VOID IN THE CITY
Via dei fori imperiali was located in the centre of rome, in between the Coloseum and Piazza Venezia. It was built by Mussolini and was finished in 1932 to symbolize the power and strength of Rome and a manifestation of the fascism that were in power. For the Imperiali road in particular, the reason ws to “ … liberate all of ancient Rome from the mediocre construction that disfigures it, but side by side with the Rome of antiquity… ” – Mussolini (Bacon, 1976). This was part of the expansion plan to modernise Rome, turning Piazza Venezia into the central figure for economy and connectivity, which further extended into the east of rome (figure 2). In addition, the road also a media of projection for the glory of the past (Coloseum) and the future (Piazza Venezia) (Bacon, 1976)
Source:
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Figure 3. Nolli map, the position of Via dei Fori imperli was built, and buildings that were destroyed around the rome.
Figure 2. Nolli map, traffic strategy for modernisation of Rome.
Source: The Third Rome
Figure 1. Rome, its order and chaos
The condition of the site reminds me of the cobra drawing that was done by Constant, the reflection of HOLLOWNESS AND EMPTYNESS of war. The reflection of VIOLENCE that was burried deep into the site when the existing urban fabric was excavated. Leaving SCAR that was hidden waiting to be revealed
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Figure 4. Collage of the site; Constant: d’un labyrinthe; Excavation collage
WHAT MAKES A CITY
Rome was one of the most oldest city that went through repeated relations of “dependence, domination, exclusion, and exploitation” by its inhabittant, but it always belongs to the workers / populaire (Lefebvre, 2014). This was shown throughout my analysis that there was always clashes of urban patterns (2nd layer) between neighbourhoods that eventually form labyrinth like lines.
“The site itself mirrors in it’s evolution, its history, its erasure, and its continual turmoil...”
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Daniel Libeskind - 1995 Raoul Wallenberg Lecture
Figure 5. Cognitive Mapping Process
Figure 6. Cognitive Mapping of Rome
The analysis of the urban fabric made me further understand the underlaying urban condition, but also its political and psychological condition because through the lines, can start to identify patterns, chaos and order, position of the centre. Difference in demographic background such as politics, income, or religion within the society continously naturally creates tension, that eventually create order and disorder. These lines of interest start to overlapping each other, and mesh into an identity that embodied the site. The tight alleys, existance of different shops and services, and maze like fabric made a unique experience that I argue is the spatial identity of Rome.
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Figure 7. Psychological & political clashes that create tensions on the urban level throughout Italy.
"... greater urbanity ... implie a far closer meshing of all urban functions, aspects, and kinds of human association."
Aldo van Eyck Steps Toward a Configurative Discipline
Figure 8. Urban diagram around the neighbourhood Figure 9. Spatial sketch of the narrow alley in the neighbourhood next to the Imperiali road.
Beside the significance on political and ideological importance, the size of the road also dehumanising the experience because it was built for marching tanks and vehicle in mind. On the other hand, the experience to walk in Rome’s neighbourhood was considered to be intimate, allowing people to have connectivity with other people and the space. “individuality, freedom and spontaneity” created by moments in the city is what create the identity in the city (Van Eyck, 1962).
“Hope is surrounded by dangers, and it is the consciousness of danger and at the same time the determined negation of that which continually makes the opposite of the hoped for object possible.”
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Figure 10. Site Collage; Showing the emptyness of the site, turning the place that was once inhabited with life into simply a transitioning space.
Ernst Bloch Something’s Missing
REMAPPING VIA DEI FORI IMPERIALI
On the site where its identity was voided by violent force, I want to propose to form a new urbanism that rejects the linearity of the line. To deny the line, Firstly look at the Nolli map from 1750 and observe how the fabric was constructed, using their axis as reference for further remapping. Next, try to remap the site that start to introduce back the quality of Rome’s morphology qualities by colliding and rescaling the cognitive mapping of Rome on top of the site.
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Figure 11. Fabric analysis on Nolli map of Rome, 1750.
Figure 12. Re-fragmanting the Cognitive drawing to be reconstructed in the remapping of Via dei Fori Imperiali
This remapping proposes to cut the axis of Via dei fori Imperiali by reusing the old fabric as a guidance. Reintroducing the voided city life to be populated by people, not in modernise and consumerist way, instead a chaotic urban life that incite hope and activity for the users.
“… to reveal its history while at the same time creating a place for hope and new activity without domastication of violence. It is important to deal with the site and not to obliterate its history”
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REMAPPING VIA DEI FORI IMPERIALI
Daniel Libeskind.
Figure 14. Fragmantation of the remapping of Via dei Fori Imperiali
SPATIAL DISCOVERY
These are another iteration of the remapping of Via dei Fori Imperiali through several models; that explore mass, walls, and lines, was trying to form a spatial quality that represent chaos to against the void. While on their own, each model manages to show fragments of the spatial density that I desire, by collaging them, it gives opportunity to overlap different moments as if fold these models into one.
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Figure 15. Collage of the model that demonstrate what overlapping lines spatial condition would be like.
In this model, the lines were to represent if the remapping was focused on movement and connectivity of spaces it will inhabit. One linear lines overlap with another line which eventually bring the intensity of spaces.
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Figure 16. The remapping model: Lines Material: Balsa Wood Grey Board Foam Board
In this model, walls were to represent spatial composition of tresholds and facade. Spaces that explain and retract providing different opportunity for use and social activity.
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Figure 17. The remapping model: Walls Material: Balsa Wood
This iteration were arranged what if the mapping were to have mass and start declaring of what the meaning of the lines.
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Figure 18. The remapping model: Mass Material: Balsa Wood Plastic Board
However, each models by itself does not represent the kind of spatial intensity that can represent chaotic moment, a labyrinthic experience that can incite 'hope'. therefore wich to mesh these models together through the process similar with the remapping process.
The result drawing were inspired by Libeskind's study of Micromegas. An abstract composition yet it incite spatial moments that I can't represent through models.
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Figure 19. Redrawn composition of the model.
Figure 20. Via dei Fori Imperliali - Micromegas
RECONSTRUCTING VIA DEI FORI IMPERIALI
In this part of the portfolio is where I explain my proposal on the project while reflecting on my previous works. While this work is focused on the junction area Via dei Fori Imperiali, this not only a proposal for a singular building but also a methodological proposal in reconstructing the site. The chosen area is on the south part of the site which are the meeting point between Via dei Fori Imperiali (line of Void), Via Cavour (line of the past) and Via Alexandria (line toward modernisation). In addition, this site also in the middle of ruins and the surviving urbanism & buildings from the construction of the road.
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VIADEIFORIIMPERIALI VIA ALEXANDRIA VIA CAVOUR Figure
21. Site location
To maintain the structural integrity of the Maxentius Basilica, extensive use of braces that changed the facade.
SITE SECTION
New access toward the Santi Cosma e Damiano.
Antoninus and Faustina Temple Santi Cosma e Damiano Maxentiys Basilica Tempio della Pace
Figure 22. Site Collage
Figure 23. Site Section
LOST IN TRANSLATION
Jumping into the site, I went into a wrong direction due to my ignorance toward the site, and instead focused on the ‘final product’ of a building. My early proposition was blinded to simply creating interesting space rather than letting the site influencing how or what to be delivered. So, these are some of the drawings.
PROPOSITION 1.
This iteration were developed from one of the experimental section drawing that were done from the first semester to explore potential spatial qualities for
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PROPOSITION 1
In this collapsed plan drawing, instead going against the lines, the influence from Via dei Fori Imperiali become dominant.
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PROPOSITION 2
The next propotion, similar problem blindness occur, although some idea of spatial intensity was brought up partially.
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OVERLAPPING LINES
For me to move forward, I decide to move backward and reflect on the work impact of lines in urban context.
Straight lines in city planning, especially in the form of grid, are heavily influenced by orthogonality of modernism (Withagen & Caljouw, 2017). The impact of it has been argued to be dehumanising. To draw a line is the enemy according to Constant because line has the power to include and exclude (Stamps, 2016). While think the act itself is neutral, the implication it cause is undeniable. The impact of a line of Via dei fori has destroyed more than 1500 accommodations (Bacon, 1976). So, to challenge the line, is by using other lines, with reference that the line could be replaced again with another line, creating overlapping sequences (Stamps, 2016).
Overlapping lines can be divided into 2 part which include a simulation of interventions on the site and over time, it will be replaced by another project. Used materials will become part of the new interventions. The other side of this project will be a project proposal that replace part of the intervention and exploring the spatial qualities ‘overlapping lines’ could create.
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Figure 24. overlapping lines process
UNVEILING THE SCAR
This drawing and diagram show the hidden scars that were covered by the construction of Via dei Fori Imperiali. if the remapping my projection for the future onto the site, this process was to use the remapping as a medium to unveil the scars. I therefore propose to use these as guidelines on the later interventions.
Figure 24. Unveiling scar process
Figure 25. Scar plan
FRAMES OF PRODUCTION
One of my criticisms toward the site was its passiveness despite it symbolise the reign of fascism. The frames and walls used 'protect' the ruin from monorail's construction on the site (2015-now) annulled the purpose of the road as whole and not addressing the problem created by the void. In addition, monorail intervention that is happening currently, would eliminate the opportunity to reclaim the identity, pushing people further away from the site. So instead, propose to re-purpose the frames and walls that were used to brace the ruins to be used for lightweight construction intervention for the site.
PLAYGROUND - ALDO VAN EYCK
PRECEDENT STUDY
Source: http://www.rocagallery. com/when-a-child-rediscoversthe-city-the-city-rediscovers-us
The context behind the project Van Eyck’s Playground was rebuilding parts of Amsterdam that were damaged due to war and inserting a space of ‘hope’ through activities and playfulness in the voided space while also putting critique on modern city planning (Withagen and Caljouw, 2017). His focused were on human experience and the chaos and order it creates, or he calls it “twin phenomena” (Van Eyck, 1962). In the context of playground, Van Eyck successfully change the identity of the voided space, into a liveable space.
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Figure 27. Photograph of Aldo van Eyck playground.
Figure 28. Repurposing the frame for productive activities
Figure 26. Sketches of the use of frames and walls on site which enhancing the emptiness of the site.
took this project as one of my reference due to it's his approach of what a livable place to be, and method to create a 'framing system' for making intervention that gives flexibility toward the site, so the method of production could be replicated, however, the created spaces will always to be unique to its identity. In addition, by using frames and other lightweight construction bring few advantages for bringing intervention in Via dei Fori Imperiali;
1. The method of production can be done quickly and only need minimal technical skill, allowing for the spatial production to be done as quickly as possible.
2. While the later stage of the project is the intention to put a more permanent buildings, these interventions will allow for people to familiarize themselves with the change or even come up for new possibilities in the future.
3. Lastly, the intervention that were to be replaced can be reused on another part or to be canibalised into the later interventions.
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Figure 29. Assembly study on scalfolding. Figure. Space abstraction
of frames
Figure 31. Sketches of interventions using grids and frames that start to inhabit the Via dei Fori imperiali, bringing activities into the site.
Figure 30. Montage of spaces using frames.
Using the 'scars' as the guide, start to inhabit the stie with some frame interventions to experiments with the possibilities of spatial composition it might create. In this plan also propose to break down part of the wall that hid the urbanism. Opening up the space for interaction, challanging the passiveness of the site.
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Figure 32. Axonometric drawing, intervention through frames.
The proposed plan then was developed further. In this Iteration, started to introduce possible massing for the site. The process was to detach the 'massing plan’ (figure 33) from the frame intervention before later to be merged again. I decided to do this because, allow me to explore more possible plan arrangement for the site. This also simulate the process of design development if another person to be overlapping the previous intervention with a new proposal, and to see their interaction.
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Figure 33. Massing plans, exploring a city like spatial arrangement.
PROGRAM AND SPATIAL STUDY SCULPTING WORKSHOP
These plans are the first iteration which will be development for the final proposal. Figure. shows spatial strategies that want to implement for the intervention to create a city like spatial qualities.
a. No direct visual for access
c. Indoor-outdoor circulation
b. Different steepness for stairs and ramps
d. Labyrinthic Spatial qualities
Axonometric position (figure )
The program proposed is based on my reflection of Aldo Van Eyck's playground study. Initially, to produce a city like experience, the chosen program was initially to show examples of similar kind of activities such as tenements that can host both residential and economically productive. However, the use of frames in the previous study, inspire me to instead create a facility that can host some teaching and production space, the the frames could be designed, processed, and assembled on site. Creating participation for the local communities or even in the wider context.
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Studio spaces
Light weight Workshop Exhibition Heavy workshop
Library & resource management
Figure 35. First massing proposal from the plan development
Figure 34.
Another reference for the project is Scottish parliament by Enric Miralles. The project was reflecting a lot on the the historical and political condition of the site, but it’s resolution is not a mere preservation / reproduction of the historical elements, instead recrontructing a space that based on it’s collective memory (Fernandez, 2020). Condensing all the experience that Miralles analyse into a project. Fragmenting the Parliement, break the barrier between the government and the public, and it continues to be represented from it’s massing, choice of material, detailing, and production system. The space produced give a continuously ever-changing form, insinuating progressive policies that will presented by the parliament.
“It is alien, but not alienating, largely because it encourages a wide range of association far more sophisticated that the literal references built...”
Nathaniel Coleman - Architecture in the material space of possible transgression
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Figure 36. Exterior view of Scottish Parliament. Figure 37. Circulation Space within the building.
The collage of reconstruction of space of Rome was inspired by Constant new babylon's painting that express a playfulness of space that can be achieved after being liberated from the confinement of specific functions
aloowing people to expand their creativity (Stamps, 2016) With the introduction of facade and materiality into the collage, it bound the imagination to the urden of use, also on method of assembly. The use of stone and brick for facade, profiles on door and windows, stone paving and other type of material is equally important to reconstruct spatial experience that is suitable for Rome.
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Figure 38. Constant, Labyrinth.
Source: Constant New Babylon
Figure 39. Reconstruction facade of Rome
DESIGN REALISATION
The realisation of the design was the result of accumulation and experimental of overlapping lines Vaíllo, 2019) Similar how Miralles condensing the experience of Scotland to design the Scottish parliament, want to bring the experience of walking throughout Rome into the site.
try to demonstrate or exaggerate the expression from overlapping lines by literally extruding and clashing different elements of the building such as massing, walls, or even something that is decorative, such as handrails and canopy, without diminishing its proper function.
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Figure 40. Axonometric drawing, overlapping lines
63 0 10m GROUND FLOOR PLAN SECTION A SECTION B SECTION C SECTION D ENCLOSURE CIRCULATION GEOMETRY ENTRANCE PROGRAM STRUCTURE
Figure 41. Strategy diagrams
In this part of the design, want to display the experience to be in a piazza that was hidden within the fabric. Piazza della Madonna dei Monti is located on the north of Via Cavour, about 300 meters away from Via dei Fori Imperiali. The space was prepared as a container for circulations in and out of the site. The steel frames that flying was recycled from the previous interventions and now used, as a poetic instrument that symbolise the scar of the site, rising the intensity in the space.
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Figure 42. Piazza della Madonna dei Monti.
0 10m 1ST FLOOR PLAN 0 10m 2ND FLOOR PLAN
0 5m
South Elevation
This is one of the 'monument' on the site, a open pitch roof, made out of slanted wall of concrete and other reclaimed stones from around the site, including the ruins and a hanging wooden panels. While there was always tensioned to use concrete as often it considered to be a 'modern' material, would argue that to bring the value of 'rough material' the banality of concrete can elevate the quality of other material next to it.
In addition, try to propose a technical solution which are, a mix reinforcement between stones and concrete, the connection of structure to support the wood panel by connecting them to the slanted wall and the structural wall on the other side.
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Figure 43. Entrance monument facade.
Figure 44. Tectonic strategy and assembly for entrance monument
In this perspective drawing want to express the spatial of walking through alleys in Rome. The tightness of space, and dark shadows on the certain time. However, up to certain point, the space opens, a slated glass facade that shows the activities inside the workshop of people making frames for further interventions. The section also shows different ways of people travelling into the site with different steepness of stairs and ramps.
0 5m SECTION B
The Section drawing on the left display the main entrance that were highlighted with pitch roof-like structure. Also on the highlighted section, I want to emulate the examples on how the 'frame structures' from the previous intervention was carried over to the new design not only as decorative elements, but also as structural potential.
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Figure 45. Tectonic strategy and assembly for combining frame structure
The Section C shows the interaction between the intervention and the existing ruin. The intention was to create an interaction with the ruin that is not destructive, instead it could allow people to get closer to them. The highlighted part of the section was a structural element of the bridge to create a direct connection with Santi Cosma e Damiano's entrance, one of the landmarks of the site.
The sketches were to show the exploration of the design of the structures, but also how it will support the bridge.
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0 5m SECTION C
Figure 46. Tectonic strategy and assembly for column supporting bridge.
0 5m SECTION A
Lastly, Section A shows the interaction and activities around the site more clearly as a whole. The highlighted area a transitional space between the light workshop and the artist's studio. The intensity was created from a multi-level composition that clashing together, then start to mesh into a rather interesting way.
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