at ₤ 10 mil.

1 Magagnato Licisco (ed.) (1983). Carlo Scarpa a Castelvecchio. Milano: Edizioni di Comunita: 33.

2 Approximate conversion rate ITL to USD was 625 to 1 until early 1970’: http://www.absoluteastronomy.com/topics/Italian_lira and http://en.wikipedia.org/wiki/Bretton_Woods_system. Purchasing power parity of dollar in 1958 compared to 2009 was 7.43 to 1 and in 1973 4.83 to 1. Average PPP is then 6.125: http://www.measuringworth.com/ppowerus. 250 mil. / 625 * 6.125 = $ 2.45 mil = ₤ 1.6 mil.

3 Magagnato Licisco (ed.) (1983). Carlo Scarpa a Castelvecchio. Milano: Edizioni di Comunita and Crippa, Maria Antonietta (1986). Carlo Scarpa: theory, design, planning. Cambridge, Mass., London: MIT Press.

4 ‘The rebuilding design and restoration concept are both subject to a sound intellectual evaluation basis, comparable to highly respected documents such as the ICOMOS charter from Venice. However, such were the special circumstances on the Museum Island that a more far-reaching and refined approach had to be developed to satisfy the requirements. This approach was drawn up in three significant documents: the “Conservation Guidelines” (11 February 1999) with the establishment of the main restoration objectives, and the planning documents: “Restoration Strategy” (16 September 1999) and “Restoration Concept” (20 October 2000), providing proposed restoration approaches for all rooms and building elements.’ http://www.wiederaufbauneuesmuseumberlin.de/en/nm_nm_1.html

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Bibliography

Books And Articles Adler, David (ed.) (2008). Metric handbook: planning and design data, 3rd edition. London: Architectural Press. Bataille, Georges (1985). ‘The notion of expenditure’ in Visions of excess: Selected writings 1927-1939, Allan Stoekl (ed.). Minneapolis, University of Minnesota Press: 116-29. Crippa, Maria Antonietta (1986). Carlo Scarpa: theory, design, planning. Cambridge, Mass., London: MIT Press. Magagnato Licisco (ed.) (1983). Carlo Scarpa a Castelvecchio. Milano: Edizioni di Comunita Merleau-Ponty, Maurice (1968). The visible and the invisible, ed. Claude Lefort. Evanston, Ill.: Northwestern University Press .

Internet - Scottish and UK Law Building Codes - disabilities: Disability Discrimination Act 1995 - http://www.opsi.gov.uk/acts/acts1995/ukpga_19950050_en_1 Building Codes - energy policy: European Union EN ISO 7730: 1995 Dinner_concep- Building Codes - fire regulations: Scottish building standards, Non-domestic Handbook May 2009: section 2 - http://www.sbsa.gov.uk/ tual model_con- tech_handbooks/th_pdf_2009/Sect2_Non_Domestic_May_2009.pdf text of existing Building Codes - general: Building (Scotland) Act 2003 - http://www.opsi.gov.uk/legislation/scotland/acts2003/asp_20030008_en_1 Building Codes - general: Scottish building standards, Non-domestic Handbook May 2009 - http://www.sbsa.gov.uk/tech_handbooks/ buildings_river th_pdf_2009/Non-domesticMay2009.pdf façade_1_100 Health And Safety - law: The Construction (Design and Management) Regulations 2007 - http://www.hse.gov.uk/construction/cdm.htm. Health And Safety - statistics: Health and safety statistics 2008/09 - http://www.hse.gov.uk/statistics/overall/hssh0809.pdf Dinner_concep- Planning - general: Town and Country Planning (Scotland) Act 1997 - http://www.opsi.gov.uk/acts/acts1997/ukpga_19970008_en_1 Planning - listed buildings: Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997 - http://www.opsi.gov.uk/acts/ tual model_con- acts1997/ukpga_19970009_en_1 text of existing Planning - summary: Planning Procedure In Scotland - http://www.onlineplanningoffices.co.uk/html/additional_advice/planning_ buildings_Bor- procedure_in_scotland.php Planning - use classes: The Town and Country Planning (Use Classes) (Scotland) Order 1997 - http://www.opsi.gov.uk/si/si1997/ go San Iacopo 19973061.htm façade_1_100 Internet - Italian Law Building Codes - disabilities: D.P.R. 503/96. (Decreto del presidente della repubblica 24 luglio 1996, n. 503) - http://www.handylex.org/ stato/d240796.shtml Building Codes - energy policy: D.P.R. 380/2001 (Decreto del presidente della repubblica 6 giugno 2001, n. 380) - http://www. parlamento.it/parlam/leggi/deleghe/01378dla.htm Building Codes - energy policy: Legge 10/91 (Legge 9 gennaio 1991 n. 10) - www.aseaenergia.eu/download.php?id=11 Building Codes - energy policy: European Union EN ISO 7730: 1995 Building Codes - fire regulations: Regola tecnica di prevenzione incendi per la progettazione, costruzione ed esercizio delle strutture sanitarie, pubbliche e private - http://www.vigilfuoco.it/informazioni/norme_attivita_istituzionali/pdf_norme/allegato.pdf Building Codes - general: Regolamento edilizio 2008 in vigore dal 31 Ottobre 2008, Comune di Firenze, Provinzia di Firenze - http:// www.comune.fi.it/comune/regolamenti/edilizio/RE200831Ott.pdf Health And Safety - law: D.Lgs 494/96, 528/99 e 276/03 (Decreto legislativo) - http://www.consorzioinfotel.it/software/normativa/ Normativa%20Sicurezza/D.Lgs.%20494-96.pdf Health And Safety - statistics: Il Sistema di sorveglianza nazionale degli infortuni mortali sul lavoro. Elaborazioni sui dati del quadriennio 2005-2008 - http://www.ispesl.it/im/documenti/doc_atti/tabelle/analisi_tabelle.pdf Planning - listed buildings: Legge 1089/39 (Legge 1 giugno 1939 n. 1089) - www.tine.it/NormativaBBCC/legge1089bis.htm Planning - general: Piano regolatore generale, Comune di Firenze, Direzione Urbanistica (PRG) - http://prg.comune.fi.it/ Planning - general: Norme tecniche di attuazione del Piano regolatore generale, Comune di Firenze, Direzione Urbanistica - http://www. comune.firenze.it/comune/organi/prg/NTA.pdf

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Haptical Brief to Work Out the Project Technically: Two houses set the site: historical building from twelfth century and a neighbouring replacement of such after second world war bombing from 1950’. Historical house has undergone many alter- nations throughout the centuries (most significant change in fourteenth century). Newer house blends into the building fabric along river Arno and is almost indistinguishable; as if of the same time. Nonetheless the building does not cover up historically (its factual appearance is modern), it is a nature of the place that blends it in, and the only share of the building in it is it does not seek to stand out. The duo is of an ephemeral atmosphere, something of an authenticity, something of a theatre. Each building either lends or casts - with consent or constraint - its shadow on its neighbour. And it is beyond the recog- nition to determine the quality of each shadow - which was genuine? Which carried a carnival mask? In material world this is expressed within the party wall: does there exist any precise boundary, border of bombing, border between 1100’ and 1950’? What happens within the wall? Where does the new brick touch the old brick, or concrete forms on surface of a brick? The wall creates certain quality, quale between two tenements, flesh of the touch. The flesh contains the authenticity and the theatricality, the history and attitude and it reaches far beyond the party wall - creep- ing down the river fa- cade sets an aura around the duo. For a passer-by the expression can be under- stood by looking at the flooring of both buildings projected on facades by windows. Medieval flooring incor- porates certain casteism ranging the floors from regular heights to almost double heights; functional- ist’s pattern restricts to a rhythm of about three meters per floor. The programme contributes to the quale as well: how can be both buildings, with over eight hundred years age difference, used for the same purpose? What is the difference between the eight hundred years old flat and fifty years old flat? What is the flesh of living in the old flat and the flesh of living in the new flat? The double-perception; the one of party wall and its radiating quale; and the one of floors without a need of walls suspended somewhere in the mid-air and communicating with each other over the vacuum - another quale, flesh - in between; this double perception creates a surrealist figure of a naked party wall with half suspended floors peering out of it, both aware and unaware, being dumb and anticipating what is happening on the other side of the ‘barrier‘.

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Objects are placed into existing fabric. The number of objects that start from the ground is four. Objects have their names: Breakfast column; Lunch column; Dinner column; and Cupola counterpart. The first three are known under their common name: Legs of the Table. Objects intervene with existing fabric. Columns touch the ground, cut through the floors and attach to walls. Each such an encounter is where architecture starts. Each of the touch is an architectural task; roughening the flesh behind the touch. Object-ness of four growing interventions subjugates part of the existing materiality. The party wall - undiscovered of the Intricacy of treasure of quale well streaming aura from its heart - until Touch - how to now only an inseparable entity within the element of the Conceptual im- express Touch in building, or even the whole fabric along Arno; unimagina- ble without its context; becomes another object on its own, print of the city tectonics of ar- standing out and crying out about its sufferings, showing - objects placed chitecture? off with all the penetrations and instabilities caused by new in the city in objects. This happens to other parts as much: if now not each the same way as Proposed pen- floor is seen as an singular particle intervening with alien objects, at least the collection of all floors on the right side of in the Dinner etrations of the duo and collection of all floors on the left side of the duo building - from the party wall make for two distinct object sets. top left: in the place of The nature of encounters and subjugations is reciprocal. It is still the touch - where the flesh of such delivers the action Dinner column from the toucher to the touched, but also returns a response Lunch column - the staircase from the touched back to the toucher. The longer the origi- traverses the wall nal objects intervene with the building the more they become Breakfast column through precise the building itself; grow into the building, become fully an architecture, cease being sculptures. Paradox of this is topped openings on with a fifth object - Cupola, the Table Top; a suspension in Cupola and Cu- lower floors and the mid-air although growing out from Table Legs, a perfect pola counterpart it completely object, very well geometrically defined - with Cupola itself and the Ball within it, paradoxically, when put with a massive blocks off the boat crane to its place (after being assembled on the float- Dinner column wall on higher ing deck on Arno), still a clearly recognizable item while floors floating in the air with the crane, the second it touches the Party wall being Legs something happens to its object-ness, it is not convinc- ing anymore, in fact, it faded out. Why? As the four objects tested and can- Sketch for object grew through the building like stems, changing anything they nibalized at the placement in the touched while undergoing the same change themselves, the work model building - cupola roofs of both buildings; and not only roof-tiles, but rooms, floors, windows; became a bed, a bearing for what is to come in the middle, (the Cupola), nice soft wooden bed with copper sheets wait- columns around ing for its dormant. When the Table Top touches the Table Legs, that very moment Cupola falls into its bearing, becomes an inseparable part of the whole assembly and stops being an object - while, importantly - it never actually makes a physical contact with any part of the old building other than through the Table Legs! Still, the touch of the Cupola and the Build- ings (now even more unclear of their unity or duality; with paradox roughened), although physically nonexistent, exists; you can fully distinguish the quale of the touch glittering in the air, feel the flesh between Cupola and the Buildings.

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Table Legs: All three columns follow similar construction logic while dealing with local circumstances. The common structural material for all three is reinforced concrete. Pre- fabricates come in small sections (about 600 mm high) and refer to the surrounding pattern (brick and stone). There is an intense care not to touch other parts of valuable buildings than those selected for touch. The crane has access only from above, it means it can deal either with elements higher than Static diagrams roofs or come inside through precisely carried out cutouts in using Easy Stat- the upper stories. This restricts crane use to top floors only. ics - different Bottoms of the building are served with human labour, tempo- rary indoor hoist and several small vehicles allowed to move wind-loads and across the concrete floor of the newer tenement only. anchorages of Column parts may increase in size further up where the help the columns of the crane is feasible. All sections accommodate apertures and interconnect with Macalloy tie bars. The whole column is then post-stressed. Diagrams proved Fragmenta- Columns’ foundations are on concrete slabs (600 mm thick usefulness of and slightly exceeding area of pillars above) hidden under the tion of columns connecting truss floor, small diameter piles (150-200 mm) continue from the (starting at 300 slabs down the ground for 10-15 m. between Lunch mm high pieces Each of the columns is given its way up through cutouts in the and Breakfast floors, and eventually in the roof. Cutouts for the Lunch col- going over 600 column above umn are precise with only 10 mm tolerance allowing for soft mm pieces to filling to cope with the movements. On contrary, much larger the roof of exist- heavy-weight cutouts are made for breakfast and Dinner columns to play for ing building finishing mono- rougher connection of users to other floors. There is no fixed connection to the floor other than the floor is supported (still liths) at two Sketch of a pil- allowed to slide) on the beams between parts of Lunch column pillars of Lunch or peering-out rings from Dinner column (beams equipped lar in the Lunch column. One pil- with teflon-like layer on the top). The connection to the column showing walls is semi-rigid, special details developed (locks that work lar also contains its fragmentation against horizontal pressure and tension but allow vertical or slots for the bending movements). and bracing staircase. Statics of the Legs: The legs create almost equilateral tri- Lunch column angle that allows for three connecting cupola beams being being devel- positioned regularly (60° between them). The legs differ in size, the strongest is Lunch column, that holds number of oped in the final additional suspensions, the slenderest is Breakfast. The legs model - detail on are statically cantilevered from the ground with semi-rigid interconnecting fixation to walls that aims to help from horizontal loads. beams under the Static model (using Easy Statics by ETH) has shown that rigid fixation to existing walls would put most of the load at them floors for certain wind force directions; that is not intended. Break- fast and Lunch columns are joint by a single steel truss beam once above the roofs of existing buildings. There are no direct connections to Dinner column. Cupola sits on the three columns as on one pin joint and two sliding joints. Columns do not create rigid frame with Cupola. Cupola’s main structural part is the stiff plate made of three steel beams, steel ring and wooden ribbing of the ring. Cupola’s wooden outer cape is suspended from the stiff plate as well as glulam Ball ribs.

56 57 Dinner - To the Depth through Technical Elaboration Dinner - To the Depth through Technical Elaboration

Details of Touch between New and Old: When new insertions are considered to be prevail- ingly of an object quality, distancing details Breakfast Column: Break- are used in encounters with existing fabric. From top left: fast column is placed in the Inserted non-load-bearing wooden wall seems street section of the older to stand on tiptoes as the full wall structure Detail of Cu- tenement. It is a column go- does not reach down to the floor and narrow- ing straight up through the ing detail is employed. Floors do not touch pola counterpart building and bending about the mass of the Dinner column. Wooden touch with the 40 degrees above the roofs of beams for Cupola bedding connect to walls in ground in the neighbouring (old as well) a pin-like manner. house. It is diamond-shaped Where object-ness starts to wash down or central courtyard in the cross-section to con- is not important to express, more inclusive form with the forces of the details are employed - stone wall rises directly bend. Each two prefabricates from the new pebbles (brought inside one of Detail of Cu- pola counterpart (1200 mm) there is an offset the buildings from the courtyard) on one side steel ring around the column while it keeps the shadow gap on the other touch with the (also diamond shaped) side. Cupola bedding is very compact non- floor inside the serving as the barrier (with objectual structure (although it still distances old tenement Test piece for added on banister rods) itself from the wall). between users and the same (ground floor) Breakfast col- size area cut out in the floor; umn in the large as a brace to the wall (other Detail of Cu- model, division than the party wall); and as pola counterpart to post-stressed a riser for supplies (water, waste, gas etc.). Top part crown leaning concrete sub- (embedding the bend) of the touch with the parts parts is ap- column comes as one ele- wall of the new parent ment put in place by crane and several sections under tenement it are double size: 1200 mm, Sketches and also carried by crane careful- Detail of roof early axonom- ly through the floor cutout. extension touch- etr y of Breakfast The location of Breakfast column is the one in front es with existing column of a door pass between the structure and street section and the court wooden / copper section of the building on each floor, on several floors (bronze) bedding even covering the floor- under Cupola difference with several steps. The concept of the column Detail of Cu- is to stand in a way as an op- tical barrier, and declining pola counterpart above you with its bend that touch with the you do not see but you can ceiling and floor anticipate from the shape of the column. Breakfast inside the old column, together with Lunch tenement (first column, also allows for sus- floor) pension of a kitchen on the second floor.

58 59 Dinner - To the Depth through Technical Elaboration Dinner - To the Depth through Technical Elaboration

Lunch Column: Lunch column is found in the street section of the newer tenement, occupy- ing the whole span between the further wall and the party wall, cutting through the party wall itself and protruding slightly to the other half. It consists of several columns that allow passing among them but interconnect with beams at certain heights, usually under the ceiling, supporting the floors as well. Site of each column is chosen very carefully to eliminate perforations in the floors, some columns use the original staircase shaft and lift shaft and some cut through the party wall while using mostly the older tenement staircase shaft to continue upwards. The concept of Lunch column is being placed in the very narrow, squeezed conditions (two columns actually create a ‘tunnel‘ through the narrowest pass in the house), one tangles between them as through a maze while sensing the compression (the carried tons) above him. Columns are cutting edges in the space, they divide the house as a lunch divides a day and they make you conform to them. The grid of the columns is such to accommodate exact passages 1150 mm wide. The thickness of the slabs is 120 mm and the length varies. Early axonom- Lunch column accommodates several additional functions apart from bearing the Cupola. It etry of Lunch hosts a fire escape staircase (the inner part containing the stairway and the landings is fully Early axonom- column enclosed in fireproof glazing and the steel frame, the glazing spans from column to column, etr y of Dinner also a detail for each column is developed to incorporate an indentation where the glass and column the fireproof sealing is held directly by the column; columns hold each glass on one side only Sketch for com- to allow for replacement, the other side is held by steel frame (e.g. Jansen Janisol 2 EI 130 or plex problem Janisol 3 EI 160)). The fire escape staircase changes direction and shape when coming above Detail of con- existing building but it still conforms to the grid of the columns. An element of passing un- of Lunch col- tact of cupola der Cupola is incorporated, the Cupola rises as one rises on the staircase. The lower part of umn protruding the staircase is glass, after the change of direction it is wooden. arm with top of through roofs The part of the column that cuts through the party wall (three pillars) form a lift shaft with the Dinner col- of new and old the similar safety glazing as the fire-escape staircase. A service lift is in-built in the column umn, the arm is covering all the floors from the basement to Cupola service area. Cupola service area is sus- tenement. The so bedded in a low pended from the column above existing roof of the newer tenement. far uninsulated friction plastic pillars will put bearing on glass skin Dinner Column: Dinner column is placed precisely on the border of the older and newer Sketches for tenements with party wall in its centre. Dinner Staircase being column is circular in cross-section and conical in Dinner column suspended from elevation, thus allowing for a spiral staircase to and a develop- wind inside. The wooden spiral staircase starts a pillar in Lunch ing piece of the on the first floor, ground floor column creates a column, outer column testing ‘doorway‘ between both tenements. The move- edge of the stair- ment along the staircase - the movement inside a floor-bearing case will be sup- this intricate but very personal column - is the detail ambivalent radiance of both buildings. One en- ported by anoth- ters the buildings in various frequencies: while er pillar on lower floors party wall rules the column, halving it and letting only for doors to pierce through, closer to the roof the column takes over and the wall stops in respectful distance. The column consists of concrete prefabricates as well as of stone (white or yellow shaded Onyx) ashlar - cement jewellery inlaid with gems, a necklace for the Dinner out. Both materials use the same connection detail - prestressing with tie bars. The column develops its own support detail - certain rings grow out to carry the cut out floors and other suspensions - such as hanging nuggets where part of the dinner restaurant takes place.

60 61 Dinner - To the Depth through Technical Elaboration Dinner - To the Depth through Technical Elaboration

Cupola Counterpart: Central objectual insertion - the Cupola counterpart - changes attitudes and qualities according to the context. As a statue from the very beginning, interrupted by both walls and floors, it can afford putting on different appearances, unlike Table Legs that pierce through the entire building and need to keep consistency. Bottom part of the Counterpart is again concrete blocks. In the courtyard it rises from the see of pebbles on steel H-sections while inside the buildings it comes from the floor with horizontal shadow gap. The main achievement of the Counterpart is it changes inside / outside conditions in the building - it somewhat moves the boundary between these two and brings outside conditions inside parts of original building. While in the courtyard its full in concrete, once it comes inside buildings the concrete creates the load bearing part and thermal insulation is inserted between this and inner surface created by thin wooden blocks. At other levels the Counterpart does not constitute outside / inside border and stands only for the partition. Upper section of the Counterpart is made of layered wood. In the courtyard, the Counterpart resolves itself with cascade audience gallery as a rim reaching across its original Test piece for diameter, arched ribs come out of the rim and touch the walls. The Counterpart hosts ceremonial ramp / staircase to the first floor Dinner restaurant, miniature performance stage Dinner column Static diagram and cascaded audience gallery. Direttore’s balcony suspends above the stage from higher level but is not part of the and its enclosed showing primar y, Counterpart. staircase, Cu- secondary and pola counterpart tertiar y order works on exactly of load-bearing the same princi- structures ple Comparison to Sketch of materi- real Cupola of al fragmentation Santa Maria del Fiore Early axonometry Cupola being suspended by Detail of con- columns in the nection of the work model top floor in Cu- pola counterpart Sketch for cu- to walls of the pola's lenses and new tenement load-bearing using wooden structures arches

Cupola: Suspended dinner restaurant is mostly made of wood, with the main structural parts (ring around the stiff plate and three connecting beams) expressed in steel. Glulam ribs are suspended from the lense-shaped stiff plate (that creates dancing floor) and another lense (floor) hangs from them under the stiff plate (that creates meal floor). Ribs resolve themselves in wooden rings on both sides. Cupola wooden cape is suspended from the stiff plate and a lantern finishes the Cupola in the bottom. The lantern actually casts the light to the overshadowed courtyard (light comes through ribbed lense floors filled in with resin). Upper part of the Ball is glazed in double-curved glazing set in Jansen steel frames.

62 63 Dinner - To the Depth through Technical Elaboration Dinner - To the Depth through Technical Elaboration

Work model developing tectonics of wooden blocks creating roof extensions Precedents and Detail of wood Inspirations, and copper both architectur- (bronze) cupola al and represen- bedding from the tational Haptic Section Tracing papers View through with sketched the staircase, lift details, problems and hoist shafts and some solu- in the Lunch col- tions umn, the top of the model marks border where new roof extension parts will grow Extensions / Cupola Bedding: Any architectural substitutions (where Cupola cuts through upper part of the buildings), extensions or suspended insertions inside the building are made soft in layered wood - either solid or with gaps (then accom- panied by glazing layer from inside). Any horizontal / oblique parts such as Cupola bedding on top of the building (new roof parts) are made of sandwiched wood / insulation + beams / wood with copper tin finish.

64 65 Lunch - Piazza della Signoria 4A, Florence, Italy

Lunch is a private dining room and roof terrace in an attic flat set on the corner of Piazza della Signoria. From the roof you cannot overlook Piazza and the maj- esty of the tower of Palazzo Vecchio over the higher building of your neighbour’s. Lunch is nesting among the roofs and nesting of the tables on top of each other. It is a play of two grids: ‘interior’ reflects the space arrangement of the building, ‘urban’ records the position of the flat against Palazzo Vecchio tower. At 12:15 on Summer Solstice the elongated shadow of the Tower covers the terrace table and stops at its edges. Lunch is suppressed visuality evoking other senses; the visuality itself in its blind form of imagination. It is a feeling of shadow of the Tower on your shoulder, uncertainty between anticipated and unknown, Plato’s cave.

67 Lunch Lunch

Programme:

Private dining room in an attic flat and a dining terrace Lunching on Site: roofs of Florence

Piazza della Si- Three tables gnoria 4A nested on top of each other - Corner of the dining table in block with cen- the attic, dining tral part of the table on the ter- building surpass- race and the ter- ing and over- race itself as the shadowing the third table lower roof with terrace Nest as a metaphor for being Prosthetic shad- enclosed and not ow of the Tower see - Plato's cave - the shadow of with shadows load-bearing terrace pillar - will Nest as nesting cover the ter- the tables race table fully and precisely on Summer Sol- stice - June 21 at 12:15 - the time of Lunch

68 69 Lunch Lunch

Terrace and attic tables are inter- connected - attic table hangs Table instru- from the terrace ment - two tables table. Attic table suspended from slightly vibrates each other while under bumps on being held by the the terrace table third table - the terrace. Tables Meal and cheer- interact, if you ful company tap on the heavy wooden terrace The more com- table the pre- pany at the table, stressed tin of the more plates attic table vi- on roofs, the brates more cheerful Nest on the roof Palazzo Vechio and potential casting imagi- precedent nar y shadow on a table, possible the table on terrace

70 71 Lunch Lunch

Lunch site model 1:500 to model Florence:

Tree stump, growing and ma- turing for dec- ades, car ved out Layers of cen- with Piazza della turies probed Signoria - Pal- by innumerable azzo Vecchio and explorers' holes Lunch building which shed the balancing oppo- light onto the site edges hollow inside - you can see Layers of bur- inside through ied centuries of brass peephole Florence under which relates Piazza relating to Lunch to Break- the metaphysi- fast, the project cal Tower full of of peephole histor y drawers which is embedded under

Red plinth as red is the colour of Haptics

72 73 Lunch Lunch

Plan of the roof terrace with roof table

Plan of the attic with attic table

Plans work with two grids:

Grid of the building ruling Section showing the attic with its all three tables, suspended pillars the interconnec- tion of the tables Grid of the di- and the staircase rection to tower connecting both of Palazzo Vec- grid systems. At- chio, direction tic pillars touch of the shadow. precisely the grid This direction of roof terrace shapes the ter- as it happens race. in Carmody Groarke's prec- Staircase is the edent junction of both grids. Other precedents, inspira- As much as pass- tions and sketch- ing through col- es umns with staircases in Dinner building casts you to different centuries, passing through Lunch staircase cast you to different geographical - grid - systems

74 75 Breakfast - Via dell’Erta Canina 66, Florence, Italy

Breakfast is an Italian street café set in a village on a hill steeping up from Flor- ence. Breakfast is narrowness of the street where you sit at the table against the eternity of space between you and Florence. Breakfast is outcast from the city while being permanently magnetized to Cupola1. It is a non-localized existence within unnamed village against perfect direction to Cupola’s focal point. Levels of distances, scales and proximities: You, Street, Village, City, Cupola.

1 Dome of Santa Maria del Fiore.

77 Breakfast Breakfast

Haptic gaze at Florence through layers of centuries - private encounter with Cupola Programme : Enclosed in the Italian street narrow street, at café, a breakfast a table outside, bar of the kind you are chained Italy swells with in the local con- millions of such text, unaware of the world Site: Walking up the Via dell'Erta stairs you will Canina, a slop- find yourself sat ing street out of inside a peep- medieval perim- hole, Cupola eter of Florence, ser ved on your a village-like as- plate semblage of vil- las, gardens and Cupola is instru- vineyards makes ment of your you feel lost of localization, sud- Florence, found denly you make in countr yside, connection - you non-localized at the table in the street, you Breakfast is hap- in the peephole, tically visual village and Cu- dialogue with pola Cupola Pouring your espresso over croissant, you'll g uttle Cupola as much as Audrey guttles Tiffany's

78 79 Breakfast Breakfast

Eating on Flor- Peephole prec- ence - section edents - Piranesi across the city ( previous side) and David Chip- Haptic table in a perfield sloped street Key section of Tables of dia- three levels in- log ues and side Breakfast sketches for building - you Breakfast enter at the street level and Breakfast 'mu- a staircase inside seum' contains the peephole three stages: instrument leads you one floor up 1) being in the to the level of street with your outside loggia. gaze narrowed to But you are still the street a height of a person lower than 2) being on the the peephole top of the loggia chamber. Viewer with you gaze led in the chamber to the village obser ves Cupola spread below over you while you are enclosed 3) being on the in the thick walls first floor of the of the peephole building - inside instrument and the peephole - in only anticipate a solemn medita- the gaze tion with Cupola

80 81 Metaphysical Tower of Florence

The Tower is a legacy from earlier project, first museum of Flor- ence. It became an eidolon of inspiration, a metaphysical ghost omnipresent behind every haptic intervention.

Originally the Tower comprised ten drawers of Florence - different sections of Florentine history between 59 BC (Roman foundation of Florentia) and AD 1580 (end of Mannerism in Italy). Each section (drawer) was of different scale to describe the scope of Florentine events of the time. That is where scaling and positioning came from as well as drawers - cabinets - tables - drawing - moving - future drawing legs of the table.

The Tower itself was inspired by Haptic Map of Florence, a piece mapping unusual tactile details on certain routes in Florence. Those routes are contained in different drawers of the Tower because they constituted important events of the time. The tactile details gave founding stone for development of Haptics and the entire project on Haptic Florence.

Comparison of Towers

83 Table Instrument of Florence

As a table sets for dinner it sets for dining on Florence in Florence at a table as long as a river1 it sets drawers to draw new Florence’

The Table is a tool used for describing and understanding Florence. It is a tangible personification of Dining and Italian Culture. It is the Haptic Instrument of Florence. The ultimate Table is my vision of Florence’s urban function, boundless possibilities of interpretation bound and reduced with carefully curated rules.

1 Bartolini, Chiara and Degl’Innocenti, C. (2005). Diladdarno. Florence beyond the river. Firenze: Edizioni Polistampa: 266-271.

85 Table Instrument of Florence Table Instrument of Florence

Haptic Relief model of Flor- ence sized and cropped along the Table, the groves depict table moves to allocate the sites

Mirror imprint of the Haptic Relief showing three interventions and Cupola Table Instrument at three different of Florence al- scales locating three sites in Florence 1. Scale corre- for future Break- sponding to the fast, Lunch and Haptic Relief Dinner. Interest- (Cupola is Ponte ing local context Vecchio and the conditions were river is paper discovered after mache moulded the allocation - in the Haptic the three inter- relief model) ventions beg un in that sense as 2. Scale where tabula rasa Dinner site on the river bank is scaled up to meet pescaia - site of the metaphysical Tower

3. Scale of the Dinner building with Cupola and Cupola counterpart, and Break- fast, Lunch and Dinner columns

86 87 Short Story of the Table

A second-hand table was bought for 10 pounds. It was assigned a role of Flor- ence. The table was subjected to a measurement. Plans, sections & elevations were drawn. The table was subjected to a disassembly. Each part was photographed and catalogued. Parts were re-configured and curated. Table was re-assembled, disas- sembled and re-assembled again in experiments. Table’s grain was recorded. All this while the Table was Florence and Florence was the Table. Finally, the table was subjected to dining.

To find out that the Table is the Instrument of Florence.

89 Short Story of the Table Short Story of the Table

1. Table is Flor- 2. But what is ence, Florence is the Table? the Table

90 91 Short Story of the Table Short Story of the Table

fig. 3

fig. 2

fig. 4

3. Table was subjected to a disassembly 4. Photographic The disassem- Catalogue / Cu- fig. 1 fig. 5 fig. 6 bly process was rated Assembly documented and Sequence Part 2 the Table was re-assembled in a curated way.

fig. 7 fig. 8 fig. 9

1 Detail configuration 6 Foot stud 2 Central bottom rail tie fillet angle (schedule no. 20) (schedule no. 14) 7 Table underside detail 3 Curved rail 8 Panel hinge (schedule no. 23) (schedule no. 42) 4 Support leg pivot shoe 9 Tongue and groove panel rail junction (schedule no. 48) 5 Support leg to bottom tie bracket junction (schedule no. 58) For schedules see facing page

92 93 Short Story of the Table Short Story of the Table

5. Table tabled and untabled - the grain and the frame

Table grain was 6. Table was sub- rubbed jected to dining (charcoal on (Minto House newsprint paper Studio 5, 4th 909 x 1492 mm) Februar y 2009, 13:27) Table was re-assembled without the panes - in a way that table cannot work as a table

94 95 Short Story of the Table Short Story of the Table

7. Dinner was recorded on video: 8. And re-rep- 2’20’’ resented on the Table 6’20’’

10’00’’

96 97 Short Story of the Table Short Story of the Table

9. Axonometry of the Table, measurement sur vey sketches and table skills 10. Three final to draw new tables of the ta- Florence ble group

Positioning plan Table at the ex- on the Table hibition

Rearranging rela- Us at the Table tions in Florence

Scaling the Table on Florence

98 99