History of Construction Cultures Volume 1

Proceedings of the 7th International Congress on Construction History (7ICCH 2021), July 12-16, 2021, Lisbon, Portugal

João Mascarenhas-Mateus, Ana Paula Pires, João Mascarenhas-Mateus, Ana Paula Pires

• Publisher: CRC Press
• Year: 2021
• Print ISBN: 9781032002026
• eBook ISBN: 9781000468786
• Edition: 1
• Topic: Technology & Engineering
• Subtopic: Civil Engineering
• Index: Technology & Engineering

History of Construction Cultures Volume 1 contains papers presented at the 7ICCH – Seventh International Congress on Construction History, held at the Lisbon School of Architecture, Portugal, from 12 to 16 July, 2021. The conference has been organized by the Lisbon School of Architecture (FAUL), NOVA School of Social Sciences and Humanities, the Portuguese Society for Construction History Studies and the University of the Azores. The contributions cover the wide interdisciplinary spectrum of Construction History and consist on the most recent advances in theory and practical case studies analysis, following themes such as: - epistemological issues; - building actors; - building materials; - building machines, tools and equipment; - construction processes; - building services and techniques; -structural theory and analysis; - political, social and economic aspects; - knowledge transfer and cultural translation of construction cultures. Furthermore, papers presented at thematic sessions aim at covering important problematics, historical periods and different regions of the globe, opening new directions for Construction History research. We are what we build and how we build; thus, the study of Construction History is now more than ever at the centre of current debates as to the shape of a sustainable future for humankind. Therefore, History of Construction Cultures is a critical and indispensable work to expand our understanding of the ways in which everyday building activities have been perceived and experienced in different cultures, from ancient times to our century and all over the world.

Open session: Building actors

Building the ephemeral in Turin, capital of the Savoyard states

V. Burgassi

École Pratique des Hautes Études, Paris, France

M. Volpiano

Politecnico di Torino, Turin, Italy

DOI 10.1201/9781003173359-59

ABSTRACT: The extensive literature on ephemeral architecture in the modern age is rarely encountered in building historiography. Yet even the architecture of festivities or other recurrent occasions, especially in the capital cities of the ancien régime, demanded complex technical and decision-making processes just as much as the construction of palaces of more lasting importance. Such was the case we would like to present here: the celebrations of the wedding of the Savoy prince Vittorio Amedeo III with Maria Antonia Ferdinanda, infanta of Spain, which was celebrated in Turin in 1750. This paper looks at the creation of these decorative structures as strictly regulated processes, interwoven with the politics of the Savoyard kingdom just as much as the construction of palaces and strategic fortresses scattered throughout their territory. Erecting these temporary structures, therefore, required meticulous consideration, evidence of which can be found by delving into the archival sources.

1 Building the Ephemeral in Turin

1.1 Ceremonies in the age of absolutism

In the centuries of absolutism, Europe had a passion for rituals and ephemeral representations. In particular, they were set up on the occasion of significant dynastic events such as weddings, funerals and ascensions to the throne. Besides, plenty of religious and civil events were sponsored by local authorities such as municipalities. These multiple celebrations may have involved churches, palaces or the entire urban space (Fagiolo 1985, 2006).

If we look at the States of the House of Savoy, located in the geographical area straddling the Alps between France and Italy, there is now wide-ranging historiography on the subject (Devoti & Defabiani 2006; Gianasso 2006; Grosse 2016; Ieni 1989). Scholars above all highlight the aspects of political legitimisation, the iconographic and iconological dimensions, the historical-institutional facet, and also the contribution to a broader recognition of cultural contexts and the social and cultural history (Peyrot 1965). The literature traditionally makes many references to specific printed sources, particularly the Relazioni that, especially in the 17th century, describe and accompany ephemeral events, perpetuating them over time. But, above all, the literature defines the conceptual dimension of ephemeral events, emphasising the moment of conception, with its symbolic and political charge in which the celebrative intentions of the patron are expressed, or what Jesuit Father Claude-François Ménestrier called, in the second half of the 17th century, the pensée of the feast. However, it is the same author who reminds us how the conception of the event constitutes only the first moment of a complex process: “Enfin il y a 3 choses à considérer dans un dessin, la pensée, l'ordonnance, l'exécution de la pensée c'est-à-dire qu'il faut un homme d'estude, un ingénieur et des ouvriers pour ce sorte d'entreprises” (Carandini 1997; Ménestrier 1669).

The ordonnance, i.e., the actual design of the decorations and structures, which also includes the arrangement of the architectural orders and decorations, evidently requires subsequent execution by multiple workers and professional figures, working under the orders of an architect or engineer. It is precisely this type of organisation that we also find in the case of the festivals held in Turin, capital of the Savoyard state (Romano 1995). This system was a common element in European culture and not just local. In as early as the first decades of the 17th century, the Court in Turin was already keeping abreast of the most important international celebrations (Rabellino 2006; Rasetti 2006). For example, on the occasion of the death of his wife Micaela Catalina of Habsburg, Duke Carlo Emanuele requested organising the religious ceremony by consulting “the books of the funerals of emperor Charles V, king Francis and other kings of France, which can be found in our library” (Cozzo 2001).

Although the architectural and artistic dimensions of festivals received more attention in recent years, in addition to their symbolic values, scholars did not pay the same attention to the construction phase, which is often considered a secondary element. The construction of ephemeral architecture is still a field of study that has not been much explored. Thus, what are the exchanges and relationships between the ordinary building site and the ephemeral architecture site? What are technological, economic and professional resources involved? What are the rules for standardising and controlling works that must have been completed in a few weeks, if not in a few days?

Archival documents can help us answer these questions, even if still provisionally: large-scale ephemeral structures are public worksites often documented with an abundance of textual and iconographic sources related to the construction. Also, contemporary descriptions, reports of visits and engravings allow us to read the scenography and spectacular results of the machines and built architecture. A paradigmatic case is the celebrations for the marriage of Prince Vittorio Amedeo, son of Carlo Emanuele III, to the infanta of Spain Maria Antonia Ferdinanda (1750). Many simultaneous works made it possible to set up “fires of joy” and “illuminations” in different parts of the city as well as in aristocratic palaces (Figure 1).

Figure 1. False façade of San Carlo Church (ASTo, Corte, f. 65r, 1750).

Several places in the city were equipped with spectacular trompe-l'oeil to complete projects that were still in progress: among these were the façade of Palazzo Madama towards Via di Po and the façade of the church of San Carlo in the square of the same name (Canavesio 1992).

This was not only a matter of setting up a temporary scenography, but also prefiguring the work in progress on the capital city, an always open and long-lasting construction site.

2 The Construction Site of Festivities in Turin

2.1 The illumination

An interesting example of an ephemeral construction site was reported in 1750, for the celebration of the marriage of the Savoy prince Vittorio Amedeo III and Maria Antonia Ferdinanda, the infanta of Spain. The wedding took place in Madrid with solemn celebrations, which included events and theatre performances. The Giornali di Tamietti (Tamietti 1750) and Belmond’s engravings are memories of these majestic celebrations. Belmond was the royal engraver and between 1751 and 1761 he represented three main events of the ceremonies (Bertagna 1981): the fochi di gioja (fireworks) at Valentino, the false façade of the Castle (Madama Palace) towards the Contrada Nuova (via Po), and via di Dora Grossa (today via Garibaldi). The leitmotiv was the “illumination”, a term used to indicate the ephemeral embellishment to illuminate streets and palaces for three consecutive days and which at the same time enhanced the architectural features along these same streets.

The concept of space and festivities in the Turin of the Baroque Age was redefined and gave birth to a new tradition. Space was no longer linked to the ceremonies of the 17th century (Rasetti 2006), but mainly based on the glorification of the capital city by illuminating its buildings with lights and candles placed on the façades according to well-defined schemes (as for the marriage of the prince Carlo Emanuele III to Anna Cristina Sulzabach in 1722, with “fires of joy” and “illuminations”). The mastro tollaro (lead worker), Bernardino Viani, from the state of Milan and winner of the tender, was charged to light the capital city with the provision of 10,000 sheet metal lights. These lightings were to be following the model shown and approved by the Council of Buildings and Fortifications at the price of 2 monete, 6 denari for each lighting (ASTo, 20 March 1750, f. 76 r). The contractors Giovanni Pietro Gobbi and Antonio Maffei were to be in charge of the decorations to light up the Contrada Nuova, including the square in front of the Castle (Madama Palace) and San Carlo square. The amount of material required was certainly high: for the Contrada Nuova, the provision was for 268 coats-of-arms for the mezzanine level and the same number for the upper floor (piano nobile) and the top floor at the price of £1, soldi 2 and denari 6. On the other hand, the material required for San Carlo square was 118 coats-of-arms for the arches, also at the same price as those for Contrada Nuova, 59 candlesticks to be placed above the intercolumns at £1, denari 10, and finally 118 stars on the top floor at £1, soldi 2 and denari 6 each (ASTo, 20 April 1750).

The instructions from the first royal architect, Benedetto Alfieri (Bellini 1981), meticulously described the construction of the various pieces of lighting as well as their exact location. The coats of arms and stars had to be built following the sample model. This must have been done in a circular or triangular shape and fixed with pitons to an iron ring to be suspended and placed between the openings of the arcades. On top of the barriers of buildings, they had to put chains of lights, while on the sides of the windows, there were coats-of-arms with burning candles for three consecutive evenings. The building contractor had to make sure that the lighting lasted for at least three hours, soaking the wick of acquarasa (essence of turtine) to ensure this. To facilitate repeated re-filling of the lighting, the contractor had to bring with him metal sheet jars filled with liquefied animal fat. The jars had two holes for pour into the wick or have available fat in a dough form that had to be inserted with a sheet metal spoon.

2.2 Ephemeral for the Valentino Reale

Although lighting adorned various locations in Turin, the spectacle at Valentino was undoubtedly one of the most evocative because of its natural position set in the theatrical ambience of the Royal Palace. The illumination was set up along the roads that led to the Valentino where the theatrical performance took place (Cornaglia 2006) and stretching uphill to the other side of the river Po, where the fire machine was located. (Figure 2).

Figure 2. Spectacle for the fochi di gioja (fireworks) facing the Valentino Reale (ASTo, Corte, f. 71r, 1750).

The painter Giovanni Battista Alberoni won the contract for the production along with the Valentino for the amount of £2,000, including testing the machine, and had to strictly follow the first architect’s instructions (ASTo, 12 April 1750). These instructions defined the design to be drawn, i.e. frames, ashlars, statues, weapons and ornaments which embellished the fire machine. The fire machine was set up for the occasion at the temple of Hymenaeus, adorned with columns and statues, placed on a bridge parallel to the riverside, and surrounded by lights. At the background two rocky mountains were to be painted to represent the Alps and the Pyrenees from which flowed respectively the two rivers Po and Ebro (ASTo 11 March 1750).

Two large boats and others of smaller dimensions floated on the river Po, and were loaded with fireworks, intended to simulate a naval battle.

The workmanship of the two largest boats was accurately described in the partiti (contracts), signed by the craftsmen at work and kept at the State Archives of Turin. The vessels had to be made of wood, with bas-reliefs of trophies painted in oil using different colour tones of blue, red and yellow (emblems of the Crowns of ...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Table of contents
• Introduction: History of Construction Cultures
• Committees
• Organizing and supporting institutions
• Open session: Cultural translation of construction cultures
• Thematic session: Form with no formwork (vault construction with reduced formwork)
• Thematic session: Understanding the culture of building expertise in situations of uncertainty (Middle Age-Modern times)
• Thematic session: Historical timber constructions between regional tradition and supra-regional influences
• Thematic session: Historicizing material properties: Between technological and cultural history
• Thematic session: South-South cooperation and non-alignment in the construction world, 1950–1980s
• Thematic session: Construction cultures of the recent past. Building materials and building techniques 1950–2000
• Thematic session: Hypar concrete shells. A structural, geometric and constructive revolution in the mid-20th century
• Thematic session: Can Engineering culture be improved by Construction History?
• Open session: The discipline of Construction History
• Open session: Building actors
• Open session: Building materials: Their history, extraction, transformation and manipulation
• Open session: Building machines, tools and equipment
• Thematic sessions
• Author index