Santa Maria del Quartiere in Parma: Building Survey.

Transcription

1 Santa Maria del Quartiere in Parma: Building Survey. Paolo Giandebiaggi 1, Andrea Ghiretti 2, Maria Evelina Melley 3, Daniela Paltrinieri 4, Michela Rossi 5, Chiara Vernizzi 6 Abstract Keywords The need for the architectural survey of the church of Santa Maria del Quartiere in Parma provide the project stems from the consolidation and restoration of the building itself, a systemized support content drawings not only to the understanding of architecture, but also to its immediate urban surroundings. The survey project, divided in stages, began with the operations of detection, or withdrawal of the measures, aimed at knowledge dimensional-geometric shape of the factory. The methodologies used, the traditional direct survey to the most advanced photogrammetric indirectly instrumental survey to the use of laser scanners, has allowed the detailed and precise definition, at different scales, different specificities: molded by individual members of the decorations (detected by the direct relief) to the detailed definition of curved surfaces and sometimes defined by the cloud of points gained through the survey instrument with 3D laser scanner. integrated architectural and urban survey, three-dimensional graphic rendering, historical iconographic research 1. HISTORICAL ICONOGRAPHIC DOCUMENTATION The survey of the church of S. Maria del Quartiere is part of a research work conducted by the Faculty of Architecture and Engineering of University of Parma, with the purpose of knowledge through architectural survey operations, the consolidation of the old factory and storage structural apparatus and, at the same time, the "full" return to the city of Parma, of an important historical monument. The church was built in 1604 on the site of an ancient chapel dedicated to the Virgin Mary that stood in an undeveloped area of the city, still inside the city walls; the area, now Oltretorrente district, lies at the crossroads of some city streets than the artifact itself as such in the perspective background. From reliable sources the project goes back to a young architect of Ferrara, particularly pleasing to the reigning period, Ranuccio Farnese: Giovan Battista Aleotti. The original design drawings included a plantbased hex without chorus which was then added, along with four side chapels in Paolo Giandebiaggi, University of Parma, Italy, paolo.giandebiaggi@unipr.it 2 Andrea Ghiretti, University of Parma, Italy, andrea.ghiretti1@unipr.it 3 Maria Melley, University of Parma, Italy, maria.melley@unipr.it 4 Daniela Paltrinieri, University of Parma, Italy, daniela.paltrinieri@unipr.it 5 Michela Rossi, Politecnico di Milano, Italy, michela.rossi@polimi.it 6 Chiara Vernizzi, University of Parma, Italy, chiara.vernizzi@unipr.it

2 The factory takes up almost academically, the hex temple proposed in the fifth book of Serlio, but who are raised completely free from the small prototype, with the adoption of a pagoda-shaped pattern, ie overlapping bodies of decreasing volume, almost a simplified review of the powerful structures of the Church of Santissima Annunziata in Parma. The higher order outside, smoothing the corners of the hexagon and conforming to the desired profiled in the recess of the pagoda tribur, acts as an effective spur to the thrust of the dome, recalling (the chamfer) Parma Baptistery of similar solutions. [1] So B. Adorni and C. Mambriani describe the artifact which is hexagonal cupola surmounted by a large (completely frescoed by Bernabei P.A. between 1626 and 1629) supported at the base of the corner pillars between which is placed in the bell tower which is also hexagonal. The shape of the temple with a central plan is certainly in the religious but not very often when it comes to plan six sides and in the case of S. Maria del Quartiere must also remember that the geometric shape of the plan joins the functional and perceptive of other factors, not least the urban location of the building that binds the planimetric form. In the treatises, as before mentioned, will be S. Serlio to speak, perhaps for the first time, in a hexagonal shape of artifacts: The church is very perfecthexagonal shape: so that half of its diameter is one of them faces [2]. The research on the relationship of the hexagonal shape and construction of religious buildings is still restricted to a few examples, all made between 1500 and 1700, among them are some famous architecture such as St. Ivo alla Sapienza, by Borromini (in Rome), one of the Fathers of the Somaschi of Guarini in Messina and those designed by Vittone in Piedmont. The graphical analysis has brought to light some of the proportional relationship between the size of the plan and the thickness of the perimeter wall, pointing out that the changes in overall size, diameter, in particular, are not to remain in proportion to the structural dimensions, specifically the thickness of walls. It 'so obvious that if the manuals influence in general proportional choices, construction techniques, which with the passage of centuries, become increasingly sophisticated, leading to a progressive structural streamlining losing that relationshipgeometric interior wall which Serlio, and in general all thetreatises, refers. The consequence of all this conveys a disconnect between the inner and outer decoration and in general a gap between the actual construction and the geometric model theory just as in the church of the district. Figure 1 Inserting planimetric S. Mary's in the urban district of Parma..

3 2. THE SURVEY The important metric of the church was conducted through the use of different detection methods (direct and indirect) as a function of its geometric shape, size, and maintenance of the state of the location within the city center. In fact, the major integrated direct to the indirect (instrumental) is typically able to restore the architectural features, building on the conservation status of an artifact. In the case of Santa Maria del Quartiere it was considered essential to "fix" with an electronic instrument (total station and laser scanner) the geometric points of the main central space of the church and the survey is directed to one side to give a review of measures from the total station (especially in the performance of the plan), to other side the measurement of all those other smaller spaces, the perimeter of the building with a hex figure all the decorative elements (on the side chapels), such as niches, cornices, pillars, pilasters and all the moldings. For the vertical section of the direct survey focused especially to the measurement apparatus of the extrados of the vault, both the main coverage of the hexagon is the one concerning the apse. In the initial phase was carried out to perform, as always, a draft survey were chosen where two floors of the main section, a horizontally at a height of about 160 cm and a vertical cut longitudinally in the central part of the church. In the horizontal section, performed at a height of 160 cm there was, particularly so, dwelt in the measurement of all the side chapels: the direct survey was carried out by making structural shapes of the chapels on trilateration and then descend with the measurement of details at a larger scale. So we proceeded to the next steps, the plan subsequently enriched by the main structural minor elements: thresholds, stairs, flooring, footings, columns, running a design on what was formally described every aspect except the coloristic. Figures 2 and 3 - Eidotipi: side chapels with trilateration. The side chapels are four, two on either side of the main, larger, and the two sides leading to the apse. The former, identical to each other, are placed where, in the original project of Aleotti would have to be the two back doors. Height (in horizontal section) of 160 cm net space of the chapel has a rectangular shape (long side and short side 500 cm 292 cm) and is regularly occupied by the presence of an altar stone. This artifact, in the execution of the relief was directed in some way due to physical obstacle in performing trilateration to measure the space itself. At the extremes of these chapels are the small rooms, which act as a link between the sides of the hexagon, slightly irregular shaped polygon, turn around, many of which are blunt, even small indentations. On the outer sides of these spaces is always placed a window sill which is nevertheless higher than the section line, which explains why the final return of the survey will be represented by a dashed line. The entry covers an area (again net of the projection of the strings) is also rectangular, while maintaining the same width, is longer than about 150 cm. In fact, the lateral connecting spaces are narrower than first described. The geometric-constructive reason is that the arches of the columns do not discharge but rather on the

4 edge of the large pillar angle. The arches of the side chapels instead rely on an extension of the pillar, in which position in the project design, were provided for the columns. In fact, the overlap with the architectural design of the survey project, in close proximity of these columns has slipped well as the pilaster of the outer wall so that it was aligned with the exhausts of internal arcs. The last two chapels, those near the altar, but are recovered in the thickness of the corner and have a very elongated rectangle (691 x 179 cm). Considering always our plan section are shown as lines of projection, all the moldings of the base of the corner pillars. To obtain a horizontal projection of these details have been made so many micro-vertical sections with very high precision tools and using strictly manual (hard meters, plumb line, bubble, etc..). Just the detection of architectural details allow us to distinguish a work of architecture and to study the origin, in the case of S. M. del Quartiere subdivision of the study used size order is served for a direct comparison with the Treaty of Serlio, which Aleotti was probably inspired. Figure 4 - Overlap with architectural survey design drawing Planimetrically was extremely useful survey of the side spaces above the altar in the design of the project were hexagonal in shape, but they appear in significant "round". That right, facing the altar, contains a spiral staircase leading to the main tower and to the extrados often. The left one (which is physically located just below the bell tower) is closed by a ceiling at a height of just over 200cm. The importance of these spaces has been done with the writing of trilateration whose vertices were marked directly on the outer walls. Although they are not regular in form mirrored almost identically, suggesting that perhaps this detail before the construction, he decided to "table" their final form. For the measurement of the apse was carried out using measurements at regular intervals (taken with the use of laser distance) placed along an axis parallel to the altar. This method has provided a number of points that together properly created an arc rather regular and even more closely on what was to be according to the project design. Even access to the sacristy was found to be no longer a path but just a small door, in this case the reasons are perhaps to be attributed to structural reasons. The vestry placed next to the apse is a square space, irregular, large, whose discovery has brought great news. What is intriguing is the presence of four columns, in part or fully inserted into the perimeter wall that face and that of a door on one side of the room, on axis but does not lead to nothing but a corridor sometimes cruise. In fact, comparing the designs of the project there are no columns. The horizontal section external to the opposite of what happens inside of the building, creates

5 absolutely symmetrical geometric panels that give the prospectus to look "poor": the use of brick for the construction of geometrical shapes outside of the church coincides and ornament with the construction detail. These geometric designs define the shape of the prospectus and the use of mirrors and niches emphasize the thickness of the wall revealing the structure of the building. After the horizontal section for vertical, we are limited to only measuring the extrados of the vault (the high dimension of the object, in the absence of an absolute internal scaffolding, not allowed to take manual measurements as well as a certain height). In this part of the survey the greatest difficulties were encountered due to maintenance of the state in which poured the whole system above. Figure 5 - The photogrammetric restitution of the facade with the photos included metrics. Although the measurement was performed for the representation of longitudinal section of the church, has been necessary to perform a horizontal section in order to well position the angle buttresses support and coverage of the vault. In this regard, the survey concentrated in direct detection of the cracks present precisely in these pillars. At this stage, the survey was essential as a direct integration to be instrumental to achieve a vertical section of the roof of the church (with an electronic instrument can not be executed due to lack of space for the conformation of the place) is to connect the section with the statement external façade of which survey has been done with the use of photogrammetry. The detail of the procedures used were the usual ones, and notes the importance of this type: the stereoscopic coverage area has always been superior to 60%, the ratio of scale frame was defined according to the scale of representation of the final survey. In some cases a few clicks you used a basket lift which has allowed the location of the rooms correct metrics and the "visibility" of certain details or details that were otherwise inaccessible. [3] The photogrammetric survey has restored the state of repair of the masonry of the facade, showing a

6 crack was concentrated mainly along the vertical axis of the prospectus. To the survey of the plan outside the church there has instead used a topographic survey using total station. With such important positions have been defined planimetric and elevation of points characterizing the structure, such as the elevation of the facade openings (windows), the major share of the decorations, the soffits of the roof. The statement in fact see two openings located at an altitude levels, respectively, m (first opening level) and a height of m. (second level openings in the attic space). The proportion of ground cover under the eaves of the dome is m. Figure 6 Overlap of the main facade of Santa Maria del Quartiere with the view of the inner surfaces corresponding At the end of the first phase of major direct and indirect total station showed the need to integrate the data obtained, in particular those relating to time, using high-precision sensing technologies that enable the measurement of the geometry of the architecture and its deformations so "continuous" over the entire surface even in places not directly accessible. The laser scanner, the most rapid and innovative systems for the architecture and its major surfaces,

7 seems to be the ultimate tool for the indirect detection. The survey of all internal and external surfaces of the church was then brought to term by using two different types of laser scanners. Using this tool it was possible to detect the position of millions of dots on the wall surfaces of the church. The information associated with each point are detected metric and determine its position in space with a margin of error of less than a centimeter, in addition to the position of point this type of laser scanner scans a given called reflectance that indicates the proportion of incident light that given surface is able to reflect and determines the color with which the dot is represented. It is a dimensionless parameter, percentage of subtle interpretation that in this survey, however, allowed to have interesting information on the presence of moisture in the walls and read, in some cases, the stages of realization of the frescoes in the dome. Only through this kind of a survey it was considered possible to verify and quantify the exact strain succeeded over time compared to the original geometry and likely come to assume more precisely the dynamics of the collapse of the Church who seem to find their focal point in the great domed hex. [4] This integration of various detection methods although complex to manage, both for the interpolation of the data (in this case drawings) obtained, both for the exchange of information between the various "players" has contributed to the "success" of complete reading organism studied by providing clear ideas of work for future restoration and consolidation. Figure 6 - Longitudinal section of Santa Maria del Quartiere obtained from the cloud of points.

8 REFERENCES [1] Adorni B., and Mambriani C. (2009), Dai prodigi mariani al tempio esagonale ( ). in Giandebiaggi P., Mambriani C., Ottoni F., Santa Maria del Quartiere in Parma, Storia, Rilievo e stabilità di una fabbrica farnesiana. Fondazione Cariparma, Grafichestepeditrice, pp.37. [2] cfr. Serlio S., Cinque libri di architettura, Venezia [3] Paltrinieri D. (2009), Il rilievo indiretto: da stazione totale a fotogrammetria. in Giandebiaggi P., Mambriani C., Ottoni F., Santa Maria del Quartiere in Parma, Storia, Rilievo e stabilità di una fabbrica farnesiana. Fondazione Cariparma, Grafichestepeditrice, pp.154. [4] Ghiretti A. (2009), Il rilievo indiretto: laser scanner. in Giandebiaggi P., Mambriani C., Ottoni F., Santa Maria del Quartiere in Parma, Storia, Rilievo e stabilità di una fabbrica farnesiana. Fondazione Cariparma, Grafichestepeditrice, pp.160.