A Hotel for Experiencing Real Venice

DEVELOPMENT OF PERMANENT, FLOATING & ERODING STRUCTURE

IN THE‘HOTEL FOR EXPERIENC-

ING REAL VENICE’

ARUB SAQIBUNIT 3

ENVS 3006 DESIGN TECHNOL-OGY

TECHNICAL REPORTAPRIL 2011

CONTENTS

Abstract

Chapter 1: Introduction

Chapter 2: Context

Chapter 3: Permanent Structure

Chapter 4: Floating Structure

Chapter 5: Eroding Structure

Conclusion

Appendix

Bibliography

ABSTRACT

This technical dissertation puts forward a number of strategies that allow the building to engage with its fluctuating environment in Venice. To ad-dress the problems of an extreme high tide, strategies have been explored as a means to accommodate the tide instead of working against it. For this reason, ‘reactive’ architecture is explored as appose to a ‘defensive’ one. In particular, I will be focusing on three main structural strategies in my building; that of permanent structure, floating structure and eroding structure. In the case of floating and eroding structures, mechanisms which are normally suppressed in conventional building practice are deployed in an attempt to open up new uses for the building as it interacts with the tide. In a context any other than this ‘Hotel for Experiencing Real Venice’ on the island of Giudecca, these reactive design methods could be read as ‘bad’ design. This study is vital to understand the implications of these two strategies, and whether or not they are feasible. To inform the perma-nent, ‘good’ design of my building, I have studied the traditional techniques of Venetian architecture as precedent. This is a documentation of the in-vestigation I have taken on, leading up to the final section of the building.

fig. 1 Istrian Stone stairs at the Giudecca Canal, Venice, during Aqua Alta ‘High Tide’

fig. 1 Author’s own image 2011

CHAPTER 1 In t roduct ion

The Lagoon Environment

The Venetian lagoon lies between mainland Italy and the northern end of the Adriatic Sea. The lagoon is fifty kilometres in length, and around eight to ten in width. My site, the Island of Guidecca, is situated in the deepest part of the lagoon, facing the Adriatic sea. This section of the lagoon is known as the lagoona viva, or the living lagoon, as it is subjected to the greatest tidal range on the whole of the Adriatic shoreline.1 The tides fol-low the course of the moon; with the highest tidal range occuring at the new moon and full moon. The tide is at its highest and lowest twice every twenty four hours at these times. The tidal range is at its lowest at the first and last lunar quarters, with only one tide every twenty four hours.

Adding to this vast tidal range, the land around the perimetre of the la-guna viva is very low, less than two metres above median tide level.2

This renders the land more vunerable to being submerged during high tide episodes. The highest tide ever recorded was 1.94m above sea lev-el in November 1966, and the lowest being 1.21m below sea level.3 This fluctuating environment is the site in which my investigation is situated.

1. Goy, J. Richard, Venetian Vernacular Architecture, Cambridge: Cambridge University Press 1989 p. 5



fig 2. Goy, J. Richard, Venetian Vernacular Architecture, Cambridge: Cambridge University Press 1989 p. 6

fig. 2 map of the Venetian lagoon

High Tide

‘Aqua alta’ (high tide) is not a new problem in Venice; the first record of aqua alta dates back to 1240. However, the present situation is sig-nificantly worse compared to 100 years ago due to the dramatic in-crease in frequency of the high tides. Of the ten tides above 140cm recorded from 1902 - 2002, eight occurred after 1960. In the winter of 2002 alone, in the space of three weeks, (14 Nov - 8 Dec) there were 10 flood events above 110cm , five above 120cm, and one above 140cm.4

As a result, the percentage of land covered by water has increased dramatically over the last century (fig.3). As a result, the city has be-come more difficult for its few inhabitants to occupy. 90% of the city is completely submerged when tides reach above 140cm5; which has become a growing occurrence over the last 30 years (fig.6).

Fig.3 Percentage of Venice submerged at 100 - 140cm above sea level

compared with 1900

fig. 4 frequency of floods since 1300s

fig. 5 shows an increase in normal tide (+80cm) since 1923

fig. 6 shows an increase in extreme high tide (>+110cm) over the last 30 years

4. Da Mosto, Jane, and Fletcher, Caroline, the Science of Saving Venice, London: Umberto Allemandi& Co. 2005, p. 40


fig 3 . Da Mosto, Jane, and Fletcher, Caroline, the Science of Saving Venice, London: Umberto Allemandi& Co. 2005, p. 40

fig 4-6. Da Mosto, Jane, and Fletcher, Caroline, the Science of Saving Venice, London: Umberto Allemandi& Co. 2005, p. 41

Impact of Water on Venice - Seawater

The laguna viva consists of seawater bought in by the tides6. Due to the in-creased frequency of the tidal exchange between the lagoon and the Adriat-ic, salinity of the canal water is the same as the sea7. The Adriatic has 38.3g salt per every 1kg of water8. The salt in this water is the main factor of decay in most Venetian buildings. The dissolved salts degrade the building fabric, es-pecially brickwork, (fig.7) as they crystallise and expand within the mortar of walls once the water evapourates in a process known as efflorescence9 (fig.8). The Venetians were well aware of the damage to mortar in brickwork, which is why sacrficial layers of plaster renders were applied to all facades. This led me to consider structures designed in the building specifically to erode.

fig. 7 salt damaged brickwork



8. http://www.croatia-boat-charter.com/adriaticsea.htm


fig 7. Da Mosto, Jane, and Fletcher, Caroline, the Science of Saving Venice, London: Umberto Allemandi& Co. 2005, p.

49

fig. 8 Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge:

Cambridge University Press 2005, p.180

fig. 9 Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge:

Cambridge University Press 2005, p.167

fig. 8 detail salt efflorescence on brick surfaces

fig. 9 laborious restoration process: injecting

waterproof mortar to damaged walls

Water Affecting Venetian Buildings - Lagoon Water

The lagoon water is polluted, as the city has always traditionally discharged its waste untreated into the lagoon, relying on the tides to flush the canals clean through waste water outlets10. Today, many of these centuries old outlets have not been maintained, covered by mud clogged by fine sedi-ments that is constantly stirred up by boat traffic (fig.10) and the tides11. This leads to a further accumilation of salts, as well as old pipes disintegrating, and release their contents within the walls of the buildings they are held in.



fig. 10 Da Mosto, Jane, and Fletcher, Caroline, the Science of Saving Venice, London: Umberto Allemandi& Co. 2005, p. 49

fig. 10 cross section showing structural damage to building foundations; engine propeller

swirling sediment into sewage pipes causing blockage

Impact of Water on Venetian Buildings - Water Vehicles

The laguna viva, being the deepest part of the lagoon, allows for very large vehicles to pass through it (fig. 2). The Giudecca canal is the main route for cruise ships, as it is large enough for the vehicles to manouvre through and allows spectacular views of the main lagoon. Approximately one thousand ships pass through the canal yearly, emitting fine particle pollution such as sulphur dioxide and sulphur trioxide into the air, turn-ing into acid rain12. The rain deteriorates the main compounds in Venice’s marble and Istrian stone foundations; calcite, into calcium sulphate (chalk) which is soluble in the lagoon water. This has lead to a situation where the ‘stones of Venice are dissolving into the air and melting away in the water’13.

12. Scheppe, Wolfgang, IUAV, Migropolis, Venice: Hatje Cantz 2010 p. 237


fig. 11 Scheppe, Wolfgang, IUAV, Migropolis, Venice: Hatje Cantz 2010 p. 239

fig. 11 mooring cruise ships documented by locals

damaging pavements

Interacting with the Tide

Although the tide and the water it brings is slowly degrading the build-ings of Venice, there is however a fundamental role that water has played historically in the city . Thus there is a very close proximity to water at which is very unique to Venice; one that embraces the water, as the city is surrounded by it.

Grass patches (fig.12) have been placed strategically facing the Giu-decca Canal, so the soil absorbs the water as it comes in, acting as a marshland. Timber decking in restaurants (fig.13) expose costumers’ feet to the water as it splashes rhythmically between the boards, creat-ing a phenomenon of sound and movement that utalises the tide’s en-ergy. Debris from destroyed buildings is allowed to collect and act as a barrier to prevent the tide from penetrating further into dry land (fig.14).

fig. 12 - 14 Author’s own image 2011

fig.14 debris piled up from destroyed building, site

Giudecca

fig. 12 waves hitting wooden floor decking restaurants

fig. 13 grass and soil used to absorb incoming tide on main

Fondamenta, Giudecca

Building Program and Strategy

The Hotel for Experiencing Real Venice is designed specifically to host the UNEP (United Nations Environmental Program) conferences on En-ergy, Climate and Sustainable Development. The designed erosion and flotation of the spaces to the fluctuating tide will make the impact of en-vironment felt strongly, affecting the occupation of the building as strate-gies are drawn up by Europe’s council to respond to climate change. A series of events spanning five years will host the team of thirty two del-egates from 2011 until 2015 as they review UNEP’s Medium Term Strategy.

The main strategies that will be explored are the permanent structures, floating structures and eroding structures within the building. The floating structures are positioned at key points in the building. These walls func-tion with the fluctuating level of the tide, rising and falling throughout the day at various points of the building, opening and closing off access to spaces. Buoyant platforms are designed at specific points, raising the floor level with the tide and hosting specific events which will continue despite the rising water level. These platforms are mainly in the confer-ence room of the building, as well as the Flooding Garden. The eroding structures have been designed as sacrificial layers wedged in between the permanent structures of the building. These sacrificial structures gradu-ally deteriorate over time; shifting the spatial qualities of the building as they wear away. This is most evident in ‘the Falling Room’, which rests on columns of sacrificial material that gradually wears away with the tide, allowing the room to alter in height over the course of the five years. fig. 15 initial proposal immulgamating strategies that interact with the tide


CHAPTER 2 S i te context

VAPERATO STOP

PETROL STATION

TAXI STANDS

SITE

Site

My site is located in Giudecca, on the main Fondamenta san Biago facing the Giudecca canal. It is on an old 19th Century industrial strip that belonged to Molino Stucky; owner of a flour mill that has now been converted to the Molino Hilton hotel, and the Fortuny fabric factory. Due to being on the main Fondamenta in the laguna viva, a lot of large and small water vehicles pass along the site. The hotel itself requires a lot of transport connections. There is a water bus (vaperato) stop to the north of the site, as well as a petrol station to the north east, and three water taxi stops facing the site’s west facade (fig. 15).This frequent vehicle movement adds to agetation of the water in the canal, increasing wave height by 40-50cm14.

fig. 16 site is surrounded by water vehicle stops encouraging a lot of vehicles to pass by the main and tributary canals

fig 16. Author’s own image 201114. Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge University

Press 2005, p.199

As fig.17 demonstrates, the site lies directly on the route taken by holiday cruise liners. The motor propellers of these vehicles gener-ate between 40,000 - 120, 000 horse power15. Along side cruise lin-ers, the other vehicles I saw whilst on site included vaperatos, indus-trial ships, water taxis and private speed boats (fig. 19). Although the speeds at which these vehicles move along the canals are controlled by the Venetian authorities, the speed limits on the Giudecca canal range between 11-20km/h (fig. 18), the heighest limit for Venice. These vehicles add further fluctuation to the tide; as can be demonstrated in the diagrams of the next page, comparing tidal levels from 1984 (be-fore the hotel, petrol station and Vaperato stop was built) with 2009.

fig. 17 map of cruise ships route all passes along Giudecca canal

fig. 18 speed limits of the water vehicles in km/h

fig. 19 vehicles seen on site with their retrospective sizes

fig 17. Scheppe, Wolfgang, IUAV, Migropolis, Venice: Hatje Cantz 2010 p. 333

fig 18. Atlante della laguna, Venice: Observatorio della Laguna del Territorio 2004 p. 5

fig 19. author’s own image 2011


fig. 20 Western elevation of site facing tributary canal; hourly tide level for December 23rd 2009 has been marked, showing great fluctuation with the highest tide being +143cm at 0500, and the lowest being +12cm at 1900

fig. 20 Western elevation of site facing tributary canal; hourly tide level for December 23rd 1984 has been marked. These tidal levels are recorded before the hotel and adjoining vaperato stop were bult, which resulted in far less motor vehicle activity around the site. The tidal level was a lot lower for this year; the lowest being -53cm and the highest only reaching +62cm.

fig. 20 & 21 Author’s own images 2011

fig. 22 Site at low tide, view from junction between Giudecca canal and tributary canal fig. 23 Site at moderate high tide +110cm above sea level. Hilton pavement raised above the tide whereas my site is submerged

Site at Low Tide and High Tide

fig. 22 & 23 Author’s own images 2011

Day To Day Living with the tide

The Venetians coordinate their everyday activities around the chaotic cycles of an unpredictable tide (fig.24). From grocery shopping (fig.25) to garbage collecting (fig26).

fig. 24 Diagrams found on the ‘City of Venice Tide Centre’ website, indicating the tidal level for the day as well as appropriate attire for water levels when manoeuvring through the city

fig.25 Daily garbage collection fig.26 Daily delivery for local grocery store

24. Image source: http://www.comune.venezia.it/flex/cm/pages/ServeBLOB.php/L/EN/IDPagina/1748)

25-26. Author’s own image 2011

Dispersing the Tide - 1866

Reports have attributed the increased flooding to the rise of sea level; and for Venice in particular, to ‘changes in the lagoon’s physical structure, which affects the entry and movement of water within it. ... the reduction in the total area of lagoon, due to land reclamation and other interventions, so a greater volume of incoming water has less area in which to spread itself.’16

An example of land reclamation projects can be seen in fig. 27. This map from 1866 depicts offshoots from a bend of the Grand Canal near the Rialto that have been filled in order to make pedestrian thorough-fares. This affected the flow of water through the city. Engineer Pietro Paleocapa ‘criticized the attempt to make Venice a ‘dry-land’ city and in-sisted that, for Venice, canals were the equivalent of vehicular roads.’17


17. Pertot, Gianfranco, Venice Extraordinary Maintenance, London: Paul Holberton 2004, p. 23

fig. 27 Ugli’s map of the Grand Canal showing open offshoots

Marco Perissini’s map of the same area showing the offshoots filled in

fig 27. Pertot, Gianfranco, Venice Extraordinary Maintenance, London: Paul Holberton 2004, p. 23

Dispersing the Tide - 2010

I spotted strategies of dealing with the tide that either allowed the water to spread, or desperately tried to keep it out in order to preserve ‘dry land’. As an example of the first strategy, canal walls are lined with channels (fig. 28), al-lowing the tidal water to flood the adjacent pavement gradually with the rising tide, rather than swelling up in the canals. In this way, the incoming water is allowed to spread over a wider surface area. Owing to his criticism of mistak-ing Venice for dry land, Paleocapa would have praised this as ‘good design’. The other strategy engaged in desperate attempts to keep floors dry. Shop keepers and house owners often attach pipes protruding out of the building into the street, emptying the floor’s content of water onto the pavement, add-ing to the swelling tide. Metal gates about 50cm high were also raised above doors in occupied buildings to prevent the regular, smaller shifts in the tides ranging from +80cm to +110cm above sea level from leaking into the building (fig.31). This interventions are very temporary and ad hoc attempts to deal with the force and regularity of the tide, and can be deemed as ‘bad design’.

These observations of the context in Venice have formed the foundation of my investigation, allowing the design of the building to develop around the three main strategies for dealing with the Tide. The first of these strategies to be explored is the permanent structure. This structure will be protected by the two strategies to follow; its preservation vital to the functioning of the hotel

fig.28 detail of channel allowing pavement adjacent to canal to flood

fig.30 buildings with pipes extended from walls and roof; metal gate in

front of door

fig.29 canal wall lined with channels

fig.31 elevation of a building


CHAPTER 3 ‘Good des ign ’ - Permanent s t ructures

Non-sacr i f ic ia l s t ructure bui l t to f rame the key spaces

Precedent: Half House, Alejandro Aravena

Aravena’s concept for the Half House social housing scheme built in Chile was a starting point for thinking about the frame that would house the building. As Aravena criticises prefabricated concrete struc-tures for their inability to adapt to changing situations18. Thus, only half a house is prefabricated, leaving the final solution to be built by the occupant. As time passes, the houses gain value rather than de-teriorate; ‘social housing as investment rather than an expense.’19

Taking from this idea, my building will be designed around a permanent non-sacrificial, stationary structure on which the eroding and floating struc-tures of the building depend for stability. To ensure the survival of these permanent structural elements, I have had to study traditional Venetian construction techniques; well versed with the requirements for building in the Lagoon environment. The following chapter documents an investiga-tion fundamental to the feasibility of the whole project. As with the Half House, a permanent frame must be constructed, setting the stage for the sacrificial structures of the building to react with the fluctuating tide.

18. http://www.alejandroaravena.com/obras/vivienda-housing/elemental/

19. McGuirk, Justine, Alajandro Aravena, Icon Magazine Online, January 2009

fig. 32 Aravena’s Half House housing project, skeletal

prefab frame before and after occupation

fig. 32 image source: http://www.alejandroaravena.com/obras/vivienda-housing/elemental/

Permanent Structure: BASEMENT LEVEL

A small section of the basement will be used by the public; but the majority of it will house reservoirs for hydraulic lift shafts and elecricity generators, as well as basins for the floating structures in the building.


fig. 33 circulation of public and private on basement level fig. 34 key spaces on the basement level

Permanent Structure: GROUND FLOOR LEVEL

The ground floor level will be where all the meetings are held. This floor will flood frequently with the tide; with ramps leading water into the build-ing at strategic points.


fig. 35 circulation of public, guests and private fig. 36 key spaces on the ground floor level

Permanent Structure: FIRST FLOOR LEVEL

The first floor level will be maintained as a dry area void of water, where guests can escape to when the tide begins to rise on the ground floor.


fig. 37 circulation of public, guest and private fig. 38 key spaces on first floor level

Permanent Structure: ROOF FLOOR LEVEL

The roof will be used to harvest rainwater which will be used for recrea-tional purposes; for this reason, the roof has to be accessible.


fig. 39 circulation of public, guests and private fig. 40 key spaces on the roof level

Study: Venetian Construction Methods

To ensure the survival of the permanent structure, I have had to study tra-ditional Venetian construction techniques. These are well versed with the requirements for building in the Lagoon environment. The first important point to note is that all Venetian building construction should allow for move-ment and settlement20 due to exposure to damp; causing materials to ex-pand and contract. Any structural system based on rigidity as apposed to elasticity will lead to cracking and failing21. High point loads and vaulted sys-tems have therefore been avoided; opting instead for a lightweight super-structure of concrete, witha secondary structure of timber for upper floors.



fig. 42 Ancient foundation structures of St Alipio’s corner

fig. 41 Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge

University Press 2005, p.175

Study: Foundations and Load Bearing Walls

The foundations in traditional Venetian construction have always been built into the caranto clay stratum, which is a stable subsoil of clay under the lagoon; the bottom layer in fig.43. Timber piles were driven into this layer. The timber for these piles was very carefully chosen, ei-ther oak or larch, as they are both extremely durable. Larch was par-ticularly perferred as it ‘not only preserved from decay and the worm by the great bitterness of the sap, but also it cannot be kindled with fire.’22

The wood was then seasoned in sea water before being driven deep into the clay with an average of nine piles per square metre of floor area. When carrying large loads, the piles are kept close enough to form a virtually continuous wall four or rive rows deep. They are then leveled before a thick decking of timber planks known as zattaron is laid (fig.44). Non structural walls can be build directly from the zat-taron layer, but main structural walls as in fig. 20 need several layers of damp proof istrian stone to raise the wall up to a level significant-ly higher than that of normal high tides. As Sansovino stated in Vene-tia Citta, these foundations would ‘last eternally’ if kept below water.23



fig. 43 Giovanni Zocollo Il Restauro Statico Nell’Architecttura Di Venezia, Venice: Palazzo Loredan, 1975, p. 65

fig. 44 Goy, J. Richard, Venetian Vernacular Architecture, Cambridge: Cambridge University Press 1989 p. 36

fig. 43 Section through the base of a wall in Campanile san Marco

fig. 44 section through the foundation to the colonnade of the Doge’s palace

Falling Room

The Falling Room is a guest bedroom which, during the course of the 5 years, will gradually drop 2.5m in height. The room, officially room 101, originally on the 1st floor, will eventually end up suspended just 57cm above ground floor level at the end of the 5 years. This will be acheived by wedging a sacrificial wall between a fixed, permanent wall structure, anchored into the ground on firm foundations. To ensure this strategy works, the materials have to be chosen very carefully, and their perfor-mance explored.


fig. 45 concept sketch ‘Falling Room’ 101

Foundations of Falling Room

The two main walls in this short section are both permanent structures, but with the wall on the Western facade, there is a thick block of sacrifi-cial material (5) in between the permanent concrete wall structure. The walls are anchored into the caranto layer with timber piles. The founda-tions are layered with damp proof Istrian stone at a height 80cm above sea level.

fig. 46 Author’s own image

fig. 46 Short section through the falling room showing larch timber pile foundations

fig. 47 Author’s own image

fig. 47 Long section of building showing some of the main load bearing walls

Load Bearing Walls

Study: Floors

Floor construction in traditional Venetian architecture is predominantly beaten earth, brick or stone for the ground floors, which comes in regular contact with water. These materials would expand and contract regularly due to wetting and drying as well as temperature changes. So, for elasticity, a mixture of crushed bricks, lime and flakes of Istrian stone known as Terraz-zo is the material of choice 23 (fig. 48). Spread over timber beams, it gives an even, smooth and polished finish. Although its weight does cause the tim-ber beams to distort over time, the beams retain their structural integrity24.

The upper floors of Venetian buildings are usually of timber; with spans between floors being limited due to maximum length of beams of larch or aok available. These beams are ‘placed at close centres, the gaps between them being one or two and a half times the width of the beam giving the most evenly distributed load onto the wall. A wall plate took the load of these walls that were spiked to it, built into the brickwork’25 (fig.49).




fig. 48 image source: http://us.123rf.com/400wm/400/400/cheyennezj/cheyennezj0812/cheyennezj081200030/4015301-terrazzo-

paving-venice.jpg


fig. 49 section through typical floor detail in larger Venetian houses.

fig. 48 detail of Terrazzo floor


fig. 50 Long section of building showing fixed floors spanning between structural walls

Permanent Floors

Study: Roof construction

Although most of the rooftops of Venice are clad in clay tiles, metal roof-ing was taken on in major public buildings, as well as the curved domes of churches such as St. Marco whose forms were difficult to finish in tiles. The use of copper is also prevelent in some public buildings26.

The roofs are often constructed with a pitch, usually falling to a perimeter gutter. Rainwater was often collected and harvested by means of gutters.Taking from this, the construction of the roof is mainly in cop-per so that it is easily accessible by the guests; clay tiles will ren-der the roof difficult to walk on. The roof will have to be sloped to allow water to run off into designated reservoirs and gutters.

26. Goy, J. Richard, Venetian Vernacular Architecture, Cambridge: Cambridge University Press 1989 p. 34 fig. 51 Goy, J. Richard, Venetian Vernacular Architecture, Cambridge: Cambridge University Press 1989 p. 55

fig. 52 image source: http://images.travelpod.com/users/mish_brendan/1.1302897455.saint-mark-s-cathedral-dome.jpg

fig. 51 Abbaino roof gable pitched to drain into eaves

fig. 52 rusting steel plated roof of St.Marco


fig. 53 Long section of building showing roof structure

Roof construction

Fig. 55 diagram of a Venetian cistern

Consultation: Rainwater Harvesting

A conversation with Oliver Wilton, specialist in Environmental Technol-ogy, led me to consider the role of water within the building. He point-ed out that saltwater and rainwater would be the two catagories of wa-ter that would interact with my building, and that traditionally, Venetians have had a different approach to dealing with them. Cisterns (fig.54), underground wells used to store and purity rainwater, are a common feature in Venice. This introduced a heirarchy of water, the purified rain-water being of most use to the Venetians. Initial ideas for how this could be applied to the roof structure of the building were discussed (fig.55).

However, seawater plays a more superior role in the building as it would be used to progress the architecture by means of float-ing and eroding. Rainwater cannot be purified to a standard suit-able for modern health requirements, so it will be stored on the roof for recreational purposes, such as swimming, rather than drinking.



1. Sea water2. Cistern3. Sea water

1.

2.

3.

1. Salt water2. Filtered water3. Sand4. Clay lining

1.

2.

3.4.

Fig. 54 initial ideas for roof structure

Study: Venetian Water Harvesting System

The lagoon water is essentially bitter seawater, and there are no rivers to take sweet water from. Rainwater was therefore essential to collect in order to satisfy the population’s needs. Water was collected by gut-ters of the durable and impervious Istrian stone27. In large houses the water was taken to the ground in vertical downward pipes which were built into the fabric of the external wall. In smaller cottages, rainwater was discharged into a public well-sump at the centre of a campo or cortile28. Venetian wells are in fact large underground cisterns collecting rain water, situated in public squares (fig.56). A typical cistern is a large tank situated 5 or 6 meters deep in an excavation lined with a thick layer of imperme-able clay to keep the water within the tank29. The well shaft at the centre is usually made of brick, stood on a large impermeable Istrian stone founda-tion slab. Small holes are left in the joints of the brickwork at the base of the shaft. The entire cistern is then filled with silt or river sand, filtering the collecting water. At the top surface, a caisson is built with openings to col-lect the rainwater30. The floor surface of the square is laid to lead water to these holes, harvesting water from the entire square and its pitched roofs.






fig. 56 cross section sketch through typical Venetian well

Precedents: Rainwater Harvesting

The Sringaverapura temple in Allahbad (fig. 58) India was a source of inspiration for the form of the water harvesting tanks on the roof of the building. The elaborate staircases and purification system of the temple indicates a ritualistic relationship with water. As the water on the roof will be stored for recreational use, this seems appropriate.

fig. 37 shows the tanks of the temple which allowed water to flow in from the Ganges, through silt

chambers and into ritual spaces used for ceremonies

fig. 58 Agarwal, Anil, and Narain, Sunita, Dying Wisdom, New Delhi: Centre for Science and Environment, 1997, p.16

Rainwater Harvesting Roof

Through studying the above precedents, I have designed 3 res-ervoirs on roof of the Hotel to harvest rainwater. Though the prec-edents I have studied harvested the water for drinking, I propose to use it for recreational purposes on the roof, as well as for hydrau-lic lift shafts (a) and (b) positioned between the tanks. The water will move between these tanks and lift shafts between high and low tide with the use of floating walls, explored further in the next chapter.

fig. 38 highlights the building’s rainwater harvesting reservoirs

fig. 59 author’s own image 2011

a. b.

1. 2. 3.

Falling Room: Gutters

This diagram shows the course of the water through the drain built within the exterior wall of the Falling Room; taken from the drainage systems of large Venetian houses. Here, the gutters discharge into the canal, but through the sacrificial wall. As the water seeps through this wall, it will deteriorate it with time; gradually lowering the structure and altering the dimensions of the room.

fig. 60 author’s own image 2011

fig. 60 cross section throough Falling Room 101 showing course of rainwater drained from the roof


fig. 61 Long section of building showing run off points of water from roof into basins that drain into the canal

Water draining

Like the squares and courtyards of Venice, there is a de-signed draining route built into the Hotel, draining the roof-top through basins which in some areas empty out into the ca-nal, and in others collect the water for use in hydraulic lift shafts.

CHAPTER 4 ‘Bad des ign ’ - F loat ing s t ructures

Elements r ise and fa l l , react ing to the f luctuat ing t ide.

Precedent: Floating Houses (IJburg) Architectenbureau Marlies Rohmer

The floating houses designed in the Netherlands were an in-itial inspiration that lead me towards thinking of struc-tures that were gradually raised and dropped with the tide.

The construction methods used by Marlies Rohmer were of two kinds. Either a foam block was incased in concrete, allowing it to float, or a hollow concrete shell was used as a buoyant raft31. This hollow shell is inhabitable and half submerged. The concrete used is marine grade; poured in one mass to ensure structural integrity32. The mould is sup-ported by a reinforced steel mesh (fig.63). Once the concrete has cured, the shuttering is removed in order to mark out the lower ground floor lay-out, which is submerged two thirds of its height below the water33 (fig.64).

31. http://www.architecturetoday.co.uk/?p=12288

32. http://www.bowcrest.com/dutch-barge-specialists/

33. http://www.bowcrest.com/dutch-barge-specialists/index

fig. 62 http://www.archdaily.com/120238/floating-houses-in-ijburg-architectenbureau-marlies-rohmer/

fig. 63 http://www.bowcrest.com/dutch-barge-specialists/index.php/floating-homes/how-your-new-floating-home-starts-life/

fig. 64 http://www.bowcrest.com/dutch-barge-specialists/index.php/floating-homes/how-your-new-floating-home-starts-life-2/

fig. 62 photograph of Floating Houses in IJburg, Architectenbureau Marlies Rohmer

fig.63 shows the mould for the concrete constructed in

a factory dock for ship building

fig. 64 shows the base layout for ground floor on cured

concrete base

Consultation: Floating Structure

A consultation with Ed Clark, a civil engineer specialist at Arup helped me understand the mechanism of causing a building to float. He explained the phenomenon of materials rising when built close to water is known as ‘uplift’. Buildings are often weighed down to ensure there is minimal uplift. In multi-ple floor buildings, this is taken care of by the weight of the floors. Structurally light buildings (such as mine, only 3 stories high) either anchor themselves with piles (fig.65) into the ground or rely on extremely heavy foundations.

This discussion lead me to consider the parts of the build-ing that would be allowed to ‘float’ between the anchored foun-dations, allowing for buoyancy without inducing structural failure.


fig. 65 diagram illustrating affect of uplift on a building


fig. 66 Long section showing floating walls within the building fluctuating with the 5 main measurements of tide

Floating Walls at High Tide

4. ramp leading into canal

1. �oating hollow concrete wall

2. runners lining basin

3. concrete basin �ooded at high tide

Floating Wall Detail

The diagram on the right depicts the basic structure of the floating wall; a hollow concrete shell constructed in a manner similar to that of the Floating House rafts. This wall ‘raft’ will be attached to a concrete basin built into the ground floor, lined with runners to allow the wall to rise and fall with the tide. The basin is connected to the water level of the adjacent canal through a ramp, designed to bring water and debris in and out of the basin with the tide. Debris will build up as the floating wall knocks against a shock-absorbing block of stone above it, designed to take impact every time the wall rises with the tide. For this process within the building to be understood correctly, it is fundamental to investigate the impact the movement of this float-ing wall will have on the materials used for the basin and the wall it-self, as it will be subject to damage rising and falling with the tide at a range of up to 0cm to +194cm on a daily basis for four years.


fig. 67 diagram of floating wall structure within concrete basin

Materials for Floating Structures

Marine grade concrete is often used in boat building, bridges and wharves. It is ideal for its lightweight buoyant quality. The concrete it-self is dense and of low permeability grade 3034. The low permeabil-ity is acheived with a minimum cement content of 300kg/m3 (fig. 68).

Even with a low permeability, in the presence of sea water a mix of concrete with only a 5-8% content of tri-calcium aluminate is required. This is because the soluble chloride ions in salt water react with cal-cium hydroxide and tri-calcium aluminate (C3A) to produce gypsum and calcium sulphate aluminate. These particles occupy more volume, causing the concrete to expand and crack, exposing the reinforced steel to corrosion. The chloride ions do however eventually reach the reinforced steel, and once this occurs in a sufficient content, the steel rusts, weakens and causes catastrophic failure in the structure35.

To prevent structural failure from occuring for at least 50 years, the con-crete ‘cover’ above the reinforced steel has to be at least 40mm thick. The Venetian answer to this problem has always been using a sacrificial layer of plaster to prevent structural material from deteriorating. This is why render in Venetian buildings has always been of paramount importance. The render applied to this structure will be explored further in chapter 5.

fig. 68 PC Varghese, Advanced Reinforced Concrete Design 2nd ed, New Dheli: Prentice-Hall, 2006 p.441

fig. 68 diagram of floating wall structure within concrete basin

34. PC Varghese, Advanced Reinforced Concrete Design 2nd ed, New Dheli: Prentice-Hall, p.441

35. Wake, Hastie and McDonald, Estimated Lifetime of Marine Concrete, C411

Floating Wall Detail: Materiality

This cross section shows the marine concrete basin, floating wall and their relationship with the canal. The tide levels have been marked. The sacrificial 750mm of concrete is added to the structure up to a height of +200cm; which is the maximum height of high tide.


fig. 69 cross section of floating wall in basin facing tributary canal

hollow concrete wall

marine concrete basin

reinforced steel frame

40mm protective concrete ‘cover’ over reinforced steel

Water from tide enters and leaves through metal mesh panel

Floating Floor Detail

The diagram on the right depicts the floating floor of the main Conference Room, which is similar in construction and materiality as the floating wall. The Floating floor will be occupied by a conference of up to 32 delegates; and the concrete will have to remain buoyant for the duration of the con-ference. As the construction of the floor is similar to that of a raft on a boat, there will be some instability as the water rises and falls. The delegates will experience a level of discomfort, however the movement of the floor will be restricted by the runners that secure the rising floor within its basin.


fig. 70 long sectional diagram of floating floor structure within concrete basin

hollow concrete �oor raft

runners

concrete basin

+80cm

+109cm

+140cm

+194cm Fig. 71 shows the rising rising floor and wall of the conference

room at 4 different levels of high tide

Model : Conference room

These photographs show the height to which the floating floors are expect-ed to rise at high tide, given the weight of the marine grade concrete and the respective heights of tide. This is however a speculation, and further test-ing will have to be done with addition of the weights of furniture and occu-pants to determine the extent to which the floor will rise once it is occupied.


Concrete basin

Floating wall

canvas wall

hinged joint clipped to canvas �xed to rising wall

Detail: Reservoir Walls, Roof Level

Four of the walls acting on the reservoirs of the roof will be floating walls. Their rising and falling will change where the water collects; as they are positioned between the reservoirs on the roof (where water is used for recreation) and the basement (where water is used for the hydraulic lift shafts). This section relays the strategy for the rising res-ervoir walls; constructed in the same method as previously outlined.

These walls have a hinge joint at the top, which clips onto a can-vas material. This canvas material is waterproof, and is secured at the other end to the reservoir floor. As the tide rises, the wall rais-es the canvas and stops water from the roof spilling into the hydrau-lic lift shafts at the basement level of the building, which would al-ready be accumilating with water at high tide. At low tide, the walls lower themselves and water is allowed to collect in hydraulic lift shafts. fig.72 section through lift shaft a. and reservoir walls showing rainwater harvesting strategy

fig.72 author’s own image 2011

Detail: Rising reservoir walls

This section (fig. 73) shows the gradual rise of the canvas wall with the tide. In Venice, the highest amount of rainfall (88mm in November) is in the winter months (fig.74), which correlates with the highest tides. In theory, this will allow the most rainwater to be harvested on the roof dur-ing the winter periods, where tides will reach their highest and allow the canvas walls rise by an average of 1.4m, creating a basin to accumilate the water until low tide, when it will drop into the hydraulic lift shaft basin.

fig.73 section through lift shaft a. and reservoir walls showing rainwater harvesting strategy


fig.74 http://www.wordtravels.com/Cities/Italy/Venice/Climate

fig. 74 annual rainfall Venice

CHAPTER 5 ‘Bad des ign ’ - Eroding s t ructures

Sacr i f ic ia l e lements d issappear wi th the t ide

Precedent: Venetian Renders

The exterior walls of Venetian buildings have always been very thin in order to minimise the load they exert on their foundations. For this rea-son, plasterwork in Venice has a protective role; acting as a sacrificial lay-er that is allowed to erode with the tide in order to prevent the structural walls from deminishing. As these walls are already so thin, a decrease in their cross-section would lead to structural disruptions36. Thus, besides their aesthetic and formal qualities, E. Danzi et al argue that the prima-ry purpose of Venetian plasterwork has always been to prevent mason-ry decay from occuring in structural load baring walls37. This plasterwork is gradually worn away by weathering, saline aerosols and capillary rise. Venetian renders led me to think about structures in my building which would be designed to erode; their gradual wearing away revealing new uses for the spaces changed by the tide. This chapter investigates the eroding struc-ture strategy by exploring in detail the two sacrificial materials in the build-ing; wood and rammed earth. Both have been tested to understand how the materials would behave in response to the tide and its water composition.

36. Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge Univer-

sity Press 2005, p.194

37. 23. Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge


fig.74 Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge


fig.74 Eroded Regalzier plaster applied over masonry brickwork; Regalzier is a stabiliture plaster often applied with monochrome paint

Precedent: Rock Pools

The rock pools in Lido inspired me to consider the ways in which the tide bringing in and taking away debris can completely transform a space. These stills from a short recording I made show the phenomenon of a sud-den wave flushing the pool with sand; leaving the space between the rocks transformed. The large rocks themselves have also been transformed with the contact of sea water; with traces of algae marking the levels of the tide.


fig. 75 shows stills from a short film I recorded of a rock pool filling up

with the tide

Precedent: Materials Reacting to Seawater

These observations of the way materials change, leak, mark and im-print their presence on eachother in response to the Adriatic sea-water led me to consider the gradual change of materiality in the Ho-tel. The tide levels are marked on the stairs in the canals by algae (fig.76), and copper plates rust, forming copper sulphar dioxide when in contact with the salts in seawater. This stains the stone they are in contact with (fig.77). The colour of the Istrian stone gradually wears to black as calcite turns to calcium sulphate (chalk) and is washed away; even though the porosity of the stone is only 0.5% (fig.78)


fig. 78 image source: http://triptovenice.webs.com/venicerestaurant.jpg

fig.76 copper turning to copper sulphar dioxide

fig.77 calcite in Istrian stone turning to calcium sulphate

fig.78 algae marking tidal level by colouring stairs of the canal

Falling Room: Sacrificial Material

The sacrificial layer (fig.79, no.6) in the Falling Room will gradually dete-riorate over 5 years to allow the floor of guest room 101 to drop by 2.5m. For this to occur, a block of sacrificial material, 2.5mx1m will be placed be-tween the non-sacrificial concrete load bearing wall. A gap in the exterior wall will allow the tide to flush the sacrificial wall; a sloped ramp deposits the debris from the wall into the canal. The material for the wall had to be considered very carefully; as I wanted it to fall gradually under the weight of the structure above and to the exposure of the tide. My initial thoughts were to use an elastic lime based plaster; as with the plasters used for renders on Venetian buildings. I decided to discuss this with a materials specialist consultant from Arup to ensure I was making the right decision.

fig.79 short section through Falling Room indicating plaster as the material for the sacrificial wall


Consultation: Material Choice

Richard Hughes, an experienced conservator, gave a great deal of insight into the choice of material for the sacrificial wall. His comments made me realise that this was a vital decision to make, as it would result in the mech-anism either working or failing. He informed me that plaster, which was what I planned on using, is quite brittle. Given the weight of the structure ‘falling’ or collapsing down onto the crumbling sacrificial wall, the brittleness of the plaster means it will at some point fail. This will result in a slow fall-ing, and then a sudden collapse where the wall will want to fall sideways in one instance. Earth or clay however, is a softer and less brittle material, which will continue to erode slowly from top down, responding to the weight of the structure above it. The wall will in affect be ‘squashed’. Also, clays are materials that form a much shallower natural angle of repose. This is the angle left behind by the residual lump of debris that will form due to the eroding. As a result, a shallower angle means the erosion will gently slope towards the ramp and into the canal, rather than gather in a bulge like form.

fig.80 Author’s own image 2011

fig.80 sketches made during consultation with Richard Hughes

The discussion I had with Richard Hughes led me to consider rammed earth as a material for the sacrificial wall (fig.81). It was then imperative that the mix was such that it would erode at the right rate with the tide as well as the weight of the structure above it. To make sure the mix was correct, I decided to build the wall at a scale of 1:5 to gain an understanding of the material.

fig.81 short section through Falling Room indicating plaster as the material for the sacrificial wall


Experiment : 1:50 Rammed Earth Construction

The method of constructing the sacrificial rammed earth wall at a scale of 1:5 was as follows; once the earth had been packed into an mdf mould lined with latex, it was covered with a lid (fig.46). The mould was then secured to a bottle jack; the jack’s head carefully aligned to the centre of the steel plate attached to the lid. This was in order to ensure pressure would spread evenly throughout the wall (fig.47). The jack and mould were held between two verticle walls. Once the earth had been rammed by a few centimetres, the pressure began to break the mould, so it had to be secured with rope (fig. 48). The earth was rammed until the pressure began to deform the steel beams holding it in place (fig.49).

fig.82-85 author’s own image 2011

fig.82 mould fig.83 mould secured to jack between wall and extractor foundation fig.84 rope used to secure mould fig.85 pressure caused by ramming jack

Experiment : Results

I tried three mixes of different ratios. The first was a clay loam mixture; with 30% clay and 70% sand (fig.49). Second was a clay loam mixture with some portland cement, as the first attempt seemed too soft and wet. This was 30% clay, 65% sand and 5% cement. This mixture fell apart the moment it was taken out of the mould as it was too dry (fig.50). The final mixture was 10% clay and 90% sand, to try to make a firmer wall without adding ce-ment (fig.51). The 2 successful walls were left to dry for one day before being moved. After drying, the clay loam wall became a lot harder, whereas the sandy loam wall broke as soon as it was moved (fig.52). This lead me to conclude that the first mix was the closest to a consistency that would work.

fig.86-89 author’s own image 2011

fig.86 clay loam mix fig.87 clay with cement; failed mix fig.88 sandy loam mix fig.89 successful walls after 24H drying period; clay loam hardened whereas sandy loam

crumbled

Sacrificial Wall - Rate of Attrition

The study taken on by Biscontin, Zendri and Bakolas on the rate of attri-tion in brickwork when exposed to Venetian sea tides38 is a useful starting point for assuming the rate of attrition of my rammed earth wall. Although the materials eroding are not the same, Biscontin et al describe in particu-lar the rate at which silicon oxide (sand) disappears from the clay; sand also forms 70% of my rammed earth wall. The cumulative volume of the brick sample at depths ranging from 0-5.5cm has been measured. The cumulative volume in each sample is highest at 0cm, and the % of Sili-con oxide is lowest; implying the most amount of silicon oxide is washed away at the facade facing the tide, leaving behind a more porous brick.

38. Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge Univer-

sity Press 2005, p.199

fig.90 Fletcher, C.A, and Spenser, T., Flooding and Environmental Challenges for Venice and its Lagoon, Cambridge: Cambridge


fig. 90 Table illustrating depth profile of total silica and cumulative volume of 4 brick samples reacting to Venetian sea tide

Sacrificial Wall - Factors for Measuring Attrition

Hughes informed me that salt efflorescence will be the major factor that will cause the sacrificial wall to deteriorate. Microwind movement, tidal temperature, humidity and capillary rise (which occurs 2-3m above sea level) are the main contributing factors to the formation of salt crystals. Add to this, in the case of the Falling Room, the weight of the concrete struc-ture ontop of the sacrificial wall will also contribute towards its deteriora-tion. Fig.91 demonstrates these factors acting on the rammed earth wall.

1) Weight: the weight of the concrete structure, a light-weight concrete wall 3.3m in height, is estimated at around 62kN. This will bear down on the rammed earth wall.

2) Temperature: the sun will not directly heat the wall as it is only exposed on the west facade, on which side the Hilton Moli-no, 35m in height, blocks light. The sun will directly heat the con-crete structure above the wall for a period of around 4 hours a day.

3) Capillary rise: this is estimated at around 2-3m above sea lev-el. This means the wall will not be exposed to a continuous wet-ting and drying; as the water will constantly keep it wet. This will re-duce the speed of the attrition process as temperature will be more constant if the wall isn’t exposed to cycles of wetting and drying. However, given that changing factors of tidal temperature and microwind movement involved, this is only a rough estimation of the erosion of the rammed earth wall. over the course of the 5 years, these factors are li-able to change, therefore altering the rate of erosion.


fig.91 short section of the Falling Room shows the rammed earth wall exposed to factors contributing to attrition

Expanding Joints

The shock absorbing concrete blocks situated above the floating walls are not connected to the floors. This is because the damage that will occur to them will render them too weak to bear a structural load. Instead, a gap of 200mm between the floor and the shock absorbing stone has been left to allow for movement. These impact blocks will be rendered with small holes to allow water from the 1st floor and ceiling to flow through them and into the basin di-rectly underneath. For this reason, the gaps betwene floor and stone have to be filled to allow water to flow continuously. The 200mm gap is therefore filled with wood (fig.92, a & b), which will expand when exposed to water, closing the gap, allowing water to flow directly over and into the basin underneath.

fig.92 Author’s Own Image 2011

fig.92 section indicating position of expanding wooden joints on either side of concrete

shock absorbing block

Experiment: Expanding Wood in Saline and Non-Saline water

I tested the expansion and material reaction of three different samples of timber; english elm, brazilian mahogany and tanalized oak, in saline and non-saline water. The aim of this test was understand the amount of expansion, as well as the affect of salt crystalisation on the mate-rial, the change in their visual appearance and if they would stain the concrete blocks they are connected to. Mahogany and elm are both hardwoods chosen for their colour, and tanalized aok is a softwood treated to be waterproof, hence minimal reaction to water is expected.


fig. 93 Elm, tanalized aok and brazilian mahogany to be tested

Experiment: Results of Colouration

After a 5 day period, the brazilian mahogany lost the most amount of colour. The colour started to leak from the wood faster in saline water.

fig.94-96 Author’s own image 2011

fig.94 first suberged in water at room temperature

fig.95 5 days later

fig.96 colour is darker in saline water

saline non- saline

saline

non- saline

saline

non- saline

Day 1 Day 5 Day 7

Elm

Tanalized

Mahogany

Experiment: Results of Salt Crystal Formation

After a 5 day period, salt crystals began to form on the mahogany and elm wood. The crystals formed on the dry surface of the wood exposed to air. By the end of the 7 days, the salts covering each would were of slightly different appearance. The brazilian mahogany coloured the salt that formed on it; whereas tanalized oak produced the whitest salts.


fig.97 Study of salt crystal formation on elm, tanalized aok and brazilian mahogany submerged in salt water

over a period of 7 days

Experiment: Expanding Volume The size of the three different woods altered in both solutions, but more so in salinated water, as can be seen from fig.98. The samples were measured over a period of 9 hours with calipers to the 0.00 mm. The tanalized oak expanded a lot more rapidly in saline water than non-saline. As it is a softwood, this was expected. The elm expanded at a more or less constant rate in both saline and non-saline solutions. The mahogany expanded slightly less in saline water than in non-saline water; which was an interesting result. This does however need to be thoroughly tested over a longer period of time in order to be varified.

fig.98-99 Author’s own image 2011

fig.99 graph showing the gradual increase in volume of oak, elm and mahogany in saline and non-saline solution over a period of 9H (full data in appendix)

Elm Oak Mahogany

fig.98 graph showing the gradual increase in volume of oak, elm and mahogany in saline and non-saline solution over a period of 9H (full data in appendix)

saline saline saline

For the colour it deposits in salt water, brazilian mahogany has been chosen for the joints. It expands at a rate of roughly 0.32mm every 24 hours. These images show the gradual build up of col-our in the concrete stone from the mahogany joints once they’ve been washed with sea water over a 7 day period. The joints will gradually expand and salts crystallize between the 5th and 7th day.


fig. 100 Section of mahogany wooden joints and concrete block over 7 days of exposure to water

Day 1

Day 5

Day 7

Conclusion

The testing, research and design development undertaken in the course of this study has been neccessary to understand the impact of the tide on the architecture of this project. However, given the fluctuating nature of the factors involved that impact the three different strategies, it can only be said with confidence that the first stategy would perform as intended. This is due to the fact that the strategy of the permanent structure has been evolved with an understanding of conventional practice. However, with regards to unconventional methods applied, the environmental fac-tors affecting them will vary gradually over the 5 years, especially once the building is occupied. It cannot therefore be said with accuracy what the implications of temperature changes, humidity changes or high tide changes will be. An attempt has been made, however, to engage these changes with the building to produce a spatial outcome. Major structur-al errors have been avoided on account of consultations with experts.

Although this study has not produced results that are fully tangible, the de-sign has been enriched by investigating the potential outcomes of the ma-terials used with regards to eroding and buoyancy. Establishing the mate-riality of the Falling Room helped to understand the nature of materials as they erode and wear away; enriching the design as apposed to limiting it.

This report has helped towards forming a vital understanding of the in-evitable processes the building will be exposed to over 5 years; and although the engagement with these factors has been superficial, an awareness of them has been vital to progress the design of this project.

APPENDIX

Basement p lanGround f loor p lan1st f loor p lanRoof p lan

Long sect ion

Long sect ion year 1Long sect ion year 5

BIBLIOGRAPHYAgarwal , Ani l , and Nara in, Suni ta , Dy ing Wisdom: r ise, fa l l and potent ia l o f Ind ia ’s t rad i t ional water harvest ing systems, New Delh i : Centre for Sc ience and Envi ronment , 1997

At lante de l la laguna, Venice: Observator io de l la Laguna del Terr i tor io 2004 p. 5

Da Mosto, Jane, and F letcher, Caro l ine, the Science of Saving Venice, London: Um -ber to Al lemandi& Co. 2005

Fletcher, C.A, and Spenser, T. , F looding and Envi ronmenta l Chal lenges for Venice and i ts Lagoon: State of Knowledge, Cambr idge: Cambr idge Univers i ty Press 2005

Goy, J . Richard, Venet ian Vernacular Arch i tecture: t rad i t ional housing in the Venet ian lagoon, Cambr idge: Cambr idge Univers i ty Press 1989

Pertot , Gianf ranco, Venice Ext raord inary Maintenance, London: Paul Holber ton 2004

PC Verghese, Advanced Reinforced Concrete Design, 2nd ed, New Dhel i : Prent ice-Hal l , 2006 Reichel , A lexander, Hochberg, Anet te , and Kopke, Chr is t ine, P laster, Render, Paint and Coat ings: deta i ls , products , case s tud ies, Basel :B i rkhäuser 2004

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Giovanni Zocol lo , I l Restauro Stat ico Nel l ’Arch i tect tura Di Venezia, Venice: Palazzo Loredan, 1975

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