HERITAGE at RISK Focus: Archaeology and Conservation in the Middle East Marc Barani, A&P Arquitetura E Urbanismo

HERITAGE AT RISK Focus: Archaeology and conservation in the Middle East Marc Barani, A&P Arquitetura e Urbanismo,

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Publisher Board Art Director Text Review Publisher Marco Ferretti Ferdinando Polverino De Laureto Rania Shalabi e.built Srl - Italy Francesca Maderna Neal Putt Via Francesco Crispi 19-23 Team and Publishing Coordinator 80121 Napoli Scientific Director Andrea Del Gaudio Photographer phone +39 081 2482298 Andrea Pane [email protected] Sharif Nazal fax +39 081 661014 [email protected] Sandra Zarneshan mobile +39 335 5889237 Associate Editor Middle East Scientific Committee Ivan Parati Advertising Sales Director Gulf Countries Representative David Chipperfield Luca Màllamo Build LLC Odile Decq Associate Editor Italy Souk Al Bahar Massimilano Fuksas Maria Vittoria Capitanucci Advertising Sales Agency Old Town Island Burj Khalifa District Hans Ibelings Agicom Srl Dubai - UAE Farida Kamber Al Awadhi Correspondents Viale Caduti in Guerra, 28 William Menking Brazil Ana Carolina de Souza Bierrenbach 00060 Castelnuovo di Porto (RM) [compasses] is a supporting member of Italo Rota Beatriz Mugayar Kühl phone Italy + 39 069078285 Livio Sacchi Nivaldo Vieira de Andrade Skype: agicom.advertising Yehuda Safran China Massimiliano Campi Manuela Zuliani Karl T. Ulrich Emirates Annamaria Giangrasso [email protected] Compasses n.31 - 2019 Cristiano Luchetti mobile Italy + 39 3467588821 Printed in Italy by Rossi Srl Editorial Staff France Laurence Bassières Skype: agicom.manuela Nola (Napoli) Jenine Principe Nicolas Detry Giovanna Russo Krauss Claudia Tamburro SUBSCRIPTIONS july 2019 ISSN NUMBER: 2409-3823 Daria Verde India Ingrid Paoletti To subscribe [email protected] Japan Matteo Belfiore please send your contacts The publishers regret that they cannot accept liability Kuwait Sikander Khan by e-mail to for error or omissions contained in this publication, however caused. The opinions and views contained Editorial Board Morocco Laurence Bassières [email protected] in this publication are not necessarily those of the Paola Ascione New Zealand Alberto Calderoni publishers. Readers are advised to seek specialist Francesca Capano Palestine Cristina Bronzino Decree of the Court of Naples advice before acting on information contained in this publication, which is provided for general use and Maria Vittoria Capitanucci Portugal Teresa Ferreira n. 58 / 20-12-2016 may not be appropriate for the reader’s particular Anna Cornaro Spain Federico Calabrese circumstances. The ownership of trademarks is Paolo Giardiello Camilla Mileto Cover Image acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in Serkan Gunay Fernando Vegas Courtesy of Institut du Monde Arabe, Paris retrieval system or transmitted in any form with - out the Achraf Ibrahim Turkey Serkan Gunay permission of the publishers in writing. Massimo Imparato UK Pietro Belli All the articles in this issue have been peer Ferruccio Izzo Michele Pasca di Magliano reviewed by the Scientific Committee and the Laura Lieto USA Randall Mason Editorial Board Giovanni Menna Linda Nubani Linda Nubani Ivan Parati Gennaro Postiglione Titti Rinaldi Saud Sharaf 031 HERITAGE AT RISK

[editorial] e 22 Heritage at risk - Andrea Pane Patrimonio a rischio [essays] es 25 Notre-Dame de Paris: NO to the haste of politics, YES to the patient time of restoration - Andrea Pane Notre-Dame de Paris: NO alla fretta della politica, SI al tempo paziente del restauro 33 The Sidi Harazem thermal bath complex in Morocco by Jean François Zevaco - Fernanda De Maio Il complesso termale di Sidi Harazem in Marocco di Jean François Zevaco 41 The UNESCO programme in Libya for the protection of cultural heritage at risk, 2011-2016 - Chiara Dezzi Bardeschi Il programma UNESCO in Libia per la protezione del patrimonio culturale a rischio, 2011-2016 46 Monuments of civilization, monuments of barbarism: a virtual journey from Palmyra to Mosul - Andrea Pane Monumenti di civiltà, monumenti di barbarie: un viaggio virtuale da Palmira a Mosul [focus] f 50 Archaeological restoration in Turkey: some considerations - Emanuele Romeo Restauro archeologico in Turchia: alcune riflessioni 60 Reading Palestinian landscape through history, modernity and occupation - Cristina Bronzino Leggere il paesaggio in Palestina tra storia, modernità e occupazione 70 The archaeological heritage in Iran and the challenges for its conservation - Sahar Ahmadinezhad Il Patrimonio archeologico in Iran: una sfida per la conservazione 80 Beirut. Heritage and destiny in a city on flux - Monica Mazzolani Beirut. Patrimonio e destino in una città in divenire [architecture & plan] ap 92 The tomb of Rafiq Hariri in Beirut: the void option - Marie-Anne Ducrocq La tomba di Rafiq Hariri a Beirut: la scommessa del vuoto 102 Between Lower City and Upper City: Carnival House at Salvador de Bahia - Ana Carolina de Souza Bierrenbach and Federico Calabrese Tra la Città Bassa e la Città Alta: La Casa del Carnevale a Salvador di Bahia 110 A connection between the New and the Old town. The archaeological park of Nola and its 16th century city wall - Giovanni Spizuoco Una connessione tra città nuova e città antica. Il parco archeologico di Nola e le sue mura cinquecentesche [experiences] ex 116 A smooth dialogue. A proposal for the historical neighborhood of Heart of Sharjah, UAE - Anna Cornaro Un dialogo delicato. Una proposta per il quartiere storico Heart of Sharjah, UAE [academia] a 124 Archaeology XXL. Museum and Research Center for Jumeirah Archaeological Site - Anna Cornaro Archeologia XXL. Museo e Centro di ricerca per il sito archeologico di Jumeirah [materials & interiors] mi 130 The Sound of Architecture. The experimental research of La Digestion - Federica Deo Il Suono dell’Architettura. La ricerca sperimentale de La Digestion [smart food] sf 140 Antonio Colonna Open opens in Milan - Ferdinando Polverino De Laureto and Emanuele Sala Antonio Colonna Open apre a Milano e [editorial] Lybia, Mselleten. View of the obelisk tombs / Veduta delle tombe a obelisco (photo courtesy of P. Kenrick)

Andrea Pane

Heritage at risk

About seventy years ago, when the UN all the governments of the world, this Libya, whose sites are now threatened section return to the central theme of the (1945) and UNESCO (1946) were born event caused a general indignation also by abandonment and looting, but also issue, illustrating the activities carried from the ruins of the Second World War, for the ways in which this destruction Palestine, whose cultural landscape is out by UNESCO in Libya for heritage culture and heritage seemed a solid was carried out: for some days the compromised by the latent conflict that conservation between 2011 and 2016 foundation on which to rebuild a new Taliban had been ruthless with dynamite has now marked the territory for many and above all the results of an exhibition society that went beyond the devastating and tanks against the hard stone that decades. In the second group, the cases dedicated to the sites of Mosul, Aleppo, conflicts that had marked most of the seemed to want to resist them, as it had of the archaeological heritage of Turkey Palmyra and Leptis Magna and the countries of the world in the first half done for centuries. and Iran are distinguished with different related events that have marked them in of the 20th century. Over the following At that time, no one believed that problems and outcomes, while the city recent years. decades, cultural heritage became threats to heritage would have grown of Beirut is investigated for the imposing All the remaining issue, as already more and more relevant to global exponentially, as happened in the urban transformations that for ages have mentioned, follows the theme of economic policies, progressively losing second decade of this century, marked one of the most complex and heritage, although not strictly in the its elitist and distinctive connotation and coinciding with the conflicts that multicultural cities in the Middle East, Middle East and not necessarily at risk: assuming that of a cultural industry, devastated a large part of the Arab with a specific focus on the architecture so we have the case of the restoration subject to the laws of the market. world. With the progressive spread of the of the tomb of Rafiq Hariri created by the of the Casa do Carnaval in Salvador On the threshold of the third millennium, Islamic State in Iraq and Syria, we have French architect Marc Barani. de Bahia, carried out by the A&P while there was a radical process of thus witnessed barbarous destruction While the issue was already under work, Arquitetura e Urbanismo, that of the change in the global economy, heritage that had never been seen, even in we witnessed dismayed the Notre-Dame arrangement of the archaeological area entered the current language as it had the darkest centuries of humanity: fire of last April 15th, which in a few of Nola (Campania) by Alberto Izzo & never happened before, taking the entire museum collections devastated, hours caused a very hard blow to one Partners, then to return to the UAE with role of a brand for cities and countries, statues mutilated, up to the deliberate of the most important monuments in the the project for the historical district of capable of supporting and guiding destruction of some extraordinary sites world, which was believed to be much Sharjah realized by COdESIGN, and the touristic demand. After having been like Palmira. Here the violence against more protected of the cases mentioned proposal elaborated by the American the object of attention for centuries heritage has reached its peak, in parallel above. The destruction of the roof and University in Dubai for the museum and for a restricted area of the society, with what was perpetrated against the flèche of Notre-Dame proves, if the Jumeirah research center. Finally, the patrimony seemed to have really unarmed human beings. proofs were needed, how fragile is the also the sections [materials & interiors] reached that universal value that it We therefore decided to draw inspiration heritage at all latitudes and that even and [smart food] host examples related had been hoped for since the 1972 from these dramatic episodes – on the seemingly safer places can reveal to the theme of heritage: in the first case UNESCO Convention, which started the which there is still a lot to be known pitfalls and negligence, capable of with the musical activities developed in process leading to creation of the World beyond the most striking news literally sending centuries of history up in historic buildings by La Digestion group, Heritage List, now reaching 1121 sites in disseminated by the media all over smoke. This is why we decided to open in the second with the announcement 167 countries around the world. the world – to dedicate an issue of this issue with a reflection on Notre- of the opening of the Open Colonna, a And yet, at the very beginning of Compasses to the more general theme Dame, which traces the history of what concept restaurant created in the heart the 21st century, while everything of heritage at risk, with a specific focus was lost but, above all, warns against of Milan, in Piazza Cordusio. suggested that the great anthropic on the Middle East and archaeology. the risks of a hasty and disrespectful But it is ultimately on the subject of risks to heritage were finally attenuated From Libya to Turkey, from Palestine reconstruction remembering all the heritage at risk in the Middle East that with respect to what happened in the to Iran, from the UAE to Lebanon, scientific skills necessary for a complex here we want to draw attention to, so previous century, we witnessed one almost all the articles that make up project such as this. Following in the that we can really turn the page with of the most incredible and deliberate this number tell us about heritage at [Essays] section, there is a study on respect to a decade that saw the most destruction of a monument, that of risk, especially the archaeological one, the heritage of the Modern in Morocco, wicked actions carried out in the name the Buddhas of Bamiyan, blown up for threatened not only by conflicts, but also through the case of the thermal complex of a vandalic fanaticism that ended up alleged religious motives by the Taliban by natural and man-made phenomena of Sidi Harazem by Jean François destroying itself too. in March 2001. Condemned by almost of consumption. In the first group we find Zevaco. The remaining articles in the

22 Patrimonio a rischio quella dei Buddha di Bamiyan, fatti saltare anche da fenomeni naturali e antropici di Moderno in Marocco, attraverso il caso in aria per pretesi motivi religiosi dai consunzione. Nel primo gruppo ritroviamo del complesso termale di Sidi Harazem Circa settant’anni fa, quando dalle talebani nel marzo 2001. Condannato da la Libia, i cui siti sono oggi minacciati di Jean François Zevaco. I restanti articoli macerie della seconda guerra mondiale quasi tutti i governi del mondo, questo dall’abbandono e dai saccheggi, ma della rubrica tornano sul tema centrale nacquero l’ONU (1945) e l’UNESCO evento causò una generale indignazione anche la Palestina, il cui paesaggio del numero, illustrando le attività compiute (1946), la cultura e il patrimonio anche per le modalità con le quali questa culturale è compromesso dal conflitto dall’UNESCO in Libia per la salvaguardia sembravano una solida base sulla quale distruzione era stata portata avanti: per latente che segna quel territorio ormai del patrimonio tra il 2011 e il 2016 e ricostruire una nuova società che andasse alcuni giorni i talebani si erano accaniti da molti decenni. Nel secondo gruppo soprattutto gli esiti di una esposizione oltre i devastanti conflitti che avevano con dinamite e carri armati contro la dura si distinguono, con problemi ed esiti dedicata ai siti di Mosul, Aleppo, Palmira e segnato gran parte dei paesi del mondo pietra che, forte dei secoli, sembrava voler diversi, i casi del patrimonio archeologico Leptis Magna e alle relative vicende che li nella prima metà del XX secolo. Nel corso loro resistere. della Turchia e dell’Iran, mentre la città hanno segnati in questi ultimi anni. dei decenni successivi, il patrimonio Allora non si pensava ancora che le di Beirut è indagata per le imponenti Tutto il resto del numero, come già culturale divenne progressivamente più minacce per il patrimonio sarebbero trasformazioni urbane che segnano da accennato, segue il tema del patrimonio, rilevante per le politiche economiche cresciute in modo esponenziale, come è decenni una delle città più complesse e anche se non strettamente in Medio mondiali, perdendo progressivamente la accaduto a partire dal secondo decennio multiculturali del Medio Oriente, con uno Oriente e non forzatamente a rischio: sua connotazione elitaria e distintiva, per di questo secolo, in coincidenza con i specifico approfondimento architettonico abbiamo così il caso del restauro della assumere quella di industria culturale, conflitti che hanno devastato una buona sulla tomba di Rafiq Hariri realizzata Casa do Carnaval a Salvador de Bahia, soggetta alle leggi del mercato. parte del mondo arabo. Con la progressiva dall’architetto francese Marc Barani. realizzato dallo studio A&P Arquitetura Alle soglie del terzo millennio, mentre diffusione dello Stato Islamico in Iraq e Mentre il numero era già in gestazione, e Urbanismo, quello della sistemazione si assisteva a un processo radicale di in Siria, si è così assistito a distruzioni abbiamo assistito sgomenti all’incendio dell’area archeologica di Nola (Campania) cambiamento dell’economia globale, barbare che forse nemmeno nei secoli più di Notre-Dame del 15 aprile scorso, che dello studio Alberto Izzo & Partners, per il patrimonio entrò nel linguaggio bui dell’umanità si erano mai viste: musei in una manciata di ore ha inferto un poi ritornare agli UAE con il progetto corrente come non era mai accaduto devastati in tutte le loro collezioni, statue colpo durissimo a uno dei più rilevanti per il quartiere storico di Sharjah prima, assumendo il ruolo di brand di mutilate, fino alla distruzione deliberata di monumenti del mondo, che si riteneva realizzato da COdESIGN, e la proposta città e di paesi, capace di sostenere ed alcuni siti straordinari come Palmira. Qui la potesse essere molto più protetto dei casi elaborata dall’American University in orientare la domanda turistica. Dopo violenza contro il patrimonio ha raggiunto prima citati. La distruzione della copertura Dubai per il museo e il centro di ricerca essere stato oggetto di attenzione per l’acme, parallelamente a quanto veniva e della flèche di Notre-Dame dimostra, di Jumeirah. Infine anche le sezioni secoli in un ambito ristretto della società, perpetrato nei confronti degli esseri umani se ce ne fosse bisogno, che la fragilità [materials&interiors] e [smart food] il patrimonio sembrava allora aver inermi. del patrimonio è a tutte le latitudini e che ospitano esempi riconducibili al tema raggiunto davvero quel valore universale Abbiamo quindi voluto trarre spunto da anche i luoghi apparentemente più sicuri del patrimonio: nel primo caso con le che gli si voleva riconoscere fin dalla questi episodi drammatici – sui quali c’è possono rivelare insidie e negligenze, attività musicali sviluppate in edifici storici Convenzione UNESCO del 1972, con la ancora molto da conoscere al di là delle capaci di mandare letteralmente in fumo dal gruppo La Digestion, nel secondo quale si avviava il processo di creazione notizie più eclatanti diffuse dai media di secoli di storia. Ecco perché abbiamo con l’annuncio dell’apertura dell’Open della World Heritage List, giunta oggi a tutto il mondo – per dedicare un numero voluto aprire questo numero proprio Colonna, concept restaurant realizzato comprendere 1121 siti in 167 paesi del di Compasses al tema più generale del con una riflessione su Notre-Dame, nel cuore di Milano, in piazza Cordusio. mondo. patrimonio a rischio, con uno specifico che ripercorre la storia di quanto si è Ma è in definitiva sul tema del patrimonio Eppure, proprio agli inizi del XXI secolo, focus sul Medio Oriente e sull’archeologia. perduto ma soprattutto mette in guardia a rischio in Medio Oriente che si vuole mentre tutto faceva ritenere che i grandi Dalla Libia alla Turchia, dalla Palestina contro i rischi di una ricostruzione qui puntare l’attenzione, affinché si possa rischi antropici per il patrimonio fossero all’Iran, dagli UAE al Libano, gli articoli frettolosa e irrispettosa di tutte le davvero voltare pagina rispetto a un finalmente attenuati rispetto a quanto che compongono questo numero hanno competenze scientifiche necessarie a decennio che ha visto compiere le più accaduto nel secolo precedente, si quasi tutti come leitmotiv il patrimonio a un progetto complesso come questo. scellerate azioni in nome di un fanatismo è assistito ad una delle più incredibili rischio, in particolare quello archeologico, Segue, sempre nella rubrica [Essays], vandalico che ha finito per distruggere distruzioni deliberate di un monumento, minacciato non solo dai conflitti, ma un approfondimento sul patrimonio del anche sé stesso.

[experiences][editorial] 23 24 es [essays] 1 Notre-Dame, Paris. The fire at its early stages, April the 15th 2019, 7:15 pm / L’incendio nelle sue fasi iniziali, 15 aprile 2019, ore 19:15 (Wikimedia Commons).

Andrea Pane Notre-Dame de Paris: NO to the haste of politics,

1 YES to the patient time of restoration

A substantial part of the cathedral of constituted (it is difficult to use the past restoration of Notre-Dame with love and and of the flèche of Notre-Dame is a Notre-Dame is not anymore. A few hours tense, but unfortunately it is so) a piece dedication. He decided to rebuild the very serious damage. I would say that of fire, inexplicably started and recklessly of history of the 19th-century stylistic flèche only after Lassus died in 1857, it is worse than the rift in the two cross uncontrolled, have destroyed centuries restoration (fig. 2). An intervention, that completing it between 1859 and 1860 vaults of the transept and of the main of history (fig. 1). The courage of firemen of Viollet, internationally well-known and with a mixed structure in wood and nave (although this is structurally very and the strength of stone have saved a topos of the basic education of any embossed lead. The result, which is, after serious), because it is possible to deal the structure, but much – too much – is architecture student. almost a century and a half, fully stratified with the latter using the well-established lost forever. Someone has written that The works realized by the famous in the palimpsest of the building, was that Restoration tools. Of course, even in the the damage is not so serious and in part architect between 1844 and 1864, first of an architecture on the architecture, case of the vaults, difficult choices will it is true, considering the dismay we all in collaboration with the oldest and most realized with wide “inventive” margins, but have to be made on the reconstruction felt, that night of April the 15th, in front of authoritative Jean-Baptiste Lassus, on the basis of a rigorous knowledge of modalities, which shall at the same the fear of waking up the next day and then on his own, now represent a piece the style, which made it a fundamental time ensure compatibility of materials finding only the exterior shell of the great of history of the Parisian cathedral as page for understanding the 19th-century (stone with stone) and recognizability cathedral standing. significant as the previous stratification neo-medieval culture. A «fantastic Middle of the intervention (different surface But this doesn’t mean that what has been and it is not admissible to consider Age» – to use the famous title of the treatments or undercut technique). In lost did not have an inestimable value: their loss a “lesser evil”. A brilliant volume by Jurgis Baltrušaitis2 – which this way, the future generations will wooden structures that for the most and learned architect – still waiting for fascinated as much as the authentic one, remember the event of April the 15th part dated back to the 13th century, later a full reassessment of his multiform today even more than before, because as a warning and will not be deceived additions all congruent with the traditional and complex personality, especially in of the deeper understanding, reached by by the false restoration, being always Gothic construction and, above all, parts France, although new publications and the current generations, of the historicist able to recognize the ancient from the restored or reconstructed by Eugène- some exhibitions have proliferated on culture that crossed the whole 19th new, as for over a century and a half Emmanuel Viollet-le-Duc, among which the occasion of the 2014 bicentenary1 century until the first decades of the 20th. the principles of the discipline have the famous flèche – the spire – which – Viollet-le-Duc had carried out the This is why the loss of the entire roof sanctioned, also codified in international

[essays] 25 2 2 Notre-Dame, Paris. The flèche in 2012 / La flèche nel 2012 (Notre-Dame de Paris 2012). 3 Paris, Plan dressé par Louis Bretez, par ordre de Turgot, 1734-39. Detail of the sheet 11 regarding Ile de la Cité with the cathedral of Notre-Dame in the upper left corner. At the intersection of the transept, it is visible the original medieval base of the flèche / Particolare del foglio 11 relativo all’Ile de la Cité con la cattedrale di Notre-Dame nell’angolo in alto a sinistra. All’incrocio del transetto si nota la base della originaria flèche medioevale.

documents. But the choices concerning with Notre-Dame, using the powerful be interested in the formalist exercise is very different from many of those we the roof and above all the flèche will not three-dimensional simulation and photo- of the most bewildering hypotheses for have just mentioned: the survival of a be easy at all: on one hand, because of insertion tools that we all have today. the reconstruction of the roof, and their large part of the wall structure allows a the difficulties in finding the necessary Several proposals have come up, such immediate sharing through social media. restoration of the destroyed parts that quantity of timber, in order to use the as the reconstruction of the roof and the It is an exercise that denies the most does not involve the falsification of what same material as the original one (which spire in steel and glass – like a revived elementary feeling that arises towards a has irretrievably disappeared, but neither is way more preferable than steel for Crystal Palace by Paxton – advanced with destruction like that of Notre-Dame: the the relinquishment of a reproposal of the reasons of compatibility with the walls), slight variations by both Norman Foster pietas for the monument, which must original configuration of the roof. But to do on the other for even more complex and Massimiliano Fuksas, or unlikely come long before any project looting, a so it is not necessary, nor appropriate, to methodological and formal issues. greenhouses, up to other absurdities that pietas that this looting must prevent and turn to the star system of architecture. A few hours after the fire, with the rubbles it is not even the case to comment. limit. Archistars, brilliant in many cases, tend still smoking, voices of some more or This is not the right answer to such Weren’t perhaps the many experiences to leave their signature behind every less famous archistars have already a complex problem. If this game can of the second post-war period – suffice it work and above all they (almost) never raised, along with that of many aspiring entertain creative architects, who after to mention Santa Chiara in Naples – or have a proper experience in restoration, architects, who have expressed their all care very little about Notre-Dame, the more recent and controversial ones a patient and silent work, very different opinion on how and whether to rebuild inebriated by yet another opportunity to of the Fenice in Venice and the cathedral from the media circus that accompanies the roof and the flèche, also making express their own accomplishments, it of Noto, to remain in Italy, or those of all their extraordinary projects. This is far-fetched projects. Lured by President does not entertain at all the ones who the Frauenkirche in Dresden and the why it is not to them that we should Macron's announcement to entrust deeply knew Notre-Dame, who studied Neues Museum in Berlin, enough to turn, but to the highly specialized world the reconstruction to an international it, who investigated it, who loved it. All demonstrate that on these issues there of architectural restoration, which, in architecture competition and – more those who still feel the pain of the wound is a complex and profound debate, which France and throughout Europe, boasts importantly – to bypass the heritage opened by the fire of April the 15th in a cannot be ignored, or else we would extraordinary excellences envied all over code and procurement rules, architects monument of exceptional importance, repeat the same mistakes of the past? the world. For at least two centuries, from all over the world have tried to play both symbolic and architectural, cannot The case of Notre-Dame, fortunately, there has been a culture of conservation,

26 4 4 Anonymous, watercolor of the 1836 showing the side of the cathedral of Notre-Dame before the restoration of Viollet-le-Duc and Lassus. At the intersection of the transept, it can be noted the absence of the flèche / Anonimo, acquerello del 1836 che mostra il fianco della cattedrale di Notre-Dame prima dei restauri di Viollet-le-Duc e Lassus. All’incrocio del transetto si nota l’assenza della flèche (Notre-Dame de Paris 2012). 5 E. E. Viollet-le-Duc, Jean-Baptiste Lassus. Restoration project of the west façade of Notre-Dame, January the 28th 1843 / Progetto di restauro della facciata occidentale di Notre-Dame, 28 gennaio 1843 (Bercé 2013). 5

care and patient attention to every trace engineers, chemists. patience, respect for ordinary procedures, French National Assembly approved the that the monument still carries with it, Faced with a serious patient like Notre- in order to start, first of all, the diagnosis special law for the reconstruction of Notre- along with the recognition of the ones Dame in Paris, first of all we need and recognition of what survives and Dame on July the 16th, with 91 votes in it has lost, and this discipline is called diagnostics, knowledge, patience, and what is destroyed, before formulating any favor, 8 against and 33 abstentions4. Restoration, despite the nuances of not packaged and formalist solutions, hypothesis of intervention. Some of them After a lively parliamentary debate, meaning that characterize this word at generated by computers in a handful were signed by the most authoritative during which many opposing voices the various latitudes of the world. And it of hours. And not only the exponents of exponents of French and European have been raised about this provision, is the discipline of Restoration that today, the Restoration culture are convinced of restoration culture, along with architectural the approved law fixes the completion above all, has to take the floor in relation this, but also all the people with common historians, intellectuals, scholars, all of the restoration works of Notre-Dame to the fate of Notre-Dame. Certainly not sense. A great French archistar, Jean dismayed at the idea that the fate of a at five years, just in time for the Paris the more or less creative architects who, Nouvel, author of dozens of internationally universal monument like Notre-Dame Olympics in 2024. «We must accept however, have never investigated the renowned buildings, correctly invited the could be decided in such a hurry. that the time of reconstruction is not construction history of a Gothic cathedral, administration to be cautious: «Laissez We hope that President Macron and all that of politics or events», the opposition its materials, its complex structural le temps du diagnostic aux historiens the authorities responsible for making thundered, but without changing the behavior. Used to deal for centuries et aux experts avant de vous prononcer decisions in this matter will seriously intentions of President Macron. However, with complex problems like these and sur l’avenir du monument»3, he wisely consider these pleas. Because Notre- what appears most serious is that this above all to discuss them dialectically, observed. This was stated by Jean Dame, perhaps more than any other special provision allows a derogation from the restorers are the only subjects to be Nouvel, a man inclined to seduce the building in France, is really what is called environmental and heritage laws. It really involved in a dramatic and absolutely general public with architectural forms, a universal heritage. Entrusting its destiny seems a paradox that denies common emerging case like that of Notre-Dame, and in this sense his exhortation is even to an individual, however brilliant, would sense: to restore a famous monument like assisted by all the competences that more significant. be the most serious of errors. Notre-Dame, it is necessary to derogate for decades have been collaborating Seizing the common sense of these from the laws that regulate and control with them: architecture and construction reflections, numerous pleas have This is what we wrote a few weeks ago, restoration. But perhaps common sense historians, materials scientists, structural circulated these days to call for caution, preparing this article. Unfortunately, the is no longer hosted in our times.

[essays] 27 f [focus] 1 Persepolis, view from the East of the Palace of 100 columns / Persepoli, vista da est del Palazzo delle 100 colonne (photo: Sahar Ahmadinezhad). 2 Persepolis, remains of the gate and grand staircase / Persepoli, resti dell’ingresso e della grande scala (photo: Sahar Ahmadinezhad). Sahar Ahmadinezhad Politecnico di Milano The archaeological heritage in Iran and the challenges for its conservation 1

Iran (also known as Persia) is a country these periods. The Iranian architecture of places where there is a cultural the problem of conserving them, in the Southwestern Asia described by is described by historians as one of continuity from the pre-historical ages particularly in accordance with the scholars as the “Archaeologists’ Paradise” . the world mainstream schools which up to the end of early Islamic period in norms established in the framework Among the 22 Iranian sites, listed by appears in various styles, showing the 15th century. of the World Heritage Convention, has UNESCO as World Heritage sites, 8 contributions from Hellenistic world, Two landscapes – the Citadel of been a challenging task for both experts are archaeological ones: Chogha Zanbil ancient Mesopotamia, Muslim world Bam listed in 2004 and the Sassanid and local communities. This essay (1979), Persepolis (1979), Takht-e and finally from the modern western Archaeological Landscape of Fars briefly looks into this issue through field Soleyman (2003), Pasargadae (2004), architectural culture. While Shahr-i Region listed in 2018 – cover many observations and examining published Bisotun (2006), Shahr-i Sokhta (2014) Sokhta and Chogha Zanbil belong to archaeological sites. Most of them are conservation reports of these sites. and Susa (2015). the prehistoric civilizations, Persepolis, still under surveys and excavations, The archaeology of Iran is divided into Pasargadae, and Bisotun date back to conducted by international experts and Historical Background three major periods, each covering the Historic Pre-Islamic age and Takht-e their materials have been studied in Archaeological studies in Iran were several sub-categories: Prehistoric age, Soleyman is an example of the use very diverse fields, such as architecture, initiated in the 17th century, when Historic Pre-Islamic age and Islamic of the same place and architectural archaeometry, heritage conservation European visitors, namely Pietro della age. structures in both pre-Islamic and as well as anthropology. While the Valle, Jean Chardin1 and Engelbert Each of the listed sites represents the Islamic ages. The archaeological site sites annually attract a large number Kaempfer attempted to make detailed architectural aspects of one or more of of Susa is one of the few examples of tourists from all over the world, documentations of the remains of

70 2

Iranian monuments described by the the expansion of the excavations, Service. However, the diversity of necropolis of Achaemenids5 and ancient historians such as Diodoro the legislation for the protection of materials, building techniques, climate Bisotun are two examples of this Siculo (90-27 BC). Archaeological sites archaeological sites was issued by and social aspects have made the architecture dating back to the reign such as Naqsh-e Rustam, Persepolis the national Parliament in 1930 under post-excavation conservation of the of Darius the Great (522-486 BC). and Bisotun appeared hundreds the title of The National Heritage sites a great challenge. The related Among their main features there are of times in the memoirs of visitors Protection Law. The importance of history and conservation issues of the inscriptions carved in natural rock and even in scientific publications, both using international expertise and architectural ruins in different materials surfaces, which constitute not only for example by the Royal Society of sharing the findings at a broader level in these World Heritage sites and some the most important source about the London2. was obvious for the Iranians decades other archaeological sites will be briefly ancient Persian language, but also the During the Qajar dynasty, for the first before the World Heritage Convention examined here. most important clue for the linguists of time, systematic excavation operations and the Iranian parliament named the the past centuries for decoding texts were carried on in several Iranian French professor of architecture and Stone and rock-cut architecture written in cuneiforms or in other ancient sites by the National Authority3 and archaeology André Godard4 – who Rock-cut and stone monuments languages such as the Babylonian and sometimes by foreign experts. Thanks to worked in a close collaboration with are typical of the Persian Empire’s the Elamite ones. Meanwhile, there are the photographic records, it is possible the Iranian lawyer and art historian building culture (550 BC-651 AD). also bas-reliefs in different styles which to trace back such interventions Sayyed Mohammad Taqi Mostafavi – The archaeological site of Naqsh-e decorate the surface of the rock-cut in most of the sites. As a result of director of the Iranian Archaeological Rustam in Marvdasht and the royal tombs. It is observed that during the 20th

[focus] 71 Persepoli, Naqsh-e Rustam e Dahane 14 Gholaman. Questa collaborazione è risultata molto utile nel fornire informazioni sulle metodologie (in particolare per la conservazione dei materiali lapidei) utilizzate in molti altri siti archeologici, come Ganjnameh (Hamadan), Khosheh, Bisotun, ecc. Durante questo periodo sono state definite alcune tecniche di base tra cui l’anastilosi, ossia il rimontaggio di parti esistenti ma smembrate, utilizzata sostanzialmente per l’assemblaggio delle colonne. Negli ultimi anni, in questo campo sono stati avviati due progetti di collaborazione internazionale. Il primo, ovvero la missione italo-iraniana di Pasargade, ripresa nel 2017 dall'ISCR (Istituto Superiore per la Conservazione e il Restauro) e attualmente prorogata per un periodo di 3 anni, si è concentrato sulla conservazione della tomba di Ciro il Grande e del Palazzo P. L'altro progetto è invece in corso a Persepoli assieme all'organizzazione Restauratori Senza Frontiere. Queste opportunità forniscono lo spazio necessario per riesaminare il precedente approccio dell'IsMEO da un punto di vista critico e scientifico, facilitando il corretto utilizzo di nuovi materiali e attrezzature, insieme a tecniche innovative di monitoraggio e misure preventive per limitare l'eventuale necessità di interventi 15 conservativi.

Città di argilla e fango L'architettura vernacolare iraniana è ben nota per la sua tradizione nella costruzione di strutture a cupola con mattoni in fango. Molti esempi di questi edifici sono conservati all'interno dell'altopiano iraniano, rappresentando l'evoluzione dell'architettura in terra cruda attraverso migliaia di anni. Tra questi, l'antica città di Susa7 è forse l’esempio più significativo, in quanto mostra questa evoluzione dall'emergere del primo nucleo di fondazione fino al XV secolo, sotto forma di strati sovrapposti dell’epoca preistorica, della civiltà elamita, dell’impero achemenide, della città partica ellenistica e, infine, dell'antica città islamica. Gli scavi in questa città si sono protratti per decenni – dopo la creazione di un complesso vicino al sito (un castello) ad opera della missione archeologica francese in Iran (1884-1979), usato come quartier generale nella regione del Khuzestan – portando, prima della seconda guerra mondiale, alla

78 16 Note scoperta di un’altra importante città 1 J. Chardin, Voyages du chevalier Chardin en Perse et autres lieux de l’Orient, vol. 8, Le Normant, Parigi elamita, Chogha Zanbil. Per essere 18 11. esempi di città antiche pressoché 2 T. Birch, The History of the Royal Society of London, vol. 2, Londra 1756. intatte, Susa e Chogha Zanbil hanno 3 S. Adl, Khorheh the dawn of Iranian scientific una superficie molto estesa. Pertanto, archeological excavation, in «Tavoos Quarterly», n. 3-4, 2000, pp. 226-265; A. Godard, Y. Godard e M. il problema principale per la loro Siroux (a cura di), Athar-é Iran: Annales du Service conservazione è rappresentato dalla Archéologique de l’Iran, Enschedé, Parigi 1936- 1949. gestione sia del monitoraggio che 4 E. Schmidt, Persepolis. Vol. III: The Royal Tombs and della manutenzione ordinaria. Oggi Other Monuments, Oriental Institute Publications, la popolazione locale, soprattutto nel Chicago 1970. 8 5 S. Ahmadinezhad, Study of Iranian Rock Art. caso di Chogha Zanbil , svolge un Research center for conservation of cultural relics ruolo importante, partecipando alla (in Persian), RCCCR, Tehran 2016. 6 A. B. Tilia, A study on the methods of working and gestione del sito e fornendo gli artigiani restoring stone and on the parts left unfinished in in grado di eseguire i periodici lavori Achaemenian architecture and sculpture, IsMEO, Roma 1968; A. B. Tilia, Studies and Restorations at di riparazione, inevitabili a causa della Persepolis and Other Sites in Fars, Istituto Italiano vulnerabilità delle opere in terra cruda per il Medio ed Estremo Oriente, Reports and alla pioggia. Durante gli anni Novanta, Memoirs 16, IsMEO, Roma 1978. 7 R. Girshamn, Tchoga Zanbil (Dur Untash) I. La un progetto internazionale, frutto della ziggurat, MDP, Parigi 1966; E. Galdieri e K. A. collaborazione tra l'UNESCO, CRAterre, Afsar, Conservation and Restoration Of Persian Monuments, in «Encyclopedia Iranica», vol. 6, n. 2, il Japan National Trust e l'ICHTO (Iran 1992, pp. 134-138. Cultural Heritage Organization), ha 8 R. Naumann e D. Huff, Takht-i Suleiman und Zendan-i Suleiman. Vorlaufger Bericht über die sostenuto gli studi sul miglioramento dei Ausgrabungen in den Jahren 1963 und 1964, in metodi di conservazione regionali per le «Archaologischer Anzeiger», 1965-66, pp. 619-802. strutture di mattoni in terra cruda. Un altro dei materiali da costruzione più importanti dell'architettura iraniana è costituito dai mattoni in argilla. Tuttavia, poiché la produzione in serie di mattoni cotti di buona qualità non era possibile nella maggior parte dei casi, i resti architettonici di questo tipo sono meno numerosi. Le strutture in mattoni meglio conservate sono state per la maggior parte ritrovate in complessi reali e religiosi, come nei casi del tempio del fuoco di Takht-e 17 14 Naqsh-e Rustam, Sassanian rock relief / Naqsh-e Rustam, rilievi sassanidi ricavati nella roccia (photo: Soleyman, del (cosiddetto) tempio Sahar Ahmadinezhad). del fuoco di Firozabad dei Sassanidi 15 Naqsh-e Rustam, the excavated stone tower, Kaabe Zardosht / Naqsh-e Rustam, la torre in roccia scavata, e dell'enorme ziqqurat preistorico di Kaabe Zardosht (photo: Sahar Ahmadinezhad). Chogha Zanbil, in cui l'uso di mattoni 16 Taq-e Bostan, an example of Pre-Islamic stone architecture: a historical rock-cut drainage was provided d’argilla è limitato ai rivestimenti esterni to remove rainwater from the monument / Taq-e Bostan, della struttura, realizzata invece in terra un esempio di architettura pre-islamica in pietra: è stato utilizzato un drenaggio in roccia tagliata per rimuovere cruda. In contrasto con l'architettura l’acqua piovana dal monumento (photo: Sahar in mattoni di fango, per la quale esiste Ahmadinezhad). 17 Taq-e Bostan, rock reliefs from Sassaian period / un'esperienza tradizionale affidabile Taq-e Bostan, rilievi su roccia del periodo sassanide riguardo l'uso di intonaci di sacrificio e (photo: Sahar Ahmadinezhad). protettivi come il Kah-gel, ci sono poche soluzioni vernacolari che possono essere modulate per prolungare la vita delle rovine in mattoni cotti. Nel corso degli ultimi due decenni, il Centro di Ricerca per la Conservazione dei Reperti Culturali ha svolto diversi test in laboratorio per comprendere la struttura dei mattoni storici e per individuare metodi per la loro salvaguardia contro gli effetti di sali umidi e solubili.

Tradotto da Jenine Principe

[focus] 79 ap [architecture&plan]

Marie-Anne Ducrocq The tomb of Rafiq Hariri in Beirut: the void option

92 On February 14th, 2005, Rafiq Hariri, was buried at the foot of “his monument”, the civil war. In the months following the Prime Minister of Lebanon, was the huge Al-Amine mosque, which, with Hariri’s murder, his family reached out to murdered in an attack in a time of its four high minarets, dominates over the French architect Marc Barani in order tensions with the Syrian regime of Bashar the center of Beirut. Often referred to as to entrust him with the conception of the al-Assad. The Lebanese people, deeply the “Hariri mosque”, this colossus made mausoleum. After the grandeur and the divided, forgot their disagreements of Lebanese stones, financed by the sumptuousness of the Al-Amine mosque during such tragic event. Christians and ex-Prime Minister himself, is considered and considering the Lebanese people’s Muslims gathered together to accompany as his power’s hallmark. Located in the taste for splendor and gleaming settings, the remains of the leader to its resting Martyrs' Square, Hariri’s resting place is one could have expected Hariri’s family place. For many, this episode will be highly symbolic as it stands at the frontier desire to provide the deceased with a the «triggering event for Lebanon’s between East and West Beirut, which splendid grave. But this is not the case reestablishment»1. The ex-Prime Minister was the theater of many conflicts during at all.

[architecture&plan] 93 Marc Barani is familiar with “deathscapes”. Once his architecture degree was completed, he undertook a trip to Nepal. Upon his return, something stroke him: in the West, no one ever talks about death. While in Asia, death takes part of a highly ritualistic daily life, filled with sacredness, the European city has pushed-back the graveyards beyond its borders, and with them, the issue of death. Little afterwards, the architect has the opportunity to shape his insights as he is entrusted with the conception of two graveyards2, which he designs as places where one can come merely for the sake of taking a walk, and not only as a place to rarely visit the dead. The conception of Rafiq Hariri’s mausoleum extends this reflection. This time, Barani finds himself in the very heart of the capital of a country in which 18 religious denominations live side-by-side, and where the remnants of war witness their difficult cohabitation. The perimeter around the mausoleum’s location contains 10 churches, 5 mosques and 2 zawiyas3. The calls of the muezzins and the sound of bells mingle with the discontinuous droning noise of Beirut’s road traffic. At night, while the Lebanese youth put on their long gowns and converge at the famous nightlife districts, places of worship join the party: domes and minarets wear bright colored illuminations. Instead of adding to the hubbub, Barani’s project makes silence. He answers with void to the domes and minarets race to the sky. The resting place of this «public man, shall be a public place»4. The tomb sits in a trapezoidal lot bordered in the south by the Al-Amine mosque, in the west by Roman remains and, in the east, opens up on the Martyrs’ Square. Barani sets up a wide mineral square sliced in three levels, accompanying the natural slope of the ground. Coming from the mosque, the visitor first walks past the tombs of the “seven martyrs”, Hariri’s bodyguards killed in the attack, then he goes up a few steps to the ex-Prime Minister’s mausoleum, before going down towards the lower level. The tombs, simple volumes cladded with the same bright stone used in the rest of the square, seem to make one with the site, as if the ground merely raised to shelter the tombs. The square’s design repeats the logic of the adjoining mosque. The mosque’s building is composed by a first volume defined by the lot along a north-south axis. It delineates a peristyle surrounding the second volume, the prayer room crowned by a dome. Such prayer room is shifting by a quarter with respect to the first volume; it is oriented towards the

94 [architecture&plan] 95 ap [architecture&plan]

Giovanni Spizuoco

A connection between the New and the Old town. The archaeological park of Nola and its 16th century city wall The city of Nola (Naples) is a place rich in history and ancient traditions, and its underground can reserve unexpected and very welcome surprises. The history of human settlements in this territory started during the Bronze Age, as shown by recent archaeological discoveries. Later on, even before the birth of Rome, the city was founded by the Ausonian people with the name of Nuvla. Since its foundation until the present day the city has always been populated. Some important historic figures are related to it, such as the Emperor Octavian Augustus, who died in Nola, and the philosopher Giordano Bruno, who was born and educated in the city. Thus, the development of an underground parking in the eastern part of the historic center of Nola has led to the unexpected discovery of an extremely interesting archaeological site. The new concept, designed by the architect Ferruccio Izzo (Alberto Izzo & Partners), provides an archaeological walk and a new building, in order to enhance the recent discoveries and to open them to the public. The archaeological park is set in an urban area of low value, rebuilt after the damages of World War II, and today the subject of new transformations. The aim of the project is to create an urban connection between the archaeological

110 Ferruccio Izzo – Alberto Izzo & Partners park and the contemporary town, which the archaeological park and shaped the is on a higher level. design of the new building conceived Work Today the whole project area of 7000 by Izzo. Here the paths around the Archaeological Park m2 is not only an interesting cultural archaeological ruins and towards the Client center with regard to local history, but green areas that are part of the park Municipality of Nola also a flexible area suitable for various begin. Location purposes. Moreover, the archaeological The Antiquarium is a multifunctional Nola (Naples), Italy park, which is only partially excavated building in concrete, steel and glass, Project Year because of the presence of some that connects the street level with 2016 residential buildings, today is also that of the archaeological findings, Architecture and Design a green lung inside the historical making it easy to overcome the height Ferruccio Izzo – Alberto Izzo & Partners center, which is an added value for difference. The covered loggia on the Architect the inhabitants of the ancient narrow higher level is the main entrance to the Ferruccio Izzo streets. archaeological park. It can be seen Project Team Inside the archaeological park, there also as a real connection between Ferruccio Izzo, Maurizio D’Andrea, Vincenzo Peluso are findings coming from different the ancient city, which was shaped Engineering eras, including the foundations of by history and by millenary traditions, Antimo Fiorillo an ancient domus, some hydraulic such as the Festa dei Gigli (Festival Building Management engineering works from the Roman of Lilies), and the contemporary town, Maria Castaldo period and, in particular, the perimeter where life moves more quickly among Landscape of the Renaissance city walls. The banks, schools and businesses. Thus, Ferruccio Izzo 16th century fortification, which was the Old opens itself to the New and a Additional Functions the first to be found, was part of the connection is created between them Main Contractor: T&t Italia S.p.a improvements of the mediaeval defense through a new building, where a very Construction manager: Giuseppe Angri system and required a significant sloping roof seems to tell the intention Size and total area redesign of the project, in order to of reconnecting the modern town to its 7.000 m2 preserve its material integrity and to origins. This intention is emphasized by Image credits relate it to the contemporary city. The the multifunctional hall’s glass doors on Studio F64 city walls, in fact, constitute the edge of the lower level, which open one step

[architecture&plan] 111 mi [materials&interiors]

Federica Deo

Photo by Manuela Naddeo

The Sound of Architecture. The experimental research of La Digestion

At its third edition, the Festival La Digestion describes FD: What does experiencing the relationship itself as «a risky journey in the culverts of the sound between sound and architecture mean to your inside the porous city, into the labyrinth of the body, research? on the hunt for the inaudible». La Digestion is the LD: Sound is by nature a phenomenon inextricably courageous feat of four Neapolitan artists – Domenico linked to space as it propagates through an elastic Napolitano, Giulio Nocera, Renato Grieco and Andrea transmission medium. It could not physically exist in Bolognino – who, moving away from the perspective a vacuum. With the progress and the refinement of of entertainment, focus on different assumptions acoustic science, as well as of engineering and design and produce a precious opportunity for reflection. of musical instruments, a fairly abstract idea of “pure Giving new life to ancient monuments of the city sound” was established in the practice of composers through performative practices and sound artworks, and music performers, somehow disregarding all the format lingers and reflects on ancestral and, at the problems related to the contingencies of its the same time, current issues, such as time and propagation in space. On one side, the luthiers and contemporaneity, rethought through the relationship the artisans tried to bend materials to build even more between the immortality of architecture and the effective and projective instruments, capable of great ineffability of sound. performances despite the surrounding conditions were

130 Photo by Manuela Naddeo

[materials&interiors] 131 it [ideas and trends]

antoniolupi FLUMOOD new generation material

antoniolupi is a Tuscan company that has Bathtube Mastello designed by Mario Ferrarini. Round or oval Rim, designed by Federico Sandri distinguished itself on the Italian and International Mastello is an ergonomic bathtub yet at the same and Daniel Debiasi, is the new ultra-thin sink that markets for their bathroom furnishings projects. A time functional, thanks to the comfortable integrated has its own distinctive feature in thesoftness and reality that continues to develop due to investments seat and the edge that rises gently towards one of the continuity of the border. Like a light leaf that lies on in technology and creativity. After Corian in 2001, ends and acts as a headrest. Mastello is charaterized a mirror of water, Rim rests gently on the surface, Cristalplant in 2004 and then Ceramilux, Flumood is a by its small sizes. almost touching the surface . new generation material patent owned by antoniolupi. FLUMOOD is an innovative material, ecological, Breccia, designed by Mario Ferrarini, is a top Bloom, designed by Federico Sandri and Daniel compact, non-porous, uniform, nontoxic with with a round integrated washbasin in Flumood Debiasi, is the top mount basin with an original shape a surface easy to clean with common cleaning charaterized by the strong and delicate mark at the that comes from a rigorous geometry but softens products; can be restored when scratched caused by same time, a light but evident groove on the surface emphasizing the subtlety of the material and the everyday use. A perfect material for the bathroom. that defines its identity, an aesthetic detail that thickness of the border that seems to cancel out. antoniolupi is sure that customers will be completely satisfies a fundamental functional need, an idea that satisfied and has decided to use this material in their solves a technical aspect and becomes a distinctive projects concerning tops and sinks proved ideal in feature of the project. either the Satin or Textured finish. The attractive appearance, resistance to everyday use and pleasant feel make Flumood perfect for surfaces, sinks and bathtubs. antoniolupi proposes several producs made of this material.

142 [ideas and trends] 143 antoniolupi FLUMOOD Materiale di nuova generazione antoniolupi da anni investe in ricerca, ha finitura Flat che in quella Texture. Lo studio del colore Tondo o ovale Rim, design di Federico Sandri e innovato e anticipato le mode con materiali e stili e dei suoi abbinamenti è sempre stato al centro della Daniel Debiasi, è il nuovo lavabo ultrasottile che all'avanguardia. È stato il primo nel 2001 a proporre ricerca antoniolupi, Flumood viene quindi proposto ha nella morbidezza e nella continuità del bordo il lavabi e piatti doccia in Corian, nel 2003 introduce oltre al bianco anche in versione colorata grazie proprio tratto distintivo. Come una foglia leggera l'emozione della pietra e nel 2007 il Cristalplant e poi alla goffratura esterna dei prodotti nella palette di che si adagia su uno specchio d’acqua Rim si il Ceramilux. colori antoniolupi. antoniolupi propone con questo appoggia sul piano con delicatezza, quasi a sfiorare La ricerca in tecnologia e innovazione ha portato innovativo materiale vari modelli di lavabi. la superficie. quest'anno all'introduzione del Flumood. Un materiale di nuova generazione, ecologico, Bloom, design di Federico Sandri e Daniel Debiasi, compatto, non poroso e atossico, con una superficie Mastello, disegnata da Mario Ferrarini, è una vasca è il lavabo da appoggio dalla forma inedita che facilmente pulibile con i comuni detergenti per la ergonomica, grazie alla comodità della seduta nasce da una geometria rigorosa ma si addolcisce pulizia domestica. Anche in caso di graffi o segni integrata e al bordo che si innalza dolcemente verso enfatizzando la sottigliezza della materia e lo derivanti dall'uso quotidiano, Flumood può essere una delle estremità e funge da poggiatesta, è anche spessore del bordo che sembra annullarsi. semplicemente ripristinato. un elemento funzionale e capiente. Un materiale perfetto per l'utilizzo nell'ambiente bagno. L'aspetto accattivante, la resistenza all'uso Breccia,disegnata da Mario Ferrarini, è il lavabo quotidiano e la piacevolezza al tatto, rendono tondo in Flumood segnato da a un segno forte e Flumood perfetto per l'uso nella stanza da bagno delicato allo stesso tempo, un vero e proprio taglio per superfici d'appoggio e per la realizzazione di che permette di far defluire l’acqua. Il segno parte lavabi e vasche. da un foro e prosegue definedo un solco che scava antoniolupi, sicura della soddisfazione dei propri la materia, il suo continuum lo collega al perimentro clienti, ha deciso di impiegarlo in alcuni suoi progetti del lavabo. di top e lavabi per i quali si è rivelato ideale sia nella

ANTONIO LUPI DESIGN SPA Via Mazzini 73/75 50050 Stabbia Cerreto Guidi (FI) - Italy phone + 39 (0)571 586881_95651 www.antoniolupi.it [email protected]

144 [ideas and trends] 145 it [ideas and trends] KE: a new outdoor KE crea dining area una nuova area outdoor at Casa Casuarina a Casa Casuarina, Miami Casa Casuarina was built in 1930 by Alden Freeman and purchased by Gianni Casa Casuarina fu costruita nel 1930 da Alden Freeman e fu acquistata nel Versace in 1992, who converted it into a Mediterranean revival style 8 bedrooms 1992 dallo stilista Gianni Versace, che la restaurò enfatizzando lo stile “revival mansion. mediterraneo”. Questa villa con 8 camere da letto è contraddistinta da spazi Lush gardens, stuccoes walls with arched windows, mosaics and fountains verdi rigogliosi, affreschi, finestre ad arco, sfarzosi mosaici e fontane - elementi are among the features that looked back at Italian and Spanish Renaissance peculiari delle architetture rinascimentali italiane e spagnole. Il ristoratore Barton architectures. G. Weiss in seguito ha rinnovato la proprietà, ricavando dalla location un hotel Restaurateur Barton G. Weiss later renovated the property and turned it into a boutique, un ristorante – il Gianni’s - e un locale di lusso. boutique hotel, a restaurant named Gianni’s and a luxury venue. Il ristoratore desiderava ampliare i posti a sedere all'aperto, pur dovendo tenere in considerazione i vincoli architettonici della residenza storica e proteggere The restaurateur had wanted to add outdoor seating but was constrained by the l'iconico mosaico della Medusa simbolo di Versace. L’idea era quella di creare buildings historical status and protecting the architectural and artistic integrity una zona dining all'aperto da vivere tutto l'anno, diversa da qualsiasi altra cosa of the iconic Versace Medusa logo mosaic. The idea was to create a year-round già vista a Miami. outdoor dining experience unlike anything Miami has ever seen. Funzionale e dallo stile minimal, Isola 2 è stata consigliata dal progettista per la forma del tetto ad arco ribassato che garantisce un ingombro minimo e per le The Isola 2 pergola was chosen for its modern design and functionality. The tante finiture personalizzate che la rendono una copertura sartoriale “su misura”. choice of integrated LED lighting helps create a more intimate atmosphere for La scelta dell'illuminazione a LED integrata lungo il perimetro contribuisce a dining. The white frame color of the Isola 2 was chosen to help accent the beautiful creare la giusta atmosfera per un aperitivo o una cena a bordo piscina. Il colore Medusa mosaic. RAL 9010 bianco opaco di Isola 2 è stato scelto in armonia con i colori del Italian design and quality can be felt throughout the entire space and allows magnifico mosaico che caratterizza gli ambienti. patrons to enjoy the stars at night by the pool when the unit is retracted or Design, cura minima dei dettagli e materiali di qualità Made in Italy sono i tratti be protected from Miami’s frequent rains when the unit is deployed. After the che accomunano questo progetto alla storia di Casa Casuarina. La sera sarà installation of the four Isola 2 retractable pergolas the restaurant gained seating for possibile ammirare il cielo stellato di Miami aprendo il tetto motorizzato, oppure in 100 people. caso di pioggia sarà semplice richiuderlo. Questa nuova area dining del ristorante - al riparo delle 4 tende a pergola Isola 2 – offre ben 100 nuovi posti a sedere al www.keoutdoordesign.com coperto. KE PROTEZIONI SOLARI Srl Via Calnova n.160/A Noventa di Piave (VE) Italy phone +39 (0)421 307000 www.keoutdoordesign.com [email protected]

For more info: KE Marketing Dept. [email protected] it [ideas and trends] RiFRA KUBE RiFRA KUBE and purity e la purezza of forms delle forme KUBE kitchen, with its clean and essential lines, fully expresses the concepts La cucina KUBE, con le sue linee pulite ed essenziali, esprime appieno il of volume and proportion of forms so dear to RiFRA, the Italian company that concetto di volume e proporzione delle forme tanto caro a RiFRA, l’azienda furnishes the most beautiful houses in the world with its high-end kitchens and italiana che da sempre arreda le più belle case del mondo con cucine e bagni di bathrooms. alta gamma. KUBE's design is luxurious and refined, emphasized by the absence of handles, Il design di KUBE è lussuoso e raffinato, enfatizzato dall’assenza di maniglia e moldings or visible profiles. Thanks to the manufacturing of the top at 30° and to gole. La lavorazione del top a 30° e i sottili spessori delle ante contribuiscono a the thin thickness of the shutters, the volume of the kitchen is pure and without snellirne il volume d’insieme che risulta puro e senza interruzioni. interruptions. RiFRA constantly researches unusual and innovative materials and La costante ricerca di RiFRA per materiali e soluzioni inusuali e innovativi ha solutions in this way can offer a wide choice of finishes ranging from the most dato vita a un’ampia gamma di finiture che spazia dai più tradizionali laccati ed traditional lacquers and essences, to the brand-new Exotic ones with stones and essenze, alle finiture Esotiche con pietre e metalli. Natural Stone rappresenta metals. Natural Stone represents a careful selection of natural stones declined un’accurata selezione di Pietre Naturali declinata in lastre ceramiche altamente in high performance ceramic slabs and offers a variety of elegant and essential performanti e offre una varietà di colorazioni eleganti ed essenziali. Le Finiture colors. The Metal Finishes are obtained by the skillfully mixing of metal with Metalliche sono ottenute dalla sapiente miscelazione di metallo e resine, poi resins, then manually applied on the surface to be covered, offering the maximum manualmente spatolati sulla superficie da rivestire, per la massima libertà di freedom of customization. Three metallic effects are available: smooth, crackle personalizzazione. Tre gli effetti metallici disponibili: liscio, crackle, che richiama which remembers the splits of the stone and mesh that gives an interesting matter le spaccature della pietra e retato che dona un interessante effetto materico alla effect to the structure. struttura.

148 RiFRA Milano S.r.l Via Fratelli Cervi, 17/19 20855 Gerno di Lesmo (MB) phone +39 039 628451 [email protected]

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Lago furniture on the island home to design

Lago, a leading Italian company designing and creating furniture for every corner of the home, is one of the stars of the VID | Venice Innovation Design project. The idea for the project came from the Metropolitan City of Venice and the aim is to put a modern spin on one of the most evocative and enchanting parts of the Republic of Venice, the island of San Servolo.

In a historic building in one of Venice’s most beautiful parks, Lago has designed the interiors of the Convention Centre café. The design idea was to create a space to promote meeting people and creativity: key concepts which form the basis of Lago’s idea of design as a tool for bringing about positive change in the way we experience spaces. The interior design by LAGO offers clean lines and a strong compositional language, unlocking its inherent ability to interact with the existing Venetian architecture and bring out its original charm and appeal. This space is unique, poised between past and present, in a place in which everything seems to be floating on the lagoon’s waters, thanks to the suspended furniture and spaces that still allow you to distinguish and appreciate the beauty of the surroundings. The counter in the café is dressed in the alternating pale guise of the N.O.W. range, and opens up like a window onto the main room, light and airy but full of life, thanks to the transparent features of the Air collection. Guests are greeted with suspended tables on Extrachiaro glass legs, a Wildwood bar counter and Air bookcases, in a lightweight composition that encourages sharing and conviviality.

This project, as with all Lago Inside solutions, forms part of the LAGO DESIGN NETWORK: a network of people and places connected by a powerful driver of communication and made unique through LAGO design. The aim of the network is to establish a deep connection between people and spaces, and to use design to allow spaces with real potential to flourish, passing on historical, architectural and cultural heritage of undeniable value for the future.

150 [ideas and trends] 151 it [ideas and trends]

Gli arredi Lago nell’isola del design

Lago, azienda leader italiana che progetta e realizza Il design Lago, caratterizzato dalla pulizia delle forme Lago Inside, entra a far parte del LAGO DESIGN arredamenti per tutte le aree della casa, è una dei e dalla forza del linguaggio compositivo, sprigiona NETWORK, una rete di persone e luoghi connessa protagonisti d’eccellenza del progetto VID Venice un’innata capacità di dialogo con l’architettura da un potente motore di comunicazione e resa unica Innovation Design, nato dal desiderio della Città veneziana esistente, esaltandone il fascino originale. dal design LAGO, nata con l’obiettivo di stabilire una Metropolitana di Venezia di riscrivere in chiave Un ambiente unico in equilibrio fra passato e connessione profonda fra gli spazi e le persone ed contemporanea uno dei luoghi più suggestivi e ricchi presente dove tutto sembra fluttuare nelle acque esaltare, attraverso il design, luoghi con un grande di fascino della Serenissima: l’isola di San Servolo. della laguna grazie ad arredi sospesi e a spazi che potenziale, affidando al futuro un patrimonio storico, lasciano intravedere la bellezza del paesaggio. Il architettonico e culturale di indiscusso valore. In un palazzo storico immerso in uno dei parchi più bancone della caffetteria, vestito dall’alternanza belli di Venezia, Lago ha progettato gli interior della dei toni chiari del sistema N.O.W, si apre come caffetteria del Centro Eventi e Congressi, ideando una finestra sulla sala principale, leggera e ricca di uno spazio per favorire l’incontro e la creatività: vitalità grazie alle trasparenze del sistema Air. Ad parole chiave su cui l’azienda ha basato la sua idea accogliere gli ospiti, tavoli sospesi su gambe in vetro di design, come strumento capace di portare un extrachiaro, un bancone bar in legno Wildwood e cambiamento positivo nel modo di vivere gli spazi. delle librerie Air, in una composizione leggera che favorisce la condivisione e la convivialità. Questo progetto, come ogni soluzione del format

152 [ideas and trends] 153 it [ideas and trends]

JOINTED, la ricchezza delle connessioni

MOSAICO+ Srl Via S. Lorenzo 58/59 42013 Casalgrande RE Italy Beyond decoration, beyond the traditional Oltre il decoro, oltre il concetto tradizionale di phone +39 (0)522 990011 mosaic concept, beyond chip size, rigidly mosaico, oltre la dimensione della tessera, www.mosaicopiu.it defined geometrical space. Jointed is the lo spazio rigido della geometria. [email protected] collection that symbolises the Mosaico+ Jointed è la collezione simbolo della rivoluzione di revolution,superseding the modularity of the Mosaico+, una proposta che supera la modularità mosaic chip and its repetition across the della tessera e la sua ripetitività sulla superficie surface through the potential for breaking down grazie alla possibilità di sezionare ogni singolo every single element in 5 different ways. In elemento in 5 modi diversi. In Jointed la tessera di Jointed, the 5x5 cm chip is engraved with a 5x5 cm viene infatti incisa con un segno grafico, graphic motif providing the basis for 5 different che permette di definire 5 diverse tipologie di types of decoration. decoro.

Elastica, 2019 - design Habits: light is soft, flexible, interactive

MARTINELLI LUCE Via Teresa Bandettini 55100 Lucca (Lu) - Italy phone +39 (0) 583.418315 fax +39 (0) 583.419003 www.martinelliluce.it Elastica is a new concept in lighting where [email protected] interaction is the key word, you can connect Elastica è un nuovo concetto di illuminazione, the ceiling with the floor, move the base dove interazione è la parola d’ordine, Puoi around, change the positon of the strip of light, connettere soffitto e pavimento, spostare la base, almost as if playing with it. A quick, determined muovere la striscia di luce, quasi come a volerci gesture turns the light on and off; other, slower giocare. Rapidi e decisi gesti accendono e gestures change the intensity of the beam of spengono la luce; altri più lenti variano l’intensità light. del fascio luminoso.

Lago design improving your business

LAGO Design is a tool for making the most of all the Via Artigianato II, 21, spaces we spend our time in, making them inviting 35010 Villa del Conte PD and giving them character. The aim is to make phone +39 (0)49 5994299 them capable of creating connections and new Il design come strumento per la valorizzazione di www.lago.it business opportunities. This is where the idea tutti gli spazi in cui passiamo il nostro tempo, per [email protected] for the LAGO DESIGN NETWORK comes in: a renderli accoglienti e distintivi, capaci di generare widespread network of people and more than connessioni e nuove opportunità di business. Da 200 locations around the country – residences, qui nasce LAGO DESIGN NETWORK, una rete di shops, offices, museums, cafés, ice cream shops, persone e più di 200 location sparsi nel territorio restaurants and hotels – made unique by LAGO - abitazioni, negozi, uffici, musei, caffè, gelaterie, design, and composed with the same care and ristoranti, strutture ricettive - resi unici dal design attention as is normally dedicated to the domestic LAGO, progettati con la stessa cura con cui si è space. soliti pensare all’ambiente domestico.

The New Demì by Linea Light Group

LINEA LIGHT Srl Disegnata da Mirco Crosatto e vincitrice del Red Via della Fornace 59 Designed by Mirco Crosatto and awarded Dot Award 2019 Demì si presenta come una 31023 Castelminio (TN) the Red Dot Award 2019, Demì looks like a cupola in PMMA, un semicerchio leggero ed phone +39 (0)423 7868 PMMA dome, a light and ethereal semicircle etereo che “prende forma” a lampada accesa. info@linealight that "takes shape" when the lamp is on. Off, Spenta, risulta completamente trasparente. www.linealight.com the device is completely transparent. This is Questo grazie alla tecnologia OptiLight™, thanks to OptiLight™ technology by Linea esclusiva di Linea Light Group. La sorgente Light Group. The source occupies a minimum occupa uno spazio minimo, il circuito LED è of space; the LED circuit is housed within a alloggiato all’interno di un anello centrale in central ring of painted aluminium placed on top alluminio verniciato posto sulla sommità della of the dome. The beam emitted is diverted by cupola. Il fascio emesso viene deviato dalle the laser micro-engravings on the surface of microincisioni al laser presenti sulla superficie del the diffuser. diffusore.

154 KHEOPE by KE: the shading sail that enhance any kind of outdoor space

Le vele della gamma SAILS, dotate di KE PROTEZIONI SOLARI Srl Inspired by the sea, the SAILS range by KE, tessuti e tecnologia di derivazione nautica, Via Calnova n.160/A with nautical fabrics and marine-derived sono state pensate per proteggere dal sole, Noventa di Piave (VE) Italy technology, is designed to protect from the sun all’usura e alla salsedine. phone +39 (0)421 307000 and to resist weathering and salt corrosion. KHEOPE è una vela ombreggiante di www.keoutdoordesign.com KHEOPE sail system stands out as a large ampie dimensioni che esprime modernità, [email protected] shading sail, which covers an important area, assicurando un’ importante zona d’ombra. representing an innovative choice for the sun L’acciaio inox della struttura ed i materiali For more info: protection of tomorrow. The stainless-steel della vela fanno sì che la funzionalità sia KE Marketing Dept. structure and the nautical materials ensure assoluta ed il design leggero e moderno. [email protected] great functionality and lightweight design. Kheope si configura con una l’esclusiva KHEOPE is a modern shading structure that movimentazione motorizzata dotata di enhances open-air areas: thanks to its sleek anemometro che ne assicura la chiusura design, it easily adapts to different landscapes. automatica in caso di forte vento.

VITREO designed by Carlo Colombo

Vitreo è un lavabo freestanding in ANTONIO LUPI DESIGN Spa Vitreo is a single Cristalmood block. Vitreo Cristalmood. Disponibile in 10 colori, Vitreo si Via Mazzini 73/75 is available in 10 colors and it is able to fit inserisce con eleganza in diversi contesti di 50050 Stabbia different refined styles contexts. It is also stile, donando luminosità allo spazio, grazie Cerreto Guidi (FI) - Italy providing a sense of brightness to the space agli infiniti riflessi generati dal dialogo con gli phone + 39 (0)571 586881_95651 thanks to the infinite reflections generated by elementi architettonici, le superfici e gli arredi www.antoniolupi.it the dialogue with the architectural elements, che lo compongono. [email protected] surfaces and furnishings that compose it. A Una forma decagonale, un’immagine decagonal shape, a characteristic image that caratteristica che non toglie però all’acqua does not take out the leading role of water, il ruolo di assoluta protagonista, anzi la rather it enhances it because the sight of the esalta perché proprio la vista dell’elemento primordial element that is collected in the primordiale che viene raccolto nel capiente large basin changes the perception of the sink bacino cambia la percezione del lavabo nel as a whole suo complesso.

The new lamps by Cristina Celestino for Kundalini

KUNDALINI +39 0236538963 Euroluce 2019 saw the beginning of a new and Euroluce 2019 ha visto l’inizio di una nuova [email protected] exciting partnership with Cristina Celestino ed entusiasmante collaborazione con Cristina www.kundalini.it who created two projects for Kundalini: Lilli, the Celestino che per Kundalini ha creato due suspension which takes its inspiration from the progetti: la sospensione Lilli, che prende martagon lily, and Opyo, which refers to the ispirazione dal giglio martagone, e Opyo che poppy pods and is declined in floor lamp and si rifà ai baccelli di papavero ed è declinato in suspension. piantana e sospensione. The world of flowers and nature are the main Il mondo floreale e la natura sono la principale source of inspiration for Cristina Celestino who fonte di ispirazione per Cristina Celestino che nei skilfully interweaves tradition and modernity in propri progetti combina sapientemente tradizione her projects, developing creative solutions and e contemporaneità, sviluppando soluzioni creative playing freely with ideas. e giocando liberamente con le idee.

Cavatorta Group Companies

Cavatorta Group companies produce a wide Il Gruppo Cavatorta produce una vasta gamma TRAFILERIA E ZINCHERIA CAVATORTA range of high quality wire mesh products for di reti metalliche di elevata qualità, adatte a Via Repubblica, 58 a variety of residential, industrial and sports molteplici applicazioni nei settori residenziale, 43121 Parma (Italy) applications, for the building industry, agricolture industriale, sportivo, edile, agricolo, per il phone +39 (0)521 221411 and gardening. Cavatorta also has a complete giardinaggio e per il “fai da te”. Cavatorta propone fax +39 (0)521 221414 range of galvanized and plastic coated wire, inoltre un assortimento completo di fili zincati www.moonline.cavatorta.it/en/ nails and accessories designed to meet various e plasticati, chiodi e di accessori concepiti in [email protected] demands. The history of Cavatorta Group started funzione delle diverse esigenze di impiego. La in 1961 with the construction of the first factory in storia del Gruppo Cavatorta inizia nel 1961 con la Parma (Italy). Today Cavatorta is an international costruzione del primo stabilimento a Parma (Nord group with production factories in Italy, France Italia). Oggi Cavatorta è un gruppo internazionale and Romania, subsidiaries in Great Britain, con stabilimenti produttivi in Italia, Francia e Portugal and the United States and distributors in Romania, filiali in Gran Bretagna, Portogallo e over fifty countries. Stati Uniti e distributori in oltre cinquanta paesi.

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