DESIGN ANALYSIS FOR COLLECTIVE SPACES.
Piazzas and contradas in Siena
by
MICHEL gIN
Dipl6me d'Architecte
Ecole Nationale d'Architecture et des Arts Visuels.
Brussels, Belgium
1979
SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS OF THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES
AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY
jUNE 1983
Michel Mein 1983
produce and to distribute
The Author hereby grants to M.I.T. permission to
n
or
copies of this thesis document in whol,
of author
Signature
Sinaur o~ utorMichel Mein, Departme
________________
e
reMa5,18
May 5, 1983
de
Certified by
(jlian Beina t/f. of Architecture, Thesis Supervisor
Accepted by
John Habraken, Chairman Departemental Committee for Graduate Students
MASSACHUSETTS INSTITUTE
OF TECHNOLOGY
ArchvesMAY 2 6 1983
Archves
0
DESIGN ANALYSIS FOR COLLECTIVE SPACES.
Piazzas and contradas in Siena
by
MICHEL MEIN
SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS OF THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES
AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY
ABSTRACT
The aim of this thesis is to explore
normative qualities of public
those
squares that provide the infrastructure
In medieval
for a neighborhood network.
times, public squares and neighborhoods
were the structuring elements of the
complementary
Their
city.
organic
aspects are analyzed in this work, and
their potential to delineate a coherent
city fabric tested in a site planning
problem.
The intent of this study is to establish
of
issues
the
to
approach
an
the
of
improvement
and
preservation
traditional European city by extracting
a number of guidelines and lessons from
the Sienese context.
Thesis Supervisor: Julian Beinart
Professor of
Title:
Architecture.
The concept of Piazzas and Contradas
theme
central
a
form
(quarters)
the
in
chapters:
the
throughout three of
the
in
analysis of the Sienese context;
test of an urban landscape project; and
and
guidelines
forming
in
finally
patterns for European urban design.
3.
TABLE OF CONTENT
INTRODUCTION
OVERVIEW
MEDIEVAL PATTERNS
I
7
s
PIAZZA AND CONTRADA--
9
FROM THEORY TO PRACTICE -111
9
CONCLUSION
BIBLIOGRAPHY
4
159
9
F
165
TABLE OF CONTENT
I
-
URBAN SPACES: USES AND ABUSES.
REVITALIZING THE POLITICS OF URBAN SPACES.
READING OF SIENA
SIENA AS CONTEXT
--
URBAN SPACES: ROLE AND SIGNIFICANCE.
THE SUPPORT OF THE NEIGHBORHOOD LIFE
THE EXTENSION OF PRIVATE SPACE
THE CATALYST OF THE CITY
CONTRADA:THE CUSTODIAN OF THE PATRIMONY
FONTEBRANDA
GUIDELINES
SKETCH DESIGN
EXPLORATION OF PATTERNS
5
ACKNOWLEDGEMENTS
Special thanks to my family and friends
for their support and encouragement
through this time.
For the invaluable help in the production
of this thesis the author is endebted to:
Julian Beinart, Gary Hack and Christine
Cousineau for their guidance and encouragement.
Caitlin Wiesen for assistance in composition, writing and editing.
Carr Lynch Associates for their support
and encouragement
and last, but not least, to Nadia.
9
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Footnotes
FIGURES
QUOTATIONS
1. Saul Steinberg: Wallpaper design.
Paris 1946, pencil, pen and ink
drawing. in Urban open Spaces.p.63.
3. Drawing by Robert Krier; in "Urban
Spaces".
4. Piazza del Campo-Siena-Italy.
A.: Paul Zucker, in"Town and Square"
see ref. in bibliography.
B.: Stanford Anderson, in "On streets"
see ref. in bibliography.
c.: I.L.A.U.D. report "urbino 1981"
Language of Architecture. Sansoni
Editore.
D.: Giancarlo di Carlo in "I.L.A.U.D.
bulletin 1/83, p. 4.
in
Space Design 7-9,
1981.
p.
4
6. Drawing by Robert Krier, in "Urban
Spaces."
7. Chase Manhattan Plaza, New York City.
in Urban Open Spaces, p.41
8. in Urban Open Spaces, p.28.
9-11. Drawing by Sefik Berkyie,Brussels
1981.
12.Sketch by Le Corbusier. in "Urban
Spaces" by Robert Krier.
10.Sketch by Le Corbusier for the center
of Paris. in "Urban Spaces"
16.Drawing in "Antico e bello, Il recupero della citta" by R.Piano, M.Arduino,
M. Fazio. Editori Laterza. Milano.
18. Bologna: in "Anachronique d'Architecture' p.153. By Bernard Huet.
A.A.M. ed. Brussels, 1981.
19. M.I.T. rotch library.
8
URBAN SPACES: USES AND ABUSES.
In European cities,
recognizable
to
public
all.
spaces
are
are
the
They
symbols for a community or entire
They
are
public
art.
of
architecture
or
It is here that the social
characteristics of
synthesized,
they
for visitors;
landmarks
stand as witnesses
city;
a
and here
neighborhood
are
that the history
and memories of a community and city are
concentrated. But public space is
given
inhabitants,
and
meaning
by
its
therefore can only have meaning if it is
used as a base for activities.
l.On the right: public spaces
recognizable to all.
9
INTRODUCTION
9
At issue
(1)that
social
the
is
a
two-fold
relationship:
between public spaces and their
role for neighborhoods,
correlation
particular
of
these
context
fabric.
An
within
is
the
and
they
must
be
conscious not only of the qualities of a
building
itself,
building occupies
but
with
space,
how
as a
Today,
how
it
for
of
generator
in
the
most
neighborhood
street
festivals,
undertaken
forms
planner
the concept of collective space
human
and the institutions with-in them.
city
ignored
has,
other traditional
predicated on the quality of
The architect -
it
urban
neighborhoods
places and their uses - the
take,
(2)
spaces to a
appropriate
environment for small
cities
and
is that
public
10
life.
misconceptions
One
of
of
the
activities
are
being
private or semi- private
spaces. They are no
longer
part
a
of
collective life. The use of public space
has,
often than not, been reduced
more
to fulfilling the
the
modern
parking.
|
city
functional
such
as
needs
1
fits
of
0
fundamental
2
of
traffic and
the
modern city planning
life.
theater, and
within a given context, and finally, how
its uses or add to the participation
part,
URBAN SPACES: USES AND ABUSES.
urban models are often
hand,formal
one
designed autonomously
data
social
and
society.
practice
cultural
class
related
of space
when
hand,
the
refers
to
of
a
characteristic
or social group which has its own
particular logic,
3.Definition
given
a
by
architecture
models
economic
the
of
defined
On the other
of
the
On
dichotomy:
Herein lies a basic
the
used
forms
are
to the specific social classes'
needs.
If urbanized public space
of
is
conceived
as the reflection of a social order,
sustained
practice,
by
popular
it
knowledge
could
induce
reformulation of certain urban
concerned
with
functions
and
a
policies
such
as
housing, working space, and circulation.
ll
INTRODUCTION
9
The
creation or the rehabilitation of a
public
space
influence
can
have
on
sur-oundings,
a
beneficial
its
and
constructed
in
fact,
reverse
this
application of
trend
political
through
the
pressure
and
the involvement of city residents.
some
neighborhoods are brought to life around
an
appropriate
current
trends,
proved
to
Unfortunately,
public
such
be
space.
Given
instances
have
the
European
exception.
cities
today
have witnessed the degeneration of their
urban spaces.
9
The purpose of this
introduction
is
to
provide the reader with a broad overview
of
:
(1)
developments
The
issues
that
and
led
historical
to
the
degeneration of urban public spaces, and
0
12
(2) The movements that have attempted to
URBAN SPACES: USES AND ABUSES.
A . PUBLIC SPACES DEFINED.
To live in a city implies
use
of
public
space.
the
constant
As soon as one
goes out of his/her home, one
confronts
public
that
domain:
The
street
one
crosses, the square where one does one
shopping,
the
park
where
one takes a
walk, the bench where one takes a
In
4."a hole or a whole"
rest.
an attempt to define public space in
relation to city planning,
Paul
Zucker
explains:
a
'space', . . .means
"Here,
organization as a frame
structural
for human activites and is based on
on the
very definitive factors:
relation between the forms of the
their
surrounding buildings; on
uniformity or their variety;...In
and
other words,specific visual
kinesthetic relations will decide
whether a square is a hole or a
whole."
(A)
13
INTRODUCTION
9
composed
In Medieval
monuments.
and
squares
were
is
and
piazzas
streets,
of
space
public
urban
Physically,
times,
streets
demarcated by blocks
never
been
places.
antiseptic
contrary,they have been full of
movements,
and
simultaneous
smells.
presence
of
of urbanized areas. This demarcation was
elements,
not haphazard but was rather a precisely
flavor by the surrounding
designed repetition of types and models.
that
These models were specifically
richness.
to
the
geography,
tailored
climate,
which
creates
On the
noises,
It
is
all
a
these
are given a particular
neighborhood,
life
urban
and
0
its
and
indigenous craft of the particular city.
In the nineteenth century, public spaces
9
provided the "nature in the city" - that
is,trees
lining
the
avenues,
forming
shelters for market places, etc.
A
From a sociological perspective,
of ten
14
it
is
said that "every city has its own
smell". And truly,
public
spaces
have
5.A roof of trees. An image
could exist.
that
00
URBAN SPACES: USES AND ABUSES.
'-lt
"The
Modern
Movement
in
Architecture developed
in such a
way as to emphasize the separate
identity of each building, often
according to degenerating formal
principles that were no longer in
discourse with the socio-cultural
setting, nor even, reflexively with
themselves. The city, especially
its open space and
its users was
neglected". (B)
IJI
6.
B. THE DEGENERATION OF PUBLIC SPACES.
The
decline
deterioration
and
of
progressive
public
spaces
in
European cities cannot be attributed
to
any
single
events
cause. As with most complex
it
is
the
combination
of
factors. For
the
three
of
the
result
of
numerous
sake
major
different
of
simplicity,
causes
have been
isolated
for
evolution
of industrial production,
discussion:
(1)
the ideology behind the "garden
7."A group of four trees"
by
Jean Dubuffet. An image that exists.
concept
and
(3)
the
functionalist city planners.
the
city
policies
The
(2)
"
of
15
INTRODUCTION
One
of
the
significant
most
transformations
of
the
industrial
At the turn of
thinkers
socialist
making charges that the
began
of
century,
the
city
traditional
revolution took place- in transportation.
structure
The
contained the seeds of an oppressive and
development
of
trains
and
the
subsequent inter-connection of urban and
unequal society. The abject living con-
rural areas had a dramatic effect on the
ditions of the working class provoked
structure
socialist
of
the city. It also allowed
workers who formerly had to live in
the
city, to live and work outside the city.
In
response
to
this
trend,
transportation systems were extended
incorporate
the
new
additions
city
to believe that not
thinkers
only the process
of
but
of the city itself was
the
design
responsible for
to
poor.
of
Historically,
This
industrialization,
the
condition
of
the
was a crucial misjudgement.
European
cities
had
peripherical quarters. Yet the structure
developed
of the city itself remained organized in
structure that
mixed or complex quarters.
change over centuries. The European city
has
their
always
spaces)
had
own
typology
adapted
and
itself
a
to
offered sufficient physical
characteristics
16
the
(especially
public
to its inhabitants in order for
URBAN SPACES: USES AND ABUSES.
the
conjecture,
more than political
argument
of
example
an
represents
political
much
not
Although
liberty.
and
life
collective
their
the sake of
for
city-
the
ultimately
quarters-and
their
them to appropriate
delivered, which led to the
"suburbia"
and
the kind of
promoted
back
the
transportation
and
forth
to the city
of
development
networks, and ultimately
encouraged residents to move out of
the decline of urban spaces.,
to
connected
the city for work. The new phenomenon of
commuting
supported
where everyone had their own
"house in the green"
nonetheless
Justifications that
of
concept
the
cityv.
The
concept
developed
another
of
"garden
the
city",
in the nineteenth century, is
example
of
"anti-city"
the
Originaly, the
ideology of that period.
concept developed by Howard envisioned a
"garden
city"
employement for
with
its
own source of
its residents.
However,
the promises of services and employement
in
those
communities
were
often
not
8." Out there. Because we don't know
what's out there." by Jean-Michel
Foulon.
17
INTRODUCTION
By the second World War,
capital
cities
had
administrative
functionalist
most
European
developed
centers.
doctrine,
The
based on ideas
of utility and efficiency, promoted
concept
of
functions
"zoning"
of
development
Highways
the
of
administrative
were
expressways
avenues
or
9.The country and the city
the
networks.
connecting
center
the
different
and
circulation
constructed.
transformed
the
city
directly
into
the
to the outskirts
This
and
eventually
places
crossroads.
into
In
accordance with new standards of spacing
and
lighting
reduce
health
(
established in part to
hatards),
streets
widened to allow for more liaht.
18
were
10.Towards a new conception of Space
Le Corbusier.
URBAN SPACES: USES AND ABUSES.
From a social
point of view, the results
the
automobile
Venetian
several
complained:
students
In a
disasterous.
was
report (C) ,
recent
to
space
public
of this adaptation of
"Nowadays
cars
city.
The
11.The country-city.
once
square
the
of
center
invade the
center of public life
the
has now become a parking
the
of
influence
doctrine
,
conglomerate
the
of
the
Under
lot."
functionalist
monofunctional
divided by expressways.
a
became
city
areas
This particular
doctrine gave
the
strongest
justifiction
for
the
political
destruction
of
public spaces.
12.'The three human settings"
Le Corbusier.
19
INTRODUCTION
the most
Finally,
of
manifestation
of
city
purpose of
demographic
inhabitants.
this study
of
degeneration
the
in the
is the diminution
European cities
number
striking
it
the
For
is important
to
note the correlation between the decline
of
spaces and city life. As the
public
progressive
spaces
deterioration
continued,
the
of
city population
and public officials ceased to
the
public
consider
city as a commonweal. The resultant
loss of a sense of belonging to
provoked
the
trend
city
leading a
secluded life
in one's own quarter, with
little or no
participation
parts of the city.
20
towards
a
with
other
which
by
What is needed today is means
both city residents and public officials
again
consider
will
their
as a
city
commonweal. One of the critical ways
this
achieving
end
rehabilitation of public
is
spaces.
of
throuqh
After
the past failures of urban planning, due
in
part
to
the imposition of policies
from the "top down", the involvement
of
city residents in urban planning is more
vital
than ever.
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0
OVERVIEW
0
Can the rehabilitation of public
spaces
be undertaken without the involvement of
renovation
are
analysed
within
the
context of Siena in part two.
its residents? At what stage is resident
involvement
necessary:
decision
making
finally,
under
or
execution?
what
been
to
answer
organized
Firstly,
successful?
three
section is restricted to
following
examples
participaton
In
illustrative
succcesful
resident
and city rehabilitation are
examined. And
qualities
two
,
of
involvement
An
parts.
an analysis of resident involvement.
the
can
these questions has
into
this
And
conditions
resident involvement be
attempt
proposal,
lastly,
that
in
those
necessitate
the
process
normative
resident
of
city
13.Poster for the European Campain for
the RENAISSANCE of the city.
22
7
REVITALIZING THE POLITICS OF URBAN SPACES.
A THE ORIGIN OF RESIDENT INVOLVEMENT
Modern
Prior to the emergence of
urban
planning in the 1920's, the evolution of
retained
development
city
a
relative
continuity. In the Medieval, Renaissance
and Baroque period, this continuity
by
provided
roles
precise
the
was
of an
organic order, and by a culture based on
craftmanship
adaptable
was
that
to
particular climates, geography,and local
materials.
centuries, although
Gothic
of
the
and
Classical
19th
and
revivals produced a mulitplicity
eclectic
integrated
fabric.
18th
the
In
styles,
into
the
it
was
traditional
still
city
23
OVERVIEW
I
0
Despite the destructions caused
by the industrial
revolution at the turn
of the century, the large
of
the
city
fabric
modifications
(i.e. Haussmann in
Paris) were nonetheless in keeping
with
resident
that
of
class, living
had
no
Bourgeoisie.
The working
in
conditions,
voice
terrible
in urban planning.
instigated
They
to. the
were forced to comply and adapt
changes
existing urban continuity.
the
to
confined
was
involvement
by the Bourgeoisie,
including Haussman's interventions.
In
the
late
19th.
century,
public
and debate focused on the
Criticising the living conditons of what
construction of public monuments, public
was then considered for good reasons the
buildings, and important public
"harmful
participation
There
spaces.
was no consideration given to the
basic, overall structure
of
The
the
Bourgeoisie
had
the
influence, enriching the city
city.
greatest
with
its
broke
with
continuity.
the
new
housing."
using
planning.
rules:
boulevards, and monuments.
avenues,
As a result,
the
principles
of
urban
9
The city was adapted to the
new forms of industrial
own urban codes and creating a new image
traditional
city", functional city planners
production
and
concept
of
"garden
city
Urban
art
became
town
The
toois of this "neutral'
city planning, were no longer
based
on
24
a
REVITALIZING THE POLITICS OF URBAN SPACES.
but
rules,
traditional
on
complex,
egal itarian data such as square foot per
industrial
per
inhabitant, square foot
J.
-
etc.
building,
planner
technician-city
behind
the
approach
.e
From this point on, the
could
hide
14.In the name of Progress.
Le Corbusier.
scientific character of his
was
which
legitimized
by
democratic intentions.
the burden of the lower classes
lighten
The idea
scoffed
resident
of
at
was
an architectural milieu
by
sustained
involvement
pro-functionalist
by
progressive
The
politicians.
destruction of the poor peoples quarters
was undertaken in the name of
and
publicity
devised
population it was
progress,
to convince the
necessary.
Promised
public equipment and spaces, intended to
were never realized.
who
Those
could
afford to move to houses in the suburbs
did so.For those who stayed and waited
for
improvements
neighborhoods,
it
functionalist
city
of
became
their
poor
clear
that
planning
would not
bring them anything. It should be
noted
in favor of functionalist city-planning,
that
it
was
the first attempt made at
25
OVERVIEW
appi lyi ng
egalitarian,
principles
to
spatial
democratic
relationships.
The fundamental concepts underlying
functionalist
movement
the
(such as" basic
However, they created false expectations
needs") are continually being challenged
for a number of working class poor.
by
sociological
and...
that
common
realities,
sense.
traditional
integrated
economics,
Granted, the way
urban
structure
scientific
replaced by
a
based
inter-disciplinary
on
more
However,there is
among
the
a
different
lack
to be
had
variables
these
of
had
method
teams.
cohesion
disciplines
and
ultimately leaves the city planner alone
when it comes down to designing.
15.Do we think about all the inhabitants ?
Drawing by Manara.
26
16.New techniques at the service
of rehabilitation.
Otranto. Project by Piano and Rogers.
0
0
REVITALIZING THE POLITICS OF URBAN SPACES.
[ Lressa
LATO COSTRUZIONE0%I3
LATO
ANALISI
sega
pallone aereostatico
totogrammetria
.B. PRESERVATION OF HISTORICAL CENTERS.
%rio::vo
V:
5
in
LATO
the
practice
from
specialists
both in Europe
have
given
various
and
diciplines,
North
in
within
an
This
fabric
is
older
city
often not the
product of a particular pattern,
juxtaposition
America,
the best way to combine new
interventions
fabric.
renewal,
urban
of
but
a
of different morphologies
I'
Ii
providing richness for the qualities
LATO DOCUMENTAZIONE
& INFORMAZIONI
spaces.
of
27
OVERVIEW
I
9
Giancarlo di
approach
Carlo describes
to
a
typical
problem of historical
the
preservation. First is the attitude that
ignores
the
places
history
and
quality
of
and therefore destroys a certain
set of values associated
spaces.
The
with
following
historic
approaches
acknowledge the importance of history in
designing
within
Secondly,
there is the passive approach
which
leads
Thirdly,
an
to
there
urban
vernacular
is
the
context.
design.
approach
avoids passivity and abandons itself
stylistic
becomes
solution
is
28
an
present
exercises
eclectic.
which
to
and
"We believe that a careful
reading
of
the
intelligent
environment in which we are about
to insert a new construction, could
architectrual
contemporary
help
language to be more refined and,
without disowning itself, actively
consistent with the architectural
language of the past." (D)
As
one
goes
through
the
urban
environment
structured
consistent
of
with
in
the
or mode of intervention. The issue is tc
see how a different mode of intervention
can produce a different city form.
the
the
inhabitation and the
of
past", one has to choose a specific type
therefore
finally,
task
inserting a "contemporary language in an
G.D.C. recommends which
approach
needs
And
and
that
present perception of history.
17.
Left-overs or infills?
REVITALIZING THE POLITICS OF URBAN SPACES.
Two extreme examples
in
historical
centers
the experiences of
Bologna
of
and
the
Otranto.
Bologna
rehabilitation
Otranto,
the key role given by
italian
professionals to the rehabilitation of
approach",
buildings.
illustrate
public
cities
The conservation
reproduction
cases
are provided by
illustrates
"vernacular
strict
of
a
based
of
officials
public spaces within
radical
policy
on
European cities.
the
for
medium
and
an
urban
sized
planning
renewal
historic
historical
on the other hand,
experimented
with
contemporary
techniques
the
application
combined
of
with
the participation of the inhabitants. In
some ways, this approach is
similar
to
the one suggested by G.D.C.
The
following
different
modes
charts
of
summarize
the
interventions that
were applied, as well as the assumpt ions
on which
they
were
based.
These
two
18. Back to our origins. Rehabilitation of
a block in Solferino quarter. Bologna.
29
OVERVIEW
T HE
C AS E
O F
B0 L 0 GN A--
Modes of intervention
Body of principles / ideas
The (hidden) postulates
- The project of 1960
+ the neighborhood
committees
- Suppression of any development of the city
- The urban culture has to
be restored to a living
process
- All the structures of the
past had to be reestablished
- This process has to be
- They want the city to
controlled by the entire
be used but they impose
population and therefore,
an image = contradiction
must coincide with the
. Another contradiction
socio-economic program
two structures coexist
( anti-"elitist" process)
M.A, Baroque & Renaissange
- Creating a new urban cultu- - They are obsessed with
re can be achieved only by
the visual quality
keeping alive the old city
core, which is supposed to
contain all the urban values
of the past.
- Restoration methods:
. restoration
(*)
rehabilitation
reconstitution
destruction + reconstruction
pure destruction
- Strong regulations about
Modern Architecture in the
city. ( most cases, Mo Ar.
is rejected.)
- All the foreign features
that did not belong to the
popular culture were eliminated (i;e: skyscrapers)
Critic and comments
-
Inner-city has to be
used for its own value.
- Strict typology
- Archives work./.reseq.rch
photography, ;a
views,...
- Removal of any anachronistic. - Original parcelling
addition to a building and
removal of any building
constructed on a public
space.
- The"Museum idea"
- To recreate the previous
public or semi-public
spaces;to recreate the
quality of life in the city
-arKestoration without
a-istorians.
- They deny the quality
of what people did to
their houses: No
Memory of the city
- people have to move during
- people do not participate
in the restoration process
- There is a controversy
between preserving the
- No social conservation
the workr:. It need a phased-.in during the works
process and housing for.the
" social" atmosfere and
improving the buildings.
disposessed.
-
-1 citizens can be deprived
6f
their property
-2 Craftmenship
-3 Plans and archives
30
Restoration:
1- contro]ied and funded
by the Municipality
2- traditional techniques
3- traditional methods of
survey*
- decision-making process
has to be highly organised
-2 The use of certain materials support$ certain
types of economy.
( aluminium vs. stone )
-3 Knowledge of the history
of the town is crucial.
- Control- : actually, they
succeded in keeping the
poor people in the core.
Funding : the communist
municipality, because of
its absolute political
power, can afford such
ld
1nd of puristic resto-ation.
-2 Perfect restoration-=
money. Only 6000 dwellingi.
9
REVITALIZING THE POLITICS OF URBAN SPACES.
T HE
Modes of intervention
CAS E
Body of principles
0 T RANT 0
OF
The postulates
Critic and comments
- Very sophisticated methods
of survey.
-
Reuse of the buildings
-
. clear social basis
. social aspect of participation in restoration
-
- The additions are maintained.Restoration meth.:
. restoration
. rehabilitation
-
The structures have to
stay the way they are
-
No "museum" idea
It is the Mark of change
- not only the historical center, but wh-.at
the people use and *.or
with has to be preservei
- The mobile unit (laboratory)
will help the population
to understand the new
techniques avaible.
-
Modern technology applied
in the work will respect
the traditional culture.
- Very "light" projects;
- The actual means of
financially easy .o
restoration to make
cope with. Less stress
it more efficient is
on the families.
esrentialfor social conser-
- If the state of decay is
- Actual typology
important , some destructions
and reconstruction will be doiie.
The typology could change
- Aerial photography
- People stay in their
houses during the restoration work
- Communal mobile workshop
+ craftmenship
- Actual parcelling
- Social conservation
- Restoration:
1- experience funded by
and
the Unesco
the italian government.
2- Both traditional and new
techniques.
3- New methods of survey.
. Analysis and diagnosis
. Open project
. Works
. Thermography and aerial
photography (baloon)
. Devices of modern technolog
-
Communal mobile workshop
analysing and integrating
the personal needs
1 exhibition plements
2 audio visual equipment
3 library
-
Information and education
- The
"
Memory of the city".
the poor people work
out themselves their
way through rehabilit.
- There is a trend in
many cities now toward
dealing more casually
with old structures.
-
They work on the present
- it is a poor intellectual
not the past.
level of restoratin.
- People have to participate
- it leads to a collective
urban creation.
in the"renovatior" of their
houses. The family has to
decide and organise the wor k. They are not
-1&2 Working on a building
was part of the city life
and part of a continuous
phengmenon involving
craftmenship.
obsessed
with the visual quality
1&2 This refers to the
continuity of the
working sites of the
cathedrals ( N.A.)
3- specialized technicians
-3 in a post or pre-industrial
are needed
society, the working tools
have to be more accessible
and therefore mobile.
- The local craftmens had
High participation level
to be aware of the new
techniques.
31
OVERVIEW
Differences
Bologna
Otranto
Comment
- Political
. The concil has an abso-
. Power
lute power as far as city-
planning and restoration goes.
-
. Very hierarchized organisation:
Council & inhabitant committee
. Inhabitants are educated
to organise themselves.
. Participation
. The participation of the citizens is done through a serie of
public consultations.
. Citizens have a direct
involment in the restoration process.
. People have to move in tempo-
. The district population
is not stressed by the
works
Social
preservation
rary housing
. Social structure
. Will to recreate the original
urban pattern, which provide
a defined social structure.
32
the inhabitants to
restore or not.
. Organisation
.,Social
-
. It is the decision of
. Use of the actual social
structure to improve the
quality 6f the neighborhood.
. The first concern is
housing.
9
- The traditional
urban fabric has an
quality
intres of life.
. Public spaces
. There is a great attention
given to the fabric of the
city. The public spaces have
as much importance than the
building themselves.
. Role of the Architect
. The relationship to
the
inhabitant is "Possible by
the inhabitant s committees.
. Through information, education and construction
means, there is always a
a direct relationship with
the inhabitants
. Size of intervention
. concerns the whole city
.'Costs
. Very expensive operation
. concerns little cities or
districts within a larger city
Minimal costs
9
Economical
a,
OVERVIEW
The atti tude of
the
combines
similar
(1)
follows
while
Gothic
is:
of
image
the
keeping
social
city;
the
quality
the
of
and
(2)
involvement
Medieval
structure
original
the
retaining
relying on the inhabitant's
in
constantly
the city environment to modern
adapting
and
contradas
(neighborhoods-quarters). The example of
Siena,
like
which
a
frozen
fossil
avoided the trauma of industrialization,
the
combines
problem
of
contemporary
needs with the maintenance of a Medieval
For
environment.
chosen
as
a
The approach taken
experience of Bologna and
Otranto in that it
needs
Siena
in
preservation
this reason Siena was
model
for
studying
problem of historical preservation.
the
that
to
its
th i s
in
of
G.D.C.
thes i s
is
in that
it
contemporary
of
\iew
rehabilitation of historical centers:
of
consists
contextual
a
"reading"
env ironmnent
(Chapter
an
I
of
the
analysis
interaction
of
city
neighborhood
life
(Chapter
finally
a
analysis
des ign
by
phase
using
language consis tent
ir
undertaken
Medieval
urbar
a
with
Chapter
conclusion, cer tain
patterns
the
city
of
form
the
and
II )
testing
and
this
contemporary
the
past
IIIV.
In
the
of
the
principles
extracted in t he hope of
insights
of
it
in
is
Siena are
providing
new
into the problem of historical
preservation.
33
OVERVIEW
ssl-
LA
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Footnotes
- ----
-
-
-
-
-
-
Figures
QUOTATIONS
1.
Bird's eye view of Siena.
by
a painting
Engraving after
Manetti, beginning of
Rutilio
of
18th.c. in "Siena the city
the Virgin" by Titus Burckhardt.
see bibliography.
2. in Space Design 7-9, 1981. p. 7
"The market place" in "The story
of Siena and San Gimignano" p.35.
see ref. in bibliography.
3. in Space Design '7-9, 1981. p. 2 3
4. ibid. p. 2 1
5. in "Villages & Towns" No.4. p 4 2 ,4 3 .
A. in "Urban OPen Spaces"
We reflect our urban
Landscape' by Lawrence
Halprin. p.3
B. in the Blue Guide, Part on
Siena. see ref. in Bibliography.
c. in "Urabn OPen Spaces"
' The historical development
of OPen Spaces' by Dora Polk
Crouch. p.4
D. From the notes taken in Siena
of Spiro
during the lecture
Kastov.
6. ibid. p. 2 8 ,2 9 .
E. id.
7. It illustrates the effect of good
and bad governement on the city
and the countryside. Painting in
the palazzo publicco, Siena.
8. in Space Design 7-9, 1981. p.5.
11. in "Villages & Towns" p.50,51.
ref: No. 4. Edited and photographed
by Yukio Futagawa. A.D.A. edita,
Tokyo, 1973.
15. in "Italian Hilltowns" by Carver.N.
Document Press. Michigan 1979. p. 1 5 .
16. in"Villages and Towns",p48,49.
17. in"The Story of Siena and San Gimignano"
opcit. p.1 3 2 .
19. in"Urban Open Spaces", p.26. Opcit.
23. in "IL Campo di Siena" by Enrico
---
G. in"Urban Open Spaces"
' Dreaming of Urban Plazas'
by Robert Jensen. p.
24
opcit.
F. Stadbau: "City Planning
according to artistic principles"
(translated
by
by Camillo Sitte.
house
/New
York.
R.Collins) Random
1965
H. Marc Antoine Laugier (1713-1769)
" Essai sur 1'ARCHITECTURE" p.219.
11
re-edition of 1755. Pierre Mardaga
Ed., Paris 1979.
Guidoni.Biblioteca di Storia della
cultura Urbana. Roma 1971.
26. in "Siena, the city
of the Virgin"
p.15. Opcit.
28. From postcard.
29. in "Villages & Towns". opcit.
36
ak
SIENA AS CONTEXT
its
within
lives
city
"The
landscaped environment. Each city
its
has grown from the nature of
surrounding landscape-the bedrock
been
has
it
which
from
built...These more than anything
have
established
its
original
its
essence of
the
character,
personality, the quintessence of
i ts usage". (A)
HISTORY and CITY FORM
Siena appears
a
Roman
There
in history as Soena Julia,
colony
were
no
founded
by
Augustus.
major changes until the
seventh century. The town grew along the
road
that
Europe.
connected
Siena
became
Rome
to
powerful,
North
self
governed city around the eighth century
1.The shape of Siena in the 18th. c.
Under
Charlemagne, the town had its own
counts, and about 1125 it became a
free
37
MEDIEVAL PATTERNS
to convene
walls
outside
at
the
Y-shaped
the
intersection
mountain
intersection
existing
eventually
ridge.
of
city
the
This
developed into
the Piazza di Campo.
The campo was
then divided
into two
parts by a wall separating the upper and
lower piazzas. Along this divide, a
storage house was constructed that was
later chosen as the site for the city
hall.
The
lower
Campo
eventually
developed into the city market place.
2.Siena, Florence and Rome. Italy.
A~
republic
which
soon
entered
into
competition with Florence. At that time,
the city developed into
their
meetings
took
a
Commune
place
near
9
and
the
cathedral within the city walls. Because
the Bishop exercised
over
the
too
much
control
meetings, the Commune decided
The Mirket Place
38
SIENA AS CONTEXT
Later, in 1260, Siena, which
headed the Tuscan Ghibellines, aided the
1' !2
i I I
exiles from Florence after defeating the
121l1
12
K111
T tl
city at Montaperti. When the Ghibellines
,3|l
11'
fIJ'I I
1:1
1.11'',
ME
F3
,:1lit
were defeated ten years later by Charles
d'Anjou,
Siena
oligarchy
made
establ ished
up
Guelph
a
of the middle class
(popolo grosso) ruled by the Council
the Nine.
the
of
It was under this Council that
storage
house
became
the
first
hall).
The
2|
(city
Comunale
palazzo
decisions
made
by
officials to have a
building facing a piazza was one of
the
first acts of city planning in Siena.
SJ
4.
Siena: its
IN
1d1ringty
Jsuccessie c1211
The
3.Und1erti.
a
Paccino,1977
3.Under ground waterways and location of fountains.
itsevolution.
birth and growth. The successive city walls during its
evolution.
39
MEDIEVAL PATTERNS
In the
following
looking
for its own architectural style
years,
Siena
that could compete with the
began
Renaissance
of Florence. The Gothic style was chosen
as
the
and
preference
aesthetic
localised under the strong influence
the
Sisterian
characteristic
style
is
the
Order .
An
the
Sienese
of
important
of
of
see
the
tower
5.Piazza del Campo and the Piazza del Duomo.
Note the foriper shape of the first plan for the Duomo,
now the Piazza Jacopo d. Quercia, perpendicular to
the cathedral.
prohibitive
like brick which
the ctiy itself provided. At this
of
the
city
Sienese bricks was erected.
40
today
stone. Siena opted instead for
an inexpensive material
the
Gothic
arches of the cathedral that remain
unfinished because
cost
-
material used. Stone was
too expensive. One can still
the
.
of
hall
This
time,
represented
the
the
towers,
other
made of
individual
tower
torn down.
new
central power and
symbolizing
the
power of the Castellare were
SIENA AS CONTEXT
In
an
controlled
Siena
century,
fourteenth
the
region
very
because of the devastation of the plague
developed in the direction
city
the
in
the
opposite
direction.The Fransiscan
and
Dominican
southward
Orders
which
city
in 1348, the city
planned,
and
the
did
not
develop
as
green valleys within
the city were never urbanized.
had become powerful, took
outside
over the upper regions of Siena
the
this development
was never as important as they expected:
of Florence (Porta Camollia),
grew
Nevertheless,
area of more than thirty
miles.Although there was already a
poor
Siena.
walls.
They
were
extremely
popular and an urban development rose up
around them, primarily near the gates of
the town.
last
placed
When the city constructed its
walls,
to incorporate the lands held by
these Orders
This
intentionally
were
they
so
extension
undertaken during
as
to
control
them.
of
the
city
the
full
growth
was
of
6.Location of the Sienese churches.
41
MEDIEVAL PATTERNS
In
the
fifteenth
the
of
beginning
Siena was engaged in struggles
century,
with Charles IV.
into
fell
it
Later,
the power of Gian Galeazzo Visconti, who
was
After
scheming to hem in Florence.
his death, the city regained its liberty
for a time, but
Magnifico)
in 1487.
Pandolfo
proclaimed
(11
Pertucci
himself autocrat
Another spell of
to
live
to
migrated
Florence
yoke,
where
they
Republic of Siena until
by
delivered
was
it
when
Medicean
Montalcino,
the
maintained
1599
the
beneath
refused
the
Treaty
up
to
of Cambresis.
Thenceforth, Siena shared the history of
Florence and Tuscany. (B)
was
liberty
marked by a victory over the Florentines
As a result of continual warring, little
Spaniards
was added to the city's essential fabric
and
Clement
VII,
but
captured Siena in 1530.
Medici,
unwilling
to
the
I
Costumo
de
allow Florence a
spectacle of liberty so near their city,
entrusted the final suppression
Sienese
of
the
to the blood thirsty Marquis di
MPJignano, who
took
the
city
in
after a disastrous siege of eighteen
42
Some 700 families, who
months.
1555
until
the
twentieth
consequently,
Siena's Medieval
the
century,
greater
inheritance
preserved. Siena today still
part
has
and
of
been
retains the
physical form and cultural values of the
Medieval urban spirit.
SIENA AS CONTEXT
POLITICS
and
CITY FORM
7.%llegory of the Good and Bad Government",
Partial reproduction of the frescos by
Ambrogio Lorenzetti in Siena, 1338-1340.
The emergence of a
"There we can see the
tension
between
, and mutual adjustment of
religion, market, and government,
playing themselves out in control
and use of the main urban open
space." (C)
the
in
the
city, can best be understood as
architectural
framework
structure
governing
form
setting
Today
politics.
for
remains of the towers of the
the
the
Castellare,
representing the strength and power of
the
individual
a physical
families,is
to
the
political
architecture.
The
Castellare
testament
were sprawling
households
role
of
of Siena
composed
of
43
MEDIEVAL PATTERNS
individual
their
by
distinguished
I N A
Ab
The height of these towers, and
towers.
their
stables,and
quarters,
servants
location on the crest of the three
a
physical
families'
political
was
ridges,
Sienese
measurement of the
8.The Medieval skyline formed by the towers of the individual castelare. Painting by Ugo Tolemei, Siena.
power within the city.
artificial
design
founded on political
tension.
The
itself
city
through architectural means.
power
Charter
control
of
the
the
of
height
individual assertion
Catellare,
44
city
and
political and
of
the
planning began to be thought of
streets
and
construction
the
the
of
The
houses.
power
by
the
central control of
demonstrates
Around LOO, the city developed beyond a
the
concerning
clause
walls, the curving of
the
The
of the city always contained an
architectural
the
political
expressed
a
type
of
of
economic
aesthetics.
became a work of
concern.
Town
in terms
The city, consciously,
art.
The
morphology
and typology of the city were recognized
to
the
extent
that urban planning was
applied through laws
SIENA AS CONTEXT
In the same
began to appear.
might
have
This "Uomo Universale"
Tuscan
region flourished. At this time,
been a painter, a sculptor,
painted
The man who
Caterina, could have designed the
that
period
Nine , who ruled
were
the
century,
13th
relationship between
city
form
date
first installed to
concept of the city and citizenship.
city
during
reaffirmed
the
aesthetic
the
'city'(civitas) sounds
"The word
'love'(caritas), and
like
almost
built,
love are cities
through
living
in
delight
men
since
together." (D)
the
the
of
the
being
a
building
a
of
Part of the responsibility
S ienese
citizen
included
house
within
the
walls.
city
Town
1347 when they were
symbolize
As
Fra Giordano da Rivolta said:
trends
and politics. The nine brick
back to
there was a revival of the ancient Greek
supported by the
paved sections radiating from
Hall
the
,
the
city
shape of the Campo. The artistic
of
century
During
or a city planner.
Santa
fourteenth
architects
,
period
city
The way in which Siena developed
its
successive
walls,
state governemnt that the Sienese called
typical Medieval growth
The Nine.
the
Renaissance
like Pienza and
within
represents
as
opposed
development
Florence,
a
to
of cities
where
urban
space was controlled differently:
45
MEDIEVAL PATTERNS
through
Like some other cities, florence was
on an ancient form comprised of
founded
Castellare
involvement,
arbitration between the people of
a grid an a river. During its evolution,
and
Florence had to fight against this
implemented by the designers.
type
city
officials,
and
Siena
finally
of Roman pattern in order to develop its
own
form.
The creation of some other cities was
generated from their
settings:
natural
hills, valleys, water level,
etc...
9
For this reason,
Siena's
city
pattern
could hardly have evolved in the same
way than Florence or Rome.
Unlike
those other cities, Siena's form was not
the
work
entire
of
design
a
of
single architect.
the
city
The
evolved
46
a
READING OF SIENA
THE "ORGANIC" CITY
9.Typical view
of a Sienese
street. The
arches are
holding the
facades
together.
Siena is the model of a city that has an
optimal size population and posesses
For
"Siena's admirers are legion.
students of the Western city she
its
typifies medieval urbanism at
most endearing, and holds lessons
unregimented
of
seemingly
community.. .Her
compact
brick
compellingly
of
texture...speak
exploited topography,of sensitible
within
,variety
improvisation
the felicitous fit of the
unity,
dimensions of
material and social
urban life." (E)
organic
an
quality in the way it organizes
itself when growing.It therefore has the
capacity to be
landscaped
because
the
city fabric is understood as a whole. In
Letchwork,
the
E.Howard,
the
relationship
nearly medieval
garden
city planned by
project
among
induced
people
in character.
that
The
a
was
form
of the urban design incorporated some of
the
Medieval
features
C.Sitte in his book
"der
desribed
by
Stadtbau"(see
section on medieval squares.) Similarly,
47
MEDIEVAL PATTERNS
9
23
*
*
1~
C34,
I
/
19
N
A
*4~
9
Q-
Cc
cc,
-i~
0~~.
It~
10. Network of defined public spaces throughout Siena.
9
48
4
READING OF SIENA
49
MEDIEVAL PATTERNS
the scientifically designed neighborhood
a
unit
which
by Clarence Perry, (1929) used many
maximum
the
declines.
qualities of the spontaneous Medieval
number of inhabitants beyond
economic
Until
utility
curve
the nineteen hundreds,
0
the maximum was approximately 30,000 but
quarters.
following the boom of the
towns",
"new
that number increased to 60,000
and today is close to 250,000.
In his
class
Jul ian
"Theory
Beinart
characte ristics
four
of
of
City
the
is
organi c
so-calle d
units
"Neighborhood
each
unit
f orm
town'
repre sents
microcos m of the city itself.
(1)
the
clear.
The
nature
a
green belt and would act as the physical
limit to the growth of the organic city.
Beyond
the
cities
or
green belt, other satellite
(2)
In
a
(3) There
is an op timal size for the city, that is
50
rather
surrrounding the town could be called
a balanc e in terms of class and w4ork.
w ords,
kept
city,
Within each one of those units, there is
other
The
eight
of which are described bel ow:
Separate but dependent
(4)
9
distinction between the city and country
Form",
described
English
towns
could
then
develop.
9
READING OF SIENA
CITY FABRIC and VALLEYS
historical origin
city
the
analysing
after
was
fabric
for
and
that
the
long
a
the city state arose, strict
Later,when
for
building regulations were made
the
of the streets, the material to
curving
be
time an
powers.
individual
of
agglomeration
political
Siena,
of
know,
We
However,
copied-Gothic.
to
style
the
and
used
be
cannot
we
\\' .Brick and tile are the materials commonly in use
in Siena.
of
imprint
the
identify
The
master-planner.
city
was
a
never
designed; their buildings and spaces are
a reflection of the communal life
was,
a.l
I
will
thesis, conditioned
spaces
among
hypothize
by
those
which
along this
physical
which people passed their
lives.
51
MEDIEVAL PATTERNS
12. On the left: the
city fabric and the
valleys.
Legend:
Countryside
and greenery
in the city.
The Sienese
labyrinth.
The wide
perspectives
over the valleys.
13.
On the right: the
edge of the valley9
in "Fontebranda".
San Domenico in the
foreground; the Duomo
in the background.
14. Diagram showing the
implied symmetry.
15 .Descending cascade
of roofs topped by
the Duomo.
52
9
READING OF SIENA
The city fabric
pattern
is
is
only
like
a
whose
maze
broken by the natural
presence of valleys.
Indeed,
when
the
"labyrinth" of streets reaches the edges
. . .of
the valleys, one is confronted with
a
wide perspective displaying a descending
cascade
of
roofs on the oppposite side
of the green valleys.
the
city
looks
At
each
valley,
upon itself as if in a
mirror.
In the case
of
which
be ultimitaley the focus of
the
looks
11>1
~
~
L.:
i
will
sketch
out
Fontebranda,
design
onto
a
site
church
the other side at its'
reflection.
The
Fontebranda
valley
symmetry,
section,
the
bottom
of
the
becomes the axis of
53
MEDIEVAL PATTERNS
16. The city fabric is dense, but leaves large Piazzas for the collective life.
Valley di Fontebranda at the upper right corner.
54
Note the
READING OF SIENA
THE MEDIEVAL SQUARE
The public square is probably the
space that embodied an intense
of
type
first
Since its' origin
collective life.
the
defined
by a
unique form that differentiates it
from
square
public
the
has
been
constituent
other
elements of the
city.
Due
to
the
important
increase
in
population prior to the Renaissance, the
size
A
of the Medieval city expanded, and
a number
I.
nS
A
AN
mALAoTO[OME
created.
of
new
Although
public
their
squares
were
shapes
were
often irregular and performed
functions
,
they
different
nonetheless had some
typical characteristics.
55
MEDIEVAL PATTERNS
encompasses all these qualities:
"The Campo in Siena
is absolutely
bounded by buildings and open to
the sky; it is an outdoor room.
Eleven streets bring people... into
and out of the Campo, yet they are
nearly impossible to see from the
Piazza itself." (G)
In 1889, the Viennese architect, Camillo
Sitte, published
which
the
analyzes
piazzas
of
Sitte,
the
book,
the
that
most
time.
typical
"Stadtbau"
beautiful
According
features
to
of those
squares include:
(1) The
closed
is due to this quality
space.It
Sitte explains, " that a
middle
of
square."
the
0
city
All
square
space
can
the
be
is a
The
best
Once again, the Piazzo di
a
perfect example, as it has
is
Campo
called a
(3) The square is tangential to the flow
architectural
of circualtion.
of
the
circulation
the public space.
have
examples
show
symmetrical,
that
the
irregular
network.
forms.
proportion of a minimum of 2/3 solids is
counts.
necessary
due to geography, or to
to
experience
The
Piazza
places
di
as
Campo
historical
part
of
(4) Squares
They
are
not
it is their proportion that
The
9
The square was reserved
for festivities, and was not a
enclosing
described above.
56
cleared out.
its' fountain at the edge of the piazza.
street corners- constituted a system
for
usually
in the
elements -colonnaded arcades, loggias
rules
(2 The center of the square is
9
origin
of their forms is
the
particu> r
development of the city. The
9
READING OF SIENA
For
shape of the triangle was a common shape
(5) The
are
composition existed in the
lines
of
the
The second major
In
facades.
for
it
fact
is
were
ascendant
whose
facade
main
function
provided
by
local
squares,
these
gave
craftsmanship that
squares
parvis' (front space) was limited.
Ages
Middle
many
to preserve the affect of the
not
accepted
generally
No
identical.
facades
reason,
along Gothic catedrals in order
created
used to emphasize the facade of the main
biulding.
this
was the location or the market
squares
It developed
place.
following
one
of
As
an
their charm and feeling of unity.
three
During the Middle Ages,
squares
(2)As
as
anti-chamber
an
The problem of
form
parvis
of
the
which
between
streets,
(3) The market took place in
specifically
designed
a
for that
purpose and attached to a main artery.
the
square and the height and
length of the building or monument,
clearly
square
served
for the cathedral.
proportion
(1)
an intentional enlargement of the
road, or
below:The first was fulfilled
by the so-called
patterns:
occassional enlargement of the
served
many diverse functions, two of which are
described
different
understood
was
in the Middle Ages.
/
2
3.
57
MEDIEVAL PATTERNS
58
READING OF SIENA
THE GATES-THE LIMITS OF THE CITY
The ideal
lay-out
described
by
above
Laugier couldn't be implemented around
existing cities as it would involve
too
re-adapt
the
to
reconstruction
much
urban fabric. Around existing gates, the
19.
Ernest Farnum Lewis. "Piazza del Popolo and Pincian Gardens"1910. pencil and watercolor dr awint
inverse lay-out was
Arteries
imagine
a
large
avenue,
straight, an bordered by trees. It
leads to a triumphal arch... located
on a half-circle square,...giving
access to streets that lead to the
center or to the extremity of the
city and have objects to end them.
With all these elements, we will
see the prettiest entry to a city
that one can imagine." (H)
"I
were
spread outside the city,
flow
concentrating the traffic
passage
tight
traffic
towns,
network
transportation
aimed at the suburbs leaving
for
gates
to
detroying the
and
country:
exist,
a
European
most
In
into
provokes
nowadays
that
problems.
the
applied.
sometimes
no
is
reason
and consequently
difference
between
city
no end to the cities, no
charm to the countryside.
59
MEDIEVAL PATTERNS
This answer by modern urban planners
develop
cities without a physical
to
(2) To suppress any new developments
preference
limit
of reconstructing empty areas
within the city.
(3)
To
reabsorb
provoked an anarchistic proliferation of
suburbs
small towns which took over
Nature
and
rural
communities.
This
disorganised urban phenomenon is a heavy
charge for
mod ern
choice
be
to
society: there
made;
budgets and ori ent
the
care
investmerits
spaces or waste those
the
unlimited
at
least
is
around
the
city
periphery.
a
either affect the
res Lructur ing
and
create
the
and
"country-fingers"
the
in
city
towards
of public
budgets
on
expansion of ill-equiped
suburbs.
As we can see, the principles of Laugier
still make sens e today:
limit
to
construction
60
the
city
should
(1) To
over
not
be
have
whi ch
a
the
permited.
20. the gate of Fontebranda seen from outside the city.
READING OF SIENA
the
Today, they still symbolize the complete
Sienese urban system emphasizes strongly
autonomy of a city core in regard to the
the
rest
The
principle
dividing
of
gates
lines
defining
and contradictions
gates,
gives
space, particular to
us
the
impression
housing
new
most
vicini ty.
of a
At the time comes
for
small
and
developed
which
industry
between city fabric and countryside.
The "neutral"
the
of
its
in
and
festivities
"double-skin"- that is a transition from
dinners in the street, the neighborhoods
a domain of plant-life to a
in the proximity of these gates organize
city-life.
constructed
(see morphology, next page)
This "double-skin" system has of
historical
course
origins. It was an ingenious
trap that stalled the attacking enemies.
After forcing the exterior
of
these
fortified
wooden
gates, the Sienese
could easily combat the enemies
below.
door
themselves
around
them.
The gates are
then decorated with the flag and
of
the
contrada, and as the dinners go
on late,
series
colors
they
of
are
highlightned
spotlights
by
a
to enhance their
austere majesty.
trapped
(see typology, next page)
61
0
MEDIEVAL PATTERNS
21. Morphology of the Sienese gates.
Note the "double-skin" system
common to most of the gates.
.n most cases, a small public
square developed in front or
behind the city gates.
62
-Immmmmm
READING OF SIENA
Corresponds with the drawing on
the opposite page.
Note the decoration of the
rich contrada di Istrici
Note the rich decoration of
the Porta Camollia (inside and
outside)
2Z. Typology of the Sienese gates.
63
MEDIEVAL PATTERNS
23. View of the Campo during the Palio horse-race and the proccssion of the coninparse on 2 July 1717. Froin a contemporary engraving printed by Domenico Rossi in Rome. City iusciwn, Town Haill, Siena.
64
READING OF SIENA
THE DIVISION OF SIENA IN CONTRADAS
(7
The tendency of the medieval
to
prefer
the
world
corporate
individual .the role of the
to
was
the
Commune
was
to convey the idea of itself as the most
perfect
corporate
of
attract the allegiance
all.
of
It
the
had to
Sienese
community as a whole.
The division of the city
and
independent
quarters
into
separate
to be
seems
typical of most european cities
of
the
time.
However, today, in most of those cities,
25. The day of the Palio, the different
contradas meet in the streets ...
It is very colorful.
the
differences
between
neighborhoods
65
MEDIEVAL PATTERNS
*
tends
to
be
diminished;
thi s
number of factors taht can be
the
i ntr duction.
stress,
is
the
What
fact
Evolution
a
found
in
want
to
I
that
for
it
still
9
The city's government was created by
groups, each occupying one
of
alliance
survives, today. in Siena, not only as a
of the three hill ridges of the city. At
touristic
the end of the thirteenth century,
attraction
but as a constant
within
included
characteri stic of their lives.
three
The following description
made
of
the
-it was part of the
political
evolution
of
the
class
this
structure
and
the architecture of the city.
-a division can, through the festivities
(Palio) find a unity of being.
were
the
as
Citta, Terzo di
The
topography helped to perpetuate
tripartitie
topography
life in Siena,.
-it influencesthe
"Terzi": Terzo di
later
Camollia and Terzo di San Martino.
natural
contrada can explain how
of
circuit
the
walls. This division appeared
66
an
of
Siena
division.
will
The
also play a
role in the division of the contradas as
we will see later.
9
READING OF SIENA
3
Class structure and architecture
I E N A.
We
~I.
~
w~
nArim,
appreciate
can
I
the
of
nobles families since we know
different
the
dominated
they initially
and
"politics
(see
role
the
city form") It was
patronage
described above a
Commune.
was
system
centered on family-powered group,called
Castellare.
towers
were
and
fortress
The
by their family
inhabited
beginning
and their clients. By the
26. The medieval skyline of Siena had a lot in
common with the 'San Gimignano' of today.
the
of
fourteenth century, there were more
than fifty
Siena.
was
their
The
their
towers
in
the
skyline
of
importance of those towers
symbolic
value
and
their
capacity to indicate the particular area
of
territorial
control
applied
by
a
castel lare.
67
MEDIEVAL PATTERNS
Afterwards, due to this concentration of
custodian of their patrimony. The people
territorial
of the contradas are
attentive
qualities
quarters. They all
contrade
domination,
-the
many
small
of
the
administrative
districts i nto which Siena
is
divided-
meet
of
their
regulary
in
the
"house
to
the
of
the
took their name from one single dominant
contrada" which is usually a cafe linked
family livi ng within them. The
to
were
more
or
less
division
kept intact untill
their
museum
and
Gans says, "these urban
their chapel. As
villagers
know
the limits of their territories".
today.
6
OIOCCIOL
4
pANTERA
AQUILA
SELVA
The life of the contradas
0"0
CACA
When
in most of the endangered
cities,
ther
the
neighborhood
phenomenon
quality
(see
of
European
of inhabitant's
a
becomes
committees
preserve
creation
IZARTUCi
in the
life
introduction) ,
the
oA
contradas
as
the
leads
one
68
to
believe
that
city
they
are
o
the
a
ORRE
AONTOE -
political force within
DRAGO
to
necessity
of
oca
the
RUCO
READING OF SIENA
A.
t...
-A
t- /
-4
SIENA
27.
- - -
limits of the contradas
E LE
17 CONTRADE
* houses of the contradas'
69
MEDIEVAL PATTERNS
" In the Piazza del Campo
There verbena grows.
Long live Siena !
The most beautiful of cities.
feeling this emotion that emanates from
each neighborhood.
Long live our square
The tower and the chapel
Long live Siena
The most beautiful of cities."
In the same time, it
to see how the combination
is
striking
of
the
an
extraordinary
contrada colors and songs forms
"ensemble"
in
the
unique and beautiful Piazza di Campo.
The lyrics and the Sienese
of
speak
songs
the history of their contrada and of
course the number of Palio's they won.
Whatever deep divisions may
society,
in
the
Palio the inhabitants
become one people. The Palio is
day
their
rend
a
five
festivity that happens twice a year
and celebrates this
"unity
of
being".
Through the Palio, the Sienese discovers
a personal and a corporate identity. One
has
70
to see one of those horse races
to
I
28.
Effervescence during the Palio.
READING OF SIENA
The topographical limits of the contradas
The edges defined by the Sienese valleys
and contours are
9 S
limits have
points
The
a
strong
of
social
is
accentuated
the number of suttle gateways within
the city.(next page)
29.Sienese topography'.
meaning.
access, where one level
begins and another ends,
by
contrada's
explained above, those
As
boundaries.
the
often
The houses
of
the
non-nobles and the poor were to be found
in
the valleys and they could easily be
dominated by the
fortress
noble
which
was at the heart of each family group.
This
is
contradas
still
which
true
30.Via Fontebranda leading to
the Piazza di Campo.
a
way;
the
the upper part of
are
the town have still
being
in
the
reputation
of
rich.The fact that the valley are
still used as cultural
land
can
maybe
explain this difference.
71
MEDIEVAL PATTERNS
9
31.
Sketch showing the differences
of altitude between the neighborhoods. These topographical
limits were probably at the
origin of the actual limits.
As the sketch tries to express,
each contrada has some 'Inembers"
outside the city walls.
72
PIAZZA AND CONTRADA
9
Footnotes
FIGURES
QUOTATIONS
5. in "Sienne la bien-aimee"
p. 75 see ref. in bibliography.
6. Photo by Arthur Leipzig. Spain.
10. in "Villages and Towns" see footnotes
from previous chapter.
11. in "The story of Siena and San
Gimignano". p.146. opcit.
12. in"Villages & Towns" opcit.
p.47
13. ibid. p.54.
15. in" the story of Siena and San
Gimignano". opcit.
16. in"Siena, the city
of the Virgin"
ref.
MENEWN
in
bibliography.
18-19. in "La vita privata dei Senesi
nel dugento" by Zdekauer. see
bibliography.
A. in "Urban Open Spaces"
' OPen Space: Freedom
and control: Changing social
by use.
customs are reflected
by Stephen Carr and Kevin Lynch.
9
p. 9.
B. in"
Towards an Urban Manifesto"
Donald Appleyard, Allan Jacobs.
p. 14.
March 1980.
( Not published)
$
C. ibid.
D. ibid.
E. ibid.
F. in "Urban OPen Spaces"
' The collective perception
of cities"
by Lawrence Halprin.
p. 3.
0
74
URBAN SPACES: ROLE AND SIGNIFICANCE.
The contradas of Siena were
and
articulated
rules,
norms,
conventions,
constructed
following
and
that
a
set
culturally
of
defined
allowed for an urban
society that was integrated from both an
The
economic and social point of view.
contradas
of
Siena
do
not
autonomously of one another.
all
While they
characteristics that make them
have
unique unto themselves such as
and
specificity
specialisations,
united
exist
by
they
cultural
economic
are
nonetheless
the center of the city - the
Piazza del Campo.(sketch on previous page)
The Piazza del Campo does not belong
any
single
contrada,
to
it is a "neutral
territory,''
75
PIAZZA AND CONTRADA
However, the different contradas
and
the
Piazzck
del
Campo
have
an
internal organization which fulfills all
those functions relative to
city,
which
are
not
the
entire
provided
by the
individual neighborhoods.
For instance,
it provides the administrative functions
of the city, the symbolic and historical
functions, etc.
If
the
quarters
their
contrada
within
be
among
simultaneously
relationship
public
squares,
spaces
the
defined
the city,
integration with the
relationship
76
can
made
-
steps
center,
and
of
and
This
external
possible
the
1
is due to
themselves.
internal
is
it
as
streets,
/
by the
the
the cathedra-.
1. a. The houses of the contradas are located near the
internal structuring public spaces.
b. The limits of the contradas are located in the
articulating public spaces.
A
URBAN SPACES: ROLE AND SIGNIFICANCE.
Their role in the evolution of the
city performs a
provide
they
dual
an
creating cente rs
function.
internal
for
First
srtructure,
the
creation
of
neighborhoods, a nd giving an identity to
the
quarters.
articulate
the
different
whole.
Secondly, public spaces
city,
cont radas
The
Piazzoa
linking
into
del
an
the
entire
Campo,
for
instance, link s many different contradas
together.
Sim il arly, the Via di
links the
per ipheral
Soppra,
neighborhoods
to
the Piazza del Campo.
But the role and signifigance of
public
spaces in the city goes beyond this dual
and
2.
Public spaces at
the level of a small community.
fundamental
structuring
and
function
of
articulation.
internal
Pub 1 ic
77
PIAZZA AND CONTRADAspace
It offers what the private
dense
city
cannot.
squares and their
private
for each
spaces
in
a
For instance, the
benches
dwelling
replace
9
the
unit.
Only
public
permit recreation areas and
for
meetings,
discussions
cafes,
units
backyards which are fairly rare
can
places
on
the
for
having
terraces
of
the
etc.
Aside from the
roles
public
also
spaces
described
play
In order to
create a purpose, a spirit for
articulating
symbolic
spaces
elements
showing
above,
an important
cultural and symbolic role.
the
9
is also the extension of housing.
a
city,
public spaces must be
or
contain
symbolic
their adherence to an
integrated society or totality.
At
the
3.
same
78
time,
the public spaces of a city
The articulating
public spaces between
the neighborhoods.
URBAN SPACES: ROLE AND SIGNIFICANCE.
culture
help to develop a typical urban
as
opposed
characterized
autonomy,
to
by
a
cult ure
a
a
one
based
li ghter
freedom,
control,and
village
on
social
multi plicity
of
interactions.
The purpose of this chapter is to define
public
more precisely the roles
play
a city like Siena, in order to
in
provide guidelines for
and
future
projects
urban
within
Three particular roles will be
n
the
spaces
following
(1) Public
spaces
designers
a
city.
analysed
sections:
as
a
generator
of
an
extension
of
neighborhood life;
(11)
Public space
as
private dwellings;
4. Public spaces at the scale of the city:
catalyst spaces for dense interchanges.
79
A AND CONTRADA(III)
.1
Public space as a cohesive element.44>
for the city and;
(IV)
The
residents'
involvement
in
structuring public spaces.
Ii
4
;C
II
'1
5.
80
1.PUBLIC SPACES AS A GENERATOR OF THE NEIGHBORHOOD LIFE
In Siena we have seen that the contradas
were at the base of the organization
the
city.
This
analysis
should
evolution
contrada
by
to
define
To
(a) the autonomy of
its
(b)
functions
well-defined
Siena's
characteristics.
summarize these are:
the
us
allow
common
their
of
of
limits,
multiplicity
of
the
presence
of
(c)
a
of
level
comfort as well as a physical and social
importance,
cultural
and
identity.
(d)
For
a
symbolic
each
of
and
these
points, public space has a role to play.
6.
81
PIAZZA AND CONTRADAFor example, each quarter snould have
a) The autonomy of the contrada
and its multiplicity of functions
of
balance
specialized
commercial
activities such as craftsmanship,
functional
community.
compexity
of
estrained
a
within
relative autonomy, and must have
its'
all
boundaries
functions
those
relative to day to day living,
administration
(the
such
as
space,local
green
trading,
working,
have
must
community
This
house
of
the
etc.
All
number
of
offices.
complexity" does
known
for
not
their
But
public
services,
9
"functional
exclude
specific
economic, o- mostly symbolic
quarters
commercial,
functions,
(i.e.: jewelers, banking, fashion strip,
historical
area,
specialized
quarters
quarters
the Athen 's Charter of the
as
etc.).
mean
Nor
do
isolated
C.I.A.M. explains in its points 77,
contrada),
small
enterprises, and a reasonable
industrial
The neighborhood concept is based on the
a
0
47,
and 41:
these funct ions are mixed
upon public
Work,
degree
82
alongside
or
spaces.
in particular, will determine
the
of complexity of a neighborhood.
(77) The keys to urbanism are to be
found
in
the
four
functions:
inhabicating,
working, recreation
(in liesure time), and circulation.
(47) The industrial areas must be
ndependent
of
the residential
areas,
and
seperated
from,'one
another by zones of vegetation.
0
THE SUPPORT OF THE NEIGHBORHOOD LIFE
7. In the heart of each contrada, there is a
public space that structure,and is used by,
the community life.
83
PIAZZA AND CONTRADA
V
allows for diversity in urban
(i1) The places of work-factories,
and
business
workshops,
craft
public administration offices, and
essential
possible,
inhabitants in
their
of
the
collective
property of the inhabitants.
One has to
live
there
to feel fully at home.
is
others, the strangers, are only
is
by
the
and
are
welcomed
The
passing
into a territory
which is not theirs.Public spaces at the
center of the city, such as
participate
in
del Campo, are collective spaces for both
or
recreation.
Restructuring
should
They are
to
work,
spaces
a sense of community and
neighborhoods
circulate,
public
generates
neighborhood.
well
as
extent
presence
the
a
of functions
an
to have, to as great
and
no
with in
for
condition
multipilicity
balanced
are
located
longer rationally
the urban complex.
The
-
premises
commercial
functions
or
creating
be thought of
terms of the multiplicity
of
in
functions
all
feel
and
non-residents.
"at home",
inhabitants
who
are
it
is
Piazza
Although
still
the
essentially
the
guardians of the collective memory.
described above.
At this point, the structuring
residents
the
role
public spaces should be reiterated.
of
For
0
it
84
is
this aspect of public space that
THE SUPPORT OF THE NEIGHBORHOOD LIFE
In the same way, we can also define
resident.
Jacobs
I
that
accomodate
peace.
qualiti es
stranger s
and
order
keep
public
In
space,
space
words,
other
constantly
The
the
open to everyone, has to
space
private
the
used
or
by the local
residents. (2) The p ublic space must
looks:
to
(1) There mu st be a limit to the
be differentiated from
social
Jane
in a city needs
in
be
to the inhabitant's
exposed
the street must have
eyes.
b) The need for well- defined limits
the
as the
from
learned
street
stranger domain.
public
comfortable
have
a
main
three
as
feels
as
where
places
collective property,
stranger
spaces '
public
'articulating
the
(3)
As
limits
of
the
contradas
or
quarters,articulating public spaces were
adapted
to
the
diverse
modes
of
circulation and urban functions relative
to
but
outside
Articulating
the
neighborhood.
public spaces serve mainly
to connect quarters among themselves, as
well as
For
neighborhoods
this
reason,
contemporary
the
center.
they accomodate well
traditional modes of
the
to
circulation.
problem
But
is that cars
can hardly be mixed with this
means
of
circulation.
sidewalks must be constantly in use
- day and night -
by
people
there for different reasons.
that
are
Using the example of
types
of
Siena
again,
two
interaction can happen at the
85
PIAZZA AND CONTRADAboundaries between contradas: social and
def i nition. it is
by
collective
are
space
public
articulating
Since these
antagonistic.
that
there
usually
the fights between clans take place.
can
of
phenomenon
conflicting
the
recall
also
the
We
Emphasizing the
symbolizing at the same time the rivality
clans
between
contradas,
and
city
unity of the entire
place
at
its
center
as
and the
it
takes
- the Piazza del
the
external
these
quarter,
create
a
allowing
type
functions.
This
Siena.
Steve Carr and Kevin
examples
a
social
high
Lynch,
of
a
article,
"Use
of
service,
multiplicity
One of the most
well
of
known
network of articulating
in
public spaces is
their
9
spaces
collective
of
for
qualities
is not a phenomon unique to
Campo.
9
race,
horse
Palio
"In those
small
interdependent
communities, in which we have lived
for mcst of our human history, the
use of
the shared space was an
integral
part of the social order,
like
obligations
of
kinship.
Sanctions that enforced these rules
were immediate and unwavering, for
maintaining
spatial
order
was
essential
to the social order.
Conflicts occured, if at all,
at
the territorial
boundaries, where
one group faced the other."
given
by
Haussmann's
is an Indicator of
restructuring
of
Paris.
The
new
Social Growth and Change,"(A) describe a
avenues,
similar
conflict
in
Medieval
boulevards
and
"articulating
Islamic
squares"
were
functions
and
fringed
with
diverse
cities.
allowed
many
means
of
circulatio .
86
&
THE SUPPORT OF THE NEIGHBORHOOD LIFE
8. In between each contrada, there is a public
"buffer-space" that provides a multiplicity
of functions for the entire city. It
articulatesthe neighborhoods among themselves.
87
PIAZZA AND CONTRADA,
environment,
a
man-made
(4)
particulary buildings that define
public
space
(as
opposed
to
buildings that, for the most part,
sit in space),
(5) and many, many
separate buildings, with complex
arrangements and relationships (as
opposed to few,large buildings).'"(B)
c)The neighborhood comfort
The ievel of comfort of
a
0
neighborhood
refers to the capacity the community has
These considerations are
leading
to
a
to incorporate into its urban fabric and
new
concept
that serves as a basis for
public spaces, all the features of urban
understanding
socio-cultural,
economic,
life:
'good' public spaces. This
concept
9
is "neighborhood comfort."
recreative, and symbolic.
Appleyard
and
physical
encourage or
Jacobs
necessary
characters
create
isolate
a
"livable
five
to
urban
Iife":
"(1)
Livable
streets
and
some
minimum
neighborhoods, (2)
density of residential development
as well as intensity land use, (3)
activitiesof
integration
an
living working, shopping- in some
reasonable proximity to each other
88
It is LeDn Krier that first developed a
method of
social
analysing
size
of
that the general
in
the
physical
quarters.
and
Krier shows
activities,
described
the passage above, are only possible
(in the same time and
structure
composed
place)
within
a
of streets, piazzas
and blocks;. He defines the
level
of
a
9
THE SUPPORT OF THE NEIGHBORHOOD LIFE
neighborhood's
comfort
parameters:
quarter,
with
(1) dimension
four
of
the
(2) the number of streets,
(3) the number of piazzas or
spaces,
public
to
60
people
density
"gracious
which
per
acre.
would
The
still
maximum
provide
urban life" (C) is for ty-eight
dwelling unit per acre.
(4) and finally, the number
of blocks.
relative
The level of
comfort
is
to the neighborhood's capacity
A. The physical and social dimension
to
allow
greater
autonomy
chances
of
community,
of
the
the quarter.
dwelling
that we are concerned with here.
However, as noticed in "Towards an Urban
design Manifesto" ( ),the
dwellings
minimum
city
of
for interactions, etc.
It is not the comfort
itself
the
size
of
10
InI.
W&oIOg
the
and parcells do influence the
density
life,
which
necessary
they
to
support
9.
estimate to be
fifteen dwelling units comprised
of
30
89
I
PIAZZA AND CONTRADA,
0
The walking distance between two
of
in
destination,
all
of
a
B. The number of streets
historical
cities, defines the social and
dimensions
points
physical
This
neighborhood.
Historical examples such as Siena
prove
and
their
a
that
nimber
of
streets
distance in Siena is approximately 2,400
lenght in the quarter can
feet (800 meters).
level
of
comfort
the
increase
9
in the neighborhood.
interactions
It multiplies the possible
the inhabitants. The best example
among
The superficial measurement of the ideal
area for
Krier
a
quarter
around
eighty
population of close to
that
limit,
is,
according
acres
15,000.
with
to
a
Beyond
the community risks social
is
probably
festivals
bi-annual
piazzas.
dinner
of the Sienese contradas held
in their long, narrow streets
A
large
number
hypertrophy; and beneath that limit, the
favors a multi plicity of
community risks isolation and becoming a
favors
sort of ghetto.
corners which
speeding.
90
the
more
as
of
their
streets
functions.
sunlight,
act
or
a
more
It
street
deterrent
to
0
THE SUPPORT OF THE NEIGHBORHOOD LIFE
D. The number of blocks
The number of blocks, and
the
lenght
of
the
consequently
streets
are
also
indicators of the multiple activities of
a
and squares
1O.Siena: many streets
As
quarter.
permit
a
small
blocks
unit,
of
diversification
a
circulation
flow
as
well
as
a
more
C. The number of piazzas
flexible pedestrian paths.
Obviously, the
public
greater
squares,
the
number
of
the greater the degree
of social and economic
inter actions
in
the neighborhood.
Concerning articulating
their
number
emphasizes
cohesion of each of
alsc
the
whole city.
unity
the
public
not
spaces,
only the
quarters,
but
of neighborhood to the
It is remarkable
attractive
that
centers,
in
many
the
highly
number
of
streets were not sufficient and
it
necessary
through
to
create
pathways
the blocks. In short, as the
streets,
blocks,
structuring
comfort
increases
of
spaces
quarters
number
was
of
articulating
and
increases,
the
and neighborhoods
in equal proportion.
91
9
PIAZZA AND CONTRADA9
E.
The restructuring of public spaces
to
the
emphasize
symbolic
those
possess
they
neighborhood's
characteristics that are the
memory
of
identi ty.
9
the quarter or even the city.
Apart
from
the
socio-cultural
charateristics of a complex quarter, the
Urban "renewal"
identity
of
buildings,
through
'places '
be
could
a quarter expresses itself
a
nice
(Fontebranda),
a
Camollia in Siena))
or
'objects.
square
gate
fountain
or
Romana,
(Porta
,a statue or a tower
(torre di Manga on the Piazza di
A
good
Campo).
example of an object particular
Sienese
to a
These
sculptured
contrada
elephant,
is
the
topped
little
with
a
often
destroyed
monuments, etc.,
in order to
build for present needs. This kills
the
erases
The
past
and
memories.
rehabilitation of public spaces, on
contrary,
reinforces
the
feeling
belonging to a community, to a
As
will
be
seen
in
project of this study,
symbolic
Duildings
the
9
the
of
culture.
concluding
maintaining
the
of the site as well
9
tower, which is the symbol on
the
flag
the contrada della Torre.
All
these
of
places and objects create the feeling of
92
belonging for
the
inhabitants
because
as the genaral
which
it
aspect of the
valley
on
was constructed, was the main
criteria for the project guidelines.
9
2. -
PUBLIC SPACES AS EXTENSIONS OF PRIVATE DWELLINGS
Why are public squares not used as
as
before?
One possible answer is the
multiplication of
I
and
I'
much
distribution
the
both
of
production
new equipment for
private use such as the television, mass
communication networks, etc.. Another
Yi
the car, which
striking
probably
had
the
is
most
effect on the relation between
private space, the dwelling, and
public
space.
11
.tA
C 0C
TIRAVXC4,10
93
PIAZZA AND CONTRADA,
9
In
has
apartment,
taken
greater importance.
the
private
European
Jacobs
on
house,
the
in one way,
greater
and
privatized
It is here,
inside
dwelling , that a serie of
activites which
outside,
the
society,
modern
takes
previously
place
place today. Beyond the
experience,
describe
took
the
Appleyard
more
and
pervasive,
objects
by
the
space
was
finally
number
of
private
cars,
televisions
9
(
occupying
space
public
i.e.
it);
in another way, private
(i.e private
gardens
surrounding
four facade houses) became inscreasingly
necessary
in
order
create
those
qualities public spaces had lost.
This
common
to
large scale problem of privatization and
phenomenon,
to
many
European
the loss of public life:
cities, has been avoided in Siena for
a
number of reasons.
9
"Cities,
especially
American
cities, have become privatized, partly
because of
the
consumer
society's
emphasis on the individual and private
sector, creating Galbraith's
'private
affluence
and
public squalor', but
spurred on immensely by the spread of
the
automobile....
The
public
environment of most American cities had
become an empty desert, leaving public
life dependent for its survival
solely
on planned formal occasions, mostly in
protected internal locations.' (D)
94
One of the major
circulation
reasons
network
is
around
created in such a way so as to
the
city
that
the
Siena
was
preserve
- there is no ring encircling
the city wails.
As a result,
the
time
it takes to go from one part of the city
THE EXTENSION OF PRIVATE SPACE
to
foot. This
longer
is
another
car than by
by
of
'anti-functional' quality
the circulation network is quite typical
of
The Medieval curved streets
Siena.
streets are narrow and for
often
sidewalks
blockage
and
for
present
the
organization
This
makes
it
almost
The
use.
reason
that
Pedestrians
way.
one
were
and
cars
today's
for
changed
hardly
for
designed
were not
have
constant
no
human
few cars and mopeds.
of
street
one-way
impossible
another part of the town by
to
reach
automobile.
As soon as a driver penetrates the city,
he
will
be
led to an open air parking
space, from which
foot.
he
must
proceed
Siena,
like
city
In a dense and mixed
public spaces take on an important role.
The small,
of
superfici-al dwellings are one
the main causes of the intense urban
life.
that
transformations
economic
and
Despite the social
occured in Siena,
public spaces were not destroyed
European
other
certainly
post-war
due
to
economic
This
cities.
fact
the
did
boom
spaces.
public
values
are
given
in
is
that
the
not
'hit'
Siena, but also to the fact that
cultural
as
to
higher
those
It is very clear in Siena, that
spaces
exist
to
provide
what
housing cannot.
by
95
PIAZZA AND CONTRADA,
a) Inside the block
The inside versus the outside of a block
is balanced by the quality of each.
If
public space is progressively destroyed,
as
explained
in
the introduction, the
use of the interior
of
the
block
can
also become the extension of the private
dwelling.
idea that
should
One
the
become
urban trend pursues the
interior
of
the
progressively
This fails to recognize the role
spaces
should
have,
as
streets and the squares for
only.
block
public.
public
it leaves the
automobiles
In this analysis, the interior of
the block is understood as being private-
96
12. Sharp difference between public
and private...
THE EXTENSION OF PRIVATE SPACE
a
-
small
place
and
for eventual commercial
mixed
industrial activites,
b) The facade
with
Public spaces do not just work in
private use.-
formal
In many cases , the interior of the block
contains the
the
mix
of
activities
functional
uses
which
of
have a public
qualities
happening
beyond
the
As
explained
primordial.
of
backyard
of
a
facades
is
above,
the
external
public spaces are
on
the
pedestrian
level
by
workshop,
shoos
etc..
all
Not
is
a
enclosed
restaurant,
What
interior of the block sustains
activites.
front on the street: back kitchen
alone.
their
and workshops.
The house and its
Sometimes in Siena, the inside of
simple
facade
public
room,
are
the
walls
of
the
the block provides what the public space
with the sky as the roof.
does not - Nature.
The inhabitants are
and
the
regular
users
witnesses of the diverse activities
on the public domain.
(See Jane Jacobs)
97
PIAZZA AND CONTRADA-
give
communicate with the
dweller to
the
to
opportunities
taking
activities
The houses
on the streets below.
place
that
qualitites
The Sienese facade has
are three or four stories high so that a
person on the
fourth
Balconies are a
facades
on
somebody
recognized
general
still
can
floor
the
street.
for
rule
the
enclosing the Piazza del Campo.
Their purpose, of course,
more
intense
life
than
is
participation
would
be
to
in
permitted
13.
allow
In general, the houses are
four stories high.
public
by
a
the
hall,
On the street level,
angle
with
the facade forms
a
the pavement, and
there are one or three steps
98
a
distributive hall.
The play of shadows inside that type
window.
straight
to
entrance
that
mark
steps,
and
of
the physical obstacle of the
are
enough
differentiate
private domain.
the
to
symbolize
public
from
and
the
THE EXTENSION OF PRIVATE SPACE
c) The nature in the city
They had the role
different
As noted
of
articulating
the
city,
the
and of
should
spaces
public
above,
parts
of
attracting investments on the perimeter.
provide
what private units or dwellings
cannot.
In a
city
dense
urban
where
The
functions
facilitating
the
access
to
it is
mixed,
intimately
are
car,
nature
outside
the
limit of the city,
impossible to extend a private garden to
contributed to the destruction of
every dwelling. As
it
observed
was
in
space
European
larger
in
appeared
the
boulevards
and
associated
with
'promenade.'
cities, it was hand in
Nature
that
Bourgeoisie
hand with the
Grand
cities.
were
avenues
the
idea
It was at the end
then
that
created.
the
large
public
Most of them
development
of
were
in
the
city.
reinforced
dense
the
towards
quarters
of
the
developments destroyed
poles
for
new neighborhoods.
the
the
city,
of
the
suburbs.
This exodus partly destroyed what it was
looking
were
gradual
de-population
the
parks
The
destruction of the nature in
of
19th century and the beginning of the 20
-th,
green
planted
of
for.
Most
domains,
individual
country-side
the
suburban
highly
valuable
and the proliferation
houses
and
of
transformed
annihilated
the
its'
identity.
99
PIAZZA AND CONTRADA
If
this evolution cannot be
Siena,
it
first
to
of all due to its
To cross the city by
size.
one
is
applied
from
foot,
gate to another, does not take more
than 30
minutes.
The
is
country-side
nature
of
is
not
really
in the Sienese public spaces.
As seen in the
role
the
visible from the gates
of the city, so that it
necessary
of
the
reading
of
Siena,
the
green valleys do probably
compensate for the lack of nature in the
streets and the
squares.
The
valleys
can be seen fro m all the streets running
at the edge of the hill or at the end of
a
street,
jus t
like a painting.
the hills, it i S also
over
the
wall s
itself - Toscan a.
100
into
14.
possible
to
From
see
the country-side
The proxindty of
the countryside.
3- PUBLIC SPACES AS CATALYST
FOR THE CITY
"A city
is
not
so
much
a
construction as a landscape of open
spaces.
It i s a choreography of
spaces, an ordering of movement
through which we move and live our
The structuring of
urban lives.
that open-spac e system places and
indelible and permenant legacy on a
city and its inhabitants;
grids,
l oops,
diagonals,
curvi-linear
streets - each
formation sets a
quality on the movement of people
it marks them
within the city;
influencing what they do,
forever,
establishing a character for our
l ives." (F)
15.
THE
/
VLoC0
101
PIAZZA AND CONTRADA
The
grasp the personal
quality
one
identity,
function
spaces
neighborhood
tries
a
to
evoiution,
Besides their
of a place.
particular
for
is
spaces'
if
concept
fundamental
and
of
'choreography
in
structuring
life,
and in
articulating the quarters within a city,
public spaces must play a larger role on
a city scale.
abstracting
general
The
from
level,
main
difference
in
the particular to the
is
that
both
the
structuring and articulating spaces must
16.
be
organized to create a cohesive urban
totality.
create
the
Only then can
public
spaces
perception of , and feeling
by the urban residents of belonging to a
larger city community.
102
Piazza del Campo.
THE CATALYST OF THE CITY
17. Important public spaces in Siena. It is
where the nightlife of the city is concentrated.
103
--
PIAZZA AND CONTRADA}fodrii
dele dae't dea
C trad-.
)fax&*& a CrIw rro'eiM ada Rna
dfICA
le
ade
G
Oca
A
l Co'a dJ
Ma,
4igid
*
Veztario me J &C
Jw"a da6
OA41r.
1s
1irajp
10<'
Bruco
Irtrice
ida
-
*7
18. Costumes of the contradas
F
Tartacc
&
arna
f
9
19. Symbolic structures for each contrada.
They were shown during the Palio.
104
a
THE CONTRADA AND ITS ARCHITECTURAL PATRIMONY.
It-
nuisances created bythe smell
this small
This
example
produces.
industry
demonstrates
of
In general,
the existing
spaces
public
two general characteristics
will
always
be
Participation
(1)
participation:
-
conflictual.
(2)
satisfactory for most of
Rehabilitation of public spaces can only
its inhabitants. But some residents have
be done with the residents' involvement.
in
Siena
are
divergent views
For
four
instance,
is
However,
the
the
slaughter
proximity
convenient
house
of
to
places.
particular
the site studied in part
most
slaughter
facilities
on
which
local
the
road
the
Divergent views on
uses
the
space
fountain.
that passes near by
is
house
the
for
limit
because of its economical
in
close
of the city,(
location
for
trade with the countryside).The residents
who
live
close -by
complain about the
bring
can
between shopkeepers
not
conflicts
reidents,
and
only
but
between the city interests and the
also
different
area,
quarters.
In
mixed
a
use
conflictual s ituations seem to be
unavoidable.
in
public
of
use
the
theories
this type
of
It has
based on
setting
been
demonstrated
experience, that
creates
change.
105
PIAZZA AND CONTRADA
Change, if not in form, at Ieast in use.
concentration
(see
by
found
Stanford Anderson) This is a lso true
in
allow any motorised traffic
the
case
ecology
conservati ve
a
in
sectio n
system
static
the
features
have
a
public spaces.
2.3,
the
most
- the Piazza
del Campo.
It seems that the only people who
from
As explained
interest
in restructuring public
transportation
The people who profit
0
and
the
are
,
and
reason, this section deals
develop
involvement,
a
9
therefore nave an
the residents themselves.
resident
would
spaces
For this
solely
in
hypothetical
order
with
to
participation
concept discussed later on.
from these spaces today are mainly
pedestrian
those
surprising
106
of
in the streets and pia zzas changed
the visitors and delivery
with
only piazza that doesn 't
benef it
buses
is
and
had to deal with and respect the
their usage.
the
significant
city fabti c, the presence of
cars
spaces.
fairly
city,
modern soc iety did
on
pub lic
Sienese
of
Although , it is
affect
of
people '
'walking
streets
the
in
of
is
in
trucks.
constant
vehicles.
It
The
'conflict'
is
not
then to see that the highest
To
analyze
Siena
resident's
involvement
in
is both difficult and easy at the
same time.
Difficult
in
that
we
are
dealing with the Sienese public space in
a
CONTRADA:THE CUSTODIAN OF THE PATRIMONY
totality
its
diversity.
with
the
all
In
of
Commune
diversity
as
other
the
of
of
well
words,
Siena,
each
existed
clan system.
in
not
its '
Due to the small periods of
only
in
contradas which form
but
with
the
individual quarter.
Easy, because resident
always
as
involvement
has
the contrada /
through
a series of concrete
their
contradas
and
the commune seems rather complete.
This is why I.L.A.L'.D.
poulation.
limited the study to
case
two
the
of
representative
studies
diversity
globality of the Communa di
disregard
characteristics,
these
and
Siena.
we
would
risk
a
by
aided
study
areas
was
of
the
representatives
by
chosen
fundamental
the
The selection of
contrada, thus
we
with
propositions
The network of interaction
between citizens,
If
spent
it was impossible to work out
Siena,
the
time
the
through these
of
residents,
the
city-planners.
It
and
is
architect-representatives
fragmentary analysis of the problem
and
that
arbitrary
the
problems exposed, and the city officials
guidelines
for
restructuring of public spaces.
the
invited,
meetings
etc..
In
neighborhoods,
the
representatives
of
were organized, the
the
more
worries
the
popular
of
contradas
the
is
107
PIAZZA AND CONTRADA
importantly, they will have to deal with
the natural fears
given
understandable
the
restructured
finished!
whether
were good or
bad.
upper-middle
classes,
it
The
ILAUD
study
areas were
undertaken in popular neighborhoods
mid d le
the
In
is
intent ions
their
population,
once
area
the
among
provoked
developpers
and
and
thus
the information was given to us on
the cont acts are
the site by the architects and residents
with
made
nec essarily
not
of the contrada.
shopkeepers,
etc.
banker s
tradsmen,
the
especial ly
themselves,
residents
be
could
It
representati ves.
the
However, the architects of
commune
would still be present at the meetings.
Dur ing the first phase of contacts,
choice
made
area
the
of
and
the
the
to be studied was
intentions
of
the
concerning a new program for
population
that place, clarified.
Afterwards,
in
9
place
It seems
important
representatives
intervention.
introduction).
they know the
108
than
any
that
chose
(see
end
resident
means
of
of
the
a
information,
synthesis
a
of the gathered
graph ic
phase
was
undertaken to represent our observations
9
concerning the city and the site itself.
are living there,
problem
exterior
the
the
They
the
of
more
profoundly
group and even more
This
"reading"
period
is
explained
further in the relevant chapter.
&
CONTRADA:THE CUSTODIAN OF THE PATRIMONY
The
contacts
weeks,
and
commune
to
information
us
give
of
willingness
the
first
the
during
made
thinking.
and
presented through media such as
theater
the
public
as well
structure and its evolution
the
particular
larger
problems and
Those
problems.
of
as
problem of the contrada
under study which was apart of a
set
city
the
understanding
in
characteristics were elaborated
in
of the site were
Animations
the
documnets on the city, were particularly
helpful
minimalist interventions to conceptual
the
During
video.
and
presentation, new ideas were
for
the
above
rehabilitation of the area and
a
all,
between
stimulated
the
established
dialogue
students and a larger part
In that
of the population.
the
sense,
goals of K.L.A.U.D. were achieved.
section 'Siena as Context.'
The actual stage of
The
most
resident
final
process
involvement
presentation
sketches
phase
interesting
during
the
last
from
one
extreme
to
the
in the projects could be described as an
was
the
intermediate
weeks.
provided a range of solutions,
reached
of
student's
the
of
completion
It
sprawled
another,
from
reaching
'test' of a project before
its'
intemediate
an important
step
one
stage.
final
This
should be regarded as
as
it
involves
residents at a crucial decision level
the
in
109
0
PIAZZA AND CONTRADA
9
the
making
addition,
of
it
their
environment.
appeared
that
In
the
sensitvity , motivation, and the quality
of
the
remarks
made by the population
were 'catalysed' by the
possibility
to
criticize, positively or negatively, the
proposed solutions.
In
conclusion
appears
that
to
the
this
way
section,
the
public space, its quality.
it
problem of
its use,
was
handled,
was an excellent and effective
mean
creating
of
community,
contact
with
the
and in making them conscious
of their own power over the
quality
of
their lives.
It is remarkable
that
the
process
of
involvement did not stop with the public
presentations.
On
the
contrary,
it
created a dynamic process which made the
project more well
involvement
of
known.
This
active
the population could be
9
transformed
into
a
strong
concerning their public spaces.
110
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Footnotes
FIGURES
A . Drawing by Elizabeth Cordoliani.
B. Agora of Assos.
C.
Drawing by Robert Krier in
" Urban Spaces". see bibliography.
QUOTATIONS
(-) in "A Pattern Language"
Towns. Buildings.Constructions.
by Christopher Alexander.
Oxford University Press, 1977
New York.
(=) Notes of the author.
A. C. Alexander, p.89
B. ibid. Pattern No.53
C. ibid. Pattern No.61
D. ibid. Pattern No.106
E. ibid. Pattern No.114
F. ibid. Pattern No.36
G. ibid. Pattern No.120
H. ibid. Pattern No.124
I. ibid. Pattern No.160
j. in "Ur in Open S -ces"
see previous chapter.
K: in Site
Planning" by
Kevin Lynch.
0
112
A
FONTEBRANDA
At
the
I.L.A.U.D.,
spent
the
"reading"
specific sites
first
to
studied
teams.
(Fontebranda
and
Research
and
was
simultaneously
and
by
the
the
Brucco)
worked
in
the outcome was the
development of solutions
for
were
and the two
city
be
Design
weeks
and
proposals
these two sites by various teams of
students.
1.
Research and design.
The premises on which the
Laboratory
of
International
Architecture
Design is built allowed me to
closer
to
the
and
get
Urban
much
way urban interventions
work on a neighborhood level.
113
9
INTRODUCTION
To have the studio in a context as Siena
questions
raised particular
that
were
this
The goal of
discover
how
is
investigation
to
patterns as "hierarchy of
9
addressed throughout the project:
(1)
Why
some
are
as
attractive
medieval
a
so
towns
for
model
urban
planning?.
(2) What
spaces",
open
destinations",
"network
etc
paths
of
and
as catalyst
create
for a sketch design.
If places are to become references for a
the
were
sociophysical
environmental
conditions
and
that led to a
specific hierarchy of public spaces?.
(3) What were the patterns used
traditional
european
city
that
specific
the
in
experience
actual
qualities
beyond
the
analyse
the
look
project, one needs to
and
of
physical
their
form.
made
Through
drawings,
of
description
the
people identify with a square, a quarter
site
and
analysis,
I
will attempt to
of their city?.
clarify the physical qualities
The purpose of this last section
address
and
use
potentials of the valley of Fontebranda.
is
I
to
the application of the previous
topics in the context of adaptive
and
It
will
be
performed
guidelines and patterns,
by
and
a
set
a
of
design
reuse
a complete landscaping of the site.
test will determine their implications.
114
A
FONTEBRANDA
READING
The reading of the
Fontebranda-
is
val ley
site-the
part of the reading of
the entire city. The following
describing
the
.
.
.
.
.
..
analysed.
Afterwards,
their components,
understand
..
~)I~sfulfilling
patterns
characteristics
place and its built elements
.
of
we
are
of the
first
by understanding
will
attempt
to
the failure of this space in
the needs of the inhabitants.
As
shown
delineating
by
the
the
different
articulating
maps
public
spaces between the neighborhoods and the
internal
S
2.
structuring
public
spaces
of
the contradas, the site condense most of
115
FROM THEORY TO PRACTICE
9
9
3. The valley of Fontebranda
is part of three neighborhoods:
-Drago
-Oca
-Selva
it
The countryside and
the new developments.
I il
The surrounding city
fabric.
The city wall
116
&
FONTEBRANDA
- -
those
features:
contrada
overlaps
territories,
articulating
TTT24<
it
on three
it
is
an
public space and still,
it
is where the identity of the contrada di
Oca can be recognized.
mwnmj
4.
The fountain of Fontebranda.
l.Ground floor 2.First floor
3. Rooffloor.
Fontebranda is the
town,
craddled
lower
part
the
by two steep slopes and
bounded by the city fabric on
5. The covered Fonte-branda.
Note the difference in level.
of
the
east
and by the wall and its gate on the west
side.
together
The
by
entire
a
complex
series
of
is
tied
landscaped
pedestrian paths:
on
the
(North)
paths
between
San
Domenico
ad the Duomo(South),
the gothic
fountain is an historical
monument
and
place that commemorates the need for the
town to have constant water supplies.
117
YIALE
D
L.
Vp
{ ALE
CADORNA
CESARE
-LA L
'43O
~ -u
S~I~AN
A
\~
0
PIZZA
33.4
S.SEBAStIANO
I
/
/'BARR
fl-i
cTh
r)
H
0
H
6
H
I
FONTEBRANDA
The slaughter-house is still
but
in use
proves to be a constant nuisance for the
local residents.
7.The slaughter house. Elevation.
The wash-house is closed and
that
existed
a
few
-the
inhabitants
basin
years ago has now
been paved to accomodate
d
the
the
needs
of
for their traditionnal
dinners before and after the Palio.
8. The wash-house.
Ground floor.
Now a neglected "pocket" at
the
bottom
of the town, this place once had, at the
beginning
of
the century, a tremendous
activity due to the multiplicity of
its
functions.
the
The
gothic
fountain,
wash-house, the slaughter-house were the
elements of the identity of Fontebranda.
119
9
FROM THEORY TO PRACTICE
With the
loss
of
these
functions-due
to"progress"-, the valley articulated by
the
Via
di
Fontebranda
has
lost its
social function, as it is no longer
the
(A) -Needs: The contrada di Oca
map)
needs
a
public
(see
space
that
would
emphasize the uniqueness of
their
neighborhood.
place of gathering or festive meetings.
9
-Support: Two symbolic buildings,
the fountain and the house of Santa
Catarina, are already on the site
and are part of the identity of the
Besides this brief description,
a
suttle
can
approach
to
the
site
undertaken when we analyse its
in
terms
needs
of
encompases
and
the
be
patterns
supports. The
physiological,
psychological
and
social requirements.
The
are
the
supports
spatial
physical
and
elements designed to facilitate
those needs..
120
needs
more
place.
(B) -Needs: The limits of di Oca are not
clearly defined. They need to be
emphasized to recover the full
identity of the contrada.
-Support: the two slopes of the
valley, the wall
and the edge of
the city fabric enclosing the
"pocket" between country and
1
A
'I
FONTEBRANDA
121
FROM THEORY TO PRACTK
city are the first elements of
a possible redefinition of
their public space.
(C) -Needs: The access to the site has
to be emphasized, but,
acknowledging the limits of their
domain, the place has to be used
firstly by their inhabitants.
-Support: Two pedestrian paths are
now leading to the site and are
merely enough for its future use.
The traffic flow leading through
the bottom of the valley and
leading to the near-by Piazza
di campo is a nuisance.
ll.The gate to Fontebranda.
12.The slaughter house and the pedestrian path leading to the Duono.
13.View of the "buffer-space" between
the gate (back) and the city fabric
122
(front).
12
FONTEBRANDA
(D) -Needs: The washouse and the
slaughter-house have to be
converted for more actual
needs. The suggestions of
the inhabitiants is to
13-
rehabilitate those
buildings as part of the
Sienese University complex,
as a Traveller's
Inn
and as some commercial and
cultural facilties.
-Support: Due to their design, these
buildings, which, for the most part
remain intact and quite strong,
nevertheless need some new
construction around them to
complete their program
14.
14.View over the city wall into Fontebranda.
123
FROM THEORY TO PRACTICE
1p.F
15.
124
Fontebranda and the imposant mass of San Domenico. View from the path leading to the Duomo.
FONTEBRANDA
(E) -Needs: The connection with the new
development outside the city is
clearly not made. Since the site
is one of the entrances to the
city, the rehabilitation of
Fontebranda could lead to an higher
__f
1.
degree of publicness,with the
resultant sense of loss of
identity of the
*
I
f
contrada.
-Support: For this reason, a
I
hierarchy of public spaces has to
be provided. These spaces should
be grades on a scale of public
to semi-public,and be able to
incorporate a variety of uses
16.
House of St Catherine.
St Catherine had a strong
influence on her time.
The contrada di Oca still
place.
venerates this
125
FROM THEORY TO PRACTICE
II
126
126
GUIDELINES
The following guidelines
the
from
developed
are
patterns described above. The
by
continuity provided
patterns
those
are part of a larger set of continuities
concerning
totality
the
neighborhood.
the built
of
are
guidelines
The
the
root of the city fabric and the patterns
described in the last section are common
themes
that
occur
in
(1)
The intentions
the
specific
were
qualities
to
recognize
which
give
character to the environment and enables
people to identify with it;
of
assume the contradictions
which
consists
of
of
outset
investigations,
following goals.
between
well
the
as
an
limitrophe
the
contradas
and
the
use
limits
them
as
design
the
generators of the landscape design.
I
began
with
the
(2)
Together
they
The design of the buildings
should
formed
the mental framework for approaching the
site problem.
site
varied
relationships.
the
the
of an internal structure
for the contrada di Oca as
articulation
to
that is:
quarters. Also to recognize
At
a
be
studied
in
buildings which
reflecting
the
aspirations
of
context
act
upon
as
a serie of
each
intentions
the
other,
and
inhabitants
the
over
time.
127
FROM THEORY TO PRACTICE
18. View of the city at evening. To the right the Cathedral; to the left,
the monastry Church of San Domenica; centre, the tower of the Town Hall
with in the foreground the wall of Fontebranda.
128
GUIDELINES
(3)
The design should also be conducted
by the "behavior settings"
as
desribed
inhabitants. Each layer is a response to
" Since the behavior and the overt
are
actors
the
of
purposes
record
to
easier
is
it
regularized,
and understand their significance.
and
territorial
the
Recording
behavior
of
limits
temporial
settings, their relaitve stabiltiy,
their
of
nature
the
and
participants furnishes us with the
basic elements for which sites are
organized." (K)
limit the design.
thus,
(5)
careful
and use of forms will,
reinterpretation
by Kevin lynch:
A
order.
previous
the
And finally in the specific case of
design
clear
be
Fontebranda, it must
in
the
the space at the bottom of
that
the valley is
"pocket",
a
the
between
buffer-space
serving
as
city and the
countryside, just behind the wall.
Thus one goal was to provide a
program
for
the
site
flexible
which creates a
structure allowing for a change in human
The following section- sketch design- is
needs.
(4)
In order to understand anhistorical
the
results
site, one should appreciate its
setting
limits
evolution
through
described
forms
results
Contradas
and
recognize
its
time. The existing built
from
successive
layers of building and
I
of
set
in
as
many
for
the
constrains
myself.
chapter
well
as
They
and
were
Piazza
and
through
the
previous guidelines.
129
FROM THEORY TO PRACTICE
In de Cherico's "Piazza
significance
of
in
his
the
space and city appeals
to our subconscious.
writes
d'Italia",
As
Robert
article
"
Jensen
Dreaming of
Urban Piazzas""
There seems to be a difference
between the plazzas we build in
reality , and the plazzas we have
in our minds. It is indicative that
we call
them plazas or sometimes
word
piazzas.
Our own Englosh
"place" won't do.. .The word is at
once too common and too diverse in
its meaning to designate what we
want in a urban center downtown". (J)
The
statue
white
palaces,
the
tower,
the
of
Giorgio
de
Cherico
are
elements which are constantly decomposed
and
reassembled
among
themselves
and
form places that opens onto a mysterious
countryside.
130
19. Giorgio de Cherico :
"Piazza con Torre", 1914.
'SKETCH DESIGN
The opening and the isolation
of
achitectural
to places
elements
refer
these
like Pisa. But the composition is unique
and non
reproducible.
In reference to de Cherico's picturial
20.
compositions,
Giorgio de Cherico :
the project is based on a
"La Torre rosa", 1913.
enigmatic
finished
duality
between
constructions
and
closed,
isolated
elements.
21. Giorgio de Cherico
"Piazza d'Italia", 1913.
131
FROM THEORY TO PRACTICE
During the process of
familiar
place
recalled bits of
by
drawing
this
it,
that
information
receeded into memory.
of
considering
it
The actual design
make a second and more detailed reading;
to go beyond my immediate, and sometimes
fanciful reaction to a
and
environment.
first intuitions
articulate
and
by a discussion of each.
had
project in the site enabled me to
a
Below is a list of the drawings followed
foreign
culture
THE AREA PLAN shows the
scale
and
the
location of the buildings
in relation to
the
of
surrounding
fabric
built
and
unbuilt spaces.
I tried to explore my
(see guidelines) and to
share
my
care
and
understanding of that place.
9
132
&
SKETCH DESIGN
22. AREA PLAN : groud floor of the project and the surrounding cntext.
( The project of an amphitheatre in the second valley-left- is not explained
in this work.)
133
9
FROM THEORY TO PRACTICE
9
THE AREA AXONOMETRIC shows the placement
of the new buildings and their
relation
with the steep slopes of the valley.
9
THE PIAZZA SECTIONS show
AA: the relationship of the towers to
the site
BB:
the experience of moving partly
under cover from the major
spaces and structures
(churches)
of the study area.
DD:
the use of the existing wall and the
new skyline given to the valley.
THE
PIAZZA
ELEVATION
characteristics
of
the
shows
walls
the
wich
enclose the piazza and the facade of the
buildings: issue
symbol.
134
of
style,
scale
and
SKETCH DESIGN
23. AREA AXONOMETRIC : The connections
elements of the
with the existing
the wall, the
curches,
site -the two
fountain,etc- are shown by this perspective.
A
N T
F()
E
Z
B
Z
A
li
N
) A
0
'T
--
-V
-- 1
-
AA
-
I35
10
6
10
--.__._._._._._24. Sections.
1
136
1(100i
LET
Onol t
-
---
(
J
t
NOU1VA3I1I H1uN,
w.
-
Zi
a1
-
--
~ -
f
t
v1
Qf
IN
V
k?
%
ld
it[ lu
2
V
A., N\
1
d
d
FROM THEORY TO PRACTICE
the
At this stage, it became clear that
site
as
understood
be
to
has
microsystem within Siena. The valley
a
a
is
break in the dense city fabric but it
interesting
provides
on
stands
described in
fabric
and
that
it
was
medieval skyline as initially
section
"
the
valleys", the emphasis
of
wide
was
incentive
important
all
the project.
along
open
the view to go from
within
as
it
This
of
feature
Sienese
"wide-perspectives"
walls
city
the
was
city
an
the conception of
by
the
Siena).
the
reintroduce
Catellare
These
corners.
its
defining
As
one edge of the valley to another.
typical
towers
towers
the
allow
fabric and the city wall with four
city
one
was put on the qualities
spaces
which acts as a buffer-space between the
as
edges.
"box"
The valley can be understood as a
features
its
the
-I
clan
of
use
the
conceived
(see Reading of
The small public squares at the
base of the towers provide
transitional
spaces leading to the main public space,
sructuring the neighborhood. In order to
"protect"
it from being an articulating
for the entire city,
squares
around
the
small
public
the towers fulfill this
functions : they play the role of
buffer
9
spaces
containing
small
more
extroverted functions.
138
A.
SKETCH DESIGN
The site is also bordered by
two
other
and symmetr i cal ly enclosed
neighborhoods
by two churches at its edges. The limits
of the contrada are now passing
the
small
through
articulating squares and the
cross from one to another is marked by a
gate/tower.
The
Via
Fontebranda
redefinition
26.Diagram: the black dots joining the four
towers mark a space defined during the
reading of the site as "the box" or "bufferspace" between country and city.
ultimately
in
a
purpose,
arcades(in
the
in
a
edges
which
the
Piazza
project.
pre-existing
For this
system
of
the washhouse) was uncovered
arcade
slaughter
its
developed
Fontebranda
and an
of
needed
was
house.
added
These
to
the
old
elements
are
explained later on.
139
FROM THEORY TO PRACTICE
The
with
proportion
in
is
place
new
this
of
scale
the valley and plays a
neighborhood.
the
structuring role for
27. Fontebranda and San Domenico above.
(see Piazza and Contrada)
For
the
valley,
one
walks
in
the
imposing
mass
of
San
when
example,
Domenico is striking. I
these
characteristics
design
to
work
of
of
the
with strong horizontal
and vertical elements.
system
in the
used
be
It was the first step
project.
that
suggested
and
colonnades
why
is
This
a
towers,
emphasizing the organic qualities of the
site,
appeared
design phase.
140
later
on
during
the
Eventually, those elements
induced
or
patterns
a redefinition of Fontebranda's
space.
-The towers created a visual
connection
among themselves as well as acting as an
end
point
to
streets'
perspectives
leading to the site.
-The arcades were used to link
and
physically
visually
the dispersed buildings
existing on the site.
0
SKETCH DESIGN
But the use of
elements
these
The use of
its own, specific qualities.
(more
or
corresponding
to
60
degrees)
angle
of vision
less
the
perceived by the eye was the
root
not
to create a square which has
sufficient
angles
is
for
placing
conceptual
structural
elements
*
such as the towers,
staircases,
p
etc.
So,
gateways,
the
whenever
one
site,
the
chosen
person
approaches
angles
for staircases, etcwill provide
a
quantity
enlightning
*
the
PIAZZA
angles,
of
different
different
FONTEBRANDA.
creating
dead
perspectives
parts of the new
Those
angles
visual
hiding
buildings, depending on where you stand,
28. Elements used for the definition
of the new square.(Blow-ups of the area
plan) . Note the use of "visual angles".
141
FROM THEORY TO PRACTICE
was also used in the project to restrict
soon
as
Indeed,
the flow of cars.
as
one drives into the site, he understands
at once that it is not ajplace for cars.
site,
but
the
confused
by
the
The cars can cr oss the
be
will
drivers
of
labyrinth
end
consecutive
29.
Progression through space and time.
In summary, as
country
one
into
the
proceeds
from
dense city fabric of
Fontebranda, one perceives a progression
perspectives.
This labyrinth-like quality
traffic
of
of spaces. Two
gateways
were
designed
circulation respects the Medieval fabric
symbolically marking the transition from
of Siena.
one
space
into
another. One is at the
limit of the city itself, near the
Adjacent to this main square is what
is
It
was
conceived
as
important to
space
that
its
create
extension.
a
smaller
public
would be in relation to the
surrounding building and
the fountain itself.
142
the
the
scale
of
and
contains
a
tree
wall
which symbolizes
Nature grabing a piece of the stone
brick
pavement
has a pool
the
water
of Siena. The other one
in its center and is part
features
adjacent square.
and
surrounding
of
the
EXPLORATION OF PATTERNS
This last section is a reflection on the
elements of my
will
be
design.
checked
Those
in
a hierarchical order proceeding from the
of
serie
a
through
elements
The following patterns are organized
most general to the specific level: each
patterns
book
"A
selected
Pattern
Ch.
Alexander
Language";
(-). During
from
I have noticed
this "test",
enumerated
pattern
preceeding
one.
are
usefull
instance,
the
'main gateways' is predicated on
the
clarify
to
For
these
that
pattern
patterns
is dependent on the
the boundaries of the neighborhood.
intentions of a project.
be,
all
along
the
My
nine
role
will
patterns
1-the neighborhood boundaries.
selected, to add personal remarks
about
2-Main gateways
them and to show through some "blow-ups"
of the project their application;
(=).
3-Small public squares
4-Positive outdoor spaces
5-Hierarchy of open spaces
6-Degree of publicness
7-Paths and Destination
8-Activity pockets
9-Building edges.
143
FROM THEORY TO PRACTICE
30.-
9
144
EXPLORATION OF PATTERNS
THE NEIGHBORHOOD
-To have a
well
defined
BOUNDARIES
neighborhood,
=In
this
design,
the
the
natural
both physically and in the perception of
created
to be
valley.
As
it
'Reading
of
Siena',
the
residents,
restricted.
neighborhood
its
access
has
Consequently, it makes
the
recognizable as a distinct
part of town. (A)
by
was
boundaries
are
edge
of
the
observed
in
the
the topography of
Siena formed the basis of
defining
the
limits of the contradas.
As it is shown in fig.
,
the boundaries
follow the articulating public spaces of
30.
On opposite page, diagram that shows
the limit of the contradas.
0 Othe bounbaries.
the towers playing the role
of gateways between the neighborhoods.
the city. The black stars on the diagram
represents the few points were access is
possible. They
that
symbolize
the
are
the
main
passage
gateways
of
one
contrada to another.
145
FROM THEORY TO PRACTICE
MAIN GATEWAYS
-The
gateways
mark
point
the
of
1
transition. (B)
=These
gateways
elements
are
-towers-
architectural
that
will make more
vivid the boundaries in people's
The
the
towers
are
valley
minds.
located at the edge of
and
perform
different
functions:
*They create a
new
definition
of
the
site by their relation to each other.
*They
mark
the
end
of
one
kind
of
-
activity.
*They establish a
new
element
in the
31. North West and South West towers. They are at
the edge of the city, looking onto Toscana.
skyline of Siena; and finally
146
AL
-
EXPLORATION OF PATTERNS
*they
emphasize
boundaries
the
crossing
of
the
forming a transition between
the bottom of the valley and
the
crest
of the ridges.
The towers could assure public functions
such
as
stairs
could
cafes
leading
have
and
restaurants.
up
The
to such restaurants
openings
to
look
on
the
Piazza below and the countryside beyond.
As it is shown
gateway
is
in
the
drawings,
each
on the edge of small public
squares, where the contradas could
come
together. These squares are articulating
public
32. North East and South East towers. They mark
the end of the old city fabric as well as the
two limits for the adjacent square, facing the
fountain.
spaces
and
are
wide enough to
contain the common functions
shared
by
the several neighborhoods.
147
FROM THEORY TO PRACTICE
SMALL PUBLIC SPACES
-According to Christopher
Alexander,
a
diameter of 60 feet provides a good rule
of
thumb
spaces
for
wich
gatherings
distance
senses
could
and
that
as
the size of small public
small
public
crowds.
recognizes
It is a
all
of
our
human beings. We can see and
hear other persons
proximity.
accomodate
better
in
a
close
(C)
33-
Variety of
public
A public space
=In keeping with the proportion
square,
the
correspond
the angle of vision perceived by the
human eye
148
the
height and location of the
surrounding buildings should
to
of
(see section
'sketch design')
shape
by
its
is
spaces.
given
a
definitive
built edges and can thus
become a positive outdoor space.
The square shoud provide views out
onto
larger places and therefore be a part of
a hierarchy of open spaces.
EXPLORATION OF PATTERNS
POSITIVE OUTDOOR SPACES
I
tend
argument
to
agree
C.Alexander's
that people use more often the
positive type
back
refers
with
of
spaces.
point
This
to the arguments developed
by Camillo Sitte
in
the
section
'the
medieval square'.
34. Looking through
the city wall.
=The
public
squares
designed
in
-There is a fundamental distinction that
project
has to be
they are partly enclosed, secondly
made
between
two
different
kind of outdoor spaces.
two
properties: firstly,
they
are open to some larger space so that an
An outdoor space is negative when it
shapeless.
have
the
is
hierachy of open spaces is created.
It is the residue left behind
after builings are placed on the land.
An outdoor space is positive when it has
a distinct and definite shape, and
that
space
is
as
important
buildings which surround it. (D)
as
when
the
149
FROM THEORY TO PRACTICE
-These squares
HIERARCHY OF OPEN SPACES
"backdrops"
out
buildings
as
and an open section looking
the
onto
have
all
adjacent
particular
design
created to
reach
publ icness.
(E)
of
a
piazza.
each
cerain
The
squares is
degree
of
=The hierarchy gathers meaning on a site
where so many different kinds of
squares
are
The relationship
created.
between the articulating
and
the
main
public
public
structuring
spaces
piazza were
studied carefully.
They are
articulated
patterns
such
stairways.
physically
another
by
distinguish
create in space.
150
a
number
of
as gateways and open air
Together
the
by
these
one
different
elements
space from
level
they
35.
'structuring
space ' articulating
4M 'gateways'
space'
I
EXPLORATION OF PATTERNS
DEGREE OF PUBUCNESS
-In order to support this pattern, three
distinct kinds of paths can be selected,
and I quote from Ch. Alexander:
36. Hierarchy of spaces
=A destinction was
37.Paths joining these spaces-
made
three
between
kind of public spaces :
1-
The
"1- Paths along services, wide and
open for activities and crowds.
services,
remote from
2- Paths
discourage
to
twisting,
and
narrow
through traffic.
paths
3- Intermediate types of
quiet
and
linking the most remote
paths to the most central and busy
ones." (F)
articulating
(see diagram)
spaces
public
relevancy
of
an
urban
piazza
increases if it collects paths on either
between the neighborhoods
2- The structuring public spaces
for
a
side,
so
that
it
creates a number of
criss-cross through the space.
neighborhood.
and 3- The gateways that lead
The
from
one
to another.
(see Chapter Piazza and Contrada).
151
FROM THEORY TO PRACTICE
PATHS------
38.
- -
-
DESTINATION
(G)
Path from San Domenico to the top
of the North East tower. The tower
connects to Fontebranda.
=As people move through
should
a
place,
they
have choices of cover and paths,
choices
of
outlook,
exposure.
They
and
choices
should
have
of
the
opportunity to linger in places that are
on the edge of
activities,
where
they
V
can be seen from the square.
The combination of paths and destination
points
revealed
creates
a
complex
network
by the interaction of physical
form and human movement inherent in
the
experience of places.
152
I&
-
EXPLORATION OF PATTERNS
Most of the time,
move
off
sequence
the
is
to
the path into open space. The
walking process is such that
one
picks
up a temporary destination- some clearly
visible
linger
landmarks-,
for a time,
then walk on.
The transition from paths
stressed
the
throughout
to
place
project.
is
It
presents one of the dichotomies of urban
form and is defined
as
and
"the
by
Norberg-Schulze
tension between centralization
longitudinality".
For
the
small
39. Hemispherical square for the school of
& /music. The tower (South East), is part
of the school. Two "promenades link this square with
-- ipreexisting paths and
-the
~
U I I,
urban fabric.
surrounding
the
of
squares
~
153
FROM THEORY TO PRACTICE
articulating
public
squares,
neither
path nor space dominates, but the
merge
into
paths
a sequence of separated yet
adjacent piazzas. For what is considered
to be the extension of the
Fontebranda,
piazza
the tension is resolved by
emphasizing
centralisation.
the
piazza,
main
main
the
Concerning
longitudinal
movement is emphasized, reinforcing
the
experience of paths.
Finally, the paths must
link
destinations
on
located
different
the
site.
However, they shouldn't be too chanelled
but should create a
field
of
possible
paths
different
activity
leading
to
pockets.
40. Path and destinations
41. Mass plan.
154
4
EXPLORATION OF PATTERNS
ACTIVITY POCKETS
42.
-This pattern helps to complete the edge
Diagram showing the possible
interactions
between the different activities
43. Program of activities
of the aforementioned
patterns
of
the
-o
\."
school
squares.
\
The activity pockets
are
the
functions
program
buildings
and
surrounding
dependent
it.
A
of
7
\
convent
cafe
on
the
valuable
Traveller in
.
thing to do with one's own project is to
Pakvelle
contrada
lines
draw
joining
different
public
Auditorium
Acafe
-..
IfM-
points
along
the
perimeter
of
the
university
concerned public space. (I)
=
As it is illustrated, the main
uneeret
restauran
theater
square
households
mix of households
is
not
completely
darkened
by
themm
..-...
,
shol
155
FROM THEORY TO PRACTICE
9
the
intersection of
pockets
activity
line
because
the
with
the
alternates
entrances to the square.
We
BUILDING EDGES
9
on
know,
the other hand, that the opportunity for
the intensification of a place occurs at
the
juncture
of
This juncture is
paths and open space.
traditionally
created
by formal arrangements, as arcades etc.
To provide such a transitory
is
space
-Buildings should
the
be
oriented
towards
public space it encloses, precisely
because it is at its
edge
usually prefer to be.
that
people
(H)
then the role of the building's edge.
=Although
boundary
different
between
public square
boundary
can
between
means that the
dimensional
in
the
be
the
building and the
as
treated
the
This
ne ighborhoods.
limits
edge
scale,
but
are
rather
dimensional area where people
a
not
one
a
three
can
meet
0
44.
Perspective view of the Agora in
Assos.
and interact.
156
A
EXPLORATION OF PATTERNS
For a place surrounded by arcades as itis
the
-
B
case
here,
the transition between
the building and the city fabric happens
within the distance from the pillars
to
the framing wall.
The arcade is commonly used but a series
of other patterns can support or replace
the latter. They are
the
connections
used
between
outside. Balconies, stairs
45. Building edges.
for
example
can
be
to
increase
inside
and
and
benches
used to look onto
interesting outdoor life.
46.Giorgio de Cherico:"Piazza d'Italia",1915.
157
FROM THEORY TO PRACTICE
47.
Emblem of SiE
ena.
158
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----
CONCLUSION
The focus of this study on public spaces
without
to
Indeed,
enabled
and neighborhood system
urban
( introduction and overview),
interaction
structure
finally
broder
of
qualtity
issues, such as the
spaces
upon
speculate
and
consider
me
of
and
(Piazza
to
and
use
the
physical
Contrada)
and
something about
understand
the specific successes and
failures
of
careful
the
uniqueness
of the Sienese
patterns cannot be reproduced
single
design.
within
It needs time, history,
sense to the city.
What can be borrowed from the experience
is an approach that
described
all
was
throughout
careful
more
the
or
thesis.
understanding
throughout
this
work
was
less
It
of
the "actors" involved but also on a
particular analysis a foreign
My goal
a
people and politics to give a meaningful
insists on a
the historical centers.
reinterpretation.
architect
to
can
provide as he is living in the city
learn how to look and how to borrow.
for two months.
Finally,
issue
a
place
through
time
But the quality of
transported
cannot
and
be
space
context
of
it
addressed
collective
of
all
space
along
the
within the
preservation
and
rehabilitation of historical sites.
160
a
CONCLUSION
d) The
From
these
insights,
broad
certain
two
those
between
INTERACTION
types of space will finally be organized
into a HIERARCHY of spaces essential for
guidelines can be extracted:
the qualtiy of a more human environment.
have
e) Most of the evocative places
a
centralyzed limited space that maximizes
a) An open space becomes a PLACE when it
the
has a definite role to play in a city.
PATHS and the lingering associated
them.
b) Structuring places act at
the
level
of a SMALL COMMUNITY.
places
Those
if
possibilities
definition
the
between
tension
with
more
offer
includes
it
(steps,
movements of
ledges,etc),
built
which
encourage PEOPLE to use the space
c)
Articulating
catalysts
edge
entire
for
will
be
city
public
the
spaces
CITY as their built
representative
and
are
display
the
functions of each neighborhood.
of
the
public
If ,and only if, the urban piazza exists
as a part of
a
fabric
that
offers
range of spatial opportunities, will
a
its
uniqueness become a special place in the
overall domain.
161
CONCLUSION
process
It is argued in this thesis that a sense
This
of urban continuity and community should
participation
be
historical
of
process
the
in
maintained
means is
The
preservation.
through a series of events generated
by
patterns and the residents who use those
spaces.
Those
pattern
should
not
be
for
allows
of
vital
the
residents in the
the
decision making process of design.
This
to
the
final
point
premises
of
brings
this
us
back
thesis: urban public
space can only have meaning if
it
by its inhabitants.
concentrated in one location, but spread
out through the city fabric defining the
spaces within it.
depends
as on
Their use
reuse
and
as much on the patterns created
the
strong
involvement
of
the
residents.
The methods of observation, drawing, and
analysis undertaken in the
recommended
project
are
as feasible approach to the
issue of "site rehabilitation".
48.
162
The Gate of Fontebranda.
used
CONCLUSION
-2
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xiJJ
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-RA
1WAIZ~~
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49. Proposition for a fountain next to the rehabilitated wash house.
163
CONCLUSION.
50. Emblem
of the contrada di
Torre.
164
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BIBLIOGRAPHY
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&
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Barzanti Roberto e Pepi Merisio:"Siena: a Territory, a History, a Festival. Siena:Monte dei Paschi
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Baldassarri, Guiseppe:"Osservazioni ed experienze intorno al bagno di Montalceto'.' Siena 1779
Cecchini Giovanni e Dario Neri.:"The palio of Siena"(translated by Elisabeth Mann Borgese)
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Falassi Alessandro. "Per forza e per amore. Icanti popolari del Palio di Siena'Milano:Bompiani, 1980.
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9
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Kirchstein Max.:"Siena" Munchen, 1923.
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Pardi Guiseppe :"Notize e documenti sulle relazioni tra Lucca e Siena: Siena 1898.
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Martini Guiseppe:"Siena da Montaperti all caduta dei nove, 1269-1355" Siena 1961.
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