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The Drawing of the Sulphur Landscape in Sicily: the Mining Site of Floristella-Grotacalda

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The Drawing of the Sulphur Landscape in Sicily: the Mining Site of Floristella-Grotacalda DISEGNARECON volume 12/ n. 22 - june 2019 DRAWING THE TERRITORY AND THE LANDSCAPE ISSN 1828-5961 Antonella Versaci - PhD Assistant Professor in Restoration, Head of the Laboratory of ‘Diagnostics and Restoration of Architectural and Cultural Heritage’ at the KORE Universi- ty of Enna and Associate Researcher at IPRAUS, Université de Paris-Belleville. Her research activity focuses on the conservation, recovery and valorisation of the historical, architectural and lan- dscape heritage. Alessio Cardaci - PhD Assistant Professor of Drawing at the University of Bergamo’s School of En- gineering, where he is also Head of the SABE Laboratory (Survey & Analysis of Buildings and Environment). His rese- arch interests are related to the themes of survey, 3D modeling and represen- tation of the architecture and cultural heritage. The drawing of the sulphur landscape in Sicily: the mining site of Floristella-GroƩ acalda The ‘solfare’, the ancient sulphur mines in Sicily, of a research that, started in 2012, is aimed at re- ry through a series of punctual opera ons able to are emblema c examples of an anthropized ter- tracing the intricate events of forma on and tran- reconnect the network of spread industrial mo- ritory that s ll today ‘lives’ in the heart of the sforma on of both the landscape and the urban- numents within a circuit of physical enjoyment in island. Characterized by simple architectures and produc ve environment of the ancient site. An which the industrial landscape could be again the small engineering works, they cons tute a scena- archival-bibliographic inves ga on, which com- protagonist. rio of rare beauty, which tells about an important bined with the survey and the graphic represen- chapter of the Sicilian history. ta on, is fi nalised to the knowledge and enhan- Places described by the travellers of the Grand cement of the cultural, archaeological, industrial Tour, by the writers of the 20th century and nar- and environmental landscape, with the purpose rated through images by numerous feature fi lms of preserving knowledge and memory, as well as and documentaries, more in the intangibility of sugges ng some recovery, restora on, reuse and the suff ering of the miners than as signifi cant enhancement hypotheses. structures of the region. Among them, the Flori- The preserva on of Floristella-Gro acalda is in- stella-Gro acalda mining complex, located in the tended as an opera on fi nalized at re-evoking its province of Enna, is one of the most expressive poten al and the meanings lost today but which examples of industrial archaeology in Southern cons tute the roots of the local community. In Italy. Its glorious past is today witnessed by the this sense, the knowledge process can be con- ruins of the abandoned plants and of the wor- sidered a basic prerequisite on which to build a Keywords: kers’ villages, only minimally reused. conscien ous regenera on project to create a Industrial Landcape; Representa on; Survey; The essay wants to propose some of the results concrete, liveable and explorable place of memo- Conserva on; Cultural Heritage. http://disegnarecon.univaq.it DISEGNARECON volume 12/ n. 22 - june 2019 DRAWING THE TERRITORY AND THE LANDSCAPE CARDACI - VERSACI 29.2 ISSN 1828-5961 The drawing of the sulphur landscape in Sicily: the mining site of Floristella-Grottacalda INTRODUCTION linked to the desire for redemption of the peasant story of Sicily is intertwined with that of sulphur who became a miner, to his disappointments, to extraction: from “La zolfara”, a 1947 neorealist The territory, in addition to being a visible and ma- his immense suffering. documentary directed by Ugo Saitta, through the terial reality, is also a space of memory in which Thus, Guy de Maupassant, who visits the ‘pays du 1962 feature fi lm “Minatore di zolfara” by Giu- various identities overlap and different subjectivi- soufre’ at the end of the 19th century is struck by seppe Ferrara and the 1963 “Erano schiavi dello ties merge, composing the so-called ‘landscape’. these sites hidden in the mountains, accessible zolfo” by the Istituto Luce - denouncing the con- The latter thus involves a multiplicity of aspects: through narrow staircases with enormous and ditions of exploitation of workers and antiquated natural, anthropic and, not least, subjective-per- unequal steps. Inhuman places in which “you suf- extraction systems - up to the most recent and ceptive. Indeed, it is precisely from the inclusion focate and remain as asphyxiated by the sulphur famous “The descent of Aclà a Floristella”, a of the human perception that we assume the lan- emanations and by the horrible heat like from 1992 movie by Aurelio Grimaldi (fi g. 2). dscape as a cultural construct, the result of the in- stove that causes heart palpitation and covers the This universe fi nds confi rmation in the techni- terpretation of the territory by those who observe, skin with sweat” and where you meet unfortuna- cal representations of the sites, both through study, live and represent it. te children subjected to inhuman work, (Maupas- the drawings of the surface facilities and the Landscape design is, therefore, both an instru- sant 1886). Again, Gaston Vuillier immortalizes new infrastructures for the production and tran- ment of representation and a tool for the knowled- the harsh reality, the unhealthy and suffocating sport of the material, and the architecture of the ge and understanding of a widespread heritage in atmosphere, describing the tried faces and the ‘submerged landscape’, of the excavation tun- which architecture unites and confuses with the deformed bodies of the ‘carusi’, the groans and nels and of the descendants that allowed people natural environment on which it stands. The re- the broken sobs, the moans that fi ll the darkness to reach workplaces. construction of vast areas, the planimetric de- (Vuillier, 1896). Graphic document of a reality linked to the pictions at the different scales, the historical and In the works of numerous Sicilian writers, sulphur sulphur civilization, in many ways still unknown, contemporary cartographies, redesigned and in- becomes a space of election and education: a world that suggest the intricate coexistence of ele- terpreted to analyse the transformations occur- from which, almost all of them, come directly and vated structures and hypogeum spaces (fi g. 3). red, are important means to be used for the pro- to which they inevitably belong (Sciascia, 1979). The maps tell, in fact, of two ‘strange’ towns co- tection and enhancement of a precious heritage, The story set in this landscape is the transcription habiting in the mines: a ‘surface city’ made up often undervalued or, worse, ignored. The repre- of its peculiar aspects; the words tell the signs of the terminals of the wells, the furnaces, the sentation, even more so in those places enclosed impressed in a once fl orid nature, now transfor- storage areas and the miners’ houses and an in inland and remote areas, allows reinterpreting med into a “dry and smoky place, where crows fl y ‘underground city’ consisting not only of tunnels and communicating the testimonies of a forgotten and the silence is vast, hostile” (Addamo, 1989). and burrows but also of larger areas where the past, no longer integrated into the active, econo- A recurrent vision in a large part of 20th-century ‘carusi’ spent their little rest time, although ex- mic and cultural life of today’s society. literature - such as that of Verga and Pirandello posed to harassment and violence. The ancient sulphur mines of Sicily are emblema- - and closely linked to the relationship with the The opening of the mines, started at the time tic examples of anthropized territories that have earth (Campione & Sgroi, 1994). Dusty and de- of the English occupation, during the Napoleo- altered the original genius loci, marking nature solate landscapes, here and there punctuated by nic wars, creates in Sicily a particular industrial with wells, tunnels and ‘calcheroni’, and so im- ‘strange emergencies’ or rather “riddled by holes, revolution that progresses parallel to the con- printing the signs of “a new, more atrocious and at like so many anthills” that act as a counterweight temporary experiences of England and France the same time freer, human condition” (Sciascia, to the hell of the true ‘solfatara’; the one that de- (Bianchini, 1841). The strategic importance of 1970). Characterized by simple architectures and velops below the surface, in hypogeal spaces, in the sulphur industry in the economy of the island small engineering works, they represent today a deep quarries, where men with torn robes wear between the 18th and 19th centuries - and with it surreal scenario, unfortunately, silent and often out with fatigue and sweat, like those proposed the areas of Girgenti (today Agrigento), Calta- misunderstood, although they are evidence of by Onofrio Tomaselli and Renato Guttuso in their nissetta and Catania located at the center of the an important chapter in the history of the island, paintings (fi g. 1). mining system [1] - leads the new Kingdom of linked to the historical exploitation of its large Realities far from the image that commonly one Italy to start in 1877 the drafting of a Geologi- sulphur deposits. A place described between the has of the island - but nevertheless foundational cal Map of Sicily at the large scale and rich in 18th and 19th centuries by some travellers of the resources of its identity - which become the pri- details, which will be published in 1886 as the Grand Tour, also and above all, in the intangible vileged background for some famous cinemato- fi rst volume of the Descriptive Memories of the and immaterial - but no less substantial - aspects, graphic experiences. Documents in which the hi- Geological Map of Italy [2]. http://disegnarecon.univaq.it DISEGNARECON volume 12/ n.
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