The Person, The People, in Public Places

THE PERSON, THE PEOPLE IN PUBLIC PLACES AIYSHA ALSANE

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THE PERSON, THE PEOPLE IN PUBLIC PLACES A Graphic Essay

Travel Documentation Aiysha Alsane

August 17, 2015

This book documents my pre-thesis study and was the basis for many design decisions in the project proposal.

Take the obser vations and consequent conclusions presented here as an array of public places that span over different locations, belong to different eras, and fit (loosely) different typologies.

And all this, to study human behavior in public places regardless of specific culture or time.

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CONTENTS

Preface

Expressions of enclosure within types: Ya r d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C a m p o S a n t a M a r g h e r i t a Park........................................ Rudolf-Bednar-Park Memorial.................................................. Gleis 17 Composite............................ Piazza delle Erbe et al.

Conclusion

Appendix: Essay on the Venetian Campo References

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THE ARTICULATION OF BOUNDARIES

EXPRESSION OF BOUNDARIES Creating degrees of enclosure within a wholesome place Result: a network of enclosed spaces with var ying degrees of enclosure

‘[The] charter of public places is freedom of action a n d t h e r i g h t t o s t a y i n a c t i v e. ’ ( Ko s t o f, p. 1 2 3 )

On typologies and time: Any attempt to classify squares will have to rely on form, or on use, but not on both. The reason is simple: squares that fulfill the same or similar functions through histor y do not by and large take on the same or similar forms... The central issue of public places is, i n f a c t , v e r s a t i l i t y. A n d h e r e t h e i n t e r r e l a t i o n w i t h f o r m , in the broad sense of physical structure, becomes inescapable. ( Ko s t o f, p. 1 4 4 )

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YARD Campo Santa Margherita Ve n e z i a, I t a l i a

I have adopted Hood and Erickson’s definition of a yard as published in Craig Barton’s book, Sites of Memor y: Perspectives on Architecture and Race. They argue that Poplar Street in Macon, Georgia actually fits the typology of a yard. Even if it is formally a s t r e e t, i t h a s c h a r a c t e r i s t i c s o f a y a r d. Fr o m t h e i r words, I ’ve extracted two definitions of the yard that fit Campo Santa Margherita: it ‘hosts common and ever yday rituals in connection with the home.’ It is also ‘a landscape valued for functional purposes and also a treasured garden landscape.’

(Barton p. 174-5) ‘Campo’ doesn’t translate fairly in English, which is why I would like to present these sets of phrases. I find that t o g e t h e r, t h e y c r e a t e a w e l l - l a y e r e d u n d e r s t a n d i n g , far more fit than simply calling a ‘campo’ a square.

The Campo: an Italian square Il Campo: the field Lui campò: he existed Io campo: I live T h e Ve n e t i a n c a m p o i s a m i c r o c o s m o f e v e r y d a y l i f e.

opposite: manipulated satellite image from Google Maps

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A

B

B

A

CAMPO SANTA MARGHERITA main articulated boundaries

Fr o m T h e Ve n e t i a n C a m p o : The many entrances and exists through narrow streets, alleyways and covered passageways are usually small and unobtrusive. Entering a campo, one has the distinct feeling that one has arrived… there is no i m m e d i a t e l y v i s i b l e e x i t. S u r r o u n d i n g b u i l d i n g s s e e m like walls enclosing an outdoor room: they help focus attention inwards to the activity on the campo. The campo is clearly the center and focus of community life. Access to other parts of the city is of secondar y importance.

(Crowhurst Lennard, p. 11)

‘ For the square...’ [here, campo] ’...three spaceconfining elements exist: the row of surrounding s t r u c t u r e s, t h e e x p a n s i o n o f t h e f l o o r, a n d t h e imaginar y sphere of the sky above. The forms of these three space-shaping elements - architectural frame, f l o o r, a n d c e i l i n g - a r e, o f c o u r s e, m o s t d e c i s i v e l y defined by the two-dimensional layout of the square.’ ( Z u c k e r, p. 6 - 7 )

The main articulated boundary is that of the buildings that line the campo. A secondar y set of boundaries is twofold: tree canopies and vendor carts, as pointed out in the sketch. The building facades provide a v e r y f o r m a l a r t i c u l a t i o n o f t h e c a m p o ’ s b o u n d a r y. T h e canopies provide an island of sorts, either under the s h a d e o f t h e c a n o p y, i f h e i g h t p e r m i t s , o r o n b e n c h e s that surround the trees. The vendor carts provide a visual and physical obstruction. There is a clear social incentive behind this.

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A

B

B

A

CAMPO SANTA MARGHERITA expression of improvised boundaries

To understand this social incentive, here are some e x c e r p t s f r o m T h e Ve n e t i a n C a m p o c o n s t r u c t e d a n d stringed together to put things in perspective. The campo is: ...both a public space and a semi-private space. It is p u b l i c b e c a u s e s t r e e t s a n d a l l e y s l e a d i n t o i t. T h e r e are no barriers, so anyone, including tourists, can walk through. On the other hand, as any visitor immediately senses, the campo is like an outdoor room, a territor y t h a t b e l o n g s t o t h e c o m m u n i t y i n g e n e r a l. . . Ve n e t i a n s consider the campo to be under their jurisdiction... they are responsible for that part of the campo, and t h e y c a n , i f n e c e s s a r y, q u e l l u n d e s i r a b l e b e h a v i o r.

During the 1990s, university students adopted Campo Santa Margherita as their favorite gathering place‌ Not all university students have grown up on a Ve n e t i a n c a m p o a n d l e a r n e d t o a c c o m m o d a t e t h e needs of others. In 2011, one bar was so popular for s t u d e n t s t h a t, i n a n u n p r e c e d e n t e d s i t u a t i o n, c a m p o residents had to call police to quell the noise.

(Crowhurst Lennard, p 16-24)

From observations: tourists could walk right by and not even see the campo. That is because the vendors selling tourist-driven souvenirs create a visual and physical boundary from one side of the campo to the o t h e r, s h u f f l i n g t o u r i s t s b y a n d t h r o u g h t h e c a m p o w i t h o u t r e a l i z i n g i t. T h e y c o u l d, a s o b s e r v e d, b e shuffled from one narrow alley to the one across the c a m p o f r o m i t, n e v e r r e a l i z i n g t h e o p e n n e s s t h a t l i e s all the while there.

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PA R K Rudolf-Bednar-Park Wien, Österreich, Deutschland Paraphrased from Daniel Zimmermann’s words in Rudolf-Bednar-Park in the Context of Current Vienna Landscape Architecture: What above all makes Rudolf-Bednar-Park stand out is the play equipment and its utilization, which has been deployed not only functionally but also spatially and i n a n i d e n t i t y - g e n e r a t i n g m a n n e r.

A s p h a l t, p a r k p a t h w a y c o n c r e t e, l a v a - g r a n u l a t e surfacing, water-bound covering with and without s t a b i l i z e r, g r a v e l l a w n a n d E P D M s u r f a c e s w e r e deployed here in various ways according to the p l a n n i n g c o n c e p t. ( A l t e r m a t t, H a g e r, a n d Po s s e t p. 1 2 9 )

opposite: underlying image and text excerpted from: RudolfBednar-Park in the Context of Current Vienna Landscape A r c h i t e c t u r e b y A l t e r m a t t , H a g e r, a n d P o s s e t

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R U D O L F- B E D N A R- PA R K expression of boundaries

The boundaries in Rudolf-Bednar-Park are articulated by ground manipulation. The broad material palette creates ‘islands’ within a larger park. The outer edges o f t h e p a r k a r e a r t i c u l a t e d b y t h e s t r e e t, t h e c a rzone, and further emphasized by the buildings that s u r r o u n d i t. W i t h i n t h a t b o r d e r, f u r t h e r e n c l o s u r e s h a p p e n b y c h a n g e o f p a v e m e n t.

The trees across the street from the park with the same architectural language (i.e. spacing, species) t i e t h e n e i g h b o r h o o d t o g e t h e r.

The different material choices also create different ‘activity zones.’

The paths that cross from one end of the park all the way to the other end both in the North-South and E a s t-We s t d i r e c t i o n s t i e t h e p a r t s o f t h e p a r k t o g e t h e r a s o n e w h o l e s o m e e n t i t y. T h e o c c u p a n t s c a n c h o o s e to walk one continuous path through the park or pick and choose where they want to linger by entering an ‘activity-zone.’

Tree canopies and play equipment express a s e c o n d a r y a r t i c u l a t i o n o f b o u n d a r y. T h e y c r e a t e a layered place with different sub-divisions, some more clearly articulated than others.

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R U D O L F- B E D N A R- PA R K a network of spaces

The first drawing articulates the ‘islands’ expressed by change in pavement material. Within those spaces, boudaries are further atriculated to delineate specialized places of play using yet another change in pavement material. These islands create zones of specific programmatical elements within a more freefall space. The total network of spaces provides a framework for flexibility within a rigorous ordering system.

The second drawing articulates the paths that cross f r o m o n e e n d t o t h e o t h e r. T h e y f u r t h e r e m p h a s i z e the underlying order in which the trees are planted.

C l e a r l y, i t i s a g r i d - s y s t e m . N o t e t h a t t h e w a l k a b l e area to the east and south is more generous and trees across the street that follow the same order allows the park to ‘trickle out’ of its formal boundary in the east-west direction.

To the north, there is a less generous walkable sur face, and to the south, where the park meets a school, there is no publically accessible walkable area.

There are exceptions to the ordering system. The lone tree, larger in size due to its age, was a pre-existing o n e t h a t t h e d e s i g n e r s ke p t, a l l u d i n g t o t h e p a r k ’ s past life. The less structured paving in the north-east also provides a break from the system. It is meant f o r w a n d e r i n g . F o r m a l l y, i t i s a l a y e r e d s p a c e w i t h a more diverse material palette in vegetation as well as hardscape, whereas other places in the park are uniform: an alternation of grass, hardscape, or trees that lie on a grid, to allow for that freedom within the dictated framework.

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MEMORIAL Gleis 17 Berlin, Deutschland Memorial obviously is meant to remind us of something, but also has a monumental connotation. It is something p h y s i c a l t o r e m i n d u s o f a h i s t o r y. B i g g e r t h a n a memorabilia, yet acts like one on a larger scale either sculptural or architectural.

Extracted and arranged Wandel ’s writings:

from

Hirsch,

Lorch,

and

How can the ambivalence between lasting memory and oblivion be understood as a question of materials?

Can ambivalence be constructed? Is it possible to build a fleeting quality or even doubt into a monument? Nothing would be simpler than to distance o n e s e l f f r o m t h e m o n e r e o f t h e m o n u m e n t, t h a t. . . a n d come down entirely on the side of the fleeting, as well as of the processual. Thus, the memor y that aims f o r d u r a t i o n, w h i c h s e e m s i n c r e a s i n g l y s u s p e c t, w o u l d then give way to a kind of memory that is part of ever yday practice, always in motion, constantly being changed by the interaction of individuals...

What is the meaning of permanence as a material strategy here?

(Hirsch, Lorch, and Wandel p. 85-6)

opposite: manipulated image of

by Hirsch, Lorch, and Wandel

book cover: Gleis 17 = Track 17 23

GLEIS 17 degrees of enclosure

The core element of the memorial is composed of 186 cast steel objects arranged in chronological order and set in the ballast next to the platform edge...

The vegetation that has developed at Platform 17 over the years has been left to grow between the rails and now forms an integral part of the memorial as a symbol that no more trains will ever depart from t h i s p l a t f o r m. . . Va r i o u s m e a s u r e s h a d t o b e t a ke n t o create the footpath around Platform 17, such as securing the severely dilapidated platform walls and reconstructing the approx. 160-metre long platform, which had been demolished in the meantime.

(Deutche Bahn AG)

Shown in plan, as the occupant proceeds down the tracks, the site opens up. It starts off densely vegetated and ends with both platforms on either side of the tracks at same level.

The second tier of enclosure is depicted in a change of elevation. On one side of the tracks, the platform is h i g h e r, d i s t a n c i n g i t s e l f e x p e r i e n t i a l l y f r o m t h e o t h e r side of the tracks. People walk on either side of the tracks in separate experiences. Somewhere during the journey on this path, they arrive on the same level, establishing a connection, but separated by the track t h a t i s m u c h l o w e r i n e l e v a t i o n , c r e a t i n g a r i v e r, o f sorts, between them. So, they are separated until that moment that they are on the same level, seeing each o t h e r, f a c i n g e a c h o t h e r, b u t p h y s i c a l s e p a r a t e d b y the void in between.

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GLEIS 17 expression of boundaries

Extracted and arranged Wandel ’s writings:

from

Hirsch,

Lorch,

and

What is the meaning of permanence as a material s t r a t e g y h e r e ? Fi r s t, t h a t Tr a c k 1 7 d o e s n o t h a v e t o be discovered or reconstructed. It already exists.

The inter vention, therefore, is limited to defining a horizontal structure that makes it possible to see and access the site. This structure does not seal a n y t h i n g o f f, b u t w i t h i t s o p e n p a t t e r n , s e t t l e s o n t o p of the existing area, following its slightly crooked course and oddly distorted topography…

When duration is an essential parameter of a m o n u m e n t, t h e m a t e r i a l a c q u i r e s s p e c i a l s i g n i f i c a n c e.

It has to be constructed so that the data remain inscribed on the site for as long as possible…

Material strategy can also be contextually based – after all, the histor y of train stations is closely connected to the invention of cast iron…

(Hirsch, Lorch, and Wandel p. 86)

The architectural team of Hirsch, Lorch, and Wandel dealt with the articulation of boundaries by manipulating: - material - change in slope / elevation - density of trees

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C O M P O S I T E-T Y P E A network of spaces: Piazza delle Erbe / Piazza dei Signori / Palazzo della Ra g i o n e C o u r t / M e r c a t o Ve c c h i o C o u r t Ve r o n a, I t a l i a

Pi a z z a E r b e i s d o m i n a t e d b y t h e t a l l e s t o f Ve r o n a ’ s towers, the Torre dei Lamberti, built by the power ful Lamberti Family in 1172. It belongs to a whole group of towers which rose next to the Palazzo della Ragione...This repetition of the same type of a r c h i t e c t u r e e l e m e n t, a n d a p r o m i n e n t o n e, t o o, t i e s these squares together and also gives the network of spaces a sense of intrigue. ( Pr o v i n c i a D i Ve r o n a ) Imagine this scenario: Yo u ’ r e i n P i a z z a d e l l e E r b e. A t o w e r g r a b s y o u r a t t e n t i o n . Yo u n o t i c e a n a r c h w a y. N e x t t h i n g y o u know you’re walking away from the busy market on the p i a z z a a n d , h a v i n g s p o t t e d L a m b e r t i To w e r, p a s s e d u n d e r t h e a r c h w a y, i n t o a n a r r o w p a t h b e a u t i f u l l y c l a d w i t h Ve r o n a B r i c k o n e i t h e r w a l l . N o w, y o u a r e in Piazza dei Signori. That is if you haven’t been d r a w n i n t o a n o t h e r a r c h w a y t o y o u r r i g h t, b a c k a t that narrow path, and into the courtyard of Palazzo della Ragione. In Piazza dei Signori there is a statue of Dante Alighieri. A row of statues stand on the roof of the North building, all facing the piazza and all l o o k i n g a t D a n t e . H e i s l o o k i n g a t a n o t h e r a r c h w a y, a w a y f r o m t h e p i a z z a a n d t o t h e e a s t. A s t a t u e o f Girolamo Fracastoro is on that row of statues, except l o w e r, s t a n d i n g o n y e t a n o t h e r a r c h w a y. G i r o l a m o Fracastoro and Dante Alighieri form an axis leading y o u t o t h a t p a t h D a n t e w a s l o o k i n g a t t o t h e e a s t.

Yo u w a n d e r a r o u n d t a k i n g p a t h a f t e r p a t h , u n d e r archways, from constricted spaces, spilling into open spaces, exploring a network of piazzas. If you trust your instincts and follow the clues, you ’ll end up back at either Piazza delle Erbe or Piazza dei Signori. My guess, it ’s because of all those towers, and towers ser ve as way-finding tools in the landscape.

opposite: manipulated satellite image from Google Maps

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Photo credits: Hans Weingartz

Piazza delle Erbe

Photo credits: Morgan Denfeld

Palazzo della Ragione Court

Piazza dei Signori

Mercato Vecchio Court

PIAZZA DELLE ERBE / PIAZZA DEI SIGNORI/ PALAZZO DELLA RAGIONE COURT/ MERCATO VECCHIO COURT the composite-type and its boundaries

Memorial: In Piazza delle Erbe there are four monumental structures on a central axis down the length of the piazza. They draw reference to the histor y of the area. The east and west statues sit atop ornamented columns. The other two closer to t h e c e n t e r, o n e a t o p a f o u n t a i n (that provides secondar y seating) and the other is atop a podium.

The middle two are lower in elevation than the peripheral ones. Entering the square the peripheral ones greet the visitor celebrating an arrival, and the other two continue the language without causing much obstruction. They provide edges for seating but also act as anchoring spatial elements for when the market takes place.

Beyond the literal memorials in the form of statues, t h e s q u a r e i t s e l f s e t s t h e s t a g e f o r e v e n t s i n h i s t o r y. I t is the best place to view the Medieval Tower-Houses, w i t h t o w e r s v i s i b l e p a n o r a m i c a l l y. T h e p i a z z a i s l i k e a stage of everyday life and also exhibits historical events and political powers.

Ya r d : G o i n g b a c k t o H o o d a n d E r i c k s o n ’ s d e f i n i t i o n of a yard: ‘hosts common and everyday rituals in connection with the home.’ The fact that a market takes place regularly and that residents and locals frequent this set of piazzas, finding their nook within t h e m , f u r t h e r e m p h a s i z e s t h e y a r d t y p o l o g y.

Park: This network of places and layering of space provides subdivisions within a larger field. The things that tie those subdivisions together is the architecture language and a repetition of elements. It makes it difficult to point out the threshold where one space begins and the other ends.

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CONCLUSION It was enlightening, especially in the case of Santa Margherita, to see buildings as constituents of the city as a whole, how the life within the buildings spill into t h e s q u a r e a n d s t r e e t. I t w a s e s p e c i a l l y e n l i g h t e n i n g to travel with students and faculty in the Landscape Architecture program at Virginia Tech. In my field of s t u d y, w e a r e p r e d o m i n a n t l y c o n c e r n o u r s e l v e s w i t h t h e design of interior space and façades. Arguably we do m o r e t h a n t h a t, b u t t h e f o c u s i s o n t h e o n e e n t i t y : t h e building or complex of buildings, and, more often than n o t, w e t r e a t t h a t e n t i t y a s a u t o n o m o u s.

S t u d y i n g c i t i e s a s a n o u t s i d e r, a s a r o a m e r o f o u t d o o r space as opposed to occupier of buildings, has shed a new light on spaces I normally enjoyed dwelling in on a daily basis, but scholarly and professionally didn’t dwell on. It is either deemed empty or peripheral. On m y t r a v e l s e s p e c i a l l y, I o c c u p i e d t h e o u t d o o r s p a c e s , t h e ‘ a r c h i t e c t ’ o u t s i d e o f t h e b u i l d i n g s … b u t, i n s i d e o f designed space still. My perspective has broadened.

If we were to play that game of stating the first word t h a t c o m e s t o m i n d w h e n s a y i n g ‘ b o u n d a r y. ’ I w o u l d say ‘ wall.’ I have come to realize the myriad of ways a boundar y could be expressed, some subtle, some bold.

A s a d e s i g n e r a n d a r c h i t e c t u r e s t u d e n t, t h a t i s w h a t I do: define space, and the way to do it is through the articulation of boundaries.

L e t ’ s s a y, a r t i c u l a t e d b o u n d a r i e s a r e t o o l s w e a r e a r m e d with in containing space. Now that I ’ve studied and reflected on what there is out there, with this analysis of places, I feel equipped with further knowledge and examples I can readily draw from, ones I have not only studied but visited in person and occupied.

L a s t l y, I ’ v e c o m e t o r e a l i z e t h a t o u r p r o f e s s i o n i s unique in the fact that we design space, and space is inescapable. It already exists we simply shape it or c o n t a i n i t. S o, t h e r e i s s o m e t h i n g t o b e l e a r n e d f r o m observing occupants of space regardless of whether they are occupying it in the way it was intended. Also, t h e p l a c e s I h a v e c h o s e n , I r e a l i z e n o w, a l l p r o v i d e a f r a m e w o r k t h a t a l l o w s f o r f l e x i b i l i t y w i t h i n i t . A r g u a b l y, that ’s what designed space is: a framework for openended activities.

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THOUGHTS ON THE VENETIAN CAMPO a short essay W h e n I v i s i t e d Ve n i c e t h e f i r s t t i m e i n Fe b r u a r y o f 2 0 1 4 , l i k e m a n y t h a t v i s i t i t t o d a y, I w a s s h o c k e d . I t i s d e p i c t e d v e r y d i f f e r e n t l y i n t h e m e d i a t h a n i t s r e a l i t y. I t ’ s o v e r romanticized and is merely a façade of what it used to b e. Ve n d o r s f r o m a l l o v e r t h e w o r l d m o v e t o Ve n i c e i n a n attempt to take advantage of the sea of tourists buying souvenirs that are actually made in China. The ever-growing m a s s e s t h a t f l o c k t o Ve n i c e d o n o t e x a c t l y d i s c o u r a g e t h o s e attempts, because they gullibly keep buying from them.

A n d I t h o u g h t i t w a s b a d i n F e b r u a r y, b u t v i s i t i n g i t i n t h e summer (thankfully after the initial shock) left me troubled, so I started thinking about the rich culture I have traveled t o E u r o p e t o e x p e r i e n c e a n d a s ke d : I s Ve n i c e r e a l l y g o n e ?

I took these thoughts with me on my travels and when I made i t b a c k t o Ve n i c e, t h i s t i m e s t u d y i n g t h e c a m p i i n M a y o f t h e s a m e y e a r, I r e a l i z e d t h a t i n t h e c a m p o i s w h e r e Ve n i c e l i v e s o n. G r a n t e d Ve n i c e i s n o t w h a t i t u s e d t o b e, b u t s o m e h o w t h a t c o n t r a s t o f t h e t r u l y-Ve n e t i a n a n d n o t- s o true was surprisingly refreshing. There’s a reason that the campi have sur vived the ‘over-tourist-ification.’

The designer in me started toying with this idea: If the ‘truly Ve n e t i a n ’ i s d y i n g, t h e n h o w c o m e t h e c a m p i a r e s t i l l s u c h a hub for activity and social exchange? It is subtle, and a t o u r i s t c a n w a l k r i g h t p a s t t h a t, o r g e t d r a w n t o a s o u v e n i r vendor ’s cart a little ways across the campo, but it is there.

I f i t i s p a r t o f g r o w i n g u p i n Ve n i c e, a r e w e o b l i g a t e d t o save it? The better question is: Can or should we even try to? The island is being overrun by tourists and all the b a g g a g e t h a t c o m e s w i t h t h a t t o u r i s t - a t t r a c t i o n . O b v i o u s l y, i t i s i m p o s s i b l e t o s a v e Ve n i c e a s i t w a s, t o p r e s e r v e i t c o m p l e t e l y. T h a t p r e s e r v a t i o n i s p o i n t l e s s , t o o , b e c a u s e time is still moving, and there’s no point stopping that an u n s t o p p a b l e c u r r e n t. Ye s, Ve n i c e w i l l n o l o n g e r b e w h a t was, but there is something to be learned of the social and c u l t u r a l i m p a c t o f t h e Ve n e t i a n c a m p i. W h a t w e l e a r n f r o m the campi in the form of design concepts can exit the realm o f ‘ s p e c i f i c a l l y Ve n e t i a n ’ a n d e n t e r t h e r e a l m o f ‘ c a n b e applied anywhere.’ So, really what I am studying is public s p a c e, a n d t h e s h o r t t e x t T h e Ve n e t i a n C a m p o b y S u z a n n e H. Crowhurst Lennard introduces how the campo functions i n t h e c o m m u n i t y. W i t h t h a t , w e c a n l o o k a t t h e c a m p o a s a model for public place.

I r e a d t h a t b o o k o n t h e t r a i n t o Ve n i c e a m e r e f e w d a y s into this study of public places. Its contents followed me o n m y t r a v e l s , t h e n o n m y t r i p b a c k h o m e t o K u w a i t C i t y, then back to my desk at Virginia Tech, and joined me on m y t h e s i s s t u d y.

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1 7 1 - 8 9 . Pr i n t.

C l e v e l a n d , H . W. S. , a n d R o y L u b o v e. L a n d s c a p e A r c h i t e c t u r e, a s A p p l i e d t o t h e Wa n t s o f t h e We s t.

Pi t t s b u r g h : U o f Pi t t s b u r g h, 1 9 6 5 . Pr i n t.

H a g e r, G u i d o, Pa t r i c k A l t e r m a t t, a n d Pa s c a l Po s s e t. “ Rudolf-Bednar-Park in the Context of Current Vienna Landscape Architecture.” Rudolf-Bednar-Park Wien = Rudolf-Bednar-Park Vienna. Sulgen: Niggli, 2008.

1 2 9 - 3 2 . Pr i n t.

Hirsch, Nikolaus, Wolfgang Lorch, and Andrea Wandel.

Gleis 17 = Track 17 / Nikolaus Hirsch, Wolfgang Lorch, Andrea Wandel (Hg./eds.). Berlin: Sternberg, 2009.

Pr i n t.

Ko s t o f, S p i r o. “ P u b l i c P l a c e s. ” T h e C i t y A s s e m b l e d : T h e E l e m e n t s o f U r b a n F o r m t h r o u g h H i s t o r y. B o s t o n : L i t t l e, B r o w n, 1 9 9 2 . N. p a g. Pr i n t. “ L a m b e r t i To w e r. ” L a m b e r t i To w e r. P r o v i n c i a D i Ve r o n a , 2 0 1 1 . W e b . 0 1 N o v. 2 0 1 4 . < h t t p : / / w w w . t o u r i s m . v e r o n a . it/en/enjoy-verona/art-and-culture/monuments-andsights/lamberti-tower>.

“The Track 17 Memorial at Grunewald Railway Station.”

D e u t s c h e B a h n , 2 5 J a n . 2 0 1 2 . W e b . 0 1 N o v. 2 0 1 4 . < h t t p s : / / w w w. d e u t s c h e b a h n . c o m / e n / g r o u p / h i s t o r y / topics/platform17_memorial.html>.

Z u c k e r, Pa u l . To w n a n d S q u a r e : F r o m t h e A g o r a t o t h e V i l l a g e G r e e n . N e w Y o r k : C o l u m b i a U P, 1 9 5 9 . P r i n t .

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