DISEGNARECON volume 16/ n.

31 - December 2023 ARCHITECTURAL HERITAGE IMAGING

ISSN 1828-5961
Massimiliano Lo Turco
Ph.D. and Full Professor
ICAR/17 at the Department of
Architecture and Design (DAD)
at the Politecnico di Torino’s.
His research focuses on digital
architecture survey and mode-
ling, mainly using BIM and VPL
in Cultural Heritage. He also
heads the BACK TO THE FU-
TURE project, creating innova-
tive 3D databases for museum
collections. Since 2018, he’s
been the Bachelor’s Degree in
Architecture Program Director.

Andrea Tomalini
Architect and Ph.D. student in
“Architectural and Landscape
Heritage” with expertise in
digital acquisitions and infor-
mation modeling. He graduat-
ed with honors in architecture
from Politecnico di Torino in
2019. During his Ph.D. (from
2020 onwards), he focused on
using BIM and VPL methods
for managing existing assets
and creating a unified digital
H-BIM for the Torino Esposizioni complex: A fusion of Parametric Digital environment for museums and
Modeling and Image Archive, bridging past and present collections.

Jacopo Bono
Ph.D. student in “Architectural
The article explores the outcomes of restoring torations over the years. Painting a vivid picture and Landscape Heritage”. In
the Torino Esposizioni complex, a masterpiece draws profound parallels between historical im- 2021 he graduated with hon-
designed by Pier Luigi Nervi and a crucial com- ages and contemporary digital representations. ors in Architecture (ACC) from
the Politecnico di Torino. Dur-
ponent of Turin’s architectural heritage. This ing his postgraduate period, he
building has once again become a focal point in won two research scholarships
contemporary discussions, given its central role focus on drawing, virtualiza-
in the Technical Economic Feasibility Plan (PFTE) tion, digitization of Heritage.
His research interests concern
proposed by the Isolarchitetti studio in collabo- modeling in the H-BIM envi-
ration with Rafael Moneo, slated for completion ronment by investigating the
in 2022. This team played a pivotal role in imple- construction of parametric and
menting and refining the BIM methodology with- non-standardized libraries.
in the professional realm, specifically for crafting
the architectural model of such a distinguished
property. The process of breaking down the
building into standard H-BIM components began
with a preliminary phase of study that leveraged
an extensive iconographic collection. This assem- Keywords:
blage of images underscores the intricacy of an Pier Luigi Nervi, Torino Esposizioni, H-BIM, BIM
architectural entity deeply rooted in our heritage methodology, Image archive
and chronicles its myriad modifications and res-
http://disegnarecon.univaq.it DOI: https://doi.org/10.20365/disegnarecon.31.2023.6
DISEGNARECON volume 16/ n. 31 - December 2023 ARCHITECTURAL HERITAGE IMAGING LO TURCO - TOMALINI - BONO 6.2
ISSN 1828-5961 H-BIM for the Torino Esposizioni complex: A fusion of Parametric Digital Modeling and Image Archive, bridging past and present

INTRODUCTION A COMPLEX PAST EXPLORED IN DIFFERENT

REPRESENTATIONS
In its ongoing efforts to preserve and elevate its in-
valuable architectural legacy, the city of Turin has The Sottsass-Nervi building stands prominently in
presented a comprehensive proposal to the Min- the southern region of Valentino Park, occupying
istry of Culture to requalify the Po area. Central the grounds of the former Palazzo del Giornale.
to this initiative is the extensive redevelopment This palazzo was established in 1911 to commem-
of the Valentino Park, coupled with a meticulous orate the Universal Exhibition, which coincided
restoration of the esteemed Torino Esposizioni with the fiftieth celebration of Italy’s unification
complex. The refurbishment of Torino Esposizioni (Fig. 1). The Palazzo del Giornale was envisioned
represents a unique opportunity to breathe new to underscore Turin’s global prominence, show-
life into an architectural gem. Upon completion, it casing its stature as a dominant industrial hub.
is slated to host the new Biblioteca Civica Centrale This city hosted global industrial giants, with FIAT
di Torino and stand as the nucleus of advanced leading the cadre. The infrastructures of the Tu-
architectural education and research at the Po- rin Exhibition Centre are exemplary showcases
litecnico di Torino. Envisioned as a vibrant hub of architectural and structural design brilliance,
welcoming the city’s inhabitants, this state-of- brought to life between the late 1930s and early
the-art facility is set to become the pulsating core 1960s by the era’s leading engineers and archi-
of a cultural scene that, at present, seems some- tects. Notably, the most emblematic pavilion,
what fragmented. However, it promises to harmo- curated by Pier Luigi Nervi for the new Central Fig. 1 - Facade of “Palazzo del Giornale”, picture b/n. (Mussatti, 2017, p. 10).
niously blend elements of immense architectural Civic Library, has garnered a spot on the UNESCO
and landscape significance. This work goes be- World Heritage List. Originally debuting in 1937
yond merely chronicling the sequence of events as the ‘Palazzo della Moda’ under the architec- Fig. 2 - Interior of “Palazzo del Giornale” with printing presses, picture b/n.
leading up to the development of this landmark tural vision of Ettore Sottsass, the complex has, (Balocco, 2011, p. 93, as cited in Mussatti, 2017,p. 21).
proposal, which stands as an emblem of Italian
20th-century architecture. Instead, it underscores
the escalating significance of images within this
context. Images serve as potent mediums, captur-
ing the relentless march of time and reinforcing
the notion that the visual can be as impactful and
complementary as the written word. Through this
reimagined perspective, we best narrate the tem-
poral shifts and associated events of this historic
building through a visual tapestry. Within this con-
text, cutting-edge digital technologies emerge as
pivotal, forging connections between yesteryears,
the present, and envisaged futures. Conventional
sketches, drawings, and historical visuals evolve,
culminating in intricate three-dimensional ren-
derings encompassing axonometric and aerial
perspectives. While some of these visuals are
deeply technical, others cater to a broader audi-
ence, offering glimpses into potential futures and
augmenting an already extensive visual repository
intrinsically tied to the structure’s legacy.

http://disegnarecon.univaq.it DOI: https://doi.org/10.20365/disegnarecon.31.2023.6

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ISSN 1828-5961 H-BIM for the Torino Esposizioni complex: A fusion of Parametric Digital Modeling and Image Archive, bridging past and present

over the decades, undergone numerous meta- ly, in that same year, the task of refurbishing and
morphoses. This evolution, steered by illustrious revamping the Palazzo della Moda was conferred
designers like Roberto Biscaretti di Ruffia, Pier upon the esteemed engineer Pier Luigi Nervi. As
Luigi Nervi, and Riccardo Morandi, has cemented a prominent figure in the realm of structural en-
the building’s reputation worldwide as a paragon gineering of his era, Nervi’s involvement ensured
of structural engineering excellence. Pietro Feno- an unparalleled fusion of technical prowess and
glio, Giacomo Salvadori, and Stefano Molli were design innovation in the building’s metamorphosis
premier architects of the Art-Nouveau era in It- (Pellegrini, 1948).
aly, having played pivotal roles in designing iconic For Pavilion 2, Nervi envisioned a basilica-style
buildings during this period. The principal pavilion structure unfolding over a rectangular footprint
encapsulated a visionary portrayal of the produc- measuring 81x112 m. Dominating its longitudi-
tion process of a dominant mass communication nal axis was a series of gracefully sloping, canti-
tool—the Newspaper. This ranged from the incep- levered pillars, each tilting at an angle of 7.5 m.
tion of paper manufacturing to typeface casting, These pillars bore the dual responsibility of up-
typesetting, and culminating in folding (Fig. 2). holding the roof vault and an intermediate floor,
Exhibitions within the pavilion showcased induce- manifesting as a balcony overlooking the central
ments, portraits of eminent journalists, caricature nave. To stabilize these leaning pillars, they were
galleries, as well as compilations of calendars and anchored onto specially designed bases, crafted to
pictorial postcards (Balocco, 2011; Mussati, 2017). counterbalance the force exerted by the expansive
After the Italian National Exhibition in 1928, the vault crowning the main space. Complementing Fig. 3 - Facade of “Palazzo della Moda”, picture b/n. (MAMe, 2021).
initial Palazzo della Moda (Fashion Palace) was the nave and facing the park stands a grand glazed
erected in 1932, directly across from the Pala- apse—an architectural feature initially conceived
zzo del Giornale (Garuzzo, 1928). Umberto Cuzzi in the preliminary designs by Biscaretti (Fig. 5). In Fig. 4 -Interior view of the dance garden in the Palazzo della Moda, picture
took the lead in its architectural design. At the executing the pavilion’s design, Nervi leveraged b/n. (Casabella n.133, 1939, p. 27, as cited in Mussatti, 2017, p. 113).
same time, the interior aesthetic was entrusted
to Annibale Rigotti, Aldo Morbelli, and Gino Levi
Montalcini—with Montalcini further contributing
to ensuing exhibits (Fig. 3, 4) (Sottsass, 1939).
Subsequently, the following year, a proposal was
floated to commission the second Palazzo della
Moda, which was envisaged to supplant the origi-
nal Palazzo del Giornale. The architecture of this
new building leaned towards rationalism, boasting
clean and unadorned designs—a stark deviation
from the lavish and ornamented architecture of its
predecessor, the Palazzo del Giornale. In 1947, the
newly established Società del Palazzo delle Espo-
sizioni confronted the challenge of devising multi-
functional exhibition spaces adaptable to diverse
events. As a strategic move, the interior regions
of the Palazzo della Moda were allotted to this
very entity. This pivotal project was entrusted to
Roberto Biscaretti di Ruffia, an engineer affiliated
with Fiat. In his preliminary designs, he judicious-
ly retained the core principles outlined in Ettore
Sottsass’s preceding initial designs. Concurrent-
http://disegnarecon.univaq.it DOI: https://doi.org/10.20365/disegnarecon.31.2023.6
DISEGNARECON volume 16/ n. 31 - December 2023 ARCHITECTURAL HERITAGE IMAGING LO TURCO - TOMALINI - BONO 6.4
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avant-garde techniques, methods previously vet-

ted by the Società Ing. Nervi e Bartoli of Rome.
This entity pioneered the fusion of prefabricated
ferro-cemento systems, seamlessly blending in-
novation with structural integrity to strike an equi-
librium between aesthetic design and functional
robustness. Beyond the notable construction ad-
vantages depicted in (Fig. 6), the intricate design
of the building stands out for its exceptional ar-
chitectural eloquence. This is particularly observ-
able in the seamless interplay between the grace-
fully curved vaulting and the commanding, tilted
pillars. A pioneering construction technique was
employed to improve the semicircular apse—po-
sitioned at the nave’s terminus and marked by a
Fig. 5 - Front view, picture b/n. (Domus 231, 1948). remarkable 60-meter diameter. This method uses
prefabricated lozenge-shaped elements intercon-
nected with sturdy, on-site cast, reinforced con-
crete ribs. The overall depth of these fabricated
elements, including the ferroconcrete constituting
the lozenge tiles, is a mere 7 cm. The integrated
design of the horizontal plane, defined by the visi-
ble ribs framing its structure, harmoniously aligns
with the gracefully curved and open ribs of the
expansive vault. This synergy embodies the per-
fect fusion of structural methodology and design
elegance, bearing witness to the unparalleled in-
genuity and expertise encapsulated in Nervi’s cre-
ation (Carpanelli, 1955; Gregnanin, 2010; Vernizzi,
2011). During the 1960s and 1970s, the complex
buzzed with vibrancy, serving as a central hub
for exhibitions and the primary setting for sever-
al renditions of the esteemed Turin Motor Show
(Fig. 7) (Getty Foundation, n.d.). Yet, in 1989, the
epicenter of trade fair operations shifted to the
Lingotto, marking the onset of a period where the
complex saw reduced and sporadic utilization. A
notable departure from this trend occurred during
the 20th Winter Olympics in 2006 when the grand
building transformed into an arena for thrilling ice
hockey competitions (Fig. 8) (Urban Center Metro-
politano, 2014; Marinò, 2015). From 2015 onwards,
the Torino Esposizioni precinct has been reinvigor-
ated, playing host to a spectrum of art showcases,
notably including the renowned contemporary art
Fig. 6 - Assembly of the prefabricated vault elements on “innocent” tube scaffolding, picture b/n. (Gregnanin, 2010, p. 20, as cited in Carpanelli, 1955, p. 224). festival, ‘Paratissima’ (Fig. 9) (Bandini et al., n.d.).
http://disegnarecon.univaq.it DOI: https://doi.org/10.20365/disegnarecon.31.2023.6
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CURRENT IMAGES TO PRESENT NEW PROJECT

IDEA

Embarking on restoring these structures, some

of which are currently unused and visibly deteri-
orating, the project ambitiously seeks extensive
architectural and functional rejuvenation. The in-
itiative envisions infusing novel functions such as
reading, study, and research, harmonizing them
with the locale’s historic inclinations that have
perennially resonated with themes of culture, ed-
ucation, nature, sports, and culinary activities.
The blueprint for the upcoming Civic Library is
ardently devoted to preserving and accentuating
Fig. 7 - Showcase of Turin’s automotive industry, “Il Salone dell’automobile”, 1954, picture b/n. (Getty foundation, n.d.)
the inherent architectural and structural nuanc-
es. It aims to uphold the original integrity and
readability of the remarkable twentieth-century
constructs. Beyond mere conservation, the de-
sign ambit encompasses refining and detailing all
spatial, functional, and technological facets of the
establishment in full compliance with the princi-
ples set forth by the Soprintendenza Archeologia
Belle Arti e Paesaggio. The envisioned Library will
not merely meet the foundational requisites of a
modern-day public library and cultural informa-
tion hub. Still, it will evolve into a vibrant nexus
for community engagement and interaction nex-
us. Designed to be welcoming and inclusive, this
newly created space aims to serve a diverse audi-
ence encompassing different ages, cultural back- Fig. 8 - Ice hockey rink during the Winter Olympics, 2006, picture RGB. (Urban Center Metropolitano, 2014: 16, as cited in Marinò, 2015).
grounds, and origins. It will house an expanded
repertoire of information assets, including mul-
timedia offerings, all set within an aesthetically
pleasing and supremely comfortable milieu (Città
di Torino & Politecnico di Torino, 2014).
The forthcoming Library is envisioned not just as
a repository of knowledge but as a dynamic portal
to the modern era and a crucible for stimulating
citizens to recontextualize history in light of cur-
rent and emerging perspectives aligned with the
tenets of the Faro Convention. Emphasis will be
placed on fostering active community engage-
ment and collaborative content creation. The goal
is to bridge the divide between diverse age groups,
different cultural demographics, and newcomers,
leveraging the library’s state-of-the-art digital Fig. 9 - Cultural exposure: Paratissima, 2014-2015, picture RGB. (Bandini et al., n.d.)
http://disegnarecon.univaq.it DOI: https://doi.org/10.20365/disegnarecon.31.2023.6
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and interconnected framework. In today’s dig-

itally-driven landscape, the library stands as a
beacon, deeply entrenched in this digital milieu.
This endeavour fits with a broader vision that en-
compasses the establishment of the Architecture,
Design, and Landscape Campus. Within this ex-
pansive framework, the library is poised to serve
as a linchpin—a nexus for the broader community
and, more specifically, an indispensable resource
for the residents of the Valentino Campus, span-
ning students, faculty, and researchers. Rejecting
the insular approach commonly found in many An-
glo-Saxon campus models, this campus aims to
surpass academic boundaries and extend an open
invitation to the general populace. An architec-
tural design anchors this vision, exuding warmth
and resonating with cultural nuances. Thus, fos-
tering a harmonious relationship between the
urban public and the academic environment will
be crucial. The envisioned library will span three
levels: the primary floor will cater to convention-
al reading and study pursuits, whereas the two
lower levels will be earmarked for technological
advancements and the preservation of literary
artifacts, respectively. The ground floor will also
feature collaborative workspaces, private study
rooms, and dedicated zones for instructional ses-
sions and informational engagements. Curated
spaces foster community engagement near the
entrance and seamlessly interface with the ex-
ternal environment. These spaces incorporate a
thematic coffee lounge and an arena for collab-
oratively planning cultural gatherings. Central
to the ground floor’s design—where traditional
reading and study are paramount—is the strategic
placement of furnishings, delineating zones with-
out imposing rigid structural barriers. Flanking
this core area are accessible bookshelves, utili-
ty zones, administrative quarters, and self-serve
kiosks. The apsidal section, which affords pan-
oramic views of the verdant expanse beyond, is
conceived as a sanctuary for both structured and
relaxed reading, capitalizing on the serene back-
drop of the park. The creation of detailed point
clouds accurately depicted the building’s present
Fig. 10 - Recent images telling the story of the new project proposal, 2023, Digital composition (Bono) condition. Subsequent processing within the BIM
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framework (Fig. 10) streamlines the orchestra- Week); and encapsulate collective remembrance. Concurrently, they provide enhanced oversight
tion of the building’s extant and impending states. All these facets collectively elucidate the overar- on potential modifications to the structure, bear-
Such representations hold more than historical ching objectives of the BIM methodology during ing in mind its susceptibilities and vulnerabilities.
significance; they emerge as a pivotal archive for the preliminary design phase, namely the PFTE The H-BIM approach bestows a dual function: the
posterity, encapsulating both a testament to the (Technical-Economic Feasibility Plan). Such goals phases of the initial research (documentation) and
past and a treasured legacy for future generations encompass deciphering the historical metamor- analysis (data acquisition tools) assume a diag-
(Moneo & Isolarchitetti S.r.l., 2022) phoses of the building (historical hermeneutics) nostic role. In contrast, the subsequent modeling
and relaying the narratives inherently tethered to phase adopts a discerning interpretative stance
the architectural marvel (storytelling). Within this toward the scrutinized architectural legacy (Mam-
THE H-BIM PROCESS FOR DIACHRONIC HERIT- narrative architecture, images are seminal. They moli, 2021).
AGE DEVELOPMENT: THE ROLE OF IMAGES oscillate between roles underpinning restoration
and conservation endeavours or augmenting val-
In the ensuing discourse, we delve into one of two ue via evocative storytelling and heritage narration CONCLUSIONS
emergent trajectories stemming from the evolu- (Empler et al., 2023, p. 161). As an integral part of
tionary transition of the BIM (Building Information the Cultural Heritage, the Torino Esposizioni com- The importance of managing a diverse data set,
Modeling) methodology. Oriented initially towards plex boasts an extensive iconographic legacy. This where images play a pivotal role, must be bal-
new construction, BIM has expanded its scope visual treasury has evolved from various altera- anced to achieve a comprehensive understanding
to encapsulate historical-architectural heritage. tions and layers added over time. Images prove of architectural heritage and its progression over
This evolution has bifurcated into two primary re- indispensable during the preliminary phase of un- time. As E. Cicalò noted, “le architetture vivono
search avenues: firstly, the nexus between BIM derstanding such a monumental structure. They attraverso le loro immagini che, nel divenire pub-
and tools dedicated to data acquisition and sur- depict and witness the culture, events, and stake- bliche, danno vita ad un circuito di critiche, spec-
veying; secondly, the collation and stewardship of holders spanning the complex’s history. Their ulazioni, dibattiti” (Rattenbury, 2002 as cited in
preliminary survey data about architectural arti- pivotal role in the Building Information Modeling Cicalò, 2010, p. 117). Furthermore, Cicalò under-
facts, commonly referred to as H-BIM. Our exami- (BIM) process—shaping future digital renditions scores the distinctiveness of modern movement
nation of the Turin Exhibition complex is anchored birthed from this methodology—is undeniable. architectures. These designs, emerging in the
within the second avenue. This focus transcends BIM facilitates the genesis of a multifaceted entity early 20th century, were paired with the burgeon-
the elementary aggregation and administration of anchored in two core principles. The first pertains ing communication mediums of the era. The shift
geometric and dimensional datasets, emphasizing to creating an infographic database where images was from direct experiential recognition of archi-
the encompassing iconographic ensemble that can assume a primary role. The second revolves tectural works to identification via images dissem-
chronicles the genesis of this prized component around navigating within these compiled visuals. inated in print. It is increasingly evident that the
of Turin’s architectural example. BIM is semanti- This approach crafts a nuanced platform where origin of architecture does not solely derive from
cally deconstructed in this context, orchestrating the three-dimensional model, a salient product its material and constructive nature but is linked
harmoniously across its dual facets: the infor- of the BIM framework, serves as an interactive to the presence and formation of an essential im-
mation architecture and the intrinsic database portal. It showcases and permits inquiries into its material space, where “le pubblicazioni, le mostre
framework. This intricate approach facilitates the associated data, transcending geometric and di- e le risorse specializzate” (Cicalò, 2010, pp. 117-
conception of a multifaceted model capable of as- mensional facets (Brusaporci, 2015, pp. 97-114). 120). “E’ proprio questa costruzione immateriale
similating and curating complex knowledge asso- To sum up, the insights gleaned led to forming che, paradossalmente rende l’architettura meno
ciated with historical buildings (Brusaporci et al., of a knowledge-centric model incorporating the effimera, garantendo la permanenza delle opere
2016). fourth dimension (4D) to articulate architectural nella storia per mezzo delle loro stesse immagini”
As a result, imagery plays a pivotal role with- evolution (De Luca et al., 2023). Time emerges as (Colombina, 1996 as cited in Cicalò, 2010, p. 119)
in this digital canvas, mainly due to its ability to an indispensable aspect in H-BIM, instrumental
depict specific temporal phases of the structure, both for comprehending heritage in contemporary
outline its numerous uses, and intertwine with contexts and as an essential determinant for its
significant events highlighting the cultural ethos enduring conservation. As the building’s history
of the architectural entity (e.g., the Motor Show, unfolds, images gain pivotal significance, bol-
XX Olympic Winter Games, Paratissima - Art stering the tangible authenticity of the heritage.
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DISEGNARECON volume 16/ n. 31 - December 2023 ARCHITECTURAL HERITAGE IMAGING LO TURCO - TOMALINI - BONO 6.8
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