Introduction

After the Second Vatican Council (1962–1965) religious architecture marks a phase of profound transformation and renewal within the Catholic Church. This period brought about a series of liturgical reforms that significantly influenced the design of sacred spaces. The Council promoted greater participation of the faithful in the liturgy, encouraging a more direct and engaging connection between the congregation and the celebrant. This new liturgical vision prompted architects to radically rethink the configuration and aesthetics of churches [1,2,3]. One of the main aspects of postconciliar religious architecture is the innovative use of materials and construction techniques. The introduction of reinforced concrete, for example, allowed for the creation of bold forms and structures that reflect a new spirituality and symbolism. Architects, inspired by the principles of modernism and postmodernism, explored simple yet powerful geometric shapes, fluid spaces, and greater transparency, using natural light as a fundamental element to create sacred atmospheres.

An emblematic example of this new architecture is the Church of the Holy Family in Salerno, designed by Paolo Portoghesi and Vittorio Gigliotti. Built entirely in reinforced concrete, this church represents a perfect synthesis between technical innovation and spiritual research, embodying the principles of ecclesiastical postmodernism. The collaboration with local craftsmen transformed the construction into an experimental laboratory, where the quest for sacred space intertwined with technical experimentation.

However, many of these architectural works, despite being milestones in the history of religious architecture, currently suffer from a lack of adequate conservation interventions and limited recognition of their value by the community. The contemporary challenge, therefore, lies in protecting and enhancing this heritage, ensuring that postconciliar churches continue to be living and meaningful places of worship, that are harmoniously integrated into today’s urban and social context.

This research focuses on the ideal and operational process, from the analysis of degradation to the conservation plan, of the modern Church of the Holy Family in Salerno. It reconstructs the current state of conservation, proposes the most optimal restoration interventions, and, finally, experiments with the adoption of the Conservation Plan. The contribution is, therefore, organized into three main sections: 1. The liturgical reform of the Second Vatican Council and its role in the construction of new architectures; 2. The Church of the Holy Family in Salerno, Italy, investigated from an evolutionary, technological, and conservation perspective; 3. The drafting of a systematic and organic conservation plan to protect the building and pass it on to future generations.

Research aim

This research aims to explore the transformative impact of post-Vatican II religious architecture, particularly focusing on the Church of the Holy Family in Salerno, Italy. It investigates the evolution, technological advancements, and conservation challenges of this modern architecture, proposing a comprehensive conservation plan to ensure its preservation for future generations.

The research objectives are as follows: (i) to analyse the influence of the liturgical reforms of the Second Vatican Council on the design and function of contemporary religious spaces; (ii) to evaluate the architectural evolution and technological innovations employed in the construction of the Church of the Holy Family in Salerno; (iii) to assess the current state of conservation and identify degradation factors affecting the church in accordance with specific methodology for concrete structure; (iv) to propose optimal restoration interventions aimed at enhancing the structural integrity and aesthetic value of the church; and (v) to experiment with the implementation of a systematic and organic Conservation Plan to safeguard the architectural heritage of the Church of the Holy Family.

These objectives will guide the research in providing valuable insights into the preservation and enhancement of postconciliar religious architecture, contributing to its continued relevance and significance in modern urban and social contexts.

Evolution of sacred space after the second Vatican council (1962–1965)

The paradigm shift in the conception and perception of sacred space was brought about by the liturgical reform decreed by the Second Vatican Council in 1963 through the Sacrosanctum Concilium constitution and its implementation instructions, particularly the Inter Oecumenici of 1964, which were immediately put into practice [4]. These reforms embraced and fulfilled the calls for renewal that the liturgical movement had advocated for decades, aiming to recover ancient elements of the liturgy freed from essentially baroque rituals. The faithful were to become active participants in the celebration through a bond expressing the unity of the people of God, centred around the revitalized altar as a central element, and the assembly: this implied, in addition to a simplified rite in vernacular language, an architectural translation primarily involving the placement of the altar facing the people and the removal of elements that created separation. The traditional plurality of altars disappeared, making the Eucharist the focal point of active community participation at a single table [5].

This was a revolution in sacred space and its perception compared to a past where stylistic variation did not affect the continuity of spatial conception [3].

The depth of the reform was grasped by architects who were called to conceive new sacred buildings, both in terms of construction technology and spatial composition, the use of decorations, and lighting. The new practical guidelines included: placing the altar facing the people at the centre of the sanctuary instead of at the back, positioning the tabernacle laterally, reclaiming the ambo as a second focal point of the liturgy, and positioning the celebrant’s chair frontally to enhance other forms of Christ’s presence, establishing visual and auditory connections with the assembly [6]. The reform also altered the perception of sacred space through the introduction of modern means of lighting [7] and sound diffusion.

With the Council, architecture faced the challenge of implementing liturgical innovations: on one hand, it moved towards the conception of minimalist churches lacking compositional quality, scattered throughout the Italian suburbs; on the other hand, it moved towards a higher level of research and awareness of the new liturgical and spiritual structure that influenced the quality of space, including S. Biagio (Luigi Caccia Dominioni, 1967) and S. Giuseppe in Monza (Justus Dahinden, 1972–1976), the Guardian Angels (Carlo Bassi and Goffredo Boschetti, 1964) in Milan, S. Francesco (Gresleri and Silvano Varnier, 1972–1974) in Pordenone, S. Gregorio Barbarigo (Vaccaro and Gualtiero Gualtieri, 1971), the SS. Redeemer (Ennio Canino, 1977) and S. Giovanni Evangelista (Julio Lafuente and Gaetano Rebecchini, 1979) in Rome, and the Holy Family in Salerno (Paolo Portoghesi and Vittorio Gigliotti, 1969–1974) [2, 8,9,10].

Sacred architecture, therefore, underwent significant transformations after the Second Vatican Council, reflecting the liturgical and theological changes promoted by the Council itself. A key change was the repositioning of the altar: traditionally placed at the end of a long nave, often separated from the faithful by a balustrade, the altar is now moved towards the centre of the church. This symbol of centrality reflects the importance of the assembly of the faithful as active participants in the liturgical celebration. In many modern churches, the altar has been positioned so that the faithful people can gather around it, emphasizing the idea of community.

Sacred architecture also stands out for its sobriety and functionality: excessive decorations and ornaments are now avoided in favour of clean lines and a more minimalist style. This simplicity aims not to distract the faithful from the liturgical celebration but to emphasize the sacredness of the space through the purity of the forms and the use of light. The latter becomes a central element: large windows and skylights are introduced to illuminate the interiors of churches, symbolizing divine presence and creating an open and welcoming environment. This use of light also contributes to creating a sense of connection with the outside world, reflecting the idea of Christianity as a faith that embraces and enlightens humanity.

The adoption of new materials and construction techniques typical of the twentieth century has allowed architects to explore innovative forms and create more flexible spaces. Reinforced concrete, glass, and steel have become common, enabling the construction of sinuous, bold, and dynamic structures. These materials have also made it possible to create large column-free interior spaces, facilitating better visibility and greater interaction among participants in liturgy.

Finally, churches built after the Second Vatican Council include multifunctional spaces that can be used for various community activities beyond the celebration of Mass: meeting rooms, classrooms for catechesis, spaces for social and charitable activities, integrated into the church design, reflecting the Council’s vision of a Church more involved in the daily lives of its faithful and the community.

The Church of the Holy Family in Salerno, Italy

The Church of the Holy Family, located in the suburban neighborhood of Fratte in Salerno, represents a notable example of modern and contemporary architecture in Italy. Conceived in 1968 by architect Paolo Portoghesi in collaboration with engineer Vittorio Gigliotti, its construction, carried out between 1971 and 1974, followed an innovative architectural vision. Father Nicola Roberto, the parish priest from 1952 to 1976, took the initiative to involve the Salerno-born engineer Vittorio Gigliotti, who was working in Rome in association with architect Paolo Portoghesi. In 1969, Gigliotti and Portoghesi began designing the new church, along with several other projects for Salerno, including the Church of Santa Maria Mater Ecclesiae in Torrione Alto, which, however, was never realized. The architects started working on the church project in the years close to the conclusion of the Second Vatican Council. In 1968, they developed the preliminary design, presented the executive project in 1969, and two years later, began the construction [11].

Portoghesi is known for being a defender of postmodern architecture. Throughout his career, he has combined modern and classical elements in his designs, moving away from the rigidity of modernism to embrace a more diverse and eclectic aesthetic. Like him, Gigliotti embraced an eclectic approach and contributed to the creation of structures that challenge modernist stylistic constraints.

The starting point of the architecture of Paolo Portoghesi and Vittorio Gigliotti is the concept of place, strongly conditioned by human presence. The theory of space as a “system of places” arises from the organization according to topological or geometric principles. Their objective is to construct places that fully satisfy human living needs. The floor plan becomes the first step of the project, representing the various functions the building must fulfill with a family of concentric circles that expand infinitely, overlapping each other. The architectural structure will adapt to these families of concentric circles to allow each function to relate both to the building’s interior and to the external environment. Furthermore, their architecture is inspired by a wide repertoire of influences drawn from both the world of natural and organic forms, as well as the history of architecture [12, 13, 28].

The construction of the Church in Salerno was carried out gradually and with a limited budget, which explains the differences between the 1969 executive project and the current structure. These transformations are evident in the post-1969 executive plans.

First, one of the major differences between the original 1969 project and what is built today is the design of the openings in the walls on the north and east sides, which differ in position, height, and number from the originals. In the 1971 facade plans, we can already observe the current window arrangement. Furthermore, some parts of the project were never completed due to a lack of budget, such as the confessionals, the holy water receptacle, and the catechism area outside, which is still incomplete today. We also find added elements not foreseen in the 1969 plans, such as the seats of the canonical and the choir space renovation, the south entrance staircase, the assembly ambo, the external flooring design, and the community playground. The project evolution is showed in Fig. 1 and Fig. 2.

Fig. 1
figure 1

Left: ground plan (executive project 1969). Right: ground plan (executive project 1971). Elaboration adapted from original plans from the Diocesan Archives of Salerno b.99–100-101–102

Full size image
Fig. 2
figure 2

Left: ground plan (executive project 1995). Right: ground plan (current state 2024). Elaboration adapted from original plans from the Diocesan Archives of Salerno b.99–100-101–102 and architectural survey, 2024

Full size image

During this conception phase, Portoghesi and Gigliotti incorporated some themes from the Council but also drew inspiration from a wide range of formal and cultural influences. These influences result from Portoghesi’s deep commitment to architectural history, spanning from Michelangelo to Borromini and extending to the world of natural and organic forms [12].

The entire structure can be divided into three bodies: the Sacristy, the Church, and the Area dedicated to outdoor Catechism. Structurally, the foundations are made on 400 mm diameter piles and slabs. The church’s structure, characterized by a free and anti-classical form, is based on an exposed reinforced concrete geometric structure. This structure is organized around six geometric centers, each with a specific function, outlining a unitary and enveloping organism based on the criterion of “centrality” [13]. This approach to sacred architecture responds to the Second Vatican Council’s guidelines, seeking to create a worship space where there is no longer a clear separation between the celebrant and the assembly but rather a unity of religious participation (Fig. 3).

Fig. 3
figure 3

Internal views of the Holy Family Church. Photo by M. P. Fessia Garcia, 2024

Full size image

The church’s roof structure is generated by three of the main circles, which extend upwards and converge over the altar, forming three stepped vaults. Another three rise above the hall, as Portoghesi himself described in 1974, are like three giant trees, representing the three entities of the Trinity, intertwining to form a single reality, shining in the central dome’s eye.

The six centers are inspired, with some variations, by the church of Sant’Ivo alla Sapienza in Rome, as has been defined several times in the literature. However, while the church of Sant’Ivo is based on an equilateral triangle as a starting spatial figure, the church in Salerno interprets the six circles with a rotation principle symbolizing growth [14].

The circumference is the predominant element in the church’s complex structure. This architectural choice seeks to express concepts of unity and divine centrality through curved forms. The altar, located at the center of the sacred space on three circular marble steps and a cement base shaped like an hourglass, becomes the assembly’s focal point, while the ambo, also characterized by circular forms, is decentralized. The Tabernacle, positioned laterally to the altar, is visible to the assembly and fosters a contemplative atmosphere of individual worship and prayer. The concave steps of the roof, symbolically evoking the theme of the assembly, contribute to emphasizing another significant architectural element: the amphitheater (outdoor catechism).

The internal convexity of the walls is in perfect harmony with the external concavity that opens to the community. There are vertical cuts in the walls that generate a luminous atmosphere inside with ever-changing colors. To the south and east, near the altar, the stained-glass windows are yellow, symbolizing the warmth of the Eucharist and the Spirit; on the opposite side of the hall, the walls oriented to the north and west display an alternation of green and blue stained glass, representing Nature and Man, respectively. Therefore, lighting helps define the “mystery of divinity”, with the windows narrowing and becoming small slits inserted between the vertical vertices; the oculus at the top allows the altar to be directly illuminated by natural light [15].

In conclusion, it is possible to add 5 attributes that contribute to the overall heritage value of the Church of the Holy Family.

  1. 1.

    Current and Past Uses. The Church plays a fundamental role as a gathering space for the community of Salerno, transcending its function as a mere Christian center. This place hosts meetings for both young people and adults, provides catechism classes for children, and celebrates events linked to Italian festivities. Its strategic location at the rear of the Villa Comunale makes it a key central point for both the neighborhood and the broader community.

  2. 2.

    Design, Configuration Details, and Character. The architectural conception of the Church was developed during the final years of the Second Vatican Council. Portoghesi and Gigliotti addressed essential themes, merging diverse inspirations drawn from natural and organic forms as well as architectural history. The result not only meets the new liturgical requirements but also achieves a harmonious synthesis between architectural tradition and technical innovation.

  3. 3.

    Structure, Materiality, Construction Elements, and Technical Aspects. The construction was carried out entirely in reinforced concrete, notable for the complexity of its forms and its building process. The structure consists of large vertical walls that are concave, convex, and staggered, all covered by tiered vaults made from the same material. Collaboration with workers specialized in naval construction was crucial for achieving the distinctive curvature of the formwork.

  4. 4.

    Location, Views, and Relationship with the Site. The parish complex has served and continues to serve as a stimulus for the surrounding urban environment. It is surrounded by social housing complexes, schools, the metropolitan train station, and the Villa Comunale.

  5. 5.

    Traditions, Meanings, and Sense of Belonging. The construction of the Church stands as a momentous event in the history of the neighborhood, deeply rooted in the collective memory of its residents. Moreover, beyond its role as a place for Christian worship, the Church serves as a communal gathering point where various events take place, reinforcing the sense of belonging and community among the residents.

Conservation status analysis

Once the potential heritage value of the religious building and its cultural interest has been established [16], it is possible to proceed with a careful technological and conservative analysis for the purposes of defining compatible protection and valorization intervention strategies [17].

The extensive use of concrete, with its specific technological and formal characteristics, makes the Church of the Holy Family an exemplary case for addressing conservation design issues. The church is notable for its use of exposed concrete on concave, convex and stepped walls, built using complex formwork. This highlights the need to pay particular attention to construction characteristics and material degradation.

Overall, the church is in good condition, evidently due to the good quality of the composition of the conglomerate during construction. Even without protective elements, the exposed concrete structure appears compact and free of significant cracks. However, the main problems are found on the exterior, where ongoing degradation processes due to carbonation of the concrete cause cracks, delamination, spalling and exposed or corroded reinforcement. Inside, there are only damp spots due to inadequate rainwater drainage and some efflorescence stains, demonstrating excellent construction quality, the use of high-quality concrete and the correct sizing of the reinforcements.

The proposed methodology involves a survey system that combines direct and indirect analysis of the structure, using specific graphic representations to illustrate both the technological qualities and the degradation phenomena. This section includes operational guidelines for diagnosis, storage and maintenance. Indirect analysis involves the search for historical data, design information, functionality, materials, construction techniques and previous transformations and interventions. Direct explorations include geometric and photographic surveys and macroscopic examinations to verify the current state of conservation (Fig. 4).

Fig. 4
figure 4

Methodology for analysis of concrete elements of the Church of the Holy Family

Full size image

By starting from the literature [18,19,20,21], a tool was created that links indirect data with direct analysis, offering a systematic and clear understanding of the characteristics of each element. Various analysis sheets have been prepared that describe the samples examined, analysing their surface and architectural value, through specific language and detailed photographs. The element characterization sheet is divided into two sections: element characterization and observed alterations; each concrete sample is identified with an alphanumeric code (Fig. 5).

Fig. 5
figure 5

Sheet showing the two sections of data for the analysis of the concrete elements

Full size image

The first section describes the environmental characteristics, the relationships between the environment and the element, the type of sample, and its function and geometry. It provides details on the type of concrete, its thickness and the presence of reinforcements, which can influence degradation. The final section, through a macroscopic investigation, describes the phenomena of pathological alteration, highlighting signs of degradation such as oxidation, delamination, cracking, exposed or corroded reinforcement, humidity and biological patterns (Fig. 6).

Fig. 6
figure 6

Sheet showing the two sections of data for the analysis of the concrete elements

Full size image

The degradation analysis sheet is completed by the graphic legend containing the different types of degradation that can be found and the possible remediation interventions (Fig. 7). For each sample an orthophoto was produced that provides geometric information and describes the appearance, consistency and state of conservation of the object.

Fig. 7
figure 7

General legend of the graphic symbols for the analysis of degradation and potential interventions

Full size image

This approach allows a detailed analysis of the construction features of the object, such as the dimensions and arrangement of the formwork panels. In the representation system, the orthophoto is integrated by graphic symbols that indicate the materials, the state of degradation of the element and the necessary interventions.

To simplify the representation, the alterations are reduced to eleven main phenomena identified during the direct survey, localized in each image and numbered. The orthophoto also allows us to graphically represent and localize the types of intervention proposed, after verifying the conditions of the materials and the effectiveness of the intervention according to the current methodologies for restoring deteriorated concrete.

Sample selection: Criteria and specifications

To facilitate the understanding and elaboration of this analysis, the building is divided into a series of samples corresponding to specific points where the most common concrete pathologies can be identified. The selection of these points follows a series of criteria, such as orientation (north/south/east/west), location (external/internal), morphology of the construction element (concave/convex/stepped), and prevalent type of degradation. Once these points are identified, geometric and photographic surveys are conducted. The geometric survey involves the creation of a coordinate system to locate these points in space and obtain the dimensions of the elements (thickness, height, and width) using traditional elements such as a measuring tape and a digital laser meter with a range of 50 m. For the photographic survey, a Nikon D3200 digital camera with 24.2 megapixels is used. The obtained photographs were subsequently processed in Agisoft Metashape and Photoshop to obtain orthophotos. These orthophotos are used to create degradation maps.

12 samples, 7 external (Table 1) (Fig. 8) and 5 internal (Table 2), were selected according to the previously mentioned criteria. Two degradation analysis sheets are shown, one for an external sample (Fig. 9), and the other for an internal sample (Fig. 10).

Table 1 External samples for analysis of degradation
Full size table
Fig. 8
figure 8

Identification of the external samples for degradation analysis

Full size image
Table 2 Internal samples for analysis of degradation
Full size table
Fig. 9
figure 9

Analysis of the degradation of Sample E-01

Full size image
Fig. 10
figure 10

Analysis of the degradation of Sample I-02

Full size image

The conservation plan of the Church of the Holy Family

The Conservation Plan is a document that establishes the sequence of activities characterizing the preventive and planned conservation of valuable works, summarizing the process consisting of a coherent and coordinated activity of knowledge, prevention, maintenance, and recovery. It serves as an operational management tool within the process of protecting 20th-century architecture.

On an international level, the importance of the knowledge-based approach is well established as a methodology for conservation and restoration projects, rooted in the international document known as the Conservation Management Plan, the main ICOMOS guide concerning the research, documentation, and management process of historic architectures and sites, in accordance with the Australian document Burra Charter (first edition 1979, last update 2013) [21].

The conservation planning methodology, founded on these documents and applied to 20th-century works, focuses on developing a tool capable of guiding and managing the fate of modern architectural heritage and identifying an appropriate balance between the conservation of its material and immaterial values and the need for change [22, 23]. The promotion of such an ideal and operational methodology is of primary importance, particularly for heritage related to contemporary architecture, whose fragility and complexity risk being lost even before all their aspects are fully expressed and understood and the value of their authenticity and integrity is explored [24]. What emerges is the necessity for a multidisciplinary approach, even more so for 20th-century heritage, which is often the result of interdisciplinary contaminations that underpin its value assertion (Madrid-New Delhi 2017). The approach suggested by the Burra Charter and the Conservation Management Plan is to develop a system for identifying values, also related to the specific cultural context, that is not limited to material consistency but can encompass all aspects characterizing the case study.

This section summarizes the main steps of the proposed Conservation Plan (CP) for the Church of the Holy Family by Portoghesi and Gigliotti in Salerno. This CP is developed in 4 steps (Fig. 11):

  1. 1.

    Understand the Building: This includes all the necessary phases to comprehend the evolutionary history of a building, its key elements, direct and indirect observations, architectural, urban, social, cultural analyses, etc.

  2. 2.

    Assess Significance: This expresses the significance of the work through a range of historical, aesthetic, social, and scientific values.

  3. 3.

    Develop conservation strategies: This involves identifying vulnerability factors and deciding the most compatible intervention strategies for each structural element, as well as for the conservation of the original compositional layout, decorations, finishes, relationships between the building and the natural environment, relationships between the building and pathways, etc.

  4. 4.

    Implement and Monitor: This phase includes the implementation of conservation, maintenance, and protection strategies through the most appropriate intervention techniques and methods. This section also includes operations for monitoring and scheduled maintenance over time.

Fig. 11
figure 11

Methodological steps for the conservation plan of the Holy Church in Salerno

Full size image

In detail, the paper dwells exclusively on steps 2 and 3, which are richer in novelty and in-depth research, just a few notes on the methodological and operational approach to step 4, in the awareness that it is not possible to address with the entire Conservation Plan in a single research contribution.

Step 2: Assess significance

During the assessment of the Heritage Significance, the Burra Charter highlighted the need to consider both tangible and intangible values, summarizing these values into historical, aesthetic, scientific, and social aspects for past and future generations. The Burra Charter identifies five heritage values – historical, aesthetic, social, scientific, and spiritual – to be considered when evaluating the significance of a given building. These criteria are not exclusive and may overlap. In this Conservation Plan, the heritage significance of the Church of the Holy Family was assessed using the five values of the Burra Charter.

The steps are as follows:

  1. 1.

    Identifying Elements, Components and Attributes.

  2. 2.

    Assignment of the Importance Levels.

  3. 3.

    Definition of the heritage value of the building.

  4. 4.

    Final drafting of the “Statement of Significance”.

  1. 1.

    Identifying Elements, Components and Attributes. The initial step involves identifying key elements and components of the building, followed by applying universal criteria to determine their significance in terms of heritage values: historical, aesthetic, social, and scientific. This analysis draws on documentary and physical evidence, examining each element’s attributes concerning its function, form, structure, and location. Both tangible and intangible values are considered when assessing the integrity of each component.

The terms “elements”, “components”, and “attributes” are fundamental to the process of significance assessment. An “element” is defined as a primary space or structure, a “component” refers to a part of an element, and “attributes” describe the aspects that contribute to heritage significance. Attributes include values such as function, form, structure, location, and intangible qualities, identified through historical evidence and site information.

  1. 2.

    Assignment of the Importance Levels. Elements, components and attributes can have different levels of significance, contributing to the overall level of significance of the site. Using the standard scale of exceptional, moderate, minor or intrusive, elements or components are ranked. In the case of the Church of the Holy Family, most are of exceptional significance, with some being moderate or unimportant (Table 3).

Table 3 Levels of significance and corresponding conservation actions
Full size table
  1. 3.

    Definition of the heritage value of the building. The Heritage Value of the Church of the Holy Family is assessed according to criteria outlined in the Burra Charter: historical, aesthetic, social, and scientific. The evaluation of significance includes consideration of the original project and its modifications, uses, associations, meanings of the place and its elements, and components, as well as its relationship with the urban environment. The key heritage values of the Church, identified through this process, are summarized in the final Statement of Significance (Table 4).

    Table 4 Heritage value and identification of elements, components and attributes
    Full size table

Finally, each component is assigned an importance level using a standard scale ranging from exceptional to intrusive. This process establishes a solid basis for informed decision-making in the conservation and management of the Church of the Holy Family in Salerno.

  1. a

    Elements, Components, and Attributes of Exceptional Importance

  • The form, structure, construction, design, and details of the original 1968 project embody the complexity, centrality, and unity of the architecture of P. Portoghesi and V. Gigliotti

  • The honest expression of materials and structure, especially the evident use of concrete, imparts character to the work.

  • The open layout and flexible use of the space of the nave through double-height spaces without intermediate columns create a dynamic space.

  • The creative use of color and texture, highlighting the colored windows and exposed concrete with vertical formwork marks, generates a readily recognizable aesthetic.

  • The exceptional level of authenticity and integrity makes the Church an outstanding international example of postmodern churches.

  • The international pilgrimage to the site and the reflective appreciation of the elements, components, and attributes of the complex reinforce its importance.

  • The ongoing appreciation and use of the site as a place of interest and house of God sustain the Church, highlighting the innovative legacy and communicative ideas of Portoghesi.

  • The Church of the Holy Family is one of the most intact examples of the designs of Paolo Portoghesi and Vittorio Gigliotti, being easily recognized and complete among postconciliar ecclesiastical buildings.

  • The Church incorporates key design features of postmodern churches in an integrated and comprehensible manner, making it a fundamental structure in the history of 20th-century design.

  • Specific liturgical items, such as the decorations of the tabernacle and the holders for the Paschal candles, enrich the content and collections of the Church.

  1. b

    Elements, Components, and Attributes of Moderate Importance

  • Substitute components or materials installed since 1984, such as the ambo, spotlights, and marble coverings on the choir seats and the rectory, add new layers to the original structure.

  • Decorations and installations for the mass, such as new sculptures and images of saints do not present in the original design, bring contemporary elements to the liturgy.

  1. c.

    Invasive Elements, Components, and Attributes

  • Invasive installations such as wiring and ducts along the west and south elevations of the complex affect the visual and aesthetic integrity.

  • Excessive plant growth, such as vines over the north-east facade, presents a challenge to maintenance and preservation.

  • Graffiti located near the entrance of the church and at the back in connection with the Villa Comunale represent unwanted intrusions that affect the appearance and ambiance of the place.

  1. 4.

    Statement of Significance. Once the heritage values have been defined and an in-depth historical, architectural, aesthetic and cultural study has been conducted on the case study, it is possible to proceed with the drafting of the Statement of Significance, which summarizes the key heritage values of the Church of the Holy Family identified and assessed in the previous sections (Fig. 12).

Fig. 12
figure 12

Statement of significance for the Church of the Holy Family in Salerno, Italy

Full size image

Step 3: Develop conservation strategies

The role of policies in this Conservation Plan (CP) is to provide a framework for decision-making regarding the future use, care, conservation, and preservation of the Church of the Holy Family in a holistic way [25,26,27].

The policies are specifically organized, starting with a general structure that includes governance, followed by guidelines for site conservation, implementation planning, and maintenance, aiming to provide recommendations for the comprehensive conservation of the site (Table 5).

Table 5 Twenty-two conservation policies divided into different categories
Full size table

Step 4: Implementation and monitoring

This section outlines the conservation policies applicable to the elements and components of the Church. Its objective is not to provide exhaustive information on all potential policies for the site but to establish a framework for planning and decision-making that considers some aspects such as the significance of elements, components, and attributes, as well as their contribution to the building’s value; the current condition of the integrity, and authenticity of key components; and risks and vulnerabilities affecting or potentially affecting the condition and long-term life of the components and elements.

At this stage, the data are divided into four sections:

  1. A.

    Interventions for deterioration remediation

  2. B.

    Interventions for the restoration of original qualities

  3. C.

    Interventions in furniture and finishes

  4. D.

    Interventions for original spatial composition

For each section, information on the current conditions, vulnerabilities, conservation objectives and detailed conservation policies is included.

Based on these studies, an active conservative plan is proposed for the conservation of the building’s exterior and interior. Proposed treatments for various on-site conditions have been classified based on the element and type of material. Conditions were grouped according to severity and intervention priorities:

  • P1 High: conditions requiring immediate attention, as they could pose a threat to the safety of the users and the stability of the building.

  • P2 Medium: conditions that could cause material deterioration and potentially lead to structural failure. These should be addressed after the urgent conditions have been resolved.

  • P3 Low: conditions that do not require urgent intervention and can be planned for future action. If left unaddressed, these may contribute to ongoing deterioration.

  • P4 Aesthetic: conditions that affect appearance but do not impact the integrity or performance of the material. It also includes conditions previously addressed but still requiring intervention due to failures or aesthetic concerns [23] (Fig. 13).

Fig. 13
figure 13

Examples of conservation interventions for concrete elements

Full size image

The final section of the Conservation Plan focuses on an urban revitalization project, showcasing the synergy between urban planning and conservation efforts in enhancing both urban areas and heritage sites. Fratte, a district situated along the banks of the Irno River north of Salerno, began its development in the nineteenth century. This growth was spurred by industrial establishments such as the Manifatture Cotoniere Meridionali, founded in 1835, and the construction of the initial church of the Padri Dottrinari, which became the parish church of Santa Maria dei Barbuti in 1931.

Historically, Fratte has undergone numerous urban transformations and faced several natural disasters, including major floods in 1954 and 1966 that caused significant damage. The area was extensively restructured with the construction of the A3 motorway and the Fratte bypass. Another notable feature of Fratte is its Etruscan-Samnite archaeological site, discovered in the 1930s during motorway construction. This site contains evidence of ancient human settlements across various historical periods. More recently, the district saw the development of the Villa Comunale and the Fratte Villa Comunale railway station in 2006.

The revitalization project is divided into three main components:

  1. 1.

    Access and Connections: The plan proposes a wide pavement and a shared entrance esplanade between the Church and the Municipal Villa. This design aims to limit vehicular traffic and prohibit parking in front of the Church. Additionally, the project includes the restructuring and redesigning of the shared access between the Municipal Villa and the railway station.

  2. 2.

    Topography. Redevelopment will utilize the natural topography, creating stepped levels and a large central park to highlight the significance of the Church of the Holy Family. A simplified circulation system will be developed to connect all major points— the Church, the Municipal Villa, and the railway station— to foster synergy (Fig. 14).

  3. 3.

    The Railway Station: The plan includes extending the existing single track, creating designated waiting areas, and improving signage for entrances to enhance functionality and accessibility.

Fig. 14
figure 14

Project urban plan and new topographical and spatial conflation. Design by M. P. Fessia Garcia

Full size image

Conclusion

Architectures and sites recognized for their exceptional value must be supported by contemporary tools and operational practices shared among scholars, institutions, and professionals. These practices should guide every intervention, not just at a specific level but with broader, global, and collective implications. Foundational themes, beginning with the Amsterdam Declaration of 1975, have inspired subsequent doctrinal documents, which have been updated to reflect changing spatial and temporal contexts. The aim is to expand the scope of the concept of “integration,” enhance the intrinsic value of cultural heritage to promote diversity and dialogue, leverage the economic potential of global cultural heritage as a catalyst for creativity and economic growth, and ultimately support and govern interventions on cultural heritage, considering its substantial and ideal entirety [29, 30].

A comprehensive Conservation Plan addresses with different aspects, from the historical evolution of the work to its geometric reinterpretation and analysis of its state of degradation to detailed conservation and maintenance policies. This research lays the practical and methodological foundations for new lines of study, provides a reflective and operational tool, and shows how, through an integrated approach that combines direct and indirect investigations, readings and interpretations, strategies and approaches can be established for the conservation of postmodern heritage in general and, specifically, for the conservation and valorization of the Church of the Holy Family, the work of one of the most important architects of the second half of the twentieth century. The implementation of a sampling system for the analysis of the state of conservation, together with descriptive cards and graphic representations, facilitates the systematic understanding of the peculiarities of the surfaces and makes it possible to develop new verifications of the degradation phenomena affecting the church. In the future, in order to establish the values of the historical, aesthetic, social, scientific and intangible heritage of the Church of the Holy Family, together with the development of the conservation plan for the work, it would be possible to carry out a series of in situ and laboratory tests to corroborate the hypotheses put forward in this document and to intervene even more precisely in the parts affected. Research developments consist of laboratory testing of material samples to assess their technical characteristics, as well as conducting non-invasive tests on reinforced concrete wall surfaces.

The implementation of an HBIM model is planned to create a continuously updated digital resource that integrates historical, urban, administrative, graphic, and conservation data. This model will serve as a comprehensive tool for those involved in the restoration and management of the building, providing them with a valuable resource for ensuring the success of the project.

Moreover, HBIM models act as digital archives, preserving crucial historical documentation of buildings. By keeping detailed records of 20th-century projects and construction techniques, these models ensure that vital information remains accessible for future generations of architects and historians. This not only helps in maintaining the historical memory but also in continuing the legacy of architectural practices from the past.