A landscape architectural
design approach:
The restoration of the Angel Tower
and the Cloister of the Cathedral of Cuenca
Joaquín Ibáñez Montoya | Maryan Álvarez-Builla Gómez
Polytechnic University of Madrid
Abstract
This
article aims to show the recent evolution of concepts such as Cultural
Heritage, by offering a survey of the architectural restoration project
methodology of the Cuenca Cathedral. The Charters of Athens, from1931 and 1933,
–the bases of modernity– converge today after almost a century of leading
separate paths: land planning and cultural interpretation, space and time
recuperate a meeting point, which should have never been lost. The article
basically assesses the
potential contemporary projects on heritage constructions can offer when
studied as a landscape journey. In order to certify the transformations from
the present context, the singular monument of Cuenca Cathedral is taken as a
model. Its stone materiality provides a memory of secular morphology and clear technical
and social wealth. This model unfolds as a dialogue between Theory and Practice
reflected on its conservation works. After thirty years of restoration
experience on the building performed by the authors, the two last interventions
are thoroughly commented in this article revealing a new strategy in the
architectural project performance.
Keywords: architectural project,
cultural heritage, landscape, cathedral, Cuenca.
Resumen
Este artículo trata de analizar la reciente evolución de los conceptos
sobre intervención en el Patrimonio Cultural. Para ello utiliza como modelo el
proyecto metodológico aplicado sobre las dos últimas actuaciones efectuadas en
la Catedral de Cuenca. La Carta de Atenas,
1931, que estableció las bases de la modernidad sobre las dos trayectorias de
espacio y tiempo, concuerdan hoy después de casi un siglo, recuperando su punto
de encuentro. El artículo básicamente valora
el potencial que los proyectos
contemporáneos de intervención en el patrimonio pueden ofrecer cuando estudias su trayectoria en el paisaje. En orden a
certificar sus transformaciones desde la actualidad, el singular monumento de la Catedral de Cuenca, utilizado como
modelo, nos aporta a través de sus materiales y morfología la memoria
secular que nos informa de sus técnicas
constructivas y valores sociales. Este modelo abre un diálogo entre teoría y
práctica reflejado a través de los trabajos de restauración aplicados. Después
de treinta años de experiencia restauradora llevada a cabo por los autores, las
dos últimas intervenciones que son minuciosamente expuestas, revelan algunas
nuevas estrategias de aplicación en el proyecto de intervención.
Palabras
clave: proyecto arquitectónico, patrimonio cultural, paisaje, catedral, Cuenca.
atrio nº 19 | 2013 ISSN:
0214-8293 |
pp.
21-38
Introduction
In
this study, the restoration work
process developed for the conservation of Cuenca Cathedral is explained under a
critical reading. The Cathedral of Santa Maria de Cuenca, located in the
Spanish Castilian plain —considered as time
and space— is a noticeable example
of the complex experiences undergone
for more than a Millennium. The restoration
process has also been a thoughtful reflection on the restoration to be applied
and its developments in the last century. During the last thirty years —time
enough to allow for deep thought and criticism— the condition of the building
and the “future archaeology” has unfolded ensuring not only the present state
and reading of the building, but also including new parameters, which have been
incorporated to the discipline of architecture (La conservación del patrimonio
catedralicio, 1993) [1].
This article follows a logical order adding to the
synchrony of the city construction and to the diachronic evolution of it, the
previously stated deep analysis of the restoration process, and above all, the
new parameters this will imply support these changes in architecture1 (Álvarez-Builla and Ibáñez, 2009)2 [2] (Figure 1). To analyze the way cultural-landscape encounter takes place,
citizens need to articulate a repertoire of unknown disturbing factors and
simulations of the intervention project.
As this analysis is performed
in the present fully urbanized
context, the viewer needs
to identify which academic consequences this might have3. The new spaces
inhabited by people need to be placed within
the framework of the post-industrial modernity where the stubborn presence of
architectures such as the Cuenca Cathedral contribute with a collection of
contents accumulated by history and ready to be interpreted, to ensure its
survival and sense.
Matter, memory and method have been the parameters
associated by UNESCO to World Heritage inscribing the city as a “historic
walled town”4. Indeed, Heritage is matter
—in the different frames of the present architecture evolution—, it is memory, —the modern interpretation
according to the revised reading of the past—, and it is method —it establishes an adequate system providing mechanisms of
the monument projection for its structure conservation—. Similar studies have been performed
by researchers and Spanish specialists in past years, following the European
Landscape Convention and the Spanish National Plan for Cathedrals (Plan de Catedrales,
2002) [3]. This has brought up a recent bibliography on cathedrals updating
their state and, more important, a protocol methodology to face the cathedral
issue has been established. Examples of such studies are the recent works on
the cases of Tarragona (Figuerola and Gavalda, 2007) [4] and Sigüenza (La Catedral de Sigüenza, 2006) [5].
The work presented here draws upon these items of matter,
memory and method, according to six periods or intervention phases. First, main
principles will be stated dealing with three different attitudes on the present
landscape of the Cuenca Cathedral: the site as a new landscape, as a dialogue
between project and glance, and as the result
of a drama. This method is hence, a reverse way of proceeding, starting by
the consequences to reveal the origins. By doing so, the cathedral reveals the two most
important interventions as a summary of open results the contemporary project
and its alternatives.
A
contemporary project: a landscape project
Architecture’s modern culture
has shown an intense conflict over the meaning of “project”,
in recent years. Landscape and Heritage represent two arguments according to
the Spanish philosopher José Ortega y Gasset, who said that “landscape” is “what each one of us
brings with oneself”5. Without an observer, landscape does not exist; but neither
does it exist without history. According to this, the cathedral becomes an
infinite source of documentation from the point of view of the Architecture History, but also from the human global cultural production
(Muñoz, 2008) [6]. The cathedral has become now a multicultural transversal and
this innovative dialogue. Enjoying the results of it in these early years of
the Millennium means having an ideology in
line with what Tomas Khun stated (Khun, 2000)6 [7]. According to him, the scientific knowledge
responds to the objections of the
past but also of those of the future. The cathedral as accumulated layers of
history allows for learning, for transforming, and for restoring it. It means
understanding the monument and its architectural project. It is not only
rectifying a secular reading of Heritage as the material process performed
around memory, or amending the intervention methods, but also examining
the current stimulation parameters as landscape project.
Fig. 1. Cathedral view in the contemporary historic city. Photograph by Jose Latova.
The characteristic of Cuenca’s
example is its transformative feature,
and when analyzed
using historical strategies, its capacity for enlargement and alteration becomes a fundamental
issue. That is, the cathedral develops into a true document in space and time, such as city and territory. The idea
of a loss of meaning in its voyage to
the present time needs an understanding of the monument, not as a nostalgic
reference but as a chance for recovering from this unique potential time dimension. It maintains somehow the
ancient relationship between nature and
memory which has always been part of
architecture and which now focuses on the changes brought about by Industrial
Time. Conceptual alterations, or instrumental ones derived from the new
“digital communication era”, have
provided Heritage evolution and change as a collective construction (Bordieu, 2003) [8]. In this way, the cathedral memorable space exhibits a dense repertoire of
dialogues and foundations to restore mapping criteria, which will support new
hypotheses. Two ideas have been used
for the restoration process: pursuing what intervening on a monument means
today and how to address it in the present socio-economic context, and,
another, the idea which narrows its current re-reading as a prominent and continuous project.
Fig. 2. Exterior wall after its restoration. Photograph by Jose Latova.
This strategy of the scientific project coexists well with
Eduardo Chillida’s or Margarite Yourcenar’s creative
silences7 (Oteiza, 1943) [9].
These silences are essential in contemporary artistry. They provide clues on
the revised project, to come closer to its true
poetic reason. The monument time is not set through readings of the
successive interventions performed on it, but through the responsibility of
different architects and building engineers who intervened in the construction
and transformation processes with their projects (Smithson, 2006) [10].
The Cuenca Cathedral
Cathedrals describe
a set of experiences, which conform the morphology of the European
city providing its current configuration through three distinct
periods. Their architecture exhibits a sum of landscapes
to be built, of transformations and restorations that are today clarified by
other sub-landscapes or normative positions, which are, in turn, the reflection of the two centuries of restoration intervention —in Cuenca just one century. This study shows a modern objetivity to
the historian or biographer, and also to the citizen. Citizens have been
enjoying the work performed, that now concludes in the Cathedral of Cuenca.
Indeed, the two last interventions further explained evidence the monument
constructive complexity.
This pre-industrial time, which originated sites as Cuenca city, is open to a different sensibility
in its emerging “biopolitical” management (Gil, 2008) [11]. The monumental
ancient history will generate new figures and networks in the process of active restoration to develop relevant
plots supporting the construction analysis, in the broadest sense. Elements, as incomplete and open objects
of knowledge and research, are selected in an effort
to understand an existing
project of plural memory. Obtaining conclusions is not possible,
or perhaps necessary,
but rather, criteria
are.
New concepts and new methods
Understood
as the wording of a landscape to be designed8, the Cathedral of
Cuenca shows a double temporality. An
active conservation strategy,
originated around 1968, and primarily stated by the critic Cesare Brandi during
the heroic modernity crisis, generates a tighter guidelines in accordance with the social
demands of an emerging sensibility (Brandi, 1977) [12]. From this position, creativity as artistry
needs to deal with a picture of change in Heritage interventions. Regarding the
concept of artistry, as Alain Roger mentions, “the
artists, should remind us of this first but forgotten truth: a country
is not just a landscape, and between one and the other there is the drafting of
art" (Roger, 2007) [13].
The debate between the historic melancholy and its modern
appropriation forwarded concepts which were later forcefully consolidated, as
in the Kraków Charter, in 2000, which prevented explicitly against any
reductionist reading of identity. It talks about the caution to be applied
before any reactionary manipulation; i.e., emphasizing critical identity as
opposed to nostalgic identity Heritage
conservation is not only understood as a sustained subject, it also includes a
militant interpretation. The well-known example of the project on Castelvecchio, Verona, Italy, started in 1956 and completed
twenty years later —thanks to a particular sense of time that the author Carlo
Scarpa defends— accurately reflects these new criteria (Figure 2). This project
naturally incorporates the "craft of the artisan" and associates it
with an instrument of scientific
conservation as well as a stimulus for creative readability in agreement
with this change of direction. This stimulus is set as an alternative
“resistance” reaction. The attitude of the contemporary architect since then,
is to be plural: the architect will be considered as just one person in front
of the building, one more in the provision of skills in collaboration with all
those who have already been there. The architect interacts on the basis of this
interdisciplinary collaboration.
For such a practice, architects are clearly debtors
not only of Cuenca as a city but also of the various interventions in Europe. Through the
heritage intervention strategy, a landscape of walls and masonries is developed
on the stratigraphy of altered historical remains. This allows for the
inclusion of "industrial prostheses” to activate them. Materials and
functional programs were spread on the ground, —like paving stones— enabling
the access and musealization of the exposed pieces to be perceived as the
result of an integrative thinking. This restoration plan proposes a reading
policy of spectacular results that the pre-war period had already incorporated in terms of cultural environment.
Application of these new concepts in Cuenca
With
the monumental inscription in the UNESCO World
Heritage List, the Cathedral of Cuenca started a radical transformation
which reminds an evocative condition, of Albert Dürer’s engravings: Melancholia I and St. Jerome in his Study,
both from 1514, and Knight, death and the
devil, from the previous year. The three of them reflect a very modern attitude
of the author expressing an activity capable
of organizing the debate between
nostalgia and the resulting
appropriation of memory
enrichment, as an antidote against
all kinds of intransigent readings.
Intervention on decadent architecture since then will no
longer be a matter of ideas but of meaning and consistency, temporal context
and urban functionality. The humanized space will initiate immediately a path
as a construct to occupy a central place in the human landscape.
The humanized space,
as a project phase from an initial
modernity, will be a true revolution in the “way one watches and is watched”. This phase is incorporated within
the European Landscape Convention and associated normatively to the new meaning of
monument as public space (Convenio Europeo del Paisaje, 2007)9 [14]. The latest
interventions carried out on the Cathedral of Cuenca clearly show this issue
exposed a few decades ago. Amedeo Bellini points out that: “conserving is
finding a methodology to reinterpret without destroying”(Bellini, 1996) [15].
“Destruction or alteration exist for vital reasons: they are the inevitable
result of a value judgement” involving a discipline model based on love of the elegant combination of surprise and rigour. It is a perceptive, aseptic
revision in the fight against styles.
The detour work is an ideal tool to distort “cultural
landscape” by architecture, to obtain the desired critical effect “of physical
consistency and double polarity —historical and aesthetic— with a view to their
transmission to the future” (Marinas, 1993)10 [16].
Perceiving is now giving meaning to stimulus; and as such, one of the current
characteristics of the gaze is to be creative. The restoration intervention
ended the century through an attitude of landscape
mediation causing ever greater interest in society and in the conservation
debate. The sensitive problematic issue of landscape mediation is polluted both
by aesthetics and philosophy and, of course, by politics at all levels.
Regarding such risk, Peter Zunthor reminds us that:
“more than with architecture people are particularly sensitive with public
spaces” (Zunthor, 2004) [17].
Therefore, the Vienna
Memorandum, from 2005, as a consequence of these controversies, confirms
the convergence of all this memory architecture within the city. According to
this transference, the document suggests the directions to be followed: land
planning and quality space for living, projecting a more comfortable and
logical city. When seizing materials, the social collectivity appropriates them
as “public space” in a new way and asks the material relevant questions on how
to recycle the empty monumental or obsolete space generated by the industrial
culture. Regarding the added value in constant increase, society wonders how to
treat the new structure of global landscape from the existing reductionist
project of the architect (Clement, 2007) [18], foretelling unknown parameters
in this new perception.
The
intervention of conservation and restoration in the Cathedral of Cuenca, in
recent decades is inserted within this expanded project strategy. As an
available enclosure of unfinished materials is redefined by the strategy of the
Master Plan, seeking to integrate and develop the double temporality. This
strategic programmed approach produces a “giant methodological leap”. The
timing of the intervention, and coordination of works became a common problem,
as in the other Spanish cathedrals —more than eighty (Bienes culturales, 2002)11 [19] The
first Plan of Cathedrals established at the end of last century is the drafting
of an ambitious collective specification to
homogenise the contemporary complexity, while leaving open space for local debate and questions to be answered.
An architectural intervention is also a working transversal
strategy. Interacting experiences, —which implies unravelling current responses
to address a preventive strategy—
bind the syntax of old and new materials, projects, and data to urban and
territorial scales. The strategy is to make “virtue out of necessity”,
achieving a more appropriate instrument, more innovative to generate an action
logical framework as research project.
Designing is to be performed on a constructed materiality
which involves solving a poetic pending desire to act. As an exercise in
architecture design, the Cathedral of Cuenca is valued as a pilgrimage centre, not only a religious one but also a typological
one. The cathedral as a special reference and unique landscape in the city
re-defines its limits in front of a visitor in need for a double answer: the
perceptive one, of what exists there, and its identification as a place. The
present cathedral project in its continuous historical destruction-construction
journey ignores the obvious to focus especially in paradoxical issues and in
“everything which is still to be written” (Marinas, 1993) [16]. The aim is
“preserving to learn”, not “knowing to preserve”.
The immediate emergency, as the Charter
of Kraków stated,
is sustainability —an ambiguous
but accurate word. As collective culture, the
Cathedral of Cuenca needs to be up to the challenge, at a time of recycling, of
colonization and of overabundances. The accumulation of knowledge
of excellence in these venues becomes a paradigmatic space to verify
these assumptions. Knowledge is subject to the new gaze by the collective
intervention methodology. Both in terms of technological innovation and design,
the cathedral rehabilitation requires a protection of the monument from the present
information and communication field, which implies an understanding and organization of the Previous
Studies (Fernandez-Alba, 1998) [20]. These previous studies
of “secret reflection” developed since the 1980s, helped
decide the new path to be followed, according to criteria from the
previously stated Master Plan. After fifteen years of radical revision, the
process is consistent with a true re-founding process of the times Spain was
living (Ibañez, 1983)12 [21]. Thus, a debate of historicist protection
is closed, while another one of dialogue will open.
A ruin during the Political Regime change
Modernity began in Cuenca —a city on a singular mountain,
and with difficult access from Madrid at that
time— in the midst of dizziness before the belated end of the Ancient Regime. The need to draw a new map of the land
by the rising bourgeoisie, who had seized
power, forced Ildefonso
Cerdà to write his famous
urban planning treaty of
the memory of the Industrial
Period. Regarding the elements provided
by the Historical Heritage, monuments
derived from a Romantic legend into a phenomenological perception and
creative artistry.
In this way, this Cathedral, declared as National Monument
after a dramatic ruin, in 1902, with the material collapse of the Tower of the Giraldo, states a crisis that confronts the place, in the
heart of this debate. The scholar Vincent Lamperez
signed the first draft of restorative intervention in a still historicist
context that will shape the Cathedral evolution until the 2nd World War13 (Navascues, 2009)
[22]. Closing a long parenthesis opened a century earlier with the Baroque
transformation of its “Transparente”14, the
cathedral shows a curious regression between that scenography progressive
activation and the late tradition. Between the two, lies a step backward of a
19th century loss in the building, in the landscape and, perhaps, even in the
country (Vela, 2009) [23].
Almost a hundred years later, new changes in the
restoration sensitivity lead to a new revision. At the end of the 20th century,
three attitudes implied a new documental interpretation criterion for the
cathedral conservation, which cannot yet be understood or handled without
the context discipline in which it is immersed; without considering
the transformations and the various changes surrounding the building. In fact,
a new belated reading, in the 1980s, after this first stylistic
attitude, assumes the basis of the positive restoration procedure that frames its current drift15.
Foundation of Cuenca
Cathedral
Apart
from the biography, the geography of the Cathedral of Cuenca is essential. Its
location plan becomes a map, but this map implies a change in the gaze on a
Heritage scheme of eye-perceptive significance whose historical references are
based on Giorgio Muratore, who proposes a system of
representation based on the archaeological and the morphological matter (Barosio, 2009) [24]. This approach involves having a model
to explore the monument in an updated reading of the elements, to conceptually
“deconstruct” it and redesign it. This "return to the origin"
requires starting at the historic
level, and analyzing the meaning of the cultural landscape as a Medieval border
—with Toledo, with Cuenca, and its Cathedral, at the beginning of the 12th century—
when the stone walls were erected on a pre-existing Muslim settlement to
increase the prestige of a European
development in expansion.
Fig. 3. Floor map belonging to the Master Plan. 1998.
A situation plan is not only a descriptive plan but it
includes the content background as a declaration of principles. This approach structures a reading that determined
by those times and the strategic topography, highlighting the cathedral
innovation as Gothic
architecture profile. The Cathedral experimental and avant-garde
founding is a unique piece in the
landscape of Southern Europe at the time. The
Cathedral biographical profile,
which in this first phase is basically territorial, begins a
dialogue with the conquered place by studying
the articulated parts of the design. Its main settlement vector turns its axis to the West redirecting the trace of the
church and correcting the configuration of the previous layer of the mosque,
which had earlier been there16. The plan was developed according to
the Norman tradition with a choir in its transept accompanied by two stepped
small apses. These no longer exist, but they would confirm an origin hypothesis
from the French Picardy region; this in turn, shows autonomy in the cathedral
initial trace only restricted by the mural wall of the South side of the future
ambulatory.
Historical transformations of the Cuenca Cathedral
Under the early masonries, the Cathedral of Cuenca as a “Civitas
Dei”, a closed enclosure, provides
a homothetic growth of its secular transformation chain (Figure 3). Its lantern
tower, of Carolingian reminiscence, ensures overhead lighting,– cause of the last restoration project in 2009- and completes
the first decades of the building life "provisionally" hiding its void. The space defined by the
Cathedral generated an inside-outside structural
discrepancy. These elements will be clarified during the following
century with the eastward enlargement of three aisles reaching the level of the final and
current façade. The cathedral’s first “primitive Gothic”
wall structure proposes
a compositional solution
related with the Abbey
of Mont Saint-Michel, in Normandy, on the border of Brittany, setting the Cathedral
within a European scale. The Cathedral
historic discourse shows a systematic space of protection between the “outside
and the inside”, which started with a primitive cemetery
surrounding the temple,
according to regulations of the Code of the “Partidas” from King
Alfonso the tenth17. This “nobody’s land” of transition to the civilian town became integrated
within, when this funerary tradition was forced to be moved to
the inside walls and absorbed by the expansion of the ambulatory (Trias,
1999) [25]. A formal and functional restructure will be defined in a similar
way to the one carried out, time later, on the second and final cloister. The ambulatory
built around the church head hid the first enclosure
of the building; and in addition, it justified an important extension
over the immediate “hoz”18 altering a
profile of defence, which had no meaning anymore.
Fig. 4. Longitudinal section. “Transparente” project by
Ventura Rodríguez. Courtesy of the School of Architecture, Madrid Polytechnic
Univ.
Another major
transformation, in the Cathedral of Cuenca, took place in the 1400s with the
work of the cloister. It implied a new cloister running on the space where a
previously demolished one of Gothic tradition stood. The goal was to match the
ground level with that of the aisles of the church solving a functional problem
of the transversal section. This problem was due to the land distribution in
Medieval times originated by the defensive character of Castile. The
implementation of the cloister involved a deep levelling with vertical alteration as well as cultural,
in the same way as the ambulatory had earlier been horizontal.
Fig. 5. Sketch
engraved
on
the
wall, inside, in the upper part of the Angel Tower. It reperesents a non-identified deambulatory structure. Drawn
by an anonymous author, date unknown, discovered during the last restoration works.
For the first time, important figures in architecture such
as Andrés de Vandelvira or Juan de Herrera, architect
of the works of the monastery of El Escorial, gathered in Cuenca (Ortega, 2009)
[26]. The construction of the new cloister became particularly difficult because of the excavation in rocky subsoil.
According to the chronicler, "its interior
length is 87 meters approximately 39 metres wide, at the transept". The cloister defines
an unusual scale concept, which plays a unique role in the landscape of the city and will
be an essential parameter for the inscription as World Heritage. Anton Van der
Wyngaerde in 1565 drew the first draft/design and two
hundred years later, Juan Llanes and Massa, in 1773, corrected
it describing the beginning of the “illustrated city”. Ventura Rodríguez, at that time the King's architect
and designer of many buildings all over Spain, would later transform the altar
with a Baroque interior theatricality materialized in the previously cited
“transparent” (Figure 4).
Large reform interventions on the building ended with this
last reading of the internal landscape until
the industrial period took place, when the already described restorations were
performed. A last intervention on the closure walls would consolidate the
process of architectural modifications, integrating the private chapels. This
intervention, in addition to generating
a change in the concept of limit —the interior and exterior of the Cathedral—
physically weakened the frontier as a discontinuous line causing conflicts
of stability in the twentieth
century.
Together with this last concept
of the Enlightment Landscape, the most important fact was the addition of other
documental sources in terms of
Cultural Heritage19. Beside architecture itself, the document becomes a scientific
source within the project
design of the Cathedral. Anyway, it is not until the end of the Ancient
Regime that the critical use of
the document elaborates the historical meaning, which today represents the Restoration
Theory. The interpretative value started in the 19th century suggests the
disappearance of the “Libros de Fabrica”20 of Cuenca’s
cathedral, or the incompleteness of the Chapter Records, an
unrecoverable loss21 (Chacón, 2009) [27].
In addition to literary data there are drawings, diagrams,
valuable plans22 describing the changes
that have occurred
in these spaces,
or in the decorations. In
this way, the extraordinary value of
the discovery of the trace of an unknown ambulatory23, at the time when
recent works of consolidation of the dome were performed should be highlighted.
It compensates earlier shortcomings
as well as justifies the
interdisciplinary work between archaeology and architecture (Muñoz, 2009) [28] (Figure 5).
First
Romantic contradiction
Surprisingly, the first intervention, after the aforementioned collapse that inaugurated the 20th century, can be considered
as an eloquent contradiction: the demolition of the Baroque
façade, symbol of Cuenca Cathedral entrance to modernity and which still accommodated
remains of the original Gothic one. In contrast, by restoring it in stylistic restoration, it disappeared. It is almost ironical
to justify it as a theory that promotes the "industrial destruction" of the place24.
Ambulatory, cloisters, or the façade, which were basic
arguments in the Cathedral historic transformation, will be claimed as
constructive reasons in the Cathedral decline. These accumulations will be
linked to the actions needed for the cultural and social understanding of the
cathedral. Like a “strata storage” coexisting with the Romanesque-Gothic
experiment of Cuenca, —the southernmost example in the region of Castile, with
its successive "Renaissances", "Baroque", "Neoclasicisms"— ends in a nineteenth-century
idealistic Romanticism which is followed by more destruction intervention on
the transept tower of lights25. This last
intervention with very bad results for the Cathedra,l
ends up being fortunate; indeed, even being very close in time to the replaced
façade the result is the opposite. The certainly modern approach is carried out
from a stable attitude which saves the authenticity of the monument; and this episode closes in an irreversible way, the Viollet-le-Duc chapter in Cuenca. The data managed has sometimes
been particularly confusing, and as an example we can name the confusing
hypothetical Francisco Javier
Parcerisa engraving.
The "fictional reality" of this engraving did not make a prudent Royal
Academy of Fine Arts of San Fernando experimented consultant inspecting the interventions change it.
The existing “eight-part vault” was maintained.
Three decades of
Heritage revision: 1979 - 2009
In an approach to move from landscape to object, Heritage
protection and its reading today go hand in hand to channel memory and conservation processes.
In the Cathedral of Cuenca, Modernity set up and exceptional policy of
isolation. It re-established a strategy of normality regarding
Time and Space26. Modernity, conceptually and methodologically, adjusted
the cathedral patterns with the
European context and it denied any tempting improvisation to include these
large-scale buildings through the conservation project. A thoughtful reflection
started, then under a “hidden planning stress”, that aimed at protecting but
also researching, documenting, teaching, disseminating, and learning.
At the end of last century cathedrals began to define specific thematic plans and the corresponding Master Plans, in the same way as historic theatres
or bullrings had already accomplished. This began the process to refine
the tools used to manage programs, ensuring interpretation
processes in the new interactive dissemination framework and public
participation of the digital society. Indeed, the aim was to ensure the building’s sustainability
through feasible policies of
prevention, and virtual and physical accessibility.
Fig. 6. Details and section of the
restoration of the
new
cover
of
the
ambulatory performed
during the works of 1982.
The process culminating in the 1990s, conditioned by logical emergencies and needs to rationalize the planning,
developed social supports for management and continuity in its supervision.
These supports arose from almost experimental projects, when dealing with the
changes intervening involves; in the case of the Cathedral of Cuenca when
addressing the irresponsible criteria seriously affecting the building’s stability as a whole. The intervention faced problems
originated by having eliminated buttresses, centuries ago, prompting the
obvious risk of collapse in the cross-section; but at the same time, restorer
architects began to project the rearrangement of the natural lighting of the
building. Light, essential
factor in architecture, is incorporated as a necessary
perception factor in correct restoration as order.
The “light factor” perception provides vitality not only
for the obvious ability to sustain new activities but also for the possibility of properly re-reading the Cathedral’s
meanings (Cullen, 1996) [29]. An effort is needed by the citizen to incorporate
this perception into its use in the city space and to establish an exchange
between efficiency and balance, investment and benefit (Maldonado, 1972) [30].
The architectural space must be an operational venue where a large number of alternatives can be added to the landscape itineraries as
serial visions between
its outside and its inside. As constituent elements of a
repertoire of outstanding concepts and symbolic pieces, these theses aim to
unveil the extreme complexity to discuss the two most immediate risks:
the uncritical and nostalgic temptation and the consequence of a specific analysis,
understood as urban and already known characters.
Perception of these architectures becomes then eminently
dynamic; and they need projects for which we must be prevented. Lightning rod,
dry columns, or other mechanisms of current technology and regulations intended
to protect the physical viability of an inevitable degradation is performed
through the roof restoration at the
end of last century solving a problem of basic conservation of the church
aisles. At the same time, it solves various disputes of historic uncertainty,
which had delayed a solution until then: it incorporates a "third
way" to the solutions planned or executed27 in the
ambulatory. Architecture and the landscape implications offer now a strong
dialogue between Culture and Technique that witness the restoration works
carried out in these final years of the last century (Figure 6).
As a tangible heritage of modern ruin, produced by the unfinished restoration of the
neo-Gothic façade itself, the monument articulates a pragmatic nucleated way of
doing thing. It was necessary to undertake a precise and strategic manner in
the absence of a systematic survey and a budgetary reduction. In terms of architectural acupuncture the
restoration’s ultimate goal is to approach the contemporary landscape in spaces
such as the cloister of the Cathedral of Cuenca. This requires the adaptation of the functional rules and facilities, but above all, it involves
a strategy of skylining a transit place. When the architect intervenes in
structural or mechanical matters —on the flying buttresses built in replacement of the previous buttresses
which enabled the singular “chained vault” of the called Dr. Muñoz Chapel— we are not only ensuring
the stability but also recovering interstitial spaces. A potential viewpoint to
the vacuum over the ravine of the Huécar River, as well as the access to the archaeological reserve of the former “Camino
de la Limosna”28 forecasts another way to understand
the quality of the space in these buildings29.
Two
last interventions highlighted
After
more than one dozen of drawn up and implemented projects on the Cathedral of
Cuenca in the past thirty years, the last decade allowed to draw several
conclusions. The site plays the role of exceptional guest to confirm the theses
within the in force Master Plan. It synthesizes arguments of memory in its
present route. In addition, this means that new protocols are stated to define
it: to know what Heritage we want to deal with, what identity it has, what future
does it imply, and to make the present urban space more liveable (Nair, 2010) [31].
Entropy to be amended since the Napoleonic reform —in this
“modern battle” on the Heritage concept of an obsolete culture —requires
constant adjustments to the restoration strategy: in other words, understanding
how to integrate the Cathedral’s operational potential in this Internet
Society. In this context
of apparent ambiguity, interventions such as the ones completed
recently on the cloister and the Tower of
the Angel represent something more than a temporary
culmination of the process. There are two strategic intervention projects in
the monument material biography: the internalization
cloister space, and the externalization tower.
Framed by the guidelines plan, these interventions are the
result of what has been done in the past ten years:
previous works on the roofs of the temple whose external configuration
crowns the external landscape of the whole, and the volumes of the later
Asunción Chapel. These works as part of the reflection on the Cathedral
conservation imply a new reading of the building as a historic landscape project30. The goal confirms the existing nature
of the place and its successive
overlaps making it a positive factor in the spatial urban memory of the citizens.
The intervention in the Angel Tower
The
consolidation of the upper body of the “lantern tower” and the use of the
cloister31 define a concept of closed garden. Both mean, two keys of excellence, which offer a
metaphorical dialogue, and also a dramatic dialogue, needed to understand the
extreme conditions in which the dimensional strategy of the cathedral landscape
has changed.
The Tower, with thirty six meters in height, on a natural
basement of an equivalent height, defines an extreme dimension as a solid,
while the squared cloister, with twenty-two by forty-five meters area, defines
its geometry as a void. They are two material unresolved biographies, which as
a synthesis close this contemporary reflection on the project of intervention
in heritage and cultural landscape. The present territorial scale gives the
Cathedral an urban meaning, an
updated turning point in its consolidation. This reality appears only to the
eyes of the person who is able to enjoy it. In this sense, in contrast with the
disproportionate effort of the high deterioration of the dolomitic limestone,
the Angel Tower implies a unique
overview of the guideline proceedings followed by History, since the beginning
of the 13th century. The Tower rises above the axis of the façade, as a light cube, whose square structure
plan is constructed with walls in a gallery using the "thick
wall" technique —common in medieval Europe from Normandy, England,
Flanders and Burgundy. From its origin, the closure of its overhead void using
an auxiliary vault —the “eigth-part vault”— was a cause of controversy with the result of a long process of delay and fires.
Fig. 7. Photograph of the cloister after restoration, in 2009.
Located at the highest elevation of the city, the Cathedral defines
not only a stylistic example
of transition archiecture between
Romanesque and Gothic
styles, but also a structural conflict
between wall and pillar.
The Tower describes a temporary
and constructive process,
whose result is a “provisional vault” hiding the successive growths and the thwarted attempt to achieve eight springers for the needle,
which was never built. Its delicate
state at the beginning of last century forced to place a wooden winding
shoring tower, later corrected
with two ties of reinforced concrete32. This intervention has led to the definite
consolidation of the much altered Tower faces,
under a strict conservation criterion.
Fig. 8. Access
conflict between the cloister
and the interior spaces of de
church after
its final
resolution during the works of 2009.
Fig. 9. Detail of the
moldings consolidation execution, performed
in
2009, on the
entablature
of the area projected by Juan de Herrera in the cloister of the Cathedral.
Supported by an intense work of archaeological research, which has also provided the referred results,
the lack of full development
up to the ground level still leaves many
questions in terms of a precise scientific data, even though it has unveiled
the bearing capacity in the basement —a research
performed in the1980s. Archaeology is here a cultural and geotechnical document33. The work
is essentially a bonding
between the two sides defining
the walls, with specific
replacement and volumetric restoration of the weathered stones and capitals,
split by the different fires.
The work on the winding Tower, solved using epoxy mortars, with
fiberglass reinforcement of various widths, has been completed, rescued,
re-used as Industrial Heritage and can now be accessed for maintenance34.
Cloister intervention
The
other great intervention, the restoration of the cloister, (Figure 7) has also been a spectacular work. The
intervention has had a great local regional and national impact in the media35.The cloister’s
historical singularity and its execution
difficulty have been kept hidden to the visitor these last centuries due to the pathologies36 and the poor material
condition it had. Built to be added to the Cathedral set, it has only been
possible now after this intervention at
the end of the year 2010. The goal was to connect, for the first time, the
temple aisles level with the cloister through a piece of unique transition,
like a triumphal access, the a
so-called Jamete’s Arch, in homage to its author. This would solve a historical composition mistake.
The limestone "box" excavation seems to be the inexhaustible source of problems the arch
has burdened the cloister existence until
today. The building is a sum of multiple repairs and historical reforms
—some very aggressive like the lifting of a second floor in the 18th century,
others simply clumsy like the closures of the arches—add to the most serious
problem: the incorrect connection which has so
far prevented the construction of the entire operation (Figure 8).
Starting by an already ruined
physical condition —to which the handicap of the ruin of the Tower of
the Giraldo
causing the partial collapse of some of the vaults is to be added— the
restoration project now has solved all these issues within a very wide program. After centuries, the landscape of the church opens today to the cloister surprising
the visitor. A new landscape is offered for the first
time as a very important journey for the monument and the city of Cuenca, but
some extremely weak materials needed to be consolidated before allowing the
access.
Great section losses, bulging of shafts and pillars,
virtually disappeared flooring, the monument abused by improper use, and many
pathologies has made the intervention project developed for the Cathedral
rehabilitation a guide to the reading of an “archaeological situation”. All
these facts have advised to carry out a very physical, metaphorical, contemporary freezing, in order to
consolidate the building in its damaged parts, binding them with techniques
causing the lowest possible aggression.
In a similar way to that used in the Tower, we have sought to obtain the benefit
of preserving data and understanding it, but at the same time, alleviating the degradation over time. The project
has set out to ensure coexistence: complicity between some deteriorated remains
and new techniques or materials needed to ensure its future preservation37 (Figure 9). The
project has solved the intervention as a dual, cultural, and physical
discipline, to overcome different problems such as rain water —a major problem
as the building faces an extreme climate, at 1000 m altitude, with oscillations
of fifty degrees between seasons and heavily beaten by wind or frost and heat.
With the inclusion of design drainage and evacuation systems, as well as
protection of the ornamented areas, the materiality of the cloister is assured.
Urban and architectural integration will someday be
completed with the musealization and the recovery of the Baroque garden that
gave meaning to its open space and which, for economic reasons now it has not
been performed. The restoration of the fountain that orders the courtyard is
not any longer a chapter in the pending gardening, because it is part of the
whole, the city or its landscape. The aggression of the groundwater emerges in
the cuts of the white limestone base. Still today, the fountain remains as a
generator of serious problems and there is a need to have data and to know in
depth the problem, to ensure its proper conservation. It can be said that the
technical choices made in this last restoration are justified as not only
solidification of damaged pieces but also as a dialogue between new essential
additions to recuperate, in a minimalist way, the capable solid and its
reading. Addition of industrial prosthesis has supplemented the process, with
for example, a zinc roof covering a great span to protect the whole
entablature.
The unique scenery of the space is enriched with an
inventory of glazes that deserve an additional explanation for its historical interest.
In the year 1547, when the replacement of the existing
cloister was substituted and the architect of El Escorial, Juan de Herrera
was called, —his architecture establishes the stylistic trend— the stone
extracted from the quarries near the bank of the Júcar
river basin would have been obviously-black: granite. The Cathedral image was,
however, very different and it needed a surface treatment of patina
characteristic of the Baroque culture. To obtain
the “Escorial image” a wax or oil surface treatment is then performed according
to mixtures of natural pigments with flaxseed
oil dissolved with turpentine. This provided an added value of better protection for the base stone weakness
although it evolved differently depending on the orientation of each wall, and
this has required a thorough recovery process affecting the patina.
Both pieces allowed finishing the two mechanisms of
historical urban landscape, the tower and the courtyard. The completion of
these two works concludes, for now, the
contemporary interventions on the Cathedral of Cuenca, in its last phase (Figure 10). Its readability and its
use, as examples of an incomplete action of available architectures of time and space, justify in its uniqueness
both its conservation and its dissemination. This implies a new chance rather
than being a drawback and mainly emphasizing the infrastructures of the present
landscape. By ensuring this strategic condition of an open status process,
the modern project over
the existing one —in these early decades
of the Millennium—
provides meaningful questions to answer on a fully urbanized and democratic landscape38. This means
that a cathedral resembles a spatial avenue (Buck-Mors, 2001) [32] with the same
structural importance. That is, an idea of multiplicity of stimuli (Rowe, 1998)
[33].
Conclusions
The
restoration project of the Cathedral of Cuenca has provided a frame for an
in-depth review of concepts such as Cultural Heritage, and has allowed
incorporating new parameters to be considered for the architectural
intervention. This approach makes of the stratigraphic wealth, from a
contemporary perspective as a materialized memory, an ally and not an obstacle.
Cuenca Cathedral has provided a clear mechanism for this survey analysis.
From this study, four conclusions have been drawn:
1)
Architectural Heritage is understood as an open cultural process.
i)
In this way a correct balance is reached between method, matter and memory.
ii)
The industrial time of the monument establishes a new
land and artistic interpretation of Matter and
Memory.
iii)
The architecture of the monument foretells a
contemporary media reading of the present architectural discipline.
2)
Heritage is linked to the environment and specifically to sustainable values;
i)
The monument situation
plan has become an important
contemporary palimpsest.
ii) The bond between heritage
and landscape in the last years solves historic debates
in the present project.
3)
Heritage defines a public space for dialogue
among different actors in our intercultural society;
i)
As a public space, heritage unveils unknown parameters in the monument perception
ii)
The monument understood as public space gives the
project an open profile which adds up, once again,
to the city project.
4)
As a holistic conclusion, Architectural/urban Heritage
refers to accessibility concepts in the contemporary global Communication and
Information Society.
i)
The changes in social sensitive alter the methodology,
and this in turn, alters the concept, and not the opposite. It is an innovating
strategy in which Cultural Heritage becomes an interactive element among the
citizens enjoying the Heritage.
ii)
A systematic incorporation of all the data available as
a result of the new knowledge tools applied changes the Heritage interpretation
of the monument.
iii)
The last
works performed are strategic pieces —vertical and horizontal— altering the
contemporary monument landscape in its urban and land integrity.
These has provided
an understanding of contemporary Heritage
as an infrastructure of the new landscape
project developed in the present scattered city. In this interpretation, both, perceptive and symbolic
choices are important. Cuenca’s restoration
unveils elements of an infrastructure to confirm the restoration project potential as a new contemporary “portulano”39.
Fig. 10. General cross-section of the
building where the cloister
can be
seen
on
the
left and the
church with its Angel Tower on the
right over the crossing.
Acknowledgements
Works on the Cathedral of Cuenca in the last thirty
years have been promoted by the Central Administration of Spain, Ministry of
Culture / Institute of the Cultural Heritage of Spain and the Ministry of
Housing. Funding has been provided by the 1% Cultural Programme.
Exceptionally there were also financing aid of the Government of the Region of
Castilla-La Mancha and the Town Hall
of the city of Cuenca. Even, there have been private sponsors such as the Banesto Foundation and the ACS Foundation. The latter has
promoted a recent monographic publication as well as the exhibition in the
arcades of the cloister, set with the help and support of the School of
Architecture ETSAM of the Polytechnic University of Madrid
UPM. English translation of the article
was provided by Isabel Salto-Weis (Madrid Polytechnic University UPM).
1.
All the study
is framed within
the stated intervention and experience together
with a research Group Project
focusing on urban and land interventions in historical landscapes of Industrial Time.
See Research Group:
Cultural Landscape GIPC of Polytechnic University of Madrid.
2.
Maryan Álvarez-Builla and Joaquín Ibáñez
Montoya are the architects responsible for the conservation works of the Cuenca Cathedral
from 1979.
3.
Recently, a collective exhibition has been organized and a book on the Cathedral was released by a wide group of experts have been included: La Catedral de Santa María de Cuenca: tres décadas de intervenciones para su conservación (2009).
4.
Cuenca city has been inscribed
in the UNESCO World Heritage
list in 1996.
5.
See German Del Sol, “Letters
from November 11th 2011”.
6.
See chapter V about metaphorical interpretation with
historical crisis.
7.
Eduardo Chillida, a follower of the sculpturer Jorge Oteiza, uses the concept of creative silence as a constructive element.
8.
The decisions to promote a new discipline of Landscape to
allow architects to survey the urban space was initiated by Jose Luis Sert, Dean of the Harvard School of Architecture during 1953-69 in a world shocked by the postwar and growing quickly towards total urban development.
9.
Any part of the land is perceived by the people as the
result from the action and interaction of natural and/or human factors.
10.
A provoking debate of reinterpretation promoted by the
situationists has recently been recuperated by the environmental readings. Guilles Deleuze uses this principle as a contemporary idea of construction.
11.
Once the technical specifications were agreed upon and
after several topic meetings, in 1998 the Ministry of Culture of Spain launches
the First National Plan on
Cathedrals. They start drawing up a Master Plan with a validity of 10 years as
an alternative tool for the traditional Project. A group of archaeologists,
engineers, chemists, urban planners, geographers, museum curators, and
archivists… incorporate their analysis to the diagnosis and conclusions.
12.
In 1975, in Spain, Franco’s dictatorship ends after four
long decades. This implied a revision of the country state as well as of the
Cultural Heritage and its conservation. To this end, Spain will opens itself and get fully installed and integrated within the European vanguard.
13.
After a detailed survey, works began eight years later.
The difficulty of the work is similar to the one performed by Ventura Rodríguez
a century earlier. After the death of the prestigious scholar, the
responsibility of the works lied in the hands of Modesto Calvo Otero, his
follower; once the Civil War finished in 1939, the architects
Jose Maria Rodríguez
Cano and Juan Manuel González Valcárcel followed up the work.
14.
The term “transparente” is used
by the architects in Spain in the 18th Century to solve the Catholic Church
prohibition of people walking behind the Christ figure in the ambulatory ; in this way, natural
lighting in a magic way, is provided.
15.
The term “in style” defines
the Romantic-idealist interpretation adopted by the restoration movement
in Spain following
the French initial interpretation associated to Viollet-le-Duc.
16.
The Master Plan includes the floor dig out to precisely
date the prior stratum, which is only known by the georadar
study performed at the beginning of
this century.
17.
This legal code, “Las Siete Partidas”, regulated the dimensions of the burying spaces
around the church mainly in the Middle Ages in the Kingdom of Castile.
18.
The Spanish term “hoz” (ravine) is used in this region for the specific geological
formation made by limestone along the rivers.
19.
The Gothic origin is an example of geometric proportion,
of repetition; a metrology, which obviously varies with time in architecture,
and there are hands and elbows, proportions which coincide with plan and height.
20.
“Libro de Fabrica” is the term
used in Spanish to define the Chapters Records, documents which gathered the
description of the works performed in the buildings.
21.
A first historical document is well known, which talks
about the church: “it was left unfinished… and it lacked the premises required
for the religious cult and needed an urgent reparation since otherwise, some parts could collapse”
22.
As the ones drawn by the 19th municipal technician or by the conservation architect
Venancio Domingo in 1888.
23.
An exceptional drawing discovered during the last conservation works 2009-2010.
24.
The remains of the structure of the primitive Gothic
façade together with the triple aisle enlargement, triple architrave front and
mullion, which had suffered many pathologies and reforms, cracks and fires,
disappeared. The remaining stratigraphic development, the last composition, of
the pointed arches, disappeared with the industrial revolution.
25.
Last century, there was a fruitful debate
between Ricardo Velázquez
Bosco and Luis Landecho at the Royal Academy
of Fine Arts of San Fernando in an attempt to finish what
had never been there. Their proposal was rejected this time.
26.
The Cuenca Cathedral
Master Plan is coordinated by the architects Maryan
Álvarez -Builla and Joaquín Ibáñez.
27.
It suggests an intermediate position in between model and idea
originated from the “Toledana model “,which is
interesting to analyze regarding restoration in the working models used for
this project. They are not the first ones from the Cathedral of Cuenca; there
is one on the transparent, which describes
colours and textures,
and another later one about the Neo-Gothic façade focussing on the volumetry of it.
28.
It means a old pilgrim itinerary
outside the church.
29.
Archaeologists had studied earlier the anthropomorphous tombs found next to the base of the Giraldo Tower, of early chronology.
30.
In this revision, the quality of the project mistakes can
be noticed, both in its design and construction. For example, the poor construction of the Toledo Section of the Girola, which did not allow to evacuate the rain water, or
forced solutions to associate the bottom plan of the Honda Chapel. It is therefore
an updated cartography redefining the project
and its programming.
31.
Declared as ruin for more than two centuries by Ventura Rodríguez
when he arrived to the city to project the reforms over the Transparente.
32.
The listing of materials describes Cuenca as rich in wood,
probably the first
material used in the construction of the Cathedral. Timber is used in
the marvellous wood carved ceilings and the new
cloister designed in 1560.
33.
A non-aggressive superficial cleaning of the interior walls has been carried out by manual brushing.
34.
A binding was performed by a 90 cm glass fibre bar 12 mm and 8 mm in length and width.
35.
It is the only Gothic cathedral in Spain which has a cloister design by the famous architect
Juan de Herrera.
36.
The example of the Valladolid Cathedral is another global
project carried out by the same architect, although its construction was not finished.
37.
When the elements exceed one third of their volume by
sanding, substitution of these elements by abstract capable solids was needed.
If this was not needed,
a binding process
with 90 cm long and 12 mm in diameter
glass fibre rods were used to ensure
their span and bending strength.
38.
Working on accessibility, both physically and virtually,
defines new questions to guarantee the transmission, reinforcing an observatory
policy to monitorize it. See “PatrAc
Project” 2007-11 I+D+I Spanish
National Research Program.
39.
Definition of the nautical map often used in the 12th
Century and up to the 17th Century distributing the space by paths among harbours. From the Latin word portus (harbour).
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Fecha de recepción: 05-05-2013 Fecha de aceptación: 16-09-2013