AT L A S O F V E N I C E PART 2 MPHIL IN ARCHITECTURE AND URBAN DESIGN FIELDWORK 2018 CAROLYN SMITH
Carolyn Smith Venice, Italy Cambridge Design Research Studio 2019 Unless otherwise stated, all images and graphics are the author’s own.
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Venice is renowned as a city of collective spirit; this is, in part derived from the diversity and subtle variation apparent in its urban realm. While variety is the rule, the city is comprised of a clear set of typological, material and structural components, derived from the socio-political order of the Republic and the constraints presented by the lagoon.
CAMPO SALIZZADA CALLE FONDAMENTA SOTOPORTEGO PONTE RIO CANAL
FI G URE 1 - TYPO LO G I CAL C O M P O N E N T S O F T H E P U B L I C R E A L M
Venice’s wealth of public space, painstakingly reclaimed from the water, led Francesco Sansovino to brag (in the 16th century) that Venice’s public realm was so expansive you could build an whole new city within it. The distinctive character and spatial experience of Venice’s public spaces contribute greatly to the famed ambiente of the city.
FIGURE 2 - THE CAM PI O F VENI CE
The urban morphology of Venice is the result of a unique pattern of land reclamation over the centuries [for more information see Chapter 2]. Venice’s urban fabric is multi-centred; the focal points, such as Piazza San Marco, are differentiated only by scale. The campi are the centres of civic life. The pozzi and parish churches are primary sources of public art and culture, even though their function has evolved over the centuries. 0
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FI G URE 3 - PO ZZI ‘ALLE VE N E Z I A N A’
“Venezia è in acqua e non ha acqua.” Despite being surrounded by the waters of the lagoon, Venice has no ready access to potable groundwater; rainwater harvesting was vital for the survival of the city. Rainwater was collected from downpipes and areas of open urban land and filtered through a system of cassone and sand to make it drinkable. This required large open areas to provide for the city’s population and, while some were privately owned, necessitated expansive campi to cater for the remaining inhabitants. Collecting water from the vere di pozzi (well heads) was part of the ritual of daily life the vere became important artifacts of public art as the wealth of the city grew. With the development of the innovative internal cistern in the Venetian ‘double house’ typology in the sixteenth century, the need for external spaces for water collection diminished. This is why the linear morphological developments which occured after this time have a much tighter urban grain, and a diminished public realm [see Chapter 2].
FIGURE 4 - LAND AND WATER CI RCULAT I O N
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FI G URE 5- TYPO LO G I CAL M O V E M E N T PAT T E R N S
Venice’s combination of overlapting pedestrian and water circulation routes has been studied and admired for centuries. The city influenced both the picturesque movement and, via the studies of Le Corbusier, modernism. The separation of the two principal circulatory systems, the primacy of the pedestrian and the city’s human scale and its entirely artificial nature were highly appealing to the modernist school of thought. Venice is conceptualised as both a ‘model city’ and a historic artifact. Le Corbusier likened Venetian calli to a meandering river, so inefficient and circumspect that they border on perfect efficiency.
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F I G U R E 6 -C I R C U L AT I O N R O U T E S
CHURCH MAIN TOURIST THOROUGHFARE PRIMARY CIRCULATION ROUTES 1
CAMPO SAN POLO
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CAMPO SANTA MARGHERITA
A TA L E O F T H R E E C A M P I An understanding of the way in which the Venetian campi function and are populated requires study beyond observing their planform and circulation routes. Just because a campo is accessible doesn’t necessarily mean that it is an inviting place to rest, to stay, or to play.
The plan above shows an
The three campi chosen for this study are all relatively large and of
approximation of the circulation
varying importance, historically and within contemporary culture. They
routes within this area of the city.
sit to the west of the Grand Canal in the sestieri of Santa Croce and San
The main tourist thoroughfares
Polo. The plans overleaf show analysis of the main features of each
appear on the tourist maps and
campo. This does not aim to be a comprehensive or scientific study.
are clearly signposted routes.
While attempts have been made to make the study as objective and fair
While Venice may appear
as possible, its aim is merely to paint a picture of local culture in certain
labyrinthine in plan, there are a
campi, on certain days. The observation times were selected to show
limited number of through-routes
the population of the public realm outside of meal times, in an attempt
and local circulation paths: these
to assess more than the quality of the restaurants. The times surveyed
are also highlighted on the plan
were all mid-week in late September: after the peak tourism season and
above.
while the weather is not prohibitive to outside living.
C A MPO SAN POLO AREA: 5810m2 PERIMETER: 355m ACTIVE FRONTAGE: 185m RESTAURANTS / CAFES: 4 LOCAL SHOPS: 2 BENCHES: 13
C A MP O S AN GIACOM O DALL’ORIO AREA: 3330m2 PERIMETER: 340m ACTIVE FRONTAGE: 100m RESTAURANTS / CAFES: 5 LOCAL SHOPS: 3 BENCHES: 8
C A MP O S A N TA MARGHERITA AREA: 6180m2 PERIMETER: 385m ACTIVE FRONTAGE: 255m RESTAURANTS / CAFES: 18 LOCAL SHOPS: 8 BENCHES: 15 CHURCH MARKET STALL LA VIDA EXTERNAL RESTAURANT / CAFE SEATING ACTIVE FRONTAGE PUBLIC SEATING INFORMAL PUBLIC SEATING (NOT WELL HEAD) WATER POINT WELL HEAD 0
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FI G URE 7- CAM PI CO M PARI S O N P L A N S
FIGURE 8- CAM PO SAN PO LO PHO TO G RAPHS
Campo San Polo used to be the largest campo in Venice; the second largest public space after Piazza San Marco. It hosted the weekly market and was an important centre for the resident community. Its everyday importance has now waned, though it hosts the annual ice rink in the winter and provides a setting for open air films screenings during the Film Festival: it serves more as an arena than a local centre.
10 AM
1 PM The campo is mainly populated during the afternoon and evening, with families and young children using the large spaces to play and draw on the paving with chalk. The seating shaded by trees is almost always in use, as are the steps of the pozzo. There are only two restaurant/bars on the campo; the northern restaurant will only serve customers full meals, limiting its appeal to Venetian customers, as it will not serve those seeking apperitivi. The southern eatery is more flexible and informal and hosts both local and tourist visitors throughout the day.
6 PM 10 people
5 people
The campo’s southern edge lies on a main thoroughfare and is populated by a mixture of tourist stalls (postcards, souvenirs and icecreams) and local stores (pharmacy and tabaccheria). The northern area is bordered by the administrative offices of the regional government, which do little to populate the campo dayto-day, and appartment buildings.
FI G URE 9- CAM PO SAN PO L O A N A LY S I S
FIGURE 10- CAM PO SAN - G I ACO M O DALL’O RI O - PHO TO G RAPHS
Campo San Giacomo dall’Orio has always been a thriving local centre; and it has managed to maintain this local character even in the face of mass tourism. The campo does not sit on a main thoroughfare but it is easily accessible and is in close proximity to two schools, making it an ideal location for play. The campo is situated in one of the last strongholds for Venetian residents; it is hard to say whether the campo retains its local activity because of the concentration of residents or whether the strength of the community has sustained the residential population.
10 AM Chiesa San Giacomo dall’Orio is one of the oldest churches in Venice and has a characteristic ‘ship’s hull’ roof. It is included in the Chorus Churches ticket pass, which brings a small stream of tourists to the campo. Campo San Giacomo dall’Orio currently hosts the activist organisation La Vida, who are engaged with fighting for a future for Venetian residents through community events, art and theatre.
1 PM The campo is populated relatively consistently throughout the day but really comes alive in the afternoon and evening when it becomes a playground for local children and a meeting place for local residents of all ages. The benches under the trees are occupied throughout the day, providing sufficient shade for the midday sun and a pleasant place to sit and rest or read. A Coop in the north-west corner of the campo ensures steady footfall and the wealth of nearby shaded benches, water fountain and low-cost eateries in the calle to the north ensure the campo is an ideal place to sit, rest and picnic.
6 PM 10 people
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The campo hosts a variety of bars and restaurants which cater for apperitivi and more formal meals. The southern bend is generally less populated, but this makes it an ideal location for a game of football. This area also hosts the La Vida gazebo headquarters and is the site for their communal dining events and parties. FI G URE 11-CAM PO SAN G I A C O M O D A L L’ O R I O A N A LY S I S
FIGURE 12- CAM PO SANTA - M ARG HERI TA - PHO TO G RAPHS
Campo Santa Margherita is one of the busiest campi in Venice. It sits on a main thoroughfare and is populated throughout the day by a diverse demographic range. Its wealth of eateries and bars, and situation within the heart of student facilities, have made it a hotspot for student activity and nightlife, but the campo also sustains a small fish, fruit and vegetable market, local shops and a range of tourist facilities.
10 AM
1 PM The campo is populated throughout the day but is particularly busy in the afternoon, evening and night. The bars populate the peripheries, while the shaded benches and pozzi provide places to wait, meet and rest. Children gather to play in the quieter area to the south west after school. Guided tours of tourists pass regularly through the campo, queuing for ice cream at a popular gelateria. The campo is far busier than the other campi surveyed, it is the closest the Venice gets to night life atmosphere.
6 PM 10 people
5 people
Campo Santa Margherita can be regarded as the social hub of the contemporary city, in contrast to Piazza San Marco’s abandonment to tourism. The wealth of bars, eateries, and local and tourist shops activate the peripheral areas, while the elongated shape provides a large area which remains at a human scale.
FI G URE 13- CAM PO SANTA M A R G H E R I TA A N A LY S I S
SALIZADA The salizade were the first paved streets in Venice. These thoroughfares formed the spine of each island, linking the water with the campo, church and ceremonial route. The width and active frontage is Venice’s answer to the highstreet typology.
FIGURE 1 4- SALI ZADE PHO TO G RAPHS
CALLE Smaller Venetian streets are usually named calli. These vary in width and in some areas can be as narrow as 800mm wide. These are usually bordered by residential access and washing is often hung above between the buildings. FI G URE 15- CALLI PHO TO GR A P H S
F O N D A M E N TA A fondamenta is bordered on one side by water. This connection creates a sense of openness and makes them popular for eateries and outdoor seating. The degree to which these feature railings or barriers is dependent on the width of the walkway. FIGURE 1 6- FO NDAM ENTE PHO TO G RAP H S
SOTOPORTEGO Sotoporteghi are small underpasses and are largely the result of organic urban expansion. These connections are often confusing to visitors as entrances can be difficult to spot and despite linking major thoroughfares throughout the city.
FI G URE 17- SO TO PO RTEG H I P H O TO G R A P H S
PONTE Venice has around 400 bridges, or ponti. These connections often occur at strange angles due to the morphology of the city [see Chapter 2]. Venice’s reliance on stepped access has made meeting contemporary accessibility criteria difficult.
FIGURE 1 8- PO NTI PHO TO G RAPHS
CANAL Venice’s canals are the city’s motorways. They cater for the vaporetto service, the Venetian equivalent of a bus, and traghetti (gondola service from one side to another). There are only four bridges which cross the Grand Canal. FI G URE 19- CANALI PHO TOG R A P H S
RIO Venice’s smaller waterways are known as rii. These were once the primary transport connections within the city and allow goods to be delivered within a 100m radius of most of the centro storico. Most dwellings feature both a land and a water entrance. FIGURE 2 0- RI I PHO TO G RAPHS
FI G URE 21- VENETI AN CI RC U L AT I O N P H O TO G R A P H S
NOTES FIGURES Figure 1:
TYPOLOGICAL COMPONENTS OF THE PUBLIC REALM.
Figure 2:
THE CAMPI OF VENICE.
Drawings by author.
Drawings by author.
Figure 3: POZZI ‘ALLA VENEZIANA’. Photographs by author; drawings adapted from: Franco Mancuso, Venezia è una città (Venezia: Corte del Fontego, 2009); Giorgio Gianighian, “Building A Renaissance Double House In Venice”, ARQ, 8 (2004), pp. 299-312. Drawings by author.
Figure 4:
LAND & WATER CIRCULATION.
Figure 5:
TYPOLOGICAL MOVEMENT PATTERNS.
Figure 6:
CIRCULATION ROUTES.
Figure 7:
CAMPI COMPARISON PLANS.
Figure 8:
CAMPO SAN POLO PHOTOGRAPHS.
Figure 9:
CAMPO SAN POLO ANALYSIS.
Figure 10:
CAMPO SAN GIACOMO DALL’ORIO PHOTOGRAPHS.
Figure 11:
CAMPO SAN GIACOMO DALL’ORIO ANALYSIS.
Figure 12:
CAMPO SANTA MARGHERITA PHOTOGRAPHS.
Figure 13:
CAMPO SANTA MARGHERITA ANALYSIS.
Figure 14:
SALIZADE PHOTOGRAPHS.
Figure 15:
CALLI PHOTOGRAPHS.
Figure 16:
SOTOPORTEGHI PHOTOGRAPHS.
Figure 17:
FONDAMENTE PHOTOGRAPHS.
Figure 18:
PONTI PHOTOGRAPHS.
Figure 19:
CANALI PHOTOGRAPHS.
Figure 20:
RII PHOTOGRAPHS.
Figure 21:
VENETIAN CIRCULATION PHOTOGRAPHS.
Drawings by author.
Drawings by author. Drawings by author. Photographs by author.
Drawings & photographs by author. Photographs by author.
Drawings & photographs by author. Photographs by author.
Drawings & photographs by author.
Photographs by author.
Photographs by author. Photographs by author. Photographs by author.
Photographs by author. Photographs by author.
Photographs by author. Photographs by author.
REFERENCES Bisson, Massimo, Isabella Cecchini, and Deborah Howard, La chiesa di San Giacomo dall’Orio (Roma: Viella, 2018) Foscari, Giulia, and Rem Koolhaas, Elements Of Venice (Baden: Lars Müller Publ., 2014) Gianighian, Giorgio, “Building A Renaissance Double House In Venice”, ARQ, 8 (2004), pp. 299-312. Gianighian, Giorgio, “L’acqua di Venezia: dal Medioevo all’Acquedotto e Oltre”, Ananke, 61 (2010), pp. 134145. Goy, Richard J, Venice: The City and its Architecture (London: Phaidon, 1997) Goy, Richard J, The Building of Renaissance Venice (New Haven: Yale University Press, 2006) Howard, Deborah, The Architectural History of Venice, 2nd edn (London: Yale University Press, 2004) Mancuso, Franco, Venezia è una città (Venezia: Corte del Fontego, 2009)
Psarra, Sophia, The Venice Variations: Tracing The Architectural Imagination (London: UCL Press, 2018) Shah, Mahnaz, Le Corbusier’s Venice Hospital Project : An Investigation Into Its Structural Formulation (Farnham: Ashgate, 2013) Stoppani, Teresa, Paradigm Islands: Manhattan And Venice, Discourses On Architecture And The City (London: Routledge, 2015) Tafuri, Manfredo, Venice And The Renaissance (Cambridge, Massachusetts: MIT Press, 1995)