|
It is thanks to the present owners that the significant renovation of the Abbey of Spineto took place.
The intent of the project, initiated in 1990, was to restore the abbey to its former glory in spite of the desolate sight it presented at the time.
The ancient buildings had lost their original splendour, neglect and abandon had rendered them lifeless, random attempts to modernise them in the 50’s had proved more damaging than the destruction caused by the passing of time.
The complex was without doubt a suitable candidate for restoration and the proposal of finding a new lease of life for it was undertaken with the twofold purpose of safeguarding the surviving ancient structure while at the same time creating “an ideal place in which to meet, work and study”; a new use entirely consistent with the original role of the Abbey, dedicated as it had been to study and agriculture.
The planning and direction of the project were entrusted to the offices of the architect Federico Franci in Florence and the architect Antonio Zambusi in Padova; the project was approved by the Architectural Heritage and Landscape Preservation Office in Siena and adhered to the principals, methods and procedures laid down by them. Its aim was to maintain the distinctive monumental character of the Abbey while at the same time proposing new functions and destinations for the buildings.
The carrying out of this monumental task may be considered a veritable laboratory of applied research which, thanks to the diligent supervision of the work by the architects, brilliantly resolved the innumerable problems that arose during the renovation.
When confronted with the restoration project the first problem to be solved was, how best to combine the task of conservation with new requirements, regulations etc…
The most difficult question to resolve was how to convert the existing structure keeping its future function in mind. For such a transformation careful planning was essential
.
Current laws relative to safety, access and in particular easy access for the physically impaired, the addition of technological innovations, changes of destination etc., entail the need to reconstruct and make alterations. When the implementation of said laws involves buildings of historic and architectural interest, it becomes particularly complex and necessitates careful evaluation with regard to the compatibility of the intervention.
The architects were required to coordinate the cultural and scientific aspects of their work, today more than ever a necessity with regard to renovation, and to investigate further their knowledge of the monumental building. Before commencing renovation, their studies were directed towards an historical analysis, an evaluation of possible new functions, distribution, the expected flow of visitors, the requirements with regard to space, comfort, electrical and plumbing installations, re-use of existing buildings and integration of modern technology. In short, the technological re-qualification of the buildings taking into account the principles of conservation and the compatibility between the laws of nature and science, and between a restoration safeguarding as much of the original buildings as possible and the addition of clearly distinguishable expressions of modernity.
As work progressed particular attention was paid with regard to the uniqueness of the building’s static structure showing respect for its historic original framework.
The architect Zambusi described the start of the restoration as follows:
“The first thing to do was to remove as much as possible of the random attempts to modernize the existing structure, rediscovering the original walls and the spaces within them and consequently the original floor plan....a sort of implosion, leaving the internal spaces to new destinations while the outside was left practically unaltered.”
In agreement with the owners much attention was paid to the choice of furnishing details and we deliberately selected them for their frugality in consistency with the abbey’s humble origins.
Where the plaster had crumbled and fallen it was replaced by plaster made from a mixture of selected sands in colours typical of the province of Siena, warm yellows, ochre and pinks enlivened the walls of the buildings.
The architect Zambusi points out that the range of coloured plasters used “emphasizes the different parts of the building giving the abbey a close resemblance to a small village built around the church and the internal courtyard.”
Where it was impossible to salvage the original “cotto” terracotta floor tiles, the architects chose to substitute them with a mixture of cement and terracotta coloured sand, which was then waxed and polished; other floors were substituted with “industrial” parquet, and others still with large square slabs of dressed sandstone.
Where it was necessary to create new divisions, in particular to create bathrooms, new walls were built using glass blocks which consented light to filter into adjoining rooms. Easily identifiable as having no connection with the original space, the blocks have the advantage of being easy to remove should the need arise.
“It is important to pursue truth and avoid deception, drawing attention to, rather than trying to disguise, the innovations required to render the building functional and in a condition to be put to new use: these innovations must reflect the forms, materials and technology of our times. There must be a very clear distinction between what was there previously and what was not, the combination of the new with the pre-existent should contrast harmoniously if suitable conditions are to be created to stimulate and evoke strong but pleasing emotions.
(A. Zambusi )
With regard to the distribution of the indoor area destined for habitation, it was decided to retain as much as possible of the original layout adapting it to today’s needs, reinstating the original indoor walkways and corridors so that the four buildings surrounding the courtyard were once again connected to each other as they had been in ancient times. The courtyard itself is almost another room in the heart of the abbey, “the pavement of the courtyard has been reconstructed using terracotta and travertine: the geometric design intentionally reflects the slight irregularity of the walls facing onto the courtyard: furthermore the use of plants has been carefully studied and planned to give the impression that they are springing up at random yet in a recognizably significant and symbolic way.” ( A. Zambusi)
The furnishings have been chosen and arranged in such a way that antique and modern stand side by side in perfect harmony.
The adaptability of the furniture, halls and rooms means that a large number of areas are available for conventions or pleasure.
A rural building only a few meters from the abbey complex has been adapted to accommodate a large convention hall.
With regard to the revitalization of the estate and its patrimony, almost at the same time as the abbey complex was undergoing renovation, the stables situated half way along the avenue leading to the abbey were restored and horse breeding resumed; later, the revitalization of the abbey was extended to the twelve farm houses situated on the estate most of which, having been abandoned for many years, were in a state of material and structural decay. The restoration of the farm houses has created what might be described as “diffused” hospitality where the abbey and the houses maintain close connections.
Today the abbey of Spineto, its buildings given a new lease of life and freshly tilled fields and charming rural homes animating the surrounding landscape, can continue the dialogue initiated ten centuries ago with the environment in which it stands and the people living there. A “nucleus” or better still, a well organized system comprising a variety of activities, wrapped in the breathtaking beauty of the Tuscan countryside leading down to the Val d’Orcia, presently the centre of attention with regard to the environment.
Bibliography:
“L'abbazia di Spineto - storia architettura, restauro, la vita mille anni dopo”
by Patrizia Balenci and Federico Franci
|