Firenze & Arno

Page 1


Master thesis FIRENZE & ARNO Redefining the relation between city and river Version 2 - February 1st 2022 Combined graduation studio Architecture & Urbanism ‘Firenze’ Chair of Urbanism and Urban Architecture Prof. Dr. Ir. P.J.V. van Wesemael MA B.Arch. D.M. Mulvihill Chair of Rational Architecture Prof. Dipl.-Ing. C. Rapp Dipl.-Ing. H. Apelt Eindhoven University of Technology © January 2022




PREFACE This report is a successor of the Firenze

of the work during the key turning points in

Atlas (Cuijpers et al., 2021), which sparked

the process. With hindsight it is safe to say

the interest on the topic of the Florentine

this turned out to have resulted in fruitful

city-river relation. For this I would like to

decisive steps that were important to bring

thank my fellow colleagues of the Graduation

the work to a complete and coherent end.

studio. In this pleasant collaboration, we

Last but not least, I am very grateful to my

could cover an extent that would have

Tutors, Haike Apelt and Daryl Mulvihill for

been impossible to cover individually. This

their inspiring weekly guidance in which they

made it possible to go in depth during this

sparked new perspectives on headache-

stage, while understanding the riverfront

causing issues. At the very start, I critically

developments in the complete Florentine

lost the riverfront out of sight in sharpening

context. Our group-visit to Florence when the

my initial research definition. You gave me

circumstances surrounding Corona allowed

the confidence to flip my topic after three

us has been a pleasant experience and an

weeks of running in the wrong direction.

important influence in grounding the work in

For this, I cannot thank you enough as I

the real situation. On this note, I would like

have not regretted this decision for a single

to express my gratitude to Karin Templin

second. Your help in making me rethink my

for meeting us in Florence and the valuable

steps critically has been invaluable and your

feedback as a Florentine based critic during

realistic views on planning helped me stay

the midterm-colloquium.

sharp and focused on the necessities so the work in front of you could be finished in time.

Another expression of thanks goes out to my professors, Christian Rapp and Pieter

Rik Jacobs,

van Wesemael for reflecting on the full scope

27 January 2022

Figure 1. Veduta di una parte di Firenze presa fuori della Porta alla Croce presso al Fiume Arno Zocchi, G. 1744 View of a part of Florence taken outside the Porta alla Croce from the Arno River


A|RESEARCH

1 2 3

B|DESIGN

4 5 6 7


HISTORICAL DEVELOPMENTS CURRENT SITUATION & WHAT IF? FUTURE PROPOSALS & TRENDS VISION MASTERPLAN URBAN DESIGN ARCHITECTURE

17

77

137

149

157

161

193


PREFACE 5 INTRODUCTION 11

PART A

RESEARCH 14

CHAPTER 1

HISTORICAL DEVELOPMENTS

17

1 .1 .

Lessons to take from history

19

1 .2 .

Architectural water-related typological precedents

35

1.1.1. 1.1.2. 1.1.3. 1.1.4. 1.1.5. 1.1.6. 1.1.7.

1.2.1. 1.2.2. 1.2.3. 1.2.4. 1.2.5. 1.2.6. 1.2.7.

1 .3 .

1.3.1. 1.3.2. 1.3.3. 1.3.4. 1.3.5. 1.3.6. 1.3.7. 1.3.8. 1.3.9. 1.3.10.

1.4 .

A functional relationship | The Arno as a public space Accessibility of the riverbank in the historic stem of the Arno Topography & the staging of views Florentine valley as a wetland area Irreplaceable atmospheric qualities of the Arcadian river landscape Direct transition nature-city The Arno as a natural force that should be reckoned with

19 23 27 28 29 31 33

Ponte | Bridge Tiratoio | Wool factory Bagno | Arno bathing Mulino | Water mills Acquedotto Network | Canal & control building Serbatoio | Water pressure Riverbank structures

Historical intervention locations

37 39 41 43 45 47 49

52

Foundry & Gasometer area in Pignone 55 The gateway pediment 57 Foderaia 58 Ponte alla Vittoria 59 Piazza Vittorio Veneto 60 Guicciardini staircase 61 The origins of the Lungarni 63 Villa Favard 66 Fourth Piazza San Niccolò building 67 The acquedotto network 69

Historical situation analysis | Concluding overview

72

CURRENT SITUATION & WHAT IF?

77

2 .1 .

Analysis & potentials

79

2 .2 .

Currently disused Intervention locations

118

2 .3 .

Concluding overview current situation analysis

134

CHAPTER 2

2.1.1. 2.1.2. 2.1.3. 2.1.4. 2.1.5. 2.1.6. 2.1.7. 2.1.8. 2.1.9.

2.2.1. 2.2.2. 2.2.3. 2.2.4. 2.2.5. 2.2.6. 2.2.7. 2.2.8. 2.2.9. 2.2.10. 2.2.11. 2.2.12. 2.2.13. 2.2.14. 2.2.15.

The river Arno 79 Ecology & water quality 83 Hydropower 91 Car oriented Lungarni 94 Functionality & activities riverfront 97 Accessibility riverbanks & continuity riverfront 101 Arno as a natural corridor 106 Cascine & Anconella - two riverfront parks and their context 111 Parks and streams in the city 116

Horse racing buildings 121 Manifattura Tabacchi & Factory site 122 Freight yard Leopolda 123 Freight yard & bus depot 124 San Salvi 125 Caserma Perotti 126 East riverfront 126 Canottieri 127 West restructuring 127 Santa Croce complexes 128 Palazzo Serristori 129 Caserma Cavalli 130 Teatro Comunale 130 Monte Oliveto Convent 131 General water engineering 133

Figure 2. Previous spread | Veduta d’una parte di Firenze presa dalla Vaga Loggia Zocchi, G. 1744 View of a part of Florence taken from the Vaga Loggia


CHAPTER 3 3 .1 . 3 .2 . 3 .3 .

PLANNING PROPOSALS & CONTEMPORARY APPROACHES

137

Planning proposals Contemporary approaches Concluding overview trends

139 143 145

PART B

DESIGN 146

CHAPTER 4

VISION 149

CHAPTER 5

MASTERPLAN 157

CHAPTER 6

URBAN DESIGN

161

Intervention locations Urban & landscape interventions Architectural interventions Arno in flood - A new experience A closer look at the historic centre

163 164 178 186 190

ARCHITECTURAL DESIGN

193

Ponte Tiratoio Bagno Mulino Acquedotto network Serbatoio Riverbank structure

197 213 237 249 269 281 301

6 .1 . 6 .2 . 6 .3 . 6 .4 . 6 .5 .

CHAPTER 7 7 .1 . 7 .2 . 7 .3 . 7 .4 . 7 .5 . 7 .6 . 7 .7 .

| Ponte alla Vittoria Parco | Rari nantes pool & spa | Arno swimming initiator | Societal exposition space | Giardino Serristori river access | Canottieri linear park | OltrArno terraces

CONCLUDING WORDS

311

PART C

REFLECTION 312

PART D

APPENDIX

318

Archive material Sources Site visit

320 334 342

A B C


Flooding

Washing, Fishing, Sand-digging & Transport

Relation Florence-Arno:

Middle Ages | 476 - 1348

Functionality

Renaissance | 1348 - 1600

Utilitarian

Functionality

Risanamento | 1600 - 1945

Roman | 59BC - 476

Functionality

Functionality

Flooding

Washing, Fishing, Sand-digging & Transport

1269 1333

Relation Florence-Arno: Utilitarian

Flooding

Washing, Fishing, Sand-digging & Transport

1557

Relation Florence-Arno: Utilitarian

Flooding

Washing, Fishing, Sand-digging & Transport Public walks, Recreation (fishing, swimming)

1844

Relation Florence-Arno: Utilitarian > Recreational

Figure 3. Overview developments city-river relation

10


INTRODUCTION Atlas background city - river

disadvantages of flooding were balanced by

The development of Florence in relation to

the functional advantages. With the arrival of

the Arno river has been outlined in main lines

modernity the traditional river functionality

in the Atlas ‘La vita di Firenze’ (Cuijpers et al.,

decreased, but so did the filthy side-effects.

2021). To understand the developments at

Where the city had partially faced the river

the basis of this book a very brief overview

with backsides for centuries, Poggi made use

is given:

of this change by continuing the Lungarni, which turned the riverside into the central

Starting from the strategic Roman city origins

stage for society at that time.

on slightly elevated grounds just north of a bridgeable narrowing in the wide river, the

However,

these

interventions

partly

relation to the water has played an important

narrowed the riverbed and hence increased

bilateral role throughout the history of

the flood risk. This risk was hardly balanced

Florence. On the one hand, it has been a

by the new shift in functionalities, as these

very functional relation with all essential

recreational functions were in essence non-

needs for pre-industrial society, while on the

essential. Eventually, the severe 1966 flood

other hand, the city has known a rich history

therefore tipped the scales, after which also

of flooding (Figure 3).

the everyday life scenes retreated from the

middle ages. The walls and weirs created by

developments, where only the essential

Arnolfo di Cambio in 1333 further fixated the

cross connections to the wider city context

so called ‘historical stem’ of the Arno, which

as treated in the Atlas are highlighted. For

further increased the risk of flooding. The

more elaborate information on the wider

flood events up to 1845 were noted in the

context of Florentine developments and

table (Figure 4).

L

Jan.

5

3

XL

2

Mar.

The flooding occurred especially since the This book dives deeper into the riverfront

M

Feb.

Arno stage. Oltrarno expansion across the river in the

Month

Apr.

1

1

May

1

1

June

2

July

1

Aug.

1

Sep.

1

Oct.

2

6

1

Nov.

6

5

1

a general riverfront background you are

Dec.

2

5

2

referred to the Atlas work.

Total:

25

23

6

1

Up to the Risanamento period, the cityriver relation had been utilitarian, where the

Functionality

Flooding

Washing, Fishing, Sand-digging & Tr ansport Public walks, Recre ation (fishing, sw imming)

Relation Florence-Arno: Turn away from river

11

1966

Post-war| 1945 - 2020

Figure 4. Floods up to 1845 (based on Aiazzi, 1967)


1 As will be elaborated in chapter 3, the preceding riverfront research and design covers quite some ground. However, many design proposals tend to focus on smaller areas in isolation or solely look at the problem from the present situation, ignoring the rich historical backgrounds that are key to the Florentine city character. Starting from the wider urban and historical context, this will be an essential part in this book.

Relevance & research question Given the alienated state of the Arno

Given

these

subject

in

of

recent defining

developments, the

the

contemporary

Florence since 1966, the main research

relation between city and river is more

question became:

relevant than ever. This research and design

How to define a new relation between

will add to the discourse from a wider urban

Florence and the Arno?

and architectural perspective, in which both an overarching vision and a sensible

The first research into the subject started

approach to historical details will be taken

approximately 40 years ago, with the ‘Greater

into account1.

Cascine’ proposal by Guido Ferrara in 1982 (Alberti & Paloscia, 2018) and the linear Arno

Structure & subquestions

park proposal by Richard Rogers and Claudio

Part A - Research

Cantella in 1983. In recent years the amount

To answer this main question three aspects

of attention to this subject has increased and

have to be understood in further detail, the

the fear is being overcome, while cultural

historical leverage points, the current state

associations push for a renewed use of the

and potential and lastly the population

city river. On top of this, the present mayor

demands. These all relate to their own

Dario Nardella has expressed his aim to

subquestions treated in their respective

make work of this within his mandate (Tani,

chapters.

2019).

Research question:

1.

2.

3.

Historical

Current situation & What if?

Planning proposals & Contemporary approaches

SQ 1: What are historical leverage points?

SQ 2: What is the current state of the riverfront? & What could it be?

SQ 3: What does the current situation ask for?

Leverage points

Analysis

Potentials

Trends

Locations + Observations

Interventions + Locations

To place in context

Lessons + Water-related typologies + Locations

Part B - Design

Part A - Research

How to define a new relation between Florence and the Arno?

Figure 5. Overview research structure

4. Vision

5. Masterplan

6. Urban Design 12

7. Architecture


Chapter 1: Historical developments

Chapter 3: Planning proposals

The first aspect is the specific historical

& contemporary approaches

development

(both

This chapter briefly embeds the research

urban and architectural), which has been

in the most recent Florentine planning

analysed in depth. This builts on the

proposals

general developments covered in the atlas

approaches in the wider discourse to

by focusing here on specific details of the

uncover trends to help answer the question:

riverfront in a search for leverage points,

SQ 3: What does the current situation

answering the subquestion:

ask for?

at

the

riverfront

and

contemporary

riverfront

SQ 1: What are the historical leverage Part B - Design

points?

Chapter 4: Vision & Masterplan These come in three categories:

In this chapter, the main research question

1.

Historical lessons, which are things that

‘How to define a new relation between

have been, which may also be of use or

Florence and the Arno?’ is answered by

value to the contemporary situation.

combining and reflecting on the findings

Architectural water-related typological

from the subquestions above. Which results

precedents.

in a vision for the area as a whole.

2. 3.

Historical

locations

which

remained

unresolved.

Chapter 5: Masterplan

This subquestion will be answered by using

The vision is worked out in a masterplan that

historical documents (e.g. archival, paintings,

gives the overview and main outlines on the

photographs) and corresponding literature.

level of the greater city context.

Chapter 2: Current state & What if?

Chapter 6: Urban design

Knowing the historical background it is still

The Masterplan is consequently worked

necessary to understand the contemporary

out in a macro scale urban design covering

situation, where the goal is to get grip on the

the municipal boundaries of Florence that

potential. Instead of analyzing every aspect

highlights the important aspects regarding

of the 7 kilometer site the focus is thus on

the research question in meso and micro

the possibilities and opportunities of change.

scale.

SQ 2: What is the current state of the riverfront and what could it be?

Chapter 7: Architecture The seven architectural water related types

To focus on the potentials, the riverfront

following from the research have been

analysis is combined with reading literature

translated into architectural applications fit

that may apply to the situation. This will

for the current situation of the riverfront.

result in a pinpointed analysis of interesting

One of each has been elaborated to show

aspects that are tested in research by design

how the relation to the river can be designed

to illustrate the application in the Florentine

as an expression of the newly defined

context and to make the physical implications

riverfront position and experience.

tangible in order to reflect on them. Part C - Reflection2 | Part D - Appendix3

13

2 After going through all research and design stages in detail, a step back is taken to reflect on the whole work, the process, the authors personal position and the potential lessons to take for similar historic city-river related projects. 3 The appendix contains extra information and graphic material that would take up too much space in the body of text, but nevertheless is relevant to complete the whole with eleboration for the interested reader.


PART A


RESEARCH



CHAPTER 1 - HISTORICAL DEVELOPMENTS Subquestion 1: What are historical leverage

further elaboration as a kind of snowballing

points?

between

the

spatial

and

the

textual.

Steiner (1989) was particularly useful as a This

chapter

focusses

on

the

specific

chronological documentation of the various

historical development on the riverfront

historical

in order to learn from the urban and

Lungarno.

visual

sources

grouped

per

architectural situations and approaches that The findings were synthesized in three

have preceded the situation today.

categories. By looking closely at the historical A combination of archival research, close

situations and use, lessons are distilled that

inspections

and

could also be of value to the contemporary

photographic image materials and literature

situation. This is followed by a closer

has been used to uncover this historical

inspection of architectural water-related

background. The visual material made it

typological precedents and lastly an analysis

possible to ‘experience’ the spatial relations

of the historical locations that remained

and the activities that took place along the

unresolved.

of

paintings,

drawings

Arno, together with their exact position and urban or architectural layout. By means

This chapter is thus structured as follows:

of literary sources this could be placed in

1.1. Lessons to take from history

the complete temporal context and be

1.2. Architectural water-related typological

interpreted correctly. The alteration of both

precedents

helped to point into specific directions for

1.3. Historical intervention locations (p.53)

Archival material

Painting, pencil, press, photography

(p.19) (p.35)

Literature

Figure 6. Types of sources and research used Figure 7. Opposite page | Veduta di Firenze con il Fiume Arno da Ponte Vecchio verso Ponte alle Grazie Signorini, G. ca. 1850 View across the Arno towards the Ponte alle Grazie as seen from the Ponte Vecchio Figure 8. Previous spread | Veduta di Lung’Arno e del Ponte à S. Trinita, presa dal Terrazzo de SS: Rucellai Zocchi, G. 1744 View of Lung’Arno and the Ponte à S. Trinita, taken from the Terrazzo de SS: Rucellai 17


Figure 11. Renaioli filling boats with sand, filtering and transfering to carts up to the 1950s (IntoFlorence, 2014)

Figure 9. Sheats on the Arno (right: 1744, top left: first half 19th century)

Figure 12. Fishing (1744, 1846, 20th century)

Figure 10. Washerwoman at work by the Arno up to early 19th century (IntoFlorence, 2014) 18


1.1. LESSONS TO TAKE FROM HISTORY 1.1.1. A functional relationship | The Arno as a public space As mentioned by Giovanni Klaus Koenig in

as the timber was grouped in sheats

the preface of Steiner’s great book ‘Tra città e

that floated from the Casentino forests

fiuma i Lungarni di Firenze’4 the relationship

upstream (Figure 9) (Becattini, 2015).

between city and river has historically been

Washing took place by the washerwomen

a mainly functional one, with a large variety

who entered the riverbanks to wash the

of riverine activities taking place at the Arno

clothes and linen in the stream (Figure

(Figure 13), including:

10). This was often on the same locations as used by the Renaioli, due to the easy

Transportation of goods and people,

access. The embankment walls and the

especially from the main ports near the

rings were also used to dry the laundry.

manufacturing areas in small boats: •

Fishing was often done around the pescaia10 or with nets cast from the small

The Navicelli and Barchetti were also

boats. Occasionally, fishermen are even

used by the Renaioli7, who went out

depicted on top of the Lungarni (Figure

on the river at low water levels to dig

12) (Menduni, 2017).

sand and gravel into the boat (Figure

‘Navicelli’5 or ‘Barchetti’6.

Manufacturing activities also flocked to

11). When filled they would filter the

the riverfront, as they made use of the

sand on the riverbanks8. The ‘Barrocciai’

waterpower provided by mills11 (Figure

would pay the Renaioli and transported

13), or of the available water, which

the building material by cart to the

was often required in the production

designated construction site of a.o.

process12. While these were not all

homes and palazzi (IntoFlorence, 2014).

directly visible in the public space, the

The transportation of tree logs for timber

workforce did increase movement and

constructions was another transport

interaction on the riverfront (Steiner,

activity. This took place without boats

1989).

Figure 13. Downstream of the Pescaia di Santa Rosa 1744 19

4 ‘Between the city and the river, the Lungarni of Florence’ 5 Navicelli were small two-mast boats (Galloway et al., 2017). 6 Barchetti were small boats with a flat bottom that were moved by pushing with a pole in the riverbed (Cini, 2018). 7 The Renaioli were named after their main product (rena = sand). The ‘I Renaioli association’ has been erected in 1995 to preserve these boats, which are no longer used for digging sand, but for 45 minute tourist tours across the Arno (IntoFlorence, 2014) 8 The finer components were used to refine the wall plaster of the fine Florentine buildings (Galloway et al., 2017). 9 On average, the Renaioli would gather 2m2 sand each day for which they received 15-18 Italian Liras in the early 20th century. (Galloway et al., 2017)


---Chapter 1 - Historical Developments---

Figure 16. Recreational river activities

Figure 14. Fireworks of San Giovanni (left 1843; right bottom 1800s, middle 1868, top 1950s)

Figure 15. Replay of a great naval batal in L’Argonautica as part of the celebrations for the wedding of Cosimo de Medici and Maria Maddalena 1608 20


---1.1. Lessons To Take From History---

On top of the functional activities, the

which still takes place today (SGF, n.d.). As

Arno was also a common place for

the overview on the left shows, the bridges

water recreation. Especially swimming

and lungarni often functioned as decor or

has had a long history, which was later

public tribune in these cases.

expanded by recreational fishing, rowing and canooing (Figure 16). In the 1930s

The continuous developments in power

there even was a motor ship ‘Fiorenza’

(steam, gas, electricity and diesel) and the

that had its landing on the riverbank at

invented applications were booming in the

Lungarno Corsini. Because of the limited

19th century. The advance of trains and

stretch between the two pescaia and the

trucks, washing machines and dredging

muddy water that hindered swimmers,

(in the 1950s) rendered most functional

rowers and Renaioli it was eventually

aspects

docked and transformed into a floating

Idraulica replaced the Mulino San Niccolò,

restaurant and ballroom hosting parties

it was closed again in 1959 (Cioni, n.d.) and

on the Arno13. (AHN, 2018).

riverine recreation was the only activity that

abundant15.

While

the

Officina

remained. However, after the 1966 flood hit, In short, it used to be a busy scene on and

these activities too halted in the shock that

along the Arno, which basically functioned

remained (Alberti & Paloscia, 2018).

as the largest public space in the city. This culminated in the various festivities that used

That the riverfront used to be a bustling place

the Arno as their stage. As an example, the

full of activities and interaction (Figure 17) is

festival in honour of the wedding between

an interesting observation to keep in mind.

Cosimo de Medici and Maria Maddalena14

The possiblity of the ‘Arno as an extension of

included a naval battle play on the Arno

public space’ is the historical lesson to take

(Figure 15). Since the 12th century, the Arno

from this.

has also been a stage for the fireworks during the festival of San Giovanni (Figure 14),

Figure 17. View of the ‘Arno theater towards the Ponte Santa Trinita’ 1744 21

10 One of the pescaia functions was to create sufficient depth to fish in, hence the name (‘pesce’ = fish) (Menduni, 2017). 11 Like the minting of the Zecca Vecchia, see chapter “1.2.4. Mulino | Water mill” on p.43 and appendix ”A.3. Mulino” on p.322 12 Like the wool production and dying (Shallit, n.d.) or the blacksmith and later foundry (Steiner, 1989) 13 The boat was 30 by 10 meters, weighed 150 tons and had a barge keel to navigate in the shallow water. It could carry 200 passengers (ConosciFirenze, 2017). As the Florentines were soon bored of the novelty, the boat was replaced to Turin in 1935 where it sank in 1940 (AHN, 2018). 14 As described in great detail by Ruccini (1608) 15 As further elaborated in chapter 1.2. Poggi’s plan gave expression to this changed relation. Many specialized typological buildings that were still present in the ‘cento vedute di Firenze’ (Ricci, 1906) that had lost their function were erased to make way for the noble expression of the Lungarni (Poggi, 1882).


---Chapter 1 - Historical Developments---

natural riverbank

port

ladder

stairs

ramp

wall climbing

Figure 23. Large variation in access types

Figure 21. Semi-circular shape roman port turned into a block, with new port protected by the Porticciola d’Arno

Figure 18. The Porticciola delle Mulino dei Renai across from the Porticciola d’Arno seen from the river

Figure 20. Porticciola d’Arno seen from river (top) & lungarno (bottom)

Figure 19. Stairs at the Mulino and riverbank port for timber sheats upstream of Pescaia di San Niccolò

Figure 22. Arno port downstream of Pescaia di Santa Rosa 1694 22


---1.1. Lessons To Take From History---

1.1.2. Accessibility of the riverbank in the historic stem of the Arno In the course of history there has been a

was present on the opposite southern side

large variety of riverbank access types in

along the Mulina dei Renai (Figure 18). With

Florence (Figure 23). The availability of the

the construction of the weirs aligning with

access has changed across the centuries

the completion of the Cambian wall around

with the changing needs for accessible

1333 (Steiner, 1989), passing the city became

riverbanks.

more difficult. Which is why, the port of Pignone17 downstream of the Pescaia di

In the roman era the river was located

Santa Rosa became the main port for the

outside the city wall and its natural bank was

small boats (Figure 22) (Menduni, 2017) and

simply accessible if not blocked by planting.

the southern bank upstream of the Pescaia

At this time, a port was likely introduced just

di San Niccolò became the landing for the

east of the city wall (Steiner, 1989).

timber sheats18 (Figure 19) (Becattini, 2015).

As the city expanded, this Roman harbor

As the city had grown around the river during

was consolidated (leaving a semi-circular

the middle ages and renaissance, many

remnant in the urban fabric) and moved to

smaller types of access points were available

the stretch of river where the ramp made

due to the broad need to work or recreate in

access possible (Figure 21). A Porticciola16

the riverbank19.

16 Porticciola from ‘piccolo porto’ means ‘small gateway’ 17 Named after Pigna, which are the supports to strengthen the bank. See chapter “1.3.1. Foundry & Gasometer area in Pignone” on p.55 18 See chapter 1.1.1. Figure 9 19 See chapter 1.1.1. 20 This used to be a Renaioli / washerwoman hotspot and later became the seat of the rowers. See chapter “1.3.6. Guicciardini staircase” on p.61 for the historic intervention location of this staircase.

controlled the access from the riverbed, both for defensive reasons and for control

To give an impression of the variety and the

by customs (Figure 20). A similar access point

spread across the inner city, which were

Figure 24. Door with ladder at house on first pylon (southwest of Ponte alle Grazie) seen from the bridge (top) and riverbank (bottom)

23

Figure 25. Ladder from Ponte alle Grazie with ramp and stairs of the Porticciola d’Arno in the back


---Chapter 1 - Historical Developments---

Figure 29. Entrance to Arno southeast of Ponte Santa Trinita

Figure 28. Hypothetical reconstruction by Steiner of the underground connection between the Ricasoli giardino and palazzo

Figure 26. Temporary access at Festival di San Giovanni (1843)

Figure 30. Platform added during the carnival of 1760

Figure 27. Despite the variety of access options, the use of the Arno as continuous public space was so present that the walls were climbed up and down wherever this was desired. 24


---1.1. Lessons To Take From History---

largely present up to 1866: the stairs at

the stairs to the swimming pool at current

Mulino San Niccolò (Figure 19), the ladders

Piazza dei Cavalleggeri (Figure 34) and the

from the Ponte alle Grazie (Figure 24 &

later added ramp below the Piazza San

Figure 25), a stairs to the river behind a

Niccolò (Figure 32).

door southeast of the Ponte Santa Trinita (Figure 29) and even a tunnel connecting the

Today only the ramps of the Porticciola

Ricasoli palazzo to its riverside garden (Figure

d’Arno and the Piazza San Niccolò remained

28). In case of events and festivals, various

as access points in the historic centre. This

access points were simply added (Figure 30

makes it hard to believe the shear amount of

& Figure 26) and if the figures by Zocchi can

access points that had been so common for

be believed a lack of access would not stop

centuries. The rich variety of access points

a determined climbing Florentine (Figure 27).

spread across the entire city aligning with

Examples that continued into the 19th

the needs of the time is thus an interesting

and early 20th century are the staircase at

historic lesson to keep in mind.

Lungarno Guicciardini (Figure 31 & Figure 33),

Figure 31. Ladder access 1846

Figure 34. Stairs to pool (below today’s Piazza dei Cavalleggeri)

Figure 33. Access at Lungarno Guicciardini next to Ponte Santa Trinita (1818)

Figure 32. Added ramp at Piazza San Niccolò ca. 1890 25


---Chapter 1 - Historical Developments---

Figure 42. 1744 view from the Cappuccini convent di Montughi

Figure 40. 1828 painting by William Turner near San Miniato

Figure 39. View from the Bellosguardo 1767

Figure 37. Villa Medici Fiesole ‘hanging garden’ - built in 1535

Figure 36. Scenographic Viale dei Colli in the 1866 Poggi plan (first version)

Figure 35. Piazzale Michelangelo & panorama 1878

Figure 41. Framed view Forte B.

Figure 43. The riverfront before and after the National Library, where the piazza introduces a strong vis-a-vis

Figure 38. Firenze in the valley & Duomo protruding above all (sectionline in map on opposite page) 26


---1.1. Lessons To Take From History---

1.1.3. Topography & the staging of views In the development of the city, the unique

fixed the panoramic Piazzale Michelangelo

topographical state of the Florentine context

view as the ‘official’ one, the lesser known

with the hills so close to the centre and the

viewpoints should not be forgotten. This

Apennines as the eternal backdrop (Figure

includes the Monte Oliveto near the river

44 & Figure 38) has led to a play of views and

with a similar potential in the southwest

(social) experiences.

(Figure 44).

On the one hand the occasional direct view

In general, the width of the river has played

from the city on the natural landscape of hills

an important role in making these far views

and mountains has been deliberately staged

possible, but it also provides wide views

with its carefully scattered (monumental)

within the city itself as a contrast to the

building artefacts. A well-known example

narrow streets. This has been used in the

is the viewline from the Palazzo Vecchio

vis-a-vis with grand building gestures, like

through the Uffizi and to the Forte Belvedere,

the chamber of commerce in 1860 or the

as an expression of the power and prestige

national library in 189923 (Figure 43). The

of the Medici (Figure 41).

topography and sightlines have remained important in restricing the 20th century

On the other hand the nearby hills provide

expansions24.

a variety of panoramic views, depicted as a (social) experience in various historic

A lesson that can be drawn from the historic

paintings (Figure 42 & Figure 39). The most

approach to topography is the strategic

beautiful views were harnessed, f.e. with the

intervention of viewlines, panoramic points

‘hanging gardens’ at the Medici villa in Fiesole

and vis-a-vis across the river to maximize a

(Figure 37) or the remarkable exploitation of

certain unique spatial experience of the city,

the exceptional qualities of the southern hills

its landscape and the relation to the river.

by Poggi (Figure 36 & Figure 35)22. While Poggi

Apennines

Villa Medici Fiesole Cappuccini convent di Montughi

Monte Oliveto Bellosguardo Forte Belvedere

Duomo Piazzale Michelangelo San Miniato

Figure 44. Terrain map clearly showing the hills surrounding the valley 27

21 In fact, this importance of the topography already started with the site selection on the slightly elevated point next to the narrowing in the Arno river. (Coli & Rubellini, 2013) 22 In his 1866 plan, the qualities of the hill were emphasized and even embellished by creating the Viale dei Colli, the ramps and the Piazzale Michelangelo as the climax (Casavacanze, n.d.). This staging heigthened the accessibility and experience of the panoramic view, which became one of the most famous urban views around the world (Alberti & Paloscia, 2018). It is thus important to consider the impact on this view, when intervening in the riverfront. 23 The construction of the National Library took from 1899 to 1936 due to various interruptions, including World War I. In the meantime several additions were made to the original design, like the two turrets on the front. While these were erected without the approval of the Commission, they strenghten the formal relationship from building to square to river even more. (Steiner, 1989) 24 The natural boundary of the hilly terrain had initially kept extensive building programs at bay and the qualities that persisted were acknowledged leading to a formal building restriction. (Astengo, 1990)


---Chapter 1 - Historical Developments---

1.1.4. Florentine valley as a wetland area The wetland origins of the Florentine valley

industrial era. The Florentines were experts

are a result of the geological genesis of

in this field as the consolidation of the

Tuscany as has been shown in the Atlas by

nearby Chiana Valley using a newly invented

25 ‘Colmata’ literally means ‘filled up’

Cuijpers et al. (2021). In short, the hill ridges

technique named ‘Colmata’ (Girel, 2008)

26 As shown in Chapter “3.2. Contemporary approaches” on p.143these canalizing decisions were a general practice at that time, while the trend today is to give space to the river and undo the canalization instead.

formed a lake, which after centuries of

gained international recognition and follow-

sedimentation and tectonic uplift lowered

up.

the waters, with a wetland as result (Sartori, It is important to realize that the current

n.d.).

state of the drained plain has had or still Control over the marshy wetland character

requires active interventions, while the

of the Florentine plain has been a recurring

wetland would be the ‘natural state’. This

phenomenon across the history of the area.

is particularly important, since worldwide

The draining had started with the cloisters

the need for land led to consolidation of

in the Middle ages and after a recurrence

wetlands (Rossano, 2021) and this specific

of the marshlands this process continued

ecosystem has strongly diminished across

during the renaissance and became further

the globe.

controlled with new techniques in the

Figure 45. Geo-referenced maps of the meandering Arno around 1500 drawn by Da Vinci 28


---1.1. Lessons To Take From History---

1.1.5. Irreplaceable atmospheric qualities of the Arcadian river landscape Related to the geological genesis and the wetland origins is the Arcadian river landscape. The Arno became the main river in the area as a confluence of many streams running from the mountains into the wetland. The sudden transition from the steep Apennines to the flat plain led to the braided character of the river (Sartori, n.d.). This is strikingly depicted in the historic landscape paintings (a.o. Figure 46, Figure 48, Figure 49) and the Da Vinci maps around 1500 indicate this used to be even more extreme (Figure 45). The wild uncontrolled river starts flowing freely just outside the city

Figure 46. The natural setting before entering the city at the east entrance (ca. 1700)

walls and as Figure 47 shows, the sandbanks and meandering character even continued inside the historic centre far into the 19th century. This almost Arcadian landscape makes maximum use of the naturalness the river has to offer and no park could ever replace this unique atmosphere. This strong Arcadian river landscape image is therefore an important historic lesson to keep in mind. This ‘untouched’ atmosphere is easily forgotten after an era of straightening and control that came with the cities

Figure 49. View of the Cascine, still natural, not straight riverbank (1859-1869)

expansion and functionalistic modernization principles26.

Figure 47. Extremely low meandering Arno at Ponte Vecchio, mid 19th century

Figure 48. View of the Arno from the Cascine (1675-1679) 29


---Chapter 1 - Historical Developments---

Figure 55. 1530 Siege of Florence showing the delineation of the city and the surrounding nature

Figure 51. The Mugnone stream flowing North of the Cambian city walls

Figure 50. Ponte crossing the Mugnone stream at its confluence with the Arno

3

2 1

Figure 54. Replacements Mugnone stream

Figure 53. Ponte across Affrico (1861) 30

Figure 52. Fosso Macinante in the Cascine district (1880-1890) - presently underground


---1.1. Lessons To Take From History---

1.1.6. Direct transition nature-city Historically

the

delineated

by

city

has

been

clearly As

When the incorporation of the streams

shown in Figure 55 this resulted in a direct

inside the city became inevitable, they were

transition between city (inside the walls)

altered by flood measures to make this

and nature (outside the walls)27. Next to the

possible. A special chapter of Poggi’s (1882)

delineation by the walls, this transition was

book on the enlargement plan is devoted

in a way highlighted by the architectural

to flood prevention, which focussed on this

elements that you were passing. Next to

incorporation of streams. Part of the streams

the gates and towers, this was emphasized

were covered, especially the steep southern

by aligning elements along the Arno, like

ones and the Affrico stream (Figure 53) as

the mills, the pescaia and the foderaia.

still shown outside the city on the 1699 map

This situation prevailed up to the 1866

(Figure 56). The Fosso Macinante was initially

Poggi plan, followed by the vast 19th and

incorporated in the Cascine district (Figure

20th century expansions. This blurred the

52), but eventually it was tunnelled up to

boundary between nature and city, while

the Cascine park. The other streams were

simultaneously

deepened and fixed with embankments to

its

defensive

devouring

the

walls.

available

natural space.

control the higher water levels (Menduni, 2017).

Streams as remnants nature in city The various smaller streams that run through

Nevertheless, the streams (with the Arno

Florence were all carefully incorporated in

in particular) can be considered the only

the urban fabric of the city. Like the Arno,

continuous remnants of the vast natural

these were uncontrollable torrents28 that

landscape within the city, albeit in an altered

had previously been kept safely outside

form. As a lesson to keep in mind, the

the city walls. Especially the Mugnone

historical direct transition between city and

stream had been replaced various times to

nature can thus be taken. Just like the direct

prevent the danger of flooding inside the

exterior transition to pure nature outside the

city29 (Ferrini, 2017) (Figure 54). Outside the

historic city, the presence of natural streams

city, these shallow courses could still be

within the city can be a contemporary form

crossed by relatively low bridges (Figure 51

of this direct transition when appropriately

& Figure 50) as the water could spill out on

highlighted or emphasized30.

the surrounding fields in exceptionally wet occasions.

Figure 56. Map including streams from the south and Affrico, which have since been covered 31

27 While the ambitious Cambian wall in 1333 had incorporated large open areas that were later claimed by the monasteries and used for agriculture (Cuijpers et al, 2022) this was still of a different kind than the ‘wild’ and uncontrolled nature of the world outside the walls 28 As they all run down from the hills they share the same torrential characteristics of the Arno. As the smaller torrents operate on a local level, they show an even more direct relation between heavy rain and water level changes. 29 Middle ages: passing piazza San Marco, S. Maria Novellla and entering the Arno between Santa Trinita and the Ognissanti. Renaissance: along the walls. After construction Fortezza da Basso (1st half 16th century) canalized and entering Arno at end Cascine. (Ferrini, 2017) 30 In a way, the access points to the Arno as shown in chapter 1.1.2. are a suitable example of the direct transition to ‘interior nature’. Historically the natural value of these access points would not be the first thing that springs to mind due to the omnipresent wild nature outside the city walls. Today, however, the diminishing nature outside the ‘historic walls’ has increased the natural value of the remaining streams inside the city.


---Chapter 1 - Historical Developments---

Figure 62. Diagram of the 1844 flood level compared to the embankment heights Downstream Pescaia di San Niccolò

Downstream Ponte alle Grazie

Downstream Ponte Vecchio Downstream S. Trinita Figure 61. Flood levels at Chiesa dei Santi Jacopo e Lorenzo - note: 1966 was 60cm above 1557

Figure 58. Transversal sections of the Arno in Firenze with base level and 1844 flood level

Figure 60. Arno in flood 1844

Figure 59. Narrowing river by Ponte San Niccolò 1836

Figure 63. 1844 flooded areas

Figure 64. 1966 flood on the map; light to dark red: 0-2m, 2-4m, 4-6m

Figure 57. 1966 flood view from Piazzale Michelangelo (note the completely inundated (=invisible) Ponte alle Grazie on the right side 32


---1.1. Lessons To Take From History---

1.1.7. The Arno as a natural force that should be reckoned with While the torrent character of the Arno and

the Lotharingen government applied two

its consequential flooding has been treated

interventions: the updating of embankments

elaborately in the Atlas (Cuijpers et al.,

upstream

2021) the impact of these events has been

embankments inside the centre, together

tremendous which is why the main floods

with the application of sewage floodgates

are briefly covered31.

(Menduni, 2017).

The first recorded flood of the historic centre

Nevertheless, the rebuilt Ponte San Niccolò

took place in 1177, just after the completion

(a concrete single span) remained 10 meter

of the third city wall. It destroyed the Ponte

smaller than the former bottleneck of the

Vecchio, which was rebuilt in stone (Menduni,

Ponte Vecchio and as such had dramatic

2017). The 1333 flood was the second

consequences for the Gavinana district

largest, caused by four days of continuous

upstream of the bridge during the 1966

rain. The city was flooded entirely, covering

flood35 (Menduni, 2017). This last flood on

everything in a thick layer of mud. All bridges

4 November has been the most severe in

except the Ponte alle Grazie were destroyed,

terms of inundation area (Figure 64) and

1700 buildings were ruined and 300 people

maximum flood height reached (Figure 61).

died (Galloway et al., 2017).

On the same day, multiple areas flooded

and

the

heightening

of

in Tuscany and in the Veneto region. The The 1557 flood was the third largest,

extraordinary flood was the result of lasting

resulting from simultaneous peaks of the

effects of an earlier October storm (higher

Arno and the Sieve tributary. It’s height was

Arno level and soil saturation) combined with

marked by Morozzi in Figure 61. Next to

exceptional precipitation lasting for 26-28

damaged bridges, a large part of the right

hours (in Tuscany). (Galloway et al., 2017)

riverbank collapsed (Galloway et al., 2017). The 1966 flood is extensively covered The 1844 flood was the last significant flood

with photo and video (e.g. Figure 57) and

before 1966. It was well documented by

the assessed damage in Tuscany was

various sources, showing the flood level

approximately: 47 deaths (38 in Florence),

height compared to the embankment and

12.000 buildings, 50.000 animals, 16.000

regular situation in section (Figure 62 & Figure

machines and many closed factories in 800

58) and the impact in sketched impressions

affected municipalities. This flood was extra

(Figure 60). Figure 63 shows the entire Tuscan

disastrous in the history of Florence as many

floodplain. It should be noted that the Ponte

works of art, literature and archaeological

San Niccolò suspension bridge (1836-1837)

exhibits were destroyed. (Alexander, 1980)

had worsened the hydraulic situation as the riverbed was narrowed by 70(!) meters to

The historic lesson to take from this is not

decrease the span and save costs (Figure 59).

to underestimate the tremendous force of

The bridge was destroyed and damaged the

destruction which the Arno may possess,

downstream bridges (Menduni, 2017).

despite the deceiving nearly dry appearance during the major part of the year. Any

After the smaller 1761 flood many studies

interventions should be made keeping this in

were undertaken, so following the 1844 flood

mind. 33

31 While the focus is often on these main flood events, it should not be forgotten that flooding was much more common than these selected years may suggest. As shown in Figure 4 on p.11 there have been no less than 54 recorded floods of various sizes up to 1845 and the main ones often take place in winter. According to Aiazzi flooding in Florence had the following recurrence times: Average flood 24 years, large flood 26 years & extraordinary flood 100 years (Menduni, 2017). 32 It took six months to remove the mud and reconstruction of bridges and walls costed 150.000 ‘fiorini’. (Toscana Storica, 2018) 33 As a cause, the general assumption was the aggradation of the riverbed by 3 meters resulting from the pescaia. Hence, the municipality issued a decree forbidding pescaia and mills between 1150m upstream of the Ponte alle Grazie and 3300m downstream of Ponte della Carraia. However, this was largely ignored and the pescaia and mills kept functioning, resulting in the same speculations for the 1577 flood. (Galloway et al, 2017) 34 Until then the flood waters could enter the city via the open sewage (Menduni, 2017). 35 In general, there is no need to overrate the monumental value of most bridges, as all but one have been mined by the Germans at the end of World War II. Despite the rich history of bridges in Florence, only the Ponte Vecchio thus makes it past a 75 year age and one more (Ponte Santa Trinita) if you would count its exact reconstruction. The other bridges have been (re) built with quick and cheap as typical post-war criteria. However, the total panoramic aesthetics of the bridges as a sequence should most certainly be considered.


Figure 65. Shops below the Vasari corridor before removal in 1885

Figure 66. The effect of these building volumes on the perspective

Figure 67. Piazza Ognissanti 1594 map and view from river in 1744 with dead-end at river

Figure 68. Buildings mined at end war

Figure 71. Ponte alle Grazie 17th century

Figure 72. Riverbank structure late 1800s

Figure 74. Serbatoio

Figure 75. Acquedotto network 1873-1876

Figure 70. The Tiratoio della Piazza d’Arno

Figure 69. Bagno ca. 1850 34

Figure 73. Mulino 1744


1.2. ARCHITECTURAL WATER-RELATED TYPOLOGICAL PRECEDENTS As we have seen in chapter 1.1, the functional

Risorgimento razing

relation between city and river used to be

During the Risorgimento, the modernization

much stronger. This can also be experienced

and enlargement of the city in Poggi’s plan

in the variety of buildings that were closely

lead to a razing of these exceptions, as the

connected to the river, spatially, functionally

Lungarni were continued and the riverside

or both.

(which had partially still been a backside) was transformed in a continuous riverfront with

Historical variation & specific types

noble facades37. While this came at the cost

The many exceptions and specific types in

of many unique pieces of architecture and

the historic situation possessed aesthetic

urban exceptions, the continuous Lungarni

qualities loved by the picturesque romantic

also had their beauty (see chapter “1.3.7.

landscape painters of that time (Ricci, 1906).

The origins of the Lungarni” on p.63). A

To give an idea, a few examples of the urban

yearning to the past urban exceptions might

exceptions and the resulting variation in

thus be misplaced. Perhaps the remaining

views are shown on the left and shortly

exceptions are sufficient and interventions

explained below.

in the historic centre should focus on strategic

intervention

locations

instead.

The palazzo Spini Feroni used to extend on

However, the expressive architecture of

the Lungarno with an arch passage next to

the specific building types may still fit in

Ponte Santa Trinita (Figure 66). When moving

the current situation. By learning from the

along the Lungarno this would narrow the

water-related typological precedents some

river view, and unravel the wide experience

of these variations may be retrieved without

yet again on the other side. In a similar

the need to undo the Lungarni concept. In

way, the piazza Ognissanti used to have a

fact, you could argue the Lungarni concept

dead-end on the riverside, resulting in an

would benefit from rediscovered typologies

extra strong vis-a-vis and the joy of sparked

that strengthen the riverfront character and

curiosity in a peak around the corner (Figure

a related functionality so it is not ‘a regular

67). The shops that settled in the arcade

street, which happens to be along the Arno’.

below the Vasari Corridor36 (Figure 65) are another example of a lungarno exception

For this matter, the seven water-related

that

typological precedents are treated in detail

impacted

the

experience

with

a

temporary suspence. In this case, entering

below:

the narrow shops would grant a surprising

1.2.1.

Ponte

(p.37)

view on the river behind as still is the case on

1.2.2.

Tiratoio

(p.39)

the Ponte Vecchio today.

1.2.3.

Bagno

(p.41)

1.2.4.

Mulino

(p.43)

The variation in architectural types related

1.2.5.

Acquedotto network

(p.45)

to the water used to be just as rich. No less

1.2.6.

Serbatoio

(p.47)

than seven water-related types could be

1.2.7.

Riverbank structures

(p.51)

distinguished from the archive material as shown on the left (Figure 71-Figure 73), which is something to keep in mind.

35

36 They eventually even cantilevered above the riverbank to extend their surface area and in 1885 they were cleared again, because of the increased risks of flooding. (Ricci, 1906) 37 Those buildings would later be largely transformed into hotels (Steiner, 1989) and recently luxury apartments in particular (Templin, 2021). As these functions have not much relation to the river except for the privatized views, you can argue for more variation and more directly related functionalities. 38 After the razing of Poggi only one stretch of buildings remained to continue right up to the riverside. In this area south of the Ponte Vecchio, both the river and the building strip were probably too narrow to strategically intervene here without completely demolishing valuable heritage or risking floods (Poggi, 1882). In the German decision at the end of the war to save the Ponte Vecchio and mine the surroundings instead, this area was largely destroyed (Figure 68). The opportunity presented itself to finish the continuation of the Lungarni, but as this required more demolition, eventually the reconstruction deliberately rebuilt this exception up to the water (Steiner, 1989). While this has done a great job in achieving a fitting character, this is of course something different than placing new building block extensions on the deliberately freed Lungarni.


---Chapter 1 - Historical Developments---

Figure 76. Buildings emphasizing the bridge heads 1493 Schedelian view

Figure 77. The oratory at the Ponte alla Carraia

Figure 82. Ponte alle Grazie with hermitages in the 1850 painting by Giovanni Signorini

Figure 85. View across Ponte Vecchio in 1846

Figure 83. Ponte alle Grazie competition project by Gori-Savioli-Ricci-Brizzi in 1945

Figure 84. View across Ponte Grazie with hermitages

Figure 78. Passerella in the 1950’s

Figure 79. Children playing on the passerella

Figure 81. Passerella dell’Isolotto in the 1950’s, today replaced in higher concrete version 36

Figure 80. Passerella di Giovi 1936-1940


---1.2. Architectural Water-related Typological Precedents---

1.2.1. Ponte | Bridge When looking at the archives39 for historic

The Ponte alle Grazie is another example,

bridge precedents, two useful types can be

where buildings continued on the bridge.

distilled.

As this was the only bridge surviving the 1333 flood, pious people started erecting

Type A | Ponte as a public space

(hermitage) building cells on its piers42 (Figure

The first is the ‘Ponte as a public space’, as

82 & Figure 84).

historically, these bridges used to be more than just a mere passage40. They were

With the exception of the Ponte Vecchio,

common places to meet, interact and enjoy

these buildings were removed in Poggi’s

the view. As Conti (1928, p.464) describes,

restructuring, following the increase in traffic

people even paid to sit on the Ponte Santa

and new means of transport43 (Steiner, 1989).

Trinita:

The modernization that continued also after

“The middle class used to go to cool

the mining of bridges in WWII has left most

off while strolling along the Arno: and

bridges44 with a singular function of mere

many, like today one would go to the

passage, despite efforts of the Gori-Savioli-

café, sat down on certain wooden

Ricci-Brizzi competition entry for the Ponte

benches with the backs along the

alle Grazie (Figure 83). It should be noted that

shoulders of the S. Trinita, paying a

with changing perspectives on traffic in inner

crazia each.”

cities (undoing the craze of modernization)

This was not limited to benches, as it was just

the ponte may once more become part of

as common to place entire buildings on top

public space.

of the bridges. As one of the four remaining shop-lined bridges worldwide (Boros, 2018),

Type B | Passerella close to water

the Ponte Vecchio (Figure 85) is a well-known

The second type is of a different kind, aptly

example (occupied by butchers from 1422-

named ‘Passerella’ (or ‘pedestrian bridge’).

1593 and later by goldsmiths and jewellers

Opposed to the ‘ponte as a public space’,

(Ricci, 1906))41. As rare as this may seem

these narrow bridges were as pragmatic as

today, the other medieval bridges were

they could be. Characteristically, they were

also emphasized with buildings. The 1493

made with a basic timber pole structure

painting (Figure 76) shows buildings at the

just above the water level45, providing a

bridge heads of the Ponte Santa Trinita and

simple but effective connection between

Alla Carraia and an 1841 etching depicts the

the two riverbanks. This type brings a very

oratory of the latter (Figure 77).

direct relation between pedestrian and river as wonderfully illustrated in the historic photographs of Figure 78 - Figure 80.

39 Extra archive material can be found in Appendix A. 40 Aligning with the public space character of the Arno as a whole, where at major festivities on the Arno the bridges were even turned into tribunes and stages as seen in chapter 1.1.1. A functional relationship | The Arno as a public space on p.20. 41 This was replaced by decree of the Medici, who did not appreciate the stench on the daily route between the Palazzo Vecchio and the Pitti Palace. (AT, 2019) 42 The first of these structures dates back to 1347 and when the bridge (originally named Rubaconte) changed its name in devotion to Santa Maria who ‘appealed to the graces’ a small chapel was dedicated to her at the North end (ConosciFirenze, 2017). 43 E.g. the introduced tramway led to the enlargement of the Ponte alle Grazie with protruding metal pedestals, replacing the oratory and pierbuildings (Steiner, 1989). 44 Today, with the exception of the Ponte Giovanni da Verrazzano outside the city centre, none of the other 13 bridges of Florence have benches to sit on. The only other dual function aside from the Ponte Vecchio is the parking on top of the Ponte Amerigo Vespucci, in which case one can argue this function subtracts rather than adds to its value. 45 Hanging bridges or small ferry’s were less common alternatives as shown in Appendix “A.1. Ponte” on p.320

Figure 86. Typological conclusion diagram ‘Ponte as a public space’ (left) and ‘Passerella close to water’ (right) 37


---Chapter 1 - Historical Developments---

Figure 87. Tiratoio della Pergola 100x165m

Figure 89. Tiratoio degli Agnoli

Figure 88. Tiratoio della Piazza d’Arno

Figure 91. The Renaissance Tiratoi on map Buonsignori

Figure 90. Tiratoio dell Uccello

Figure 92. Tiratoio della Piazza d’Arno in 1879

Figure 94. Tiratoio della piazza d’Arno

Figure 93. Tiratoio della Piazza d’Arno in 1760

Figure 95. Tiratoio dell’Uccello on fire (1874) 38


---1.2. Architectural Water-related Typological Precedents---

1.2.2. Tiratoio | wool factory Between 1300 and 1400 in Florence the Arte

workshops (Shallit, n.d.). This made the

della Lana was the major source of wealth

Tiratoi into major landmarks, as highlighted

for the city of Florence and employed the

by Goldthwaite: “besides mills along the

majority of the population (Manetti, 2019).

riverbanks, tenter sheds [tiratoi] were the

This was a complex process requiring large

only industrial buildings that had a distinct

quantities of water and therefore was

architectural identity on the urban scene.”

carried out near the Arno or smaller streams

He continues that “to anyone looking over

(Bonciani, 2018). In this period there were

the cityscape at the time, they alone revealed

more than 200 shops and warehouses

something about the industrial life of the

registered in this art in the city and they

city.” (Goldthwaite, 2009, p. 300).46

produced more than 75,000 pieces of fabric every year (Manetti, 2019). This used to be

At the time of the Buonsignori Map (1584)

hung across the Arno embankments, on

and the 1561 census, there were four major

roofs and balconies (Steiner, 1989), which

Tiratoi in the city47: degli Agnoli (Figure 89),

is shown in the many paintings of cloth and

dell’Uccello (Figure 90), della Pergola (Figure

linen covered Florentine scenes (e.g. Figure

87), and delle piazza d’Arno (Figure 88). These

92 & Figure 93).

were all owned by the Arte Della Lana, and processed wool from all the manufacturers

To rationalize the production and halt the

in the city (Ammannati, 2020, p.32). By the

claim on public space (Steiner, 1989) the

19th century only the Tiratoio piazza d’Arno

Tiratoi (or ‘tenter shed’) typology came into

and the Uccello Grifagno remained. The

being. These were gigantic structures in

first one was removed to make place for

which the unprocessed wool was tentered,

the chamber of commerce and the latter

cleaned and thickened or processed into

was lost in a fire48 as depicted in Figure 95

woven pieces before sale (Shallit, n.d.). This

(Manetti, 2019).

process was split in the two characteristic parts of the building: In the stone bottom

In conclusion (Figure 96), the Tiratoio typology

part the wool was spun, colored and woven,

can be characterized by the two stacked

while in the timber top, the produce was

parts of the rather closed/solid bottom and

hung to dry in the large open loggia (Manetti,

the enormous timber open roof structure.

2019).

This two-division had a strong relation with the production process taking place inside,

These Tiratoi were the most visible signs

where the strong dependence on water

of the Florentine wool industry as the

determined its position on the riverfront.

other finishers worked from home or small

Figure 96. Typological conclusion diagram ‘Tiratoio’ 39

46 Carocci (1979, p.83) makes a similar observation regarding the singular appearance of the Tiratoi: “... those colossal and strange buildings which between a base of stones and a gigantic canopy enclosed a labyrinth of terraces, stairways, passageways, antennas, crossbeams, stays, a construction of timber in short, of a very special type ... an example of a very singular type of industrial architecture.’ 47 In ancient times in Florence there were many Tiratoi and smaller workshops, both owned by the Wool Art and by private individuals. In 1498 there even used to be six Tiratoio buildings in the records of the wool guild (Manetti, 2019). With the fall of the Republic in the sixteenth century, the production of yarns began its decline and many Tiratoi disappeared (Manetti, 2019). 48 As shown in Appendix “A.2. Tiratoio” on p.321, the Tiratoio dell’Uccello was rebuilt in a modern structure, without the timber roof that was so characteristic to the original type. Today it is used as a police station.


---Chapter 1 - Historical Developments---

Figure 97. Bathhouse in front of piazza Cavallegeri around 1890 (at today’s national library)

Figure 98. Bathing canopy of the ‘Buca del Cento’ just downstream of the south Ponte alle Grazie gora in 1869

Figure 106. Womens bath just downstream of Ponte San Niccolò, with clothes hanging in the sun ca. 1869

Figure 105. ‘Buca del Cento’ before the Lungarno expansion 1850

Figure 103. Bath at the Mulina dei Renai, bought by Luigi Lemmi and later renamed ‘Pons bath’ after its new owner.

Figure 104. Bath at the Mulino di Vagaloggia

Figure 102. Rari Nantes swimming association early 20th century

Figure 99. Rari Nantes in the back, ‘Spiaggia Fiorentini’ in front 1953

Figure 100. Outdoor bathing at Bellariva with bathhouse behind (since 1700s) (northeast Arno at height of piscina Bellariva today)

Figure 101. ‘Spiaggia Fiorentini’ east of Ponte San Niccolò 20th century 40


---1.2. Architectural Water-related Typological Precedents---

1.2.3. Bagno | Arno bathing When looking at the available archive

poor neighbourhoods was gathered in the

material outdoor bathing in the Arno can

riverbed54 (Orlandi, 2016). On the other

be retraced in great detail since the 18th

side of the river, at the height of Torre

century, which gives an indication of its

della Zecca, the ‘Mattoni Rossi’55 bath was

importance in Florence49.

This came in a

located for experienced swimmers. Extreme

variety of options for various target groups.

swimmers could also find their spot at the

Baths for the wealthy offered extra facilities,

bath called ‘Casaccia’56, or at the Bagno della

ranging from dressing and cloackrooms to

Porticciola, below the ramp of the Porticciola

large towels and combs50. One of these was

d’Arno57. At the latter, a risky race was held to

located at the mulino di Vagaloggia at the

reach the Ponte Vecchio underwater in the

west entrance north of the Arno (Figure 104).

strong current. As it was not uncommon for swimmers to drown, lifeguards were selected

Two examples of popular bading can be

out of the best swimmers58. Eventually

found in the San Niccolò district51. ‘Buca

the authorities forbade swimming outside

del Cento’52 was located in the shade of the

designated places, but an 1819 report shows

Torrigiani garden (which used to border the

this had little effect. (ConosciFirenze, 2015)

river directly) and it was closed of by curtains for privacy. When the Lungarno Torrigiani

From the 19th century until the 1966 flood,

was built as a 20-meter extension (Menduni,

swimming in the Arno remained popular,

2017) (as can be seen when comparing

especially on the riverbanks east of the city.

Figure 105 & Figure 98), the ‘Buca del Cento’

Popular places were: the Pescaia di San

was pushed out of the shade and into the

Niccolò (Figure 16 bottom left), the ‘Spiaggia

views from the Lungarno, where privacy and

Fiorentini’ just northeast of the Ponte

shade likely led to the canopy. The other

San Niccolò (Figure 101), the Rari Nantes

bathing place ‘Del Fischiaio’ at the Mulina dei

swimming association across the river (Figure

Renai had a 1 penny price for both entrance

102 & Figure 99) and the Bellariva outdoor

and towels. A very similar bath is shown in

bathing even further east (Figure 100).

Figure 103, which was located in the same gora of the Mulina dei Renai, but directly

In conclusion, bathing in the Arno was so

next to the Ponte alle Grazie. This ‘Pons bath’

common that the Florentines used to swim

was visited by gentlemen and aristocrats due

along the entire Arno in a large variety

to the facilities of individual dressing rooms,

of settings. This type can thus be divided

barbers / hairdressers, hottubs and the later

in three sub-categories, but it should be

installed canopy53. (Orlandi, 2016)

noted that within these a variety of specific (contextual) applications is possible:

A bath in the riverbank at the Molina di San

- Canopy structure

Niccolò was a bit filthy and dangerous as with

- Riverbank (stepped or ramp)

each flood, the garbage of the surrounding

- Protected zone (mill or bridge canal)

Figure 107. Typological conclusion diagram Bagno ‘Canopy structure’ (left), ‘Riverbank’ (middle), ‘Protected zone’ (right) 41

49 The outdoor alternative of the sea concerned a two-day trip (ConosciFirenze, 2015), so those who were not rich were limited to the Arno riverbank. 50 Some included iron gates to keep the sexes apart, while some young men would swim underneath (ConosciFirenze, 2015). 51 Both were owned by Giovan Battista Bianchi (aka ‘il Rosso’). Here, all adults and children were swimming, sunbathing and socializing together (Orlandi, 2016). 52 This literally means ‘hole of the hundred’. 53 Rooms with tubs filled with hot Arno water were added, which attracted many important personalities. Like at the Buca del Cento, the canopy was used to shield views from the Ponte alle Grazie on the barely dressed bathers. Lastly, the strong current in the gora provided an interesting challenge to some. (ConosciFirenze, 2015) 54 The bath was therefore mainly visited by locals of Porta a S. Miniatio and Fondacci and it was known for brawl-causing gossip (ConosciFirenze, 2015). 55 This was named after its red tiles as the color was retained due to continuous watermovement. The nearby lancers of Florence went here to exercise in the strong currents and dangerous depths. 56 This bath was named after the nearby derelict house, but the exact location is unclear. 57 The most dangerous places were indicated by engineer Paolo Veraci in 1822, being: under the San Niccolò weir, the Mattoni Rossi, the Casaccia, the Porticciola d’Arno and below the Ponte Santa Trinita (Orlandi, 2016).


---Chapter 1 - Historical Developments---

Cateracts of the Mulina della Porticciola65

Figure 109. Northeast gora & Mulina della Zecca Vecchia

Cross section

Figure 110. Southeast gora Mulino San Niccolò & Mulina dei Renai

Longitudinal section

2nd floor - living

Figure 111. Northeast gora & Mulina della Zecca Vecchia (1744)

Figure 113. Mulino dei Renai sections with 1866 Lungarno superimposed

GF - shop

Substructures - mill Figure 112. Southeast gora Mulino San Niccolò & Mulina dei Renai

Figure 108. Molina della Porticciola 42


---1.2. Architectural Water-related Typological Precedents---

1.2.4. Mulino | Water mill This type leveraged the water power by the

was partly covered by the Palazzo Serristori

construction of weirs that could control

garden and eventually it was covered as

the stream of water and focus it on the

a whole when the Mulini were destroyed

watermills that would translate this into

to make place for the Lungarni63. (Steiner,

mechanical movement either of millstones or

1989).

of hammers (f.e.), depending on the function. This made the mulino an essential building

In the northwest, downstream of the city the

type for all sorts of production processes in

Mulina della Vagaloggia64 gained the water

the historic city. Their importance is stressed

from the cataract at the start of the Fosso

by the shear amount of examples that were

Macinante, which continued through the

present along the Arno and its side-streams.

Mulina della Porticciola further downstream

This is confirmed by the impressive amount

(Figure 108). Its complete drawing set gives

of archive material that can still be found. This

insight in the functional mill layout, which is

spread thus shows a selection to highlight

confirmed by the partial plans and sections

the essential mulino aspects, while the rest

gathered in the appendix.

is gathered in appendix A.3 as a confirmation of the typological characteristics.

In conclusion (Figure 114), the various mills share the following characteristics: The Arno

In the northwest, the Mulino della Zecca60

water is diverted at the pescaia into a parallel

(=mint) forms the start of the gora lined

water canal (gora), which is often used to

by a sequence of mills (Figure 109 & Figure

power a series of mills. The water then runs

111). As the name suggests, throughout the

through the basement, where the water

renaissance, the process of minting took

milling functions are located. The space

place here by means of water-powered

on the ground floor above is used as the

machinery61 (Steiner, 1989).

production space or shop and in most cases the functionality is completed by the more

In the southeast, the mill of San Niccolò62 was

private living quarters (or offices) on top. For

the first of a series of mills along the gora

the mills located directly on the Arno another

(Figure 110 & Figure 112), which were named

shared element is the Foderaia, to allow the

the Mulino dei Renaioli (Figure 113). The gora

passage of f.e. boats and timber transport.

58 Around 1778 the city government even rewarded rescues with 5 zecchini or 10 scudi (Orlandi, 2016). This was a lot of money in the 18th and 19th century, leading to a ‘fake-drowningand-rescue-fraud’. The deception was discovered due to the sky-rocketing drowning events, which caused the discontinuation of the reward (ConosciFirenze, 2015). 59 The Rari Nantes swimming association was founded in 1904 and they initially swam in the Arno directly. This continued until the water became too polluted and they constructed their current artificial pool above the water (Matteo, 2005). 60 The plans by the Habsburg Lorraine Regime are gathered in the appendix. At that time, the minting had just moved to the Uffizi building, but the mills were still present on the water level. Today only the Torre della Zecca remains as an isolated object amidst traffic after the demolitions by Poggi. 61 During the siege of the city in 1529, as the Zecca was located on a major defensive corner, the building was expanded as a small fortress that contained the armoury (Steiner, 1989). 62 The mill, located next to the San Niccolò gate was owned by the hospital. Due to its picturesque appearance it was a popular subject amongst romantic painters. The plan and several impressions are shown in the appendix. 63 Interesting enough, the path of the gora is still present as it was later used by the Officina Idraulica and the exhaust arch is still visible across from the Uffizi.

Private (living / office)

Public (workspace / shop)

Functional Waterpower + Common functioning in series Figure 114. Typological conclusion diagram ‘Mulino’ 43

64 The Mulina della Vagaloggia was built by the Ognissanti in the 14th century until it made way for the Lungarno in 1854 (Steiner, 1989) 65 This plan by Antonio Ferri shows the outlets that regulate the introduction of the waters of the Arno river into the gora that leads to the Porticciola mills.


---Chapter 1 - Historical Developments---

Figure 117. Diverting canal below the Uffizi and tunnel next to the Officina Idraulica (top)

Figure 115. Plan and section of a control house along the ‘Galleria’ canal upstream from the Officina Idraulica

Figure 116. Section across Pescaia San Niccolò and Arno tunnel detail

Figure 120. Exposed Acquedotto tube at national library after 1966 flood

Figure 119. Publiacqua visiting the tunnel below the Arno

Figure 118. Acquedotto tunnel 44


---1.2. Architectural Water-related Typological Precedents---

1.2.5. Acquedotto Network | Canal & control building The acquedotto network is a system of

While this is obviously interlinked, here the

linear canals and tunnels that was and still

focus is on the type. Along with the water

partially is used to distribute the drinking

distributing canals themselves, the type of

water of Florence through the city. The

‘Casotti di guardia’ or guardhouses are of

exact section of the tunnels in this network

particular interest. These were placed at

differs per location (Figure 117), but for

regular intervals along the galleria filtrante66

now it is sufficient to know the main ones

just upstream of the Pescaia di San Niccolò

were made with rounded ceilings, often

on the south side of the Arno, to facilitate

in masonry, with heights in which you can

the inspection (Caporali, 2021). Figure 115

easily stand (e.g. Figure 118 & Figure 119). The

shows the plan and section of such a control

specific layout of any location is what makes

building. The connecting staircase is essential

this type particularly actionable, but this is

for this type, while the basic building volume

quite complex due to the invisible character

on top covers the stairwell and provides the

resulting from the underground position.

transition to the street level.

This is only revealed in occasional archive material (Figure 116) or photographs of (re-)

Since Figure 115 was the only archive

constructions (Figure 120). The intervention

material to be found of a Casotti di Guardia,

location potential that comes with this is

this formed the basis for the type diagram.

further elaborated in chapter “1.3.10. The

To conclude (Figure 121), the acquedotto

acquedotto network” on p.69.

network consists of long linear tunnel spaces where control buildings provided access with covered staircases.

Figure 121. Typological conclusion diagram ‘Acquedotto network’ 45

66 This tunnel was designed with a permeable structure to capture the filtered groundwater (Caporali, 2021).


---Chapter 1 - Historical Developments---

Figure 124. Serbatoio Carraia exterior entrance building and park

Figure 125. Carraia interior of the cisterns and machine space below void (bottom)

Figure 122. Serbatoio del Pellegrino exterior entrance building and park

Figure 126. Carraia interior entrance building 46

Figure 123. Del Pellegrino interior of the cisterns and central corridor (bottom)


---1.2. Architectural Water-related Typological Precedents---

1.2.6. Serbatoio | Water pressure The Serbatoio type is a historic part of the

combined with careful materialization and a

Acquedotto network that is still functioning

lantern above the central void lead to a light

today. In the reservoirs the water is stored to

space, that continues all the way down to the

keep pressure on the acquedotto network. By

machine room of the reservoirs.

making use of the location in the Florentine hills (just outside the historic centre), the

The same principles can be seen in the two

reservoirs could be dug underground, while

northern reservoirs of the Cure area. The

still providing pressure for the areas below67.

smaller Querche serbatoio70, like Carraia

In this sub-surface solution, the surrounding

uses cross-vaults with skylights (Figure 129)

soil made it easy to contain the outward

below a park (Figure 132). Only this time, the

forces of the immense water volumes. The

park is not a separate formal entity, but an

three Serbatoi of Florence are: Carraia,

open space between several villas. Serbatoio

Pellegrino and La Querce.

Pellegrino (Figure 128) has the largest reservoir in Florence (Ciardi, 2019) and

The Serbatoio Carraia (Figure 130) is located

uses two barrel vaults with a central service

in the Erta Canina in the Southern hills.

corridor instead (Figure 123). In this case,

It contains two68 cross vaulted cisterns in

the soil on top is formed to the barrel vaults,

which 13.000 m3 water can be accumulated69

which elevates the terrain (Figure 124). Due

(Ciardi, 2019). The vaults and skylights in

to the position of the entrance building at

the centre of every second vault create an

the reservoir ends, this centrepiece bridges

almost magical atmosphere, despite the very

the two levels, granting access to building on

functional storage character of the space

both. Apart from these specifics, the other

(Figure 125). The whole is covered by a formal

characteristics are shared with Carraia and

park (Figure 131), in which the monumental

Querche.

stairs (including a grotto), the skylights and the entrance building are integrated

In conclusion (Figure 127), the Serbatoio

elements that only hint to the storage space

type stores water in grand vaulted spaces

below. One can see a lot of design attention

with impressive atmospheres. Characteristic

has gone into the entrance building, which

elements are the combination with a park on

with symmetry, ratios and repetition forms a

top, the carefully designed formal entrance

jewel-like centrepiece in the green situation.

building, the monumental staircase and the

Not to mention the well proportioned interior

evenly spaced skylights.

(Figure 126), where these same principles,

Figure 127. Typological conclusion diagram ‘Serbatoio’ 47

67 Due to the elevated terrain there is no need to artificially heighten the reservoirs, like would be the case in a flat country like the Netherlands, where the water tower typology is dedicated to this same function of providing water pressure. 68 As the section in Figure 130 shows, this Serbatoio was designed with the option of two additional reservoirs in mind. 69 From here 120-200 liters per second are still dispensed today on the two routes: Arcertri and Pian de ‘Giullari (Ciardi, 2019). 70 Offers a beautiful view across the city and is historically extra intriguing since the Montereggi aqueduct arrived here already in the 16th century (Ciardi, 2019).


---Chapter 1 - Historical Developments---

Figure 128. Serbatoio del Pelegrino plan, sections, elevation and construction end 19th century

Figure 129. Serbatoio Querche plan, section and impression entrance building 48


---1.2. Architectural Water-related Typological Precedents---

Figure 131. Serbatoio Carraia park on top

Figure 130. Serbatoio Carraia plans, section, elevation and construction end 19th century

Figure 132. Serbatoio Querche in park 49


---Chapter 1 - Historical Developments---

Figure 139. Renaioli along the northern riverbank just upstream of the Pescaia di San Niccolò with and without riverbank structure

Figure 133. Plan of royal stables in Uffizi basement ca. 1770-1780

Figure 137. Renaioli and washerwomen at work by the Arno 1896

Figure 134. The embankment wall in a 1760 painting detail

Figure 138. Inauguration of the rowing (Canottieri) headquarters on the southern riverbank downstream of Ponte Santa Trinita in 1911

Figure 136. Seat of the Canottieri with staircase at Lungarno Guicciardini

50

Figure 135. Incorporated access in the embankment wall after the rowing association moved to the Uffizi basement


---1.2. Architectural Water-related Typological Precedents---

1.2.7. Riverbank structures There

have

been

several

(temporary)

of Renaioli and washerwomen became

riverbank structures along the Arno inside

redundant72.

the historic centre of Florence. These were

but this function has been moved to the

used by functions that required direct

basement of the Uffizi. This basement as

access to the river, like the Renaioli and

shown in Figure 133 aligns with the riverbank

washerwomen (Figure 139 & Figure 137),

level. To house the new function of the

followed by the rowers in 1911 (Figure 138

rowers with the need for direct riverbank

& Figure 136). In fact, some of the swimming

access, an entrance has been added in the

structures can also be seen as part of this

embankment wall as becomes clear when

category (Figure 97 & Figure 98). What these

comparing the painting of 1760 (Figure 134)

structures have in common is their seemingly

with the present situation (Figure 135). In

temporary timber construction, as they likely

this way, the delicate parts of the rowing

were destroyed by floods every once in a

association with its club and boathouse is

while, just like the staircase at Lungarno

protected inside the embankment wall, while

Guicciardini71 was destroyed by the 1966

the direct riverbank access is still present by

flood (Belluci, 2021). That this also impacted

claiming the exterior space.

Rowing

remained

present,

the riverbank structures can be deduced from the two different rowing headquarters

In conclusion (Figure 140), the original timber

on the same location (Figure 138 & Figure

riverbank structures were used for functions

136) and the Renaioli sheds which were not

with the need for direct river access, but

always present (Figure 139).

they were not resistant to flooding. This type therefore has received a flood-proof update,

These types of riverbank structures are

which makes use of the principle to embed

no longer present along the Arno. This is

the delicate parts in the embankment wall

partly, because in modernization, the jobs

and claim the exterior space.

Original precedent

Figure 140. Riverbank structure typological precedent diagram

Flood-proof updated precedent

51

71 More information about the historic intervention location of the Lungarno Guicciardini staircase and riverbank is given in chapter “1.3.6. Guicciardini staircase” on p.61. 72 The Renaioli association hosting tours since 1995 (IntoFlorence, 2014) uses the cover of the Ponte Vecchio to store the boats by night, without the need for an indoor space.


5. Piazza Vittorio Veneto p.60

8. Villa Favard p.66

4. Ponte alla Vittoria p.59

2. The gateway pediment p.57

1. Foundry & Gasometer Pignone p.55

Figure 141. Historic intervention locations

52


1.3. HISTORICAL INTERVENTION LOCATIONS An overview of the intervention locations that have resulted from the historic analysis is shown in Figure 141. They are shortly elaborated upon in this chapter.

6. Guicciardini staircase p.61

7. The origins of the Lungarni p.63

9. The fourth Piazza San Niccolò building p.67 10. The acquedotto network p.69 3. Foderaia p.58

53


---Chapter 1 - Historical Developments---

Arno

Foundr

y

Gasometer Figure 143. Plan of foundry (1876) and gasometer (1896) along the Arno (southwest)

Figure 142. Gasometer today

Figure 144. Impression of the foundry in 1876 (with gasometer right outside frame)

Figure 146. Foundry lamp post ‘monument’ in park

Figure 145. Photograph of foundry and gasometer area at the end of the 19th century

Figure 147. Foundry mid 19th century painted from Vagaloggia

54


---1.3. Historical Intervention Locations---

1.3.1. Foundry & Gasometer area in Pignone At the start of the 19th century, the

As the foundry also hit its growth limit moved

southwestern part of Florence became

to Rifredi (Nuovo Pignone, 1964), the area of

the main industrial area. In 1835 the

Pignone was freed from its last industries in

slaughterhouses were built inside the walls,

1937. In 1923 a public housing project was

followed by the foundry in 1842 (Nuove

built south of the suspended bridge (Today’s

Pignone, 1964) and the gasometer in 1845

Ponte alla Vittoria), which was followed by

(Fani, 2008) just outside the walls in the

more and more residential developments

Pignone area73 (Figure 143). As Figure 144 &

(Figure 148 ) (Steiner, 1989).

Figure 145 show, the foundry and gasometer had quite an impact on the relation with the

Nevertheless, the rich industrial history and

water, as they completely blocked the river

its sudden removal have left their marks on

access from the streets behind.

certain parts of the neighbourhood. When comparing the 1935 situation (Figure 148)

Especially for the foundry the position close

with the situation today (Figure 149), you see

to the Arno and port was ideal regarding

the linear park space along the Arno all the

the

raw

way up to the Cambian wall as a result of the

and processed) and the water-intensive

removed foundry and gasometer. A lamp

process74. On top of this, the related noise

post monument inside this park (Figure 146)

and pollution was less problematic outside

and a remnant of the gasometer (Figure 142)

the city walls and downstream (Tognarini et

are reminding of the industrial history, where

al., 1983). The location of the gasometer had

the latter deserves better than its current

similar reasons with the dependence on coal

awkward position inside the transformed

that was transported by water. Due to the

‘block’76. In general, there is a lot of potential,

gasometer the oil lamps could be replaced

as the scattered processes of removal and

by gas ones in 1846. It was enlarged in 1896

development have left an urban fabric that is

(Figure 143) and for further expansions in the

open for strategic restructuring.

transport

of

materials

(both

first half of the 20th century, the move was made to Rifredi75 (Borsi & Maresca, 1984).

73 The initial growth of the Pignone area originated in 1236, when the obstruction of the Pescaia di Santa Rosa turned the small port on the south riverbank downstream of the city into the main port of Florence (Steiner, 1989). It was named after the ‘pigna’, which were the buttresses supporting the riverbank where the boats docked (Menduni, 2017). 74 With the 1876 expansion, the spaces of the factory became connected with an internal railway track. This boosted the productivity, while the production shifted from small products to public works, like: the lamp posts, furnishings of the Viale dei Colli, gates of the entire customs wall and no less than 7000 three meter pipes of various diameters for the new acquedotto. 75 In this northwestern corner of Firenze the new industrial areas were located as this was the only space left to cater for their large spatial needs (Steiner, 1989). 76 The modern additions cut up the block in an almost unreadable urban fabric, with many fences and dead ends. See appendix on p.358 - p.359.

Gasometer Foundry

Public housing at Via Bronzino

Figure 148. The Pignone district in 1935 (by E. Zumkeller)

Figure 149. The Pignone district today 55


---Chapter 1 - Historical Developments---

Figure 152. One of the proposals for the small customs barrier at the Lungarno nuovo of the Cascine district expansion - 1856, not built

Figure 150. Plan and elevation of the green space between Cambian wall and Arno mid 18th century

Figure 153. Remainder of the pediment today

Figure 151. Expansion of the urban fabric - 1865 detail of the Poggi plan 56


---1.3. Historical Intervention Locations---

1.3.2. The gateway pediment In the 18th century, the Cambian walls were

Cascine district. Until 1847, both the barrier

still delineating the city. On the northern

and the entire Cascine district became quite

riverbank on the west side of the city, there

controversial, with numerous proposals.

was a green space (named Orto Ferdinando)

Figure 152 shows an example of an unbuilt

between the wall and the Arno, with a path

proposal for the Lungarno gateway with a

along the Arno running up to the Porticciola

guardhouse as the termination of the new

del Prato and the Fosso Macinante running

gated barrier from the Torre della Serpe.

roughly parallel to the wall (Figure 150).

Eventually the barrier and gateway were

77 Especially during holidays this Lungarno Nuovo would be crowded with people going to the Cascine park by foot or carriage (Steiner, 1989).

executed as in Figure 154, (Steiner, 1989) In the Poggi plan (Figure 151) this area became an urban expansion named ‘the

Following the demolition of the entire

Cascine

Macinante

city walls, today only the pediment on the

became partly covered and incorporated in

northern riverbank upstream of the Ponte

the streets, while the ‘Lungarno nuovo’ would

alla Vittoria remains (Figure 153). As a

form the final stretch of the Lungarni up to

meaningful exception in the riverbank, this

the Cascine park77. As the walls were still

historic remnant may potentially form part of

an active barrier in the city, they somehow

an intervention.

district’.

The

Fosso

had to be extended to incorporate the new

Figure 154. Customs barrier with guardhouse on Lungarno Nuovo early 20th century 57


---Chapter 1 - Historical Developments---

1.3.3. Foderaia Foderaia are the openings in the structure of the weirs that allow the passing of the barrier. In the etching by Giuseppe Zocchi (Figure 155) you can see these foderaia are Figure 155. Foderaia (south) of the San Niccolò mill with closing shutters 1870

Figure 161. ‘Foderaia’ (north) of San Niccolò 2021 (trees behind hint to the soil below)

temporarily blocked to guide the water to the mill. This is why they were present at nearly all weirs78, as arched protrusions of a mill (Figure 156). Since all mills in the historic centre had to make way for the Lungarni in the execution of Poggi’s plan, new foderaia were built along with the Lungarni (Figure 157 & Figure 159). It is thus no coincidence that the appearance of the current foderaia matches the height and materialization of

Figure 157. Foderaia di Santa Rosa 1880

Figure 158. Foderaia di Santa Rosa 2021

risorgimento structures like the Lungarno river wall and the Acquedotto perfectly. At present, they are no longer functioning as active controls of the waterflow. The foderaia at the Officina Idraulica has lost its function (Figure 160) and the protrusion of the Lungarno at the Torre della Zecca is not even in the Arno (Figure 161). Nevertheless, they provide meaningful exceptions in the

Figure 159. Foderaia Officina Idraulica ca. 1877

Figure 160. Foderaia Officina Idraulica 2021 (note the derelict wall on top)

completely straight Lungarni and as such they may be part of a potential intervention, where they are more than inaccessible platforms (Figure 161 & Figure 160). The available plan of the Foderaia di Santa Rosa and its gora (Figure 162) shows an intervention inside the embankment would be possible here as well.

Figure 162. Plan of Foderaia Santa Rosa and its gora after demolition of the Vagaloggia mill

Figure 156. Foderaia as arched protrusions of the Mulino di San Niccolò (left) and the Mulino della Zecca (right) at the Pescaia di San Niccolò 58


---1.3. Historical Intervention Locations---

1.3.4. Ponte alla Vittoria At the end of World War II the Ponte alla

78 Only the mill at Busini, located near Florence did not have a Foderaia to the weariness of the timber transporters. (Becattini, 2015).

Vittoria, just like all other bridges (with the exception of Ponte Vecchio) was mined by the Germans on August 4, 194479 (Galloway et al., 2017). Shortly afterwards, the Allied

79 The bridge had just replaced the aged structure of the suspension bridge of ‘Ponte San Leopoldo’ in 1932 (Steiner, 1989) as a means to celebrate the victory in World War I with the construction of a public work (Galloway et al., 2017). Figure 165 shows the 1932 bridge, of which the abutments remained.

administration created a Bailey bridge on its place and ordered a new bridge, with the request to reuse the remaining parts. The winning project80 presented a solution based on the play of the connecting curves between the piers and arches (Figure 164). This included a proposal for recovering some public green areas on the adjacent spaces, which would be connected by a staircase to a path that would be built on the riverbank. (Steiner, 1989)

Figure 165. The original Ponte alla Vittoria in 1932 just before the demounting of Ponte San Leopoldo

It was built in record time from 1945-1946, but insufficient funding (Galloway et al.) and

81 In the original design, the bridge had a bronze parapet and was covered in pietra forte (Steiner, 1989). When the bridge was built in a reinforced concrete structure without the stone covering, this was a disappointment to the Florentines, who named it ‘Il Ponte alla Vittoria Mutilata’ (The bridge of the mutilated victory) (Galloway et al., 2017 ).

a focus on time efficiency to guarantee an easy crossing of troops has resulted in less expensive materialization81 and a skipping of the riverbank stairs and paths on both sides (Steiner, 1989). While the paths have been formed over the years, despite the difficult access,

the

staircase

design

80 This was the first of the competitions related to the reconstruction of bridges and 43 projects took part in it. The winning design was made by N. Baroni, L. Bartoli, I Gamberini, C. Maggiora and M. Focacci (Steiner, 1989)

intentions

remain a clear case of an unresolved opportunity (Figure 163).

Figure 163. The Ponte alla Vittoria in 2021 - constructed without the staircase

Figure 164. The Ponte alla Vittoria winning project in 1946 competition 59


---Chapter 1 - Historical Developments---

1.3.5. Piazza Vittorio Veneto The Piazza Vittorio Veneto had been opened in the 1850’s just before the Risorgimento as the entrance to the Cascine and a link to the Suspension bridge (Today replaced by Ponte alla Vittoria). This was consequentially incorporated in the 1866 enlargement plan of Poggi (Figure 166), who designed it as an elliptical square surrounded by trees and accentuated with street lamps, obelisks and statues, of which the central Statue of King Vittorio Emanuele was the main one. (Orefice & Romby, 2012, pp. 203-204) Of the original intentions shown in Poggi’s sketch

(CAF, 2014) nearly nothing was

executed, resulting in a large space of beaten earth marked by two large bases at its entrance that nevertheless provided a monumental entrance to the Cascine. Even the central statue of Vittorio Emanuele II was only moved to the assigned spot in 1932 from it’s original location on the Piazza della

Repubblica.

In

the

infrastructural

developments that followed the monumental space was cut up and partly disconnected from the urban fabric of the city on top of being unpleasant for a pedestrian stroll. The underpass still disrupts the spatial continuity of the grand square and while the tramline follows the elliptical shape to make a promised refurbishment of the square Figure 166. Poggi’s proposal for the then called ‘Piazza Vittorio Emanuele’ (ca. 1866)

possible, these plans were left unexecuted (Figure 167). Even the planned parking underneath the square was not finished, while the entrance was already created. The idea of the grand gesture connecting the historic Cascine park to the historic city would fit the situation perfectly (even today). The execution and successive adaptations do show the intentions, but fail to live up to them. This leaves the Piazza Vittorio Veneto as

Figure 167. Situation 2021 (L), Refurbishment tram 1 (R-top), unused garage (R-bottom) 60

an

interesting

location to adress.

historic

intervention


---1.3. Historical Intervention Locations---

1.3.6. Guicciardini staircase The gap in the Lungarno Guicciardini embankment wall southwest of the Ponte Santa Trinita has historically been a known point of riverbank access, as shown from the Lungarno in the 1840 engraving of Figure 170 or from the riverside in Figure 171. Perhaps the ladder in the latter was just a temporary fix, as this painting was dated 1846, while just two years before, the violent 1844 flood washed across this location as shown in

Figure 168. The staircase seen from Lungarno Guicciardini ca. 1955

Figure 172. What can be said with certainty, is that the riverbank access on this location endured, as later photographs (Figure 168 & Figure 169) depict a staircase leading to the riverbank. In the 1966 flood this staircase was destroyed (Bellucci, 2021) and it is likely this coincided with the destruction of the riverbank structure and the move of the canottieri association to the uffizi basement (See “1.2.7. Riverbank structures” on p.51). The staircase has not been rebuilt since and

Figure 169. Staircase descending to riverbank (ca. 1911) & platform remnant (2021)

the platform is the only remnant still present today (Figure 169). With the discovery of these photographs voices are raised to return the riverbank access here, which would additionally require a strengthening of the riverbank (Bellucci, 2021). It should be noted that the riverbank at the Lungarno Corsini at the same height across

Figure 170. Engraving of Ponte Santa Trinita (1840) showing the access gap in the wall

used to dock the Fiorenza (Figure 16 p.20). While there are no remnants today, the access was likely of a similar kind.

Figure 171. 1846 painting showing ladder access

Figure 172. 1844 flooding view towards the Lungarno Guicciardini 61


---Chapter 1 - Historical Developments---

Figure 176. Lungarni configuration from 13th up to the 19th century as shown in Buonsignori map 1584

Lungarno Amerigo Vespucci (Figure 177)

Lungarno della Zecca Vecchia

Lungarno Amerigo Vespucci (Figure 178)

G G

Palazzo Capponi delle Rovinate (Figure 181)

Lungarno Torrigiani (Figure 98 & Figure 105)

Lungarno Benvenuto Cellini Lungarno Serristori (Figure 180)

Figure 174. Map highlighting how the Lungarni came to be (Based on Steiner, 1989; Menduni, 2017)

Expansion into river (often incl. new facade) Figure 175. Lungarno alla Grazie in its original configuration dating back to 1287, in an engraving made just before the execution of Poggi’s plan.

G Expansion into river on top gora (often incl. new facade & demolition mills)

Expansion into urban fabric (part building destroyed)

Figure 178. Situation at start of construction works Lungarno Amerigo Vespucci (left) as continuation Lungarno Corsini (right)

3. Combination of the above Figure 173. The three options of Lungarno creation

Figure 177. Construction works foundations Lungarno Amerigo Vespucci 62


---1.3. Historical Intervention Locations---

1.3.7. The origins of the Lungarni Before diving into the historic intervention

by the marquis of Serristori, which was a

locations that result from the Lungarni

narrow crowning path along the fortification

creation, the origins of the Lungarni will

wall (Figure 184) (Menduni, 2017). However,

shortly be explained to place this in context.

the main changes took place in Poggi’s enlargement plan for the capital of Firenze,

The first historic traces of the concept

where he envisioned a continuous east-west

Lungarno82 stems from the early 13th

Lungarni promenade to complement his ring

century. The creation of a street along the

boulevard85 (Poggi, 1882). His interventions

Arno upstream of the Ponte alle Grazie83

to

protected by a wall also took place at this

rigorous, as they either subtracted from the

time (Figure 175). The general extents of

Arno width by extending into the river, or

the Lungarni remained unchanged up to

(parts of) buildings were demolished to free

the second half of the 19th century, with

the way in the urban fabric (Figure 173). The

the ‘square’ between the Santa Trinita and

overview of Figure 174 shows the variation in

Carraia bridges as its heart as accurately

interventions.

create

Lungarni

were

much

more

illustrated in the 1584 Buonsignori map (Figure 176). This area lined by the current

Of these, the continuation of the Lungarno

Lungaro Guicciardini and Corsini was named

Corsini in the west with the new Lungarno

the ‘Arno Theater’ and formed one of the

Amerigo Vespucci86, wonderfully illustrates

main nodes in Florentine life84. (Menduni,

Poggi’s

2017)

downstream of Ponte alla Carraia (Figure 178)

intentions.

The

demolitions

complemented with the extension towards The first addition to the Lungarni system

the river of the Cascine district (Figure 177)

was the ‘panoramic walk’ commissioned

lead to an maximized experience of the

1.

3.

2.

4.

Figure 179. The promenade from Lungarno Amerigo Vespucci at Pescaia di Santa Rosa to Ponte Vecchio 63

82 The word Lungarno is a merger of ‘Lungo Arno’, which literally means ‘Along the Arno’. 83 This bridge was still named ‘Ponte della Rubaconte’ at the time. Its Lungarno had a width of 14 ‘vadem’ and was protected from the river by a wall of 10 ‘vadem’ high and 2 thick (Menduni, 2017). 84 It is no coincidence this public space is featured in many etches and paintings, filled with activities and stage for festivities (See f.e. Figure 14, Figure 15 on p.20) 85 Inspired by examples of Paris and Vienna


---Chapter 1 - Historical Developments---

Figure 184. Narrow path as crowning gora wall 1850

Figure 180. Transformation Gora mulina dei Renai to Lungarno, showing the remaining volumes in pink project by L. del Sarto 1866

Figure 182. The Borgo blocks without Lungarno grew from parallel street - hypothetical reconstruction of Steiner (1989)

Figure 181. Adaptation facade Palazzo Capponi delle Rovinate Poggi 1866

Figure 183. The historic development oriented along the via Pisana instead of Lungarno Soderini (south of Pescaia di Santa Rosa) still shows remnants of the ‘backside’ today 64


---1.3. Historical Intervention Locations---

promenade connection to be enjoyed by

Historic intervention locations

foot or carriage87 as shown in the sequence

In

of Figure 179.

Lungarni has not always been as central as it

conclusion,

the

promenade

of

the

may seem today. Historically, in most cases, In the transformation of the east side gora’s

the development orientation focussed on

to lungarni, the mulino’s were demolished

the parallel streets instead. This was either

and adjacent buildings like the Palazzo

because the Lungarni were added later

180)

(Figure 182), or because the gate-bound

Serristori

were

reshaped88

(Figure

access to the walled city favoured the parallel

(Steiner, 1989).

streets (Figure 183) (especially in the case Buildings that were partly demolished simply

of the Porta San Niccolò and Porta San

received a new facade, of which Palazzo

Frediano).

Capponi delle Rovinate is a typical example (Figure 181). It used to have a symmetrical

While the shown transformation examples

renaissance

the

took place on the majority of the riverfront,

rectangular court. A large part of this building

not all backsides have developed into their

was cut of, nearly transforming the frontal

new front side role yet89. Knowing this, you

chambers into closets. Despite the resulting

can start to notice the minor fringes still left

interior differences, a new formal facade

along the Arno, that may occasionally provide

was made by Poggi as a screen juxtaposed

a perfect location for a transformation or

on the cut to fit in the grand 19th century

densification that justifies the new position

promenade expression (Poggi, 1882). Even

of the Lungarni inside the urban fabric of

buildings that were not directly affected by

Florence (Figure 183, Figure 185 & Figure 186).

composition

around

86 This was initially simply called ‘Lungarno Nuovo’ (Steiner, 1989). 87 For the current situation, see chapter “2.1.4. Car oriented Lungarni” on p.94. 88 Together with the integration of the canal below as shown in chapter ”1.3.10. The acquedotto network” on p.69. 89 This is especially the case on south of the Arno, towards the edges of the Cambian wall. Instead of a double orientation there are quite a few plots which are simply delineated by a garden wall.

the Lungarno creation were designed with a new facade to turn their backside into a front side to fit with the new status. (Steiner, 1989)

Figure 185. Lungarno Torrigiani also contains a backside remnant. Note that here the Giardino Martin Lutero forms a well-functioning park

Figure 186. Lungarno Benvenuto Cellini also has backside remnants 65


---Chapter 1 - Historical Developments---

1.3.8. Villa Favard Within the enlargement and restructuring of Poggi’s plan there were quite some spaces along the riverfront to be completed with new architectural designs. As we already

90 The villa today houses one of the three locations of the internationally recognized Polimoda Fashion School (Polimoda, n.d.). As we will see in chapter 3, Gordon Cullen has various alternative ‘hazards’ to replace a fence with various possibilities for (visual) use.

saw in Figure 181 Poggi was very involved on the small scale as well. There are many more examples, but two of his works deserve special

attention

for

their

unresolved

potential. Villa Favard (Figure 187) is quite a peculiar location for a freestanding villa that had to respond to the new promenade of the Lungarno and the surrounding roads. The parallel street behind the Lungarno is just as Figure 187. Villa Favard drawing by Poggi 1847

important as an axial connection (Figure 189), while the Fosso Macinante runs below the villa along the second parallel street. In terms of architecture, the villa is referring to many predecessors, recalling lessons of Palladio and Rafael in the layout and the symmetry of the facades. At the same time, the building fits neatly in the context of sixteenth century Florence with f.e. the

Figure 189. Important axial road bending away from the Lungarno in front of Villa Favard (ca. 1870)

crowning of the terrace (resembling palazzo Corsini) (Steiner, 1989). As a private villa the building has a prominent expression and a fence enclosure. While the architectural style is clearly part of the urban ensemble (aligning with Poggi’s principles), the fence boundary strongly disconnects the area functionally. As its function changed, the situation today may be reconsidered90 (Figure 188).

Figure 188. Villa Favard 2021 with semi-public function 66


---1.3. Historical Intervention Locations---

1.3.9. Fourth Piazza San Niccolò building 91 The situation just after completion, without the greenery on the hill was quite abstract and some even proposed the demolition of the isolated Torre as they considered it too looming (Steiner, 1989).

Another main Poggi project was the Piazza San Niccolò that was part of the axial sequence at the bottom of the rampe towards the Piazzale Michelangelo. Figure 192 shows Poggi’s 1865 proposal, which was to clear this area by removing the walls and attached buildings (Figure 190), so only the Torre San Niccolò would remain as a historical artefact in its centre91. To emphasize the axial nature of the development a symmetrical approach was proposed on the piazza San Niccolò: four identical building facades would define the new space (Figure 192). The facades would be applied on the existing buildings, which were then restructured to fit their new facade. However, for some reason, one corner building remained out of tune as shown in a

Figure 192. Poggi’s 1865 proposal for Piazza San Niccolò (overlapping the pre-existing state in thin black lines) and the proposed facades of the four identical buildings

1935 photograph (Figure 191). Despite Poggi’s insistence this fourth building was never completed (Poggi, 1882, p. 256). Today, the block has been removed (Figure 193), leaving an unbalanced space, where the definition slips away with the triangular rest-space. This historic remnant is simply begging to finish Poggi’s original intentions as has been wonderfully shown in a preceding

Figure 190. View of Borgo San Niccolò from across the Arno before demolition (ca. 1850)

graduation project by Ten Hoope (2021).

Figure 193. Piazza San Niccolò 2021, removed block

Figure 191. Piazza San Niccolò in a 1935 photograph 67


---Chapter 1 - Historical Developments---

Figure 194. Roman acquedotto in detail ‘Foundation of Florence’ painting by Giorgio Vasari.

Figure 197. Map roman Acquedotto

Figure 196. Reconstructed situation Acquedotto in Roman Florence

Figure 195. Map of Florence in 1861 with the two water supply systems active at that time.

Figure 198. Water fountain on Piazza Mercato Vecchio end ca. 1550-1605

Acquedotto Di Carraia 16th century situation Acquedotto Di Montereggi 17th century situation Main public fountains Main private fountains

68


---1.3. Historical Intervention Locations---

1.3.10. The acquedotto network Before skipping to the historic intervention

In the 16th century a new acquedotto

location, this chapter will first elaborate

network came into being (Figure 195).

on the urban water supply system. In this

Opposed to the roman acqueduct, this

way the specific intervention location can

system distributed the water underground

be understood from its background and

to a handful of public fountains, which

broader context as it is part of an extensive

became important social places on the main

network.

piazzas (Figure 198). In the 17th century this network expanded and the wealthy citizens

History of the acqueduct network

incorporated

In

the

properties. This would lay the foundations

Etruscans already applied some hydraulic

for the extensive tunnel network, which

techniques

to

guide

water

to

strongly expanded in the 18th and 19th

settlements

(D’Angelis,

2012).

However,

the

hills

surrounding

Florence,

their

private

fountains

in

their

century (Figure 199). (Publiacqua, 2010b)

these systems were dwarfed by the Roman acquedotto that was the first to supply

Under pressure of the unification of Italy and

sufficient clean water to Florence to cater for

the subsequent enlargement of Capital city

its citizens and many baths (Figure 194, Figure

Firenze (1865-1871) by Poggi, the acquedotto

196, Figure 197). This collected the water from

system

Monte Morello through an underground

modern acquedotto was inaugurated in

cave in a large reservoir at Castellum

1877 with the ‘officina idraulica’ as its beating

Aquae92. From here the acquedotto surfaced

on the location of the historic Mulino di San

above ground as an elevated structure,

Niccolò in front of the Torre di San Niccolò

harnessing the height difference from the

(Figure 201 - Figure 207). This factory made

original source to make gravity run the water

use of the rivers hydro power, first with

to the city. (Aldrete, 2004)

turbines and later with modern machines

was

Figure 199. 19th century water supply ‘acquedotto’ 69

strongly

modernized.

The

92 At present day Villa di Castello (Aldrete, 2004)


---Chapter 1 - Historical Developments---

1. Arno Tunnel

Figure 201. Officina Idraulica plan

Figure 200. Officina Idraulica section A

2. Gora Figure 204. Officina Idraulica section B

Figure 203. Officina Idraulica section A1

el

nn

A1 B

A

1.

u ot

n

Ar

Galleria filtrante

2. Gora

Figure 205. Officina Idraulica after completion

Figure 206. Officina Idraulica and altered Pescaia in construction

Situation Officina

Exhaust

Situation Mulino

Figure 202. Situation plan Officina Idraulica with the three canals

Exhaust

Canal under ground Officina

Mulino (Renai) Gora Mulino

Figure 207. Officina Idraulica (top) adopted pescaia & gora Mulino (below) 70


---1.3. Historical Intervention Locations---

to push the filtered water from the Galleria

The first is the tunnel below the Arno parallel

Filtrante and later Anconella plant upstream

to the Pescaia di San Niccolò (Figure 202),

to the reservoirs of Carraia, Pellegrino and

which already dates back to the 1500 (Sanna,

La Querce (see “1.2.6. Serbatoio | Water

2010). At that time, it was used for defensive

pressure” on p.47) (Ciardi, 2019).

reasons to move between the Torre della

93 (See Figure 554 in appendix “A.3. Mulino” on p.322) 94 Also see Figure 180 on p.64

Zecca and the Porta San Niccolò (FIC, n.d.). In In 1963 the officina idraulica was demolished

the 19th century it served as an inspection

and replaced upstream to the Anconella plant

site of the pipeline distributing water from

in its entirety to make space for the gardens

the Officina Idraulica to the north side of the

of Terazza Riccardo Marasco overlooking

Arno (Sanna, 2010). This tunnel has been

the river (Caporali, 2021). The underground

shown in chapter 1.2.5. on p.45 (Figure

network of the acquedotto (as shown in

116) and as Figure 119 showed, it is currently

Figure 199) is still there and a large part has

empty and unused. This sub-surface system

continued to function in the distribution of

continues in at least 300 square meters

water to entire neighbourhoods.

of basement and tunnels below the Torre Zecca as remnants of the Minting complex93

Historic intervention location

(Sanna, 2010).

The parts of the acquedotto system that are no longer in use make up interesting

The second tunnel of interest (Figure 202)

locations for potential interventions. While

originated in the gora of the Mulino di San

these are quite difficult to uncover due to

Niccolò, passing the Mulina dei Renai (Figure

their invisible underground character, the

207). Poggi used the covering of this gora

key historic location of the Mulino di San

to create the Lungarno Serristori and the

Niccolò and later Officina Idraulica can be

Lungarno Torrigiani94. To still use the path

confirmed as suitable for intervention. This

of the gora as the outlet for the new Officina

entails the Officina Idraulica basement (of

Idraulica, a tunnel was incorporated below

which the inlets have been bricked up) and

the Lungarni (Figure 203), which runs up to its

two major tunnels.

exhaust across from the Uffizi (Figure 208).

Figure 208. The gora tunnel of the Officina Idraulica with its exhaust at the Arno across from the Uffizi below lunarno Torrigiani 71


1.1.1. (p.19) Arno as an extension of the public space

1.1.2. (p.23) Access to the riverbanks

Historical intervention locations (1.3.)

Lessons to take from history (1.1.)

1.4. HISTORICAL SITUATION ANALYSIS | CONCLUDING OVERVIEW

72

1.1.3. (p.27) Topography & staging views

1.1.4. (p.28) Irreplaceable atmospheric qualities Arcadian river landscape


1.1.5. (p.29) Originally wetland area

1.1.6. (p.31) Direct transition nature city shifted to the streams

1.1.7. (p.33) Arno as a natural force to reckon with

73

1.2. (p.35) Specific architectural types add to riverfront experience


---Chapter 1 - Historical Developments---

I. Ponte | Bridge For the bridge two interesting typological precedents were distinguished: •

The bridge as a place to be, which can range from the incorporation of benches to entire spaces for interaction.

Type A | Ponte as a public space

The bridge as a pragmatic crossing, which passes closely above the water surface.

Architectural water-related typological precedents (1.2.)

Type B | Pragmatic ponte in proximity to the water level

II. Tiratoio | Wool production factory This industrial type for wool production required large quantities of water and the process was split in the two parts of the building: the production in the solid volume below and the drying in the large loggia framework above.

III. Bagno | Arno bathing

Type A | Tent structure

For the historic bathing along the Arno many outdoor examples were found. These can be subdivided in three types: •

The

tent

structure,

as

a

shaded

deepening in the river •

The riverbank, which can be a simple ramp or a stepped tribune

Type B | Riverbank (stepped or ramp)

The protected zone of a bridge or a mill canal

They all obviously share access to the river, which is often combined with a unit for changing and/or restrooms, together with shading and/or spaces to sunbath and watch the swimming activities. Type C | Protected zone (bridge or mill)

74


---1.4. Historical Situation Analysis | Concluding Overview---

IV. Mulino | Mill The watermill type consists out of stacking of functions. •

In the basement aligning with the water

Private (living / office)

level the mills harness the hydropower. •

The ground floor above is of a public

Public (workspace / shop)

nature, with production spaces or shops. •

Higher floors housed related private Functional hydropower

functions, like living or office space. It was common for multiple mills to share the

+ Common functioning in series

same gora and hence operate in a series.

V. Acquedotto network | Aquaduct The

Acquedotto

network

type

consists

of linear tunnel spaces that form a large network of water transportation below city life, which can be accessed by the functional and careful designed control buildings.

VI. Serbatoio | Water pressure The Serbatoio type was used for water storage to keep pressure on the Acquedotto network. This storage function took place in grand vaulted spaces with impressive atmospheres. Characteristically these subsurface structures were covered with a park, where only a small carefully designed entrance building remains visible as icing on the cake.

VII. Riverbank structure | Flood-proof The initial riverbank structure type can be described as a chalet on timber poles. However, the interesting lesson from this type lies in its flood-proof evolution, where the delicate parts are integrated in the embankment, while the exterior space in front is claimed.

Initial version 75

Flood-proof version



2. CURRENT SITUATION & WHAT IF? Subquestion 2: What is the current state of the

in the design process. In fact, the potentials

riverfront and what could it be?

have continued to crystallize during the design stage, as with progressive insight

As the Florentine riverfront entails quite an

some turned out to be more sensible than

extensive area (no less than 7km), the focus

others or required slight adaptation to fit

of this analysis has been on the potentials.

neatly in the whole. As such, the potentials

In this way, the design applicability of the

and design became strongly interlinked96.

research outcomes can be ensured. The required power of imagination is clearly

Since there are clear spatial differences

expressed in the book ‘From what is to

between the different areas of the riverfront,

what if’ by Rob Hopkins. With various

the analysis (& potentials) will start with

examples the book shows how by making

some general aspects followed by aspects

the value of change tangible the potential

along the landscape, the historic stem and

of improvement can be unlocked (Hopkins,

ending with the sub-streams. However,

2019). This dialogue between what is and

this is not a strict division as they are all

what could be is used to take a closer look at

closely interlinked. This is followed by an

the Florentine riverfront in order to find and

analysis of currently disused locations as

focus on the city-river potential.

they provide opportunities for incorporation in the interventions of the masterplan. A

To help spark the imagination of what

concluding overview of both is given at the

could be, various works of literature with

end of this chapter. The main structure is

specific approaches to achieve urban design

thus as follows:

qualities have been consulted95 (Figure 209). Parallel to the current situation analysis, their

2.1. Analysis & potentials

(p.79)

potentially applicable and interesting aspects

2.2. Intervention locations

(p.118)

are applied on the Florentine context. This

2.3. Concluding overview current situation

analysis of ‘what is’ and ‘what if’ has been an

analysis

(p.134)

iterative process, which allowed a head-start

95 Together, the main books used cover a broad range of concepts and principles to apply to the situation. Their varied focus is shown below: The book on townscapes by Gordon Cullen (1971) is still very applicable today. He outlines the elements to act out townscaping, which is defined as: ‘The art of giving visual coherence and organisation to the jumble of buildings, streets and spaces that make up the urban environment’ (Cullen, 1971). Life between buildings by Jan Gehl (2011) focusses on the social aspects of cities and what aspects to consider to allow for interaction. The book ‘image of the city’ by Kevin Lynch (1960) stresses the need for identity, structure and meaning in order to be able to grasp the environmental image of a city. It focusses on the legibility or imageability of the city and the separate elements (paths, edges, districts, nodes and landmarks) that define this ideally as an interconnected whole. ‘Creating great places: Evidence-based urban design for health and wellbeing’ by Cushing & Miller (2020) introduces six contemporary design theories for great places in which people can thrive. Lastly, findings from the historical analysis were also used to explore the potentials today. 96 As will be seen in part B, where the potentials find their place in the complete masterplan and urban design.

Figure 209. Evening view form the Pescaia di San Niccolò and literature used to fuel the ‘what if...’ potentials 77


Figure 213. Arno river with its main tributaries and six major reaches

Figure 214. Flood measures taken in the entire Arno basin

Figure 211. Carts wading through the Arno river

Figure 210. 1966 flood overtopping the banks at the Ponte Vecchio

Figure 212. La Penna dam second half 20th century 78


2.1. ANALYSIS & POTENTIALS 2.1.1. The river Arno The Arno is a 241 km long river running down

Had he been there during the wild 1966

the Apennines and catering for a large part of

flood this impression would have been

Tuscany with a total catchment area of 8.228

different.

km2. The total basin is subdivided in 6 subbasins, where the extents of the Florentine

The Arno system

plain fall within the ‘Middle Valdarno’ at the

In recent years dams (La Penna and Levane

foot of the Apennines (Figure 213) (adbarno,

in particular) have alleviated this problem

2019).

partially as the discharge from their artificial lakes, can be controlled98 (Figure 212 & Figure

Dual character of the Arno river:

214). Another intervention from the 1966

The river has a torrential character caused

hydraulic risk plan are the retention areas

by the steep and impermeable character of

that can be flooded in a controlled manner in

the basin, where the rains are quick to flush

case of critical water levels (Figure 214)99. Two

down into the main stream. This leads to

of these are located directly downstream

large fluctuations in flow rate, which means

of Florence to reduce the flooding of the

the Arno can go from nearly dry (Figure

Florentine plain which would be increasingly

211) to flooding (Figure 210) in a matter of

disastrous due to the high building and

days (Figure 215). At the location of Florence

industrial density that has agglomerated in

where the Arno leaves the Apennines, the

the area. Both the Argingrosso (4 million m3)

flow rate97 can therefore vary between 0,56

and the Renai (11 million m3) retention areas

and 3540m3/s (Figure 217 on next spread).

are planned to combine their safety measure

(adbarno, 1996)

with a recreational programming while providing a stage for nature and (avi)fauna100

It’s deceiving nature is wonderfully expressed

(NdF, 2009).

by Mark Twain (a navigator on the Mississipi) after his summer stay in Florence in 1869:

The

need

to

take

both

measures

here ... The Florentines call it a river and

simultaneously becomes clear from the

honestly think it really is, helping the

graphs in Figure 216, which shows all these

illusion by building beautiful bridges

measures together do help to limit the

over it; but I don’t understand why I

flooding in case of a 200-year flood event

don’t find it on foot! (Steiner, 1989, p.

(similar to the 1966 flood). However, this is

12)

still not sufficient to prevent a 200-year flood

97 The yearly average of the flow rate is 50m3/s. In the most recent and severe 1966 flood a flow rate of 4100 m3/s has even been measured inside the city. 98 Next to their purpose for flood protection, these dams are beneficial to the energy production as power stations are attached to make use of the height differences. 99 The Restone and Pizziconi retention areas in the Figline municipality are an important example, with an astonishing 10.1 million m3 volume on a 315 hectare area. This will reduce the flow rate of a 200-year flood event by approximately 300 m3/s. The maximum embankment heights are around 8 meters with a top width of 4 meters and a slope of 1:2. Where the embankment height is greater than 5 meters an extra intermediate bank is added. The overflow thresholds of this retention area have moving parts (fan gates), which makes flexible management of the reservoir capacity in relation to the flow data monitoring system possible. (Alderghi, 2016) 100 The Argingrosso area (120 hectares) is located across the Arno from the Cascine park and runs along Isolotto up to the meeting of the Greve with the Arno. The Renai retention area (195 hectares) is located further downstream between the Arno and the Bisenzio. (NdF, 2009)

from happening entirely.

Situation without interventions Retention areas of Figline All retention areas All retention areas + Levane dam Maximum without overflow

Figure 215. Flow rate at Nave di Rosano (Firenze) during 1966 flood

Figure 216. Hydrograph of a 200-year flood in the Arno reach between Varlungo and Verrazzano (Firenze) 79


---2. Current Situation & What If?---

Max. range = 3540 m3/s (4 november 1966) Average = 50 m3/s

Minimum

Min. = 0,560 m3/s (29 August 1958) = 1 m3/s Figure 217. Flow rate at Nave di Rosano 80

Average


---2.1. Analysis & Potentials---

What if... ‘Experiencing the dual character’

On top of this, it should not be forgotten that

Now the risk is seriously reduced, this omnious

these measures are put in place to alleviate the

atmosphere can be harnessed as a seasonal

peaks in flow rate in particular. In winter there

experience. This closely links to the concept

will thus still be moments of heavy rainfall that

of ‘immediacy’101, where the direct relation to

result in high water levels. The dual character is

the water suddenly shifts from the riverbank

thus still present, with the only difference that

to the Lungarno. While the difference in water

the high water levels are less likely to exceed the

level in itself would have an effect on the local

safety limits. The relatively safe situation makes

acquainted population, this can be deliberately

it possible to reverse the turn away from the

designed to emphasize the difference between

river that could be seen after the 1966 flood.

the low- and highwater situations so it becomes

While there is something special about the

perceivable even for outsiders (Figure 218).

omnious atmosphere that comes with dark

When this is combined with use possibilities

clouds and high water, it is understandable this

(e.g. shortcuts or alternative routes and fishing

turns to anxiety and fear when there is a high

from the banks or from the lungarni) the dual

probability it will flood your neighbourhood

character experience even becomes part of daily

and all the things you love.

rhythms102.

No clear experience

Clear experienceable difference Figure 218. Increasing the perception of water level differences

In flood

81

101 Gordon Cullen uses this notion to describe the sense of direct closeness and connection to something else, without conventions like railings or safety limits holding of the direct contact and its pure experience (Cullen 1971, p. 61). 102 This is a trend further elaborated in chapter 3


---2. Current Situation & What If?---

Figure 219. Ecological state of the surface waters in Arno Basin (2014)

Figure 221. Ecological state principal river basins in Tuscany (2020)

Figure 220. State of the ground water (2020)

Figure 222. Chemical state principal river basins in Tuscany (2020)

82


---2.1. Analysis & Potentials---

2.1.2. Ecology & waterquality The ecological state of the surface waters

term coexistence of both native and non-

is quite bad as confirmed by Bottaini &

native species. This is more likely to succeed

Tognotti (1999). They connect this to the vast

when

amounts of civil, agricultural and industrial

catering the specific needs of the different

discharges combined with a waste-water

species, which is in particularly relevant for

treatment plant that caters for just half of

the native species. As Adams & Pearl (2007)

the decontamination required. This was

show, the habitat diversity and temporal

especially critical during the summer periods

hiding places decreases the competition

with low water in which a large part was

pressure and allows long-term survival of

subtracted by the Anconella drinking water

both native and non-native species.

there

are

diverse

microhabitats

plant upstream of Florence. The centralized wastewater plant of San Colombano (in use

Site visit observations

since 1999) was to improve the quality of the

During the site visit the important position

river (Bottaini & Tognotti, 1999). In 2011 the

of the water to the ecology was evident.

plant and pipelines expanded to intercept

Not just for the aquafauna, but also for the

even more sewage waters that would

birds which were present in large numbers

otherwise end up in the Arno (Il Reporter,

and varieties (Figure 223). In contrast, the

2011).

largely stone urbanized areas only showed an occasional dove. While the park areas

While this did lead to a drastic improvements

also showed more birds, the waterside was

in the past 10 years (La Nazione, 2019) the

specifically important to water birds, like the

ecological state of the surface and ground

great egret, the blue heron and even the

water is still far from ideal, especially in the

kingfisher of which a glimpse could be seen

Florentine area as shown in Figure 219 &

at the Ponte Vecchio.

Figure 220. When comparing the Arno basin to the other important Tuscan river basins

The

in Figure 221 and Figure 222 it becomes clear

microclimate

how the Arno as the largest basin in the

remarkable, especially outside of the historic

Tuscan area is also the most polluted one103

centre. The fresh green colours were a sight

(ARPAT, 2020).

for sour eyes in comparison to the scorched

difference

in

of

planting the

river

along

the

was

also

yellow grass and dusty green trees that had Over the past centuries, this degraded

to face the Tuscan climate head-on. Along

stream-quality

(less

with the weeds and flowers, this was a feast

and

pollution)

increased

hydromorphology has

had

a

for butterflies and other insects.

negative impact on native species of fish and vertebrates as shown by Haubrock

A

less

positive

et al. (2021). This research mentions the

presence

introduction of non-native species as an

have been imported from Argentina and

additional cause, which was stressed in a

are forming a risk to dike damage so they

conversation with a Florentine Fisherman

are actively catched and exterminated106

during the site visit104. The advice by

(Zoogdiervereniging, n.d.).

of

Haubrock et al. (2021) is to target the identified stressors in order to promote long83

observation

coypus105.

These

was

the

species

103 In terms of water quality for the floodprone Arno an additional consideration is the location of water sanitation and dumpsites. When located along the water, they provide a huge risk for increase pollution in case of a flood event (Arrighi et al., 2018), so this should be kept in mind when taking flood measures and designating overflow areas. 104 He was just trying out his new equipment below the Ponte alla Vittoria since it was near his home. He would not go there with the intention to catch anything (also due to the low water as a result from the collapsed pescaia). The fisherman stated eastern catfish were introduced 2030 years ago and since they dominated the population by eating all the smaller fish species. According to the fisherman the record length of these ‘monsters’ caught in the Arno region was 2.5 meters. 105 Coypus look like otters and beavers for which they were initially mistaken during the site visit. The flat tail clearly distinguishes the beaver, while the large rodent flat orange teeth distinguish the coypus from the otter. (Willson, n.d.) 106 A trial in the Italians wetlands has had positive results in reducing the population with two trapping periods per year (Bertolino et al., 2005). 107 The listed wetlands have to be monitored in order to check if the required amount of criteria are met. These include a minimum of 1% of the population of certain characteristic wetland flora and fauna. For this to happen, the right habitat has to be in place with the right quality for species to return and expand (Ramsar, 2021).


---2. Current Situation & What If?---

Figure 223. Relatively rich ecology compared to the non-riverbank areas 84


---2.1. Analysis & Potentials---

Current state wetland areas

extensive. The Tuscan inland areas are still

As mentioned in chapter ”1.1.4. Florentine

upcoming, where the current total of 11

valley as a wetland area” on p.28, the

wetlands in the province are shown in Figure

Florentine

224 (Regione Toscana, 2020).

wetlands

are

not

the

only

wetlands that have disappeared. In the last century 90% of the European wetlands have

The 2000 hectare ‘Padule di Fucecchio’ just

disappeared and this dramatic decrease

south of the Pistoia mountains is the closest

resulted in many endangered or even extinct

to Florence and it has similar historical

plant and animal species (Sensitivefabrics,

origins to the Florentine plain108. Contrary

2020). This is why the remaining high

to the Florentine plain, this marshland has

quality

international

not been drained entirely and today it still

interest are protected as ‘Ramsar’ sites,

is the largest Italian inland marsh. Next to

named after the convention held in Ramsar.

being a protected natural area, the Padule

With the increasing understanding and

di Fucecchio also functions as a tourist

acknowledgement of the problem new

attraction, both from a florafaunistic (bird

Ramsar sites are created or recovered. At

observation) and a landscape (outdoor

the moment Italy has 57 definitive Ramsar

activities,

areas (shown in Figure 225), but as it takes

The area offers astonishing routes with

some time to fit potential areas to the

three

definitive criteria107, the monitored list of

(Incantotoscano, n.d.)

wetland

sites

of

photography)

observatories

for

perspective. wild

animals.

internationally important areas is more

Figure 225. Italy’s 57 Ramsar sites of total area 73.982 hectare

Figure 224. Ramsar areas in Tuscany 85

108 The Fucecchio marshland also played an important role in the regional history surrounding Florence. Already in the 3rd century B.C. Hannibal got stuck in this swamp, where he struggled for four days at the expense of many soldiers and all his elephants (Italianways, 2016). Where the Florentine plain had been largely drained by the renaissance, this was not the case for the Fucecchio area. Hence the plans of Da Vinci to reroute the Arno river as an arc-shaped route ends in this area as the rerouted river would reach the Fucecchio marshland. (D’Angelis, 2012)


---2. Current Situation & What If?---

Figure 227. Italian Ramsar sites grouped by area (hectare)

Figure 229. The low Argingrosso area and its sanddug waterholes.

Figure 228. Extent of Alde Faenen (top) juxtaposed on Florentine plain

Figure 226. Existing situation - generic park and rest functions

86


---2.1. Analysis & Potentials---

What if... ‘Wetland area was reintroduced’ Given the historic origins, the need to improve

not even essential, as even smaller areas110 can

the ecological state of the water and the

still be of rich quality in a network of connected

recreational joy of the waterfront fauna, the

patches (Ramsar, 2021).

potential of reintroducing the wetland area seems unlimited. Wetlands can be considered

This increases the possibilities to introduce

the ‘farmlands’ of the aquatic environment as

wetlands close to the city – coined ‘urban

great volumes of food are produced here. The

wetlands’ by the Wildfowl & Wetlands Trust.

large amounts of plants over time deteriorate

The WWT sees this as an important manner

in small organic particles that feed the

to raise the understanding and respecting

invertebrates, shellfish and forage fish, which

of nature by the urban population111 (WWT,

in turn feed predator fish and birds (Vermont,

n.d.). Urban wetlands can form a vital source

n.d.). Wetlands are also essential as a space

of access to nature for the city dwellers, where

for breeding (fish and birds) and migration

the multitude of benefits can be brought back

stop-overs (birds). The protection and (re-)

to neighbourhoods and daily lives (WWT, n.d.).

introduction of wetlands is thus more important

Interesting

than ever in order to protect the rich flora and

can also play a role in the treatment of

fauna that house in this specific environment109.

wastewater112 (Masi et al. 2008).

To make the spatial implications on the

Considering the aforementioned needs and

Florentine plain graspable, another Ramsar

benefits, combined with the need to have

example closer to home has been juxtaposed

sufficient water overflow areas in case of

on the Florentine plain (Figure 228). The Dutch

flooding, the originally wetland area of the

national park ‘De Alde Feanen’ has been visited

Florentine plain may thus be very suitable for

by the author and presents an impressive

the re-introduction and strengthening of this

combination of ecological value with water and

ecosystem. As an example, imagine the added

nature recreation. It is absolutely astonishing

quality of a relatively easy wetland conversion

how dense the two can come together on a

for the Argingrosso113 (Figure 229, Figure 226 &

relatively small area. As Figure 227 shows, size is

Figure 230).

Figure 230. What if this would be wetland recreation instead?

enough,

87

constructed

wetlands

109 This is vital for protection of endangered species as is the case in the nearby Busatello Marsh (near Bologna), which includes nationally threatened species like the sedge warbler and the wryneck (Ramsar, 2017). 110 The smallest being 33ha (Ramsar, 2021) 111 This is extra important, given the ever increasing percentage of urban population. The urban population as a percentage of the world population has continuously grown from 34% in 1960 to 56% in 2020 (UN, 2020). 112 Incorporating constructed wetlands in the secondary and tertiary waste water treatment is a form of sustainable and cost-effective sanitation. As shown by Masi et al. (2008) the results are even more beneficial in Mediterranean countries compared to the rest of Europe due to the warmer climate. 113 Sand digging activities already created small water holes and as chapter “2.1.8. Cascine & Anconella - two riverfront parks and their context” on p.111 shows, the current situation is quite disused.


---2. Current Situation & What If?---

Figure 234. Floating bath in Hudson 1870’s

Figure 231. New york ‘+ pool’ initiative

Figure 235. Victorian bath floating in Thames 1870’s

Figure 232. London Thames baths kickstarter project led by Studio Octopi

Figure 236. Piscine Deligny on the Seine 19th century (since 1796)

Figure 233. Paris swimming in the Basin de la Villette

88


---2.1. Analysis & Potentials---

What if... ‘A river to swim in’ As we have seen in Chapter 1, the Arno river

The ‘Thames Baths’ in London (Figure 232),

used to be swimable in the 50s and 60s, but

which uses a separate cycle of clean water,

the water has become too polluted to do so

while floating on the river (Frearson, 2015).

since (La Nazione, 2019). As mentioned above,

The floating pool in the Basin de la Villette

this improved with the Colombano sewage

in Paris (Figure 233), where the water is

plant and pipeline in the past decade. Together

directly swimable and merely carefully

with the electoral plans of major Nardella to

monitored (Nelson, 2017).

continue these improvements this will make completely swimable Arno waters within reach

It is remarkable to note how each of these cities

(La Nazione, 2019).

have their own astonishing examples of floating pools (respectively: Cohen, 2017; Mansfield,

This raises the potential of a once more

2015; Messynessy, 2019), but these seem to be

completely swimable Arno with the same variety

neglected in favor of a more generic floating

in options and facilities that we have seen in the

pool layout.

historic situation114. It would be great if the Florentine variants could In the meantime, it is already possible to

be drawn from their typological predecessors

achieve this potential locally today, since there

to learn from their location specific needs and

are floating pool projects in far more polluted

acknowledge the long standing culture. In

waters, to name three variants:

any case, the river swimming revolutions can

The ‘+ pool’ in New York’s heavily polluted

start by incorporating a filtering system in the

East river (Figure 231), which uses cleaned

currently still polluted waters. This will reclaim

river water to swim in, by applying a filter

the use of the largest public space in the city,

of a.o. active carbon in its walls (Basulto,

while cleaning the water at the same time.

2014).

89

114 See chapter “1.2.3. Bagno | Arno bathing” on p.41


---2. Current Situation & What If?---

Areas within visual and panoramic cones whose image is historicized Areas within visual and

panoramic cones whoselandscape and cultural value Agricultural areas of particular

is historicized ! image Firenze

Areas within visual and panoramic cones whose image is historicized Italy_Province_boundaries Agricultural of Agricultural areasareas of particular landscape and cultural value Italy_Regional_boundaries landscape and ! particular Firenze Areas within visual and panoramic cones whose image is historicized Italy_border cultural value Italy_Province_boundaries Agricultural areas of particular landscape and cultural value

! Italy_Regional_boundaries Firenze Firenze Italy_border Italy_Province_boundaries Italy_Regional_boundaries

Figure 237. Protected zones limiting renewable energy in Tuscany

Italy_border

Areas within visual and panoramic cones whose image is historicized Agricultural areas of particular landscape and cultural value

!

Firenze

Italy_Province_boundaries Italy_Regional_boundaries Italy_border

+ Pescaia di Santa Rosa

Figure 238. Policy documents returning hydropower along the Arno at the weirs, including four within Florence 90


---2.1. Analysis & Potentials---

2.1.3. Hydropower The Arno river has been one of Florence’s

investigated by the region, municipality and

main sources of energy for centuries, where

university (Regione Toscana, 2021). This

the mills and water-driven manufacturers

estimated the possible production of 47GW

along the stream were powered by the

of energy (9 million euros per year) (La

flowing water that was gathered behind the

Nazione, 2015). While the planning process

weirs (Gozzoli, 2008). While this happened

had been postponed due to an appeal the

since antiquity and boosted throughout

project is now continuing. Twelve hydro

the 14th century (Gozzoli, 2008) during the

power plants will be constructed (BMgroup

20th century the expanded energy needs

n.d.)115. Of which four inside the municipal

and the introduction of cheaper and widely

boundaries of Florence (Figure 238). This

available alternatives (coal, gas, oil) made the

excludes the Pescaia di Santa Rosa, possibly

water power system redundant. At present

because of the lack of space directly along

the only remains are the weirs, but they no

the Arno, as this weir fuelled the Fosso

longer have a power function.

Macinante canal with a series of mills apart from the Arno instead.

With the shifting focus on sustainable energy production

and

energy

While waterpower is a clean and sustainable

needs, the tide has been turning in recent

means of energy production it is not free of

decades. The continuously flowing water

disadvantages either. The main disadvantage

makes waterpower a clean and inexhaustible

can be the obstruction of water flow that

source of energy that is able to supplement

may disrupt both anthropomorphic and

the production by wind, solar and nuclear

ecological movements. As the weirs have

energy. With the exception of hydropower,

been there for quite a while this will not be

introducing these new forms of energy would

a newly introduced problem. To allow for

have a severe impact on the Florentine valley

movement nearly all weirs have been fitted

landscape and its views which is protected

with foderaia116, but to ensure a continuous

as shown by Figure 237. This should thus be

ecological water corridor

(also when the

carefully considered, while the reintroduction

hydro

the

of

appropriately

incorporation of fish ramps is required as

integrated. With this aim, the suitability of

outlined in the policy document (Regione

the Arno surrounding Florence has been

Toscana, 2021).

hydropower

the

can

ever-rising

be

power

is

active),

115 This contains 16 submerged bulb Kaplan water turbines of 2600mm diameter, 3 turbines with 2350mm diameter and 2 vertical axis Kaplan water turbines with a 2850 diameter together with 18 unloading gates and all control and automation systems for around 20 million euros (BMgroup, n.d.). 116 See “1.3.3. Foderaia” on p.58 for more information on this historic element. Since the foderaia historically were blocked to guide the water to the mill (Figure 239) alternatives are required to prevent a permanent blocking when hydropower would be reintroduced.

additional

Figure 239. Foderaia of San Niccolò mill with closing shutters painted by Fabio Borbottoni based on the Etching of Figure 155 91


---2. Current Situation & What If?---

Figure 240. Technical section of the hydropower below Terrazza Riccardo Marasco in proposed policy documents

Figure 241. Swimming pool Rari Nantes - current situation 92


---2.1. Analysis & Potentials---

What if... ‘Distinct architectural types were applied to modern riverfront activities to add to the specific riverfront experience’

The obvious ‘what if... milling in the form of

This potential would also apply to other

hydropower would return to the Arno’ is already

riverfront activities that are present or can be

set in motion. It is however remarkable, how

introduced. As an example the Rari Nantes

the interventions in the policy document seem

swimming pool east of the Ponte San Niccolò

to hide the presence of this hydropower from

is blocking the riverfront experience with its

sight, as shown in the very technical section of

fenced-of character in the current situation of

the hydropower below the Terrazza Riccardo

Figure 241. Its character of swimming with a

Marasco117 in Figure 240.

view across the Arno can be exaggerated in two directions with an even directer below-bridge-

Instead of leaving it there, this modern riverfront

type or an even wider viewing rooftop-type. As

activity would be a perfect opportunity to add

Figure 242 shows, both options would add to

to the riverfront experience as an architectural

the riverfront experience as a special type. On

type, just like the historic mills used to do in the

top of this, in this specific case the riverbank

past.

is simultaneously reclaimed for additional use purposes.

Figure 242. Swimming pool Rari Nantes - potential incorporation as an architectural type 93

117 This is the old Officina Idraulica platform next to Piazza Poggi.


---2. Current Situation & What If?---

2.1.4. Car oriented Lungarni 118 ZTL or ‘zona traffico limitato’ in Italian. 119 Recently there have been some improvements. The Lungarno degli Acciaiuoli has been paved and its sidewalk is claimed by planting and cafés. Further downstream separate bicycle lanes have been added and occasionally parking places are claimed by plinth functions. Nevertheless, the major part of the Lungarni are still asphalted and the pedestrian is marginalized to the sidewalks (see appendix “C - Site visit” on p.342 for the site visit picture series). 120 Gordon Cullen is quite clear that towns with a main orientation (e.g. a sea or riverfront) should emphasize the qualities of the urban fabric here as this is a good location to make a geographical boundary align with a functional one (Cullen, 1971). In the case of Florence the historic functions may be partly lost, but the clear geographical waterline and aligning decisive architecture is present if the rumble of (parked) cars and traffic signs would not be polluting the view. Besides, the retrieved space could make new activities possible.

After Poggi opened up the Lungarni as

the Lungarni are completely excluded. They

a nearly continuous line the riverfront

are part of the traffic limitation zones118,

developments

but as these are only ‘limiting’, they are still

dominated

by

have the

been

increasingly

modernizing

traffic.

accessible for certain groups of car users

Where the handful of carriages were still

(especially a large group of residents) (Flores,

compatible with the intended promenade

2020). Besides, the ‘ZTL’ are accessible to

function, the multitude of cars is not. As the

everyone outside their prohibited times and

rise of motor-vehicles impacted the entire

parts of the Lungarni are in a lighter ZTL

historic centre, pedestrian zones and traffic

zone or even without restrictions (in front

limitation zones have been introduced

of Villa Favard). In the current situation, the

(Figure 244). It is remarkable how the major

Lungarni public space can thus still be called

part of the historic core and the crossing to

car oriented119.

the Pitti Palace are pedestrian zones, while

Figure 244. Pedestrian area (black) & Traffic limited zones (ZTL)

Figure 245. Piazza Cestello from parking lot to public space 94

Figure 243. Benches along Lungarno Serristori as important tool to extend outdoor stays


---2.1. Analysis & Potentials---

What if... ‘Lungarni as pedestrian public space’ Just imagine this space would be used as

could be enjoyed right in front of the own

public space for people instead (Figure 245).

dwelling.

As stressed by Cullen (1971), the potential of removing cars and parking on focal locations

When adding the Lungarni to the pedestrian

within towns, will emphasize the existing

network,

qualities of their urban fabric120.

intermediate situation of the distance-intimacy

they

become

an

interesting

relation124. You do experience the wide views On top of this, the social qualities of the space

of the entire river, but the narrow lungarni still

will be improved. As mentioned in Gehl (2011)

provide close encounters. This is still relatively

optional outdoor activity increases when the

wide compared to the narrow medieval streets

quality of the environment is increased and

of Florence, which means there is space to

‘Only “on foot” does a situation function as

intervene. The introduction of the occasional

a meaningful opportunity for contact and

narrowing in the streets can increase the

information in which the individual is at ease

intimate effect of these close encounters while

and able to take time to experience, pause, or

reserving space for functional elements like

become involved.’ (Gehl, 2011, p.72).

stairs descending to the riverbank, viewpoints or street furniture. (Figure 246)

This can be combined with the addition of seating places (Figure 247), as this is another

Then again, with the expanding mobility

essential feature which is currently missing.

alternatives125, the growing notion of car-free

Compared to the seating in the inner city

city centres and the already existing limiting

streets (e.g. the incorporated palazzi benches),

zones, a design solution should be within reach.

the Lungarni seating would provide wide views

The pedestrian zones and the limitations of the

and vis-a-vis122 in addition to the nearby street

ZTL’s can be expanded, while the integration of

activities. The lack of seating may partially

mobility alternatives may replace the parking

explain, why the outdoor activities are limited123

just outside the historic edge.

and when looking at the exception of Piazza Nicola Demidof (Figure 243), the immediate effect on the ‘life between buildings’ can be perceived. Pedestrian friendly Lungarni also help to soften the boundary between the multistory buildings and the exterior space (Gehl, 2011). In nice weather, the outdoor sunshine Figure 246. Incorporating elements and closer encounters

121 As one example, the pedestrian traffic in a street doubled after closing the street to vehicular traffic (Gehl, 1969). It even helps to move parked cars to the end of the street. This replaces vehicular traffic by pedestrian traffic (to get to the car first), which permits local traffic to be a part of other outdoor activities (Gehl, 2011, p.111) and thus may constitute a pleasant trip through the neighbourhood (Gehl, 2011, p.126). 122 Related to the vis-a-vis, the ‘social field of vision’ maximum of 100 meters is interesting, as this is roughly the minimum distance between two Lungarni banks. You can therefore just recognize moving individuals on the other side of the river. By decreasing the distance (e.g. looking from the riverbank), recognizing acquaintances may also become possible (70 meter) (Gehl, 2011). 123 As described by Gehl (2011, p.155): ‘Only when opportunities for sitting exist can there be stays of any duration. If these opportunities are few or bad, people just walk on by’. 124 In narrow streets and spaces building details and people are perceived at close range, leading to an intimate, warm and personal atmosphere. Whereas wide streets and spaces are perceived as cold or impersonal. (Gehl 2011, p.69) 125 As shown in the atlas, there are already various (last-mile) sharing systems, ranging from bicycles, to scooters and cars. These developments take place on top of the public transport expansions like additional tramlines (see Figure 290 on p.111)

Figure 247. Incorporated seating inside the streets and along the river 95


---2. Current Situation & What If?---

Figure 248. Terrace space on Lungarno

Figure 250. Rowing association

Figure 251. Renaioli boats stored below the Ponte Vecchio

Figure 252. Outdoor activities

Figure 249. Temporary riverbank functions

Figure 253. Events in the Cascine 96


---2.1. Analysis & Potentials---

2.1.5. Functionality & activities riverfront At present most riverfront buildings contain

(upstream) drinking water plants, the Rari

functions that have no real relation with the

Nantes (swimming) and Canottieri (rowing

waterside. On the riverfront in the historic

and canoe) associations upstream and the

centre, there are especially hotels, general

linear parks used for recreation along the

businesses and some important public

river132. In fact, outdoor recreation activities

functions126. Neither of these need a direct

make up a large part of the riverfront

relation with the river and at most the view

activities as observed during the site visit133.

is an incidental benefit. The only street-level

This ranges from walking dogs and running

function which arguably has a semi-relation

(which also happens along the Lungarni)

with the water are the restaurants and cafés.

to cycling, fishing and sitting (Figure 252).

Both because they target the riverfront

Upstream, especially the riverfront of the

audience with dining along the Arno (both

Cascine was very well used for this, which

inside and on terraces)127 and because

was noticeably less at the connected Le

the people that come here were likely

Piagge and Argingrosso areas. The Cascine

deliberately looking for this atmosphere

was pleasant for various uses as it offered

and when gathered on a terrace they also

different conditions to choose from, e.g.:

add to the atmosphere themselves128 (Figure

asphalt for cyclists, forest paths for dogs,

248). The temporary functions present

riverbank descend for fishing, etc. Markets

inside the riverbank have a more direct

and outdoor events are also possible on the

relation. The Urban beach below piazza

riverfront asphalt, which on this occasion

San Niccolò, which is also the place where

included a ‘blind sailing’ experience (Figure

Firenze Rafting and Toscana Sup operate

253). Downstream, the Albereta riverfront,

from a van (Figure 249). This space also hosts

together with Anconella park is used for

riverbank terraces, which also takes place on

these recreational activities, but on a smaller

the northern riverbanks upstream and the

scale131. Finally, most activities preferred

riverbank below the uffizi. The latter is part

shade over the hot summer sun, especially

of the Rowing association, which is the only

the sedentary ones.

function with a direct relation to the Arno that has a building inside the historic stem

To conclude, the riverine functionality and

(Figure 250). It is also the only building with

activities today are largely recreational and

a direct connection between the interior and

outdoor. It would thus be deceptive to only

the riverbank129. The last function inside the

look at the functions housed in buildings,

historic centre are the ‘Renaioli’ boats, who

as there are only limited examples directly

have been revived as a tourist attraction

related to the river. Nevertheless, also

(Figure 251).

in general, there seem to be less plinth functions on the riverfront (which is largely

Outside the historic centre the functions

filled with hotels) than in the rest of the

directly

historic centre.

related

to

the

river

are

the

Mantignano (downstream) and Anconella

97

126 As shown in chapter “1.1.3. Topography & the staging of views” on p.27 these public functions are important in the definition of the northern piazza’s and the vis-a-vis towards the other side. 127 The Borgo San Jacopo and Via de Bardi buildings directly at the water allow for dining with a river-view. Which around the Ponte Vecchio is reflected in the price as this is obviously a high profile location for tourists in particular. 128 Opposed to hotel rooms, which may be booked because of the view, but they do not necessarily add to a lively riverfront. 129 Historically, this was much more common, as seen in chapter”1.1.2. Accessibility of the riverbank in the historic stem of the Arno” on p.23 and “1.2.7. Riverbank structures” on p.51. 130 The Renaioli boats are accessed from the ramp upstream of the Uffizi and they are stored below the Ponte Vecchio 131 Opposed to the Cascine, which is one large body of park, the Albereta riverfront is a linear park connected in the east to the Anconella park. The Anconella is the main functional core including playgrounds and fields, but as it is fenced it is less directly connected to the riverfront. 132 Next to this, they also contain a mix of disuse and functions not directly related to the riverfront as is elaborated in chapter “2.1.8. Cascine & Anconella - two riverfront parks and their context” on p.111. 133 As due to the travel time and the Covid-19 restrictions a large part of the research had to be conducted from a distance. The visit to Florence has been used to extensively experience the city and riverfront in reality to check the pre-existing conceptions and observe and interact with the city life in all its glory. In this way it is made sure that also the secondary sources at hand (e.g. Google maps street view and online photography) were useful and interpreted correctly.


---2. Current Situation & What If?---

What if... 134 Biophilic design theory links the human evolution with nature to the mental preference for being among other living things. This is closely linked to attention restoration theory, which stresses the need for nature access in the context of the overstimulating and fast-paced urban environment of our cities today. Research shows nature to be healing, linking the availability of nature to reduction in crime, domestic violence, duration of hospital stays and the amount of medicine. (Cushing & Miller, 2020)

functional than the inner city, which is full

… peace & quiet | a place to escape busy city life right at its centre

of shops, restaurants, musea and basically

The need to occasionally escape the busy city

everything you can think of. This could lead to

life and reconnect with nature is underlined

two ‘what if ...’-scenarios. Either the riverfront

by the closely linked attention restoration and

could become as flourishing with functionalities

biophilic design theories. According to these,

as the rest of the inner city, or it could become

the urban environment can be overstimulating

a place of peace & quiet as a supplementary

from time to time and close contact with

contrast.

the natural elements, in this case the Arno

In a way, the riverfront is currently less

riverfront, could help to relax in order to cope

… flourishing with functionalities

with this134 (Cushing & Miller, 2020).

The centrally located riverfront could be open to all sorts of functions. When focusing only on

Even Gehl (2011) recognizes the potential

the water-related functionalities many examples

of a suitable contrast, where sometimes it

were given at the historic analysis and modern

is desirable to have peaceful quite places as

techniques and forms of recreation can be

supplement to lively places135. To achieve this

added:

on the riverfront, the difference in height level

• • • • •

Mobility, albeit limited by weirs (water-taxis

between the Lungarni and the riverbank may be

/ buses)

used as illustrated by Gehl136:

Water

recreation

(swimming,

rowing,

‘functions located 50 to 100 meters

canoeing, supping, fishing, sailing, etc.)

from one another along a street

Nature and sports recreation: (birding,

interrelate more readily than functions

walking, running, cycling, etc.)

placed just 3 meters over or 3 meters

Water intensive industries: (urban farming,

under one another.’ (Gehl, 2011, p.99)

textiles, beverages, hydropower)

Preventing a smooth transition between the

Closely related functions: Arno / flood

street-level and the areas below (e.g. limiting

museum, eco-museum, spa, terrace, etc.

the access to one staircase) would further strengthen the isolation137.

This list is far from exhaustive and rather moderate. Perhaps a thought experiment would

As a matter of fact, this is the current state

be in place: Let’s imagine ten more riverfront

on more than one location. The experienced

functionalities in the category ‘jetski’ and place

tranquillity below the Ponte alle Grazie (after

all of them simultaneously in the Florentine

passing the whole Terzo Giardino from the

riverfront.

single access point at the piazza San Niccolò)

...

was simply phenomenal (Figure 254). This

In case you manage to allocate them without

absurd atmosphere of utter peace on the

conflict: congratulations! You will still have

natural riverbank with a view on the Ponte

effectively ruined the tranquil qualities of the

Vecchio was the perfect place for contemplation.

river space!

On that spot, in a magical moment of sincere clarity, the thought struck: what is the point of a place to escape the busy city, when nobody gets there.

98


---2.1. Analysis & Potentials---

… ‘A balanced mix of functionality & escaping busy city life!’ Both potentials have their own merrits, but as

In fact, it could be an interesting experience to

illustrated, the riverfront would be at a loss

deliberately look up the contrast. A relatively

when either one of them was implemented in

sudden transition on multiple senses can

its extreme form. While at first sight, they may

for example be made when entering an

look mutually exclusive, the riverfront has plenty

underground acquedotto canal (light > dark,

of space to incorporate both in several micro

noisy > quiet, warm > cold).

climates.

135 This is remarkable, since his focus lies on how to design to encourage outdoor activity and an active streetlife. 136 Gehl (2011) would consider this a technique of ‘dispersal’. It should be noted he uses this example to make a case for assembly (the opposite of dispersal), where he advocates a limitation of height differences to increase social interaction and activities. Logically, this would also work the other way around.

Many functionalities do not necessarily have to limit a moment of riverine tranquillity, when properly embedded or dispersed. The mix of functions and uses should thus be carefully planned and designed to optimally benefit from the open space, while cherishing the recreational and tranquil characteristics.

137 This tactic is described by Gehl (2011) as ‘repelling’.

Figure 254. Ultimate tranquillity despite nearby tourist hotspots, rowing and Renaioli 99


---2. Current Situation & What If?---

Figure 257. Fenced of Rampe d’Arno

Figure 259. Climbing wall at pescaia Santa Rosa

Figure 261. Overgrown stairs San Niccolò

Figure 255. Parts riverbank publicly inaccessible

Figure 260. Litter at informally accessed pescaia

Figure 256. Disrupting mobility nodes, claiming associations, mills and central lack of riverbank

Figure 262. Stepping stones

Figure 258. Rari Nantes & Canottieri blocking the riverbank access

Figure 263. Main traffic nodes hamper pedestrian and cyclist continuity parallel to the river 100

Figure 264. ‘Canal’ street


---2.1. Analysis & Potentials---

2.1.6. Accessibility riverbanks & continuity riverfront Given the multitude of riverbank access

This brings up the point of riverbank

points in the historical situation138, the

continuity, which is effectively blocked on

current state in the historic centre is quite

these occasions (Figure 256). Further the

limited (Figure 255). For this central location,

riverbank is exceptionally missing for a

there are only three formal access points:

130 meter stretch southwest of the Ponte

the ramp at Piazza Mentana for the Renaioli

Vecchio and the continuity is occasionally

and rowing association, the access through

disrupted by the stream of a water outlet,

the rowing association and the ramp below

which has been overcome by stepping

Piazza San Niccolò. The latter is the only

stones at the accessible Terzo Giardino

publicly accessible one, as even the historic

(Figure 262). Lastly, the ponte San Niccolò is

northern ramp has been fenced of (Figure

the only bridge which completely blocks its

257).

underpass (Figure 263).

Informally, there is one more access-point

The other main nodes just outside the

on the south side of the Pescaia di Santa

historic centre are especially hampering

Rosa, where people jumping across the

the parallel route at the level of the

embankment shows the value of riverbank

Lungarni. They form a real pain in the ass

access and the need for more access points

for pedestrians and cyclists, as downstream

(Figure 259).

they force severe detours, while upstream a series of traffic lights cause a waiting time

Unfortunately, the informal access points

of several minutes. Taking a detour to cross

are full of litter (Figure 260), which may be

below the bridges would be much easier,

a direct result of their informal character.

especially for pedestrians, but this was only

There are no bins, taking garbage across the

possible at the north side of Ponte Giovanni

embankment is an extra effort and there is

da Verrazzano as the others were blocked or

no maintance to prevent litter heaps, which

lacked riverbank access.

makes it ‘easy’ to add litter (Blouin, 2016). Lastly, it is remarkable how the roads south Outside the historic centre, the riverbanks

of the Pescaia di Sant’Andrea a Rovezzano

mostly have soil embankments, which often

(entirely upstream) are cut like canals inside

provide descending paths. At some points,

the elevated agricultural landscape. The

this is hampered with extra fences or walls

narrow streets lead to a very anxious cycling

and there are even several locations, where

experience and a loss of the riverfront due

the staircases that should be overcoming

to a one-direction system140 (Figure 264).

these obstacles are in fact overgrown139

The northern route is very pleasant, but as

(Figure 261). On other locations, the walls or

the Ponte Varlungo is the last connection

fencing is simply used to claim the riverbank

between the two, temporarily crossing is no

access in its entirety, which is particularly the

option.

case at the upstream Rari Nantes (swimming) and Canottieri (rowing) along with the mills of Rovezzano to a lesser degree (Figure 258).

101

138 See “1.1.2. Accessibility of the riverbank in the historic stem of the Arno” on p.23 139 In fact, the situation at the Ponte San Niccolò has not just been overgrown, but has been closed of as well. While it is unclear which came first, this is a loss of potential, which strangely is deliberately maintained rather than resolved. 140 See appendix “C - Site visit” on p.342 for the entire cycling experience along the Arno riverfront


---2. Current Situation & What If?---

141 This would add to the success of the viewpoints as shown in chapter ”1.1.3. Topography & the staging of views” on p.27, with vis-a-vis and wide river-views. Instead of harnessing the elevated points of topography at the panoramic views, the ultimate lows are used for special perspectives in this case instead. 142 Affordances are possibilities for action in an environment which are communicated with visual cues that can be acted upon by the observers. The setting in which the affordances and actions take place is called a ‘behaviour setting’. Consciously designing with affordances allows the support or discouragement of various activities and experiences. (Cushing & Miller, 2020) In this case adding access points would invite to go down, whereas a seating object or a platform along the water could allow for all sorts of interaction. 143 The riverbank route combined with the access points also links to the dual Arno character as described in “What if... ‘Experiencing the dual character’” on p.81. The flooded river would hinder access and force other routes or activities. Figure 265. Perspectives taken 2 meters apart show the astonishing effect of height on the spatial city experience

Figure 266. Riverbank view at Terzo Giardino

102


---2.1. Analysis & Potentials---

What if... ‘Accessible riverbanks’ Just imagine the potential of (re)introducing

the first, strategic broadening of the riverbank

riverbank

in

may provide the required space and invite for

the historic centre. The desire was clearly

interaction. For the latter, the amount of access

perceivable in the informal access, so the

and exit points is important, along with the

riverbanks could once more become an active

continuity (see next spread).

access

points,

particularly

part of city life. As a formalized accessible space, this would halt the littering. Access would no

This closely links to the functionalities of chapter

longer be limited to age, size or location along

“2.1.5. Functionality & activities riverfront”

the riverfront. Wherever you are, there would

on p.97, as the height difference induced

always be a nearby descend to the astonishing

isolation and hence an ‘escape of the busy city

riverfront atmosphere (Figure 266). This would

above’. Cullen (1971) adds to this, by stating

allow for direct interaction with the water

being lower than the general datum means

(e.g. fishing, swimming) (Figure 267) or would

an experience of intimacy. Both aspects are

simply allow to enjoy the natural aspects and

true when looking at Figure 265, which makes

the low-perspective views141, perhaps as part

accessible riverbanks a worthwhile addition to

of a daily walk or run (Figure 268). Both cases

the cities spatial atmospheres143.

can benefit from the affordance theory142. For

Figure 267. Strategic broadening for interaction (e.g. at access points, bridge covers, etc.)

Figure 268. Riverbank as a potential alternative running route to the Lungarni

103


---2. Current Situation & What If?---

Figure 270. Existing hard banks break continuity

Gravier d’Or

Natural planting (depending on space & position)

Figure 272. Potential of continuous route integrating materializty and use value Figure 271. Materialization in current situation largely consistent Figure 269. Below | River route as a legible experience of the city-landscape connection

Landscape

Park

Poggi

104

City


---2.1. Analysis & Potentials---

What if... ‘Arno as a continuous recreational route connecting city & landscape’ As it turned out, the riverbank would be quite

Along with the extra access and exit points, this

continuous if not for the small exceptions

could become an astonishing recreational route

that could be rather easily overcome. To

running all the way from landscape (valley) to

give the route a powerful image that sticks

city to landscape (hill) and back146 (Figure 269).

as a continuous element in the minds of

Just imagine the unlocked potentials for walking

the city residents a consistent appearance is

dogs or running laps, which can start right at

important144 (Lynch, 1960). When looking at the

the heart of the centre.

current situation, the Gravier d’Or and natural returning

When simultaneously tackling the traffic node

elements that can be made use of (Figure

disruptions on the level of the Lungarni, the

271). By transforming the exceptions in the

same potential can be achieved for cyclists. To

historic centre (Figure 270), the route gains a

fit for alternate uses, this higher route has a

strong mental continuity (Figure 272) and this

slightly alternate materialization (Figure 273).

‘imageability’ emphasizes the direct link to the

This route through the green and separated

landscape when you see the route inside the

from car traffic147 could even invite the less

centre145.

fanatic cyclists for a recreational tour across the

(water)planting

are

pre-existing

Tuscan landscape. To continue this on the east side, the cycle route can be disconnected from the ‘canal-streets’ in this area. Cycling on the level of the higher agricultural fields is relatively easy to achieve and with the resulting car-free views across the landscape and the river this would be a severe upgrade to a pleasant ride.

144 According to Lynch (1960), key paths should have a unique quality. Next to various elements (including planting) the continuity of pavement is stressed in particular, also by Cullen (1971), who names this the ‘urban floor’. 145 The sense of continuity beyond perception is described by Lynch (1960, p. 53) ‘[a] pleasant feeling of relationship to be gained simply from standing on a street which by name continues to the heart of the city, however far’. This is inherent to the entire river: while contemplating along the Arno inside the centre you can feel the connection to the massive natural elements of the upstream Apennines and the downstream Sea. 146 Lynch (1960) would describe this as a ‘melodic sequence’, where events and aspects are organized along a path and imaged as a whole to be experienced over time. As such it provides a strong design concept and a directional path to help orientation.

147 Especially when the Lungarni would be made car-free, see “What if... ‘Lungarni as pedestrian public space’” on p.95.

Figure 273. Typical layout existing linear parks allow for alternatives to riverbank (cycling, wheelchair ease, etc.)

Poggi

Park

105

Landscape


---2. Current Situation & What If?---

2.1.7. Arno as a natural corridor While the natural element of the Arno can be considered the continuation of the landscape through the city, it is everything but a lush green environment (Figure 277). The riverbanks are narrow and limited in

Figure 277. Firenze view along the Arno from the Ponte Santa Trinita

planting, if there is any green at all. In terms of trees, the current situation only shows an occasional row where the Lungarni are a bit wider. This starts especially just outside the historic city, with the Parco Giocchi Santa Rosa (west) and east of the Pescaia di San Niccolò. Within the historic city this is limited to three squares and two gardens

Figure 274. Rome view along the Tiber from the Ponte Sisto

(Figure 278). Nearly no trees are in front of the main line of buildings, which leads to a quite distinct vis-à-vis when compared to the boulevard models of f.e. Rome and Paris (see Figure 274 and Figure 275). In a way, this seems a typical Tuscan approach as it strongly resembles the situation in Pisa (Figure 276).

Figure 275. Paris view along the Seine from the Pont Royal

Further, the river today does not compare to the Arcadian river landscape148. With a focus on flood protection, the river got straightened and lost nearly all sandbanks. Recently, funding gained with the ‘riverlink project’ (2000 - 2003) allowed to reshape the embankments with landscaped paths (Alberti Figure 276. Pisa view along the Arno from the Ponte di Mezzo

Giardino Martin Lutero

& Paloscia, 2018).

Piazza Nicola Demidoff

Giardino Serristori (private)

Piazza Giuseppe Poggi

Piazza di Cestello

Figure 278. Overview general green and Lungarni trees in historic centre 106


---2.1. Analysis & Potentials---

What if... ‘Lungarni lined with trees’ * Since Poggi used the boulevards of Paris as

On a related note, the characteristic

a reference (Poggi, 1882), you might have

Florentine Arno view from the Piazzale

expected

Michelangelo151 would also be severely

a

tree-lined

riverfront

instead.

Conceptually this would also make sense, as the

impacted.

riverfront can be considered the continuation of the landscape into the city. This would bring

Aside from the lost qualities, tree lined Lungarni

all sorts of reasons to introduce a tree row on

would also provide new experiences.

either side of the river, including: ecology, shade,

climate resilience and continuity149.

Instead of the current Arno impression as a canalized urban stream the focus shifts to the green landscape qualities of the

While this may seem a simple intervention

river, with the occasional bridge as an

at first, it’s implications should be seriously

interruption of the continuous green line

considered. As seen in the different riverfront

towards the surroundings.

appearances on the left and conceptualized

As described by Cullen (1971) the trees

in the diagram of Figure 279 this has quite an

will create different views on different

impact on the view across the river.

positions152. Like the Uffizi arcade, they

The clear vis-a-vis between the building

will divide the space into micro-climates,

walls, will be blocked by the trees that form

where you would have to pass underneath

a continuous row of green instead150.

to enjoy the wide distant river views

*Strategically greening the Arno corridor 148 as seen in chapter “1.1.5. Irreplaceable atmospheric qualities of the Arcadian river landscape” on p.29 149 Which also relates to the imageability of the path as mentioned by Lynch (1960) 150 Depending on the season, some view on the buildings behind may be possible, but even in winter this will be very different from the current unobstructed situation. 151 As described in chapter “1.1.3. Topography & the staging of views” on p.27 152 Cullen (1971) describes trees as a device to postpone the view of f.e. a façade. You only see the building after you have passed under the trees and the (grand) image presents itself all at once including its close range details.

Figure 279. Without trees: visible building wall | with trees: no visible building wall 107


---2. Current Situation & What If?---

153 Getting rid of this would trade the unique characteristics of the Lungarni for more generic boulevard principles, which would not necessarily be an improvement. 154 This concept by Lynch (1960) as explained at the continuous route from city-landscape-city would also take place here on a smaller scale level, where the longitudinal Lungarni show a certain repetition and rhythm in smaller tree-lined areas. As identifiable aspects within the long Arno element they would also make the path scaled and help to define the position along it.

(Figure 280). Due to the narrow size of

When

greening

the

riverbanks

with

the Lungarni, there is only limited space

shrubs and waterplanting, the natural

to experience the changing perspective

aspects of the linking river-line will also

when stepping beyond the ‘arcade of trees’.

be emphasized, without the drawbacks of

On the Lungarni, the effect on the spatial

obstruction.

experience will therefore be limited and

The trees can be added on the wider areas

if anything, it would complicate the view

or piazza’s if this would not negatively

of the building facades, even from close-

influence the existing atmosphere (e.g.

by. The benefits of a postponed spatial

obstructing views). In this way it could form

experience should therefore especially be

a ‘melodic sequence’154 through the historic

understood on the wider areas or piazza’s.

centre. Examples are a.o. the Villa Favard parking area (extending the green of the

In conclusion, lining the Lungarni with trees

villa), Piazza Ognissanti (which historically

would be a terrible idea as the benefits do

was already the case (Figure 279) and

not outweigh the loss of the characteristic

would mirror the vis-a-vis of Piazza di

unobstructed vis-a-vis shared between the

Cestello) and the Lungarno della Zecca

Tuscan cities153. Instead, the benefits can be

Vecchia (which gains serious width towards

achieved in a more strategic manner:

the east).

Figure 280. Suddenly widening scope of view when passing below trees

Figure 281. Trees along Piazza Ognissanti (1594)

Figure 282. Current view towards Ponte Amerigo Vespucci with single stream 108


---2.1. Analysis & Potentials---

What if... ‘An Arcadian river landscape | Re-naturing the riverbed’ While a turn seems to be made towards a more

a continuous straight flow (Figure 285) will

natural river landscape with the landscaping

naturally create these situations (Prominski

of the embankments155, this compares in no

et al., 2017). The result is a more dynamic

way to the strong natural atmosphere of the

atmosphere,

almost Arcadian river landscape which partly

climates for ecology and a safe space for a.o.

still existed up to the mid 19th century. Of

birds. This is particularly achievable at the less

course it is not the intention to undo all flood

deep situations in the stretch downstream of

protection measures, but a more natural

the pescaia. If this is applied properly, this could

riverbed atmosphere does not necessarily mean

also lead to exceptions in the wider riverbank

a less safe situation. If the riverbed is not flat,

sides that could function as natural sandbanks

but heightened at some points and lowered at

or potential spaces for recreation along the

others, this could result in sandbanks sticking

water (Figure 286). The effect this could have on

out above the water surface, while the same

the atmosphere just downstream of the Pescaia

flow rate continues around (Rossano, 2021).

di Santa Rosa is illustrated in Figure 282 &

As Figure 284 shows, minor adaptations from

Figure 283.

Figure 286. Natural riverbank and recreational potential at Le Piagge

providing

additional

micro 155 This is also a general trend in river policies, see chapter ”3.2. Contemporary approaches” on p.143

Figure 284. Downstream situation Pescaia delle Cascine split in two parts

Figure 283. View towards the Ponte Amerigo Vespucci with a sand-bank inducing meander 109

Figure 285. Situation Pescaia before collapse


---2. Current Situation & What If?---

1

5

9

2

6

10

3

7

11

4

8

11 10

Figure 287. Route Novoli to Cascine

Figure 288. Example cross Arno home-work connections 110

9

43 5 8 7 6

2 1


---2.1. Analysis & Potentials---

2.1.8. Cascine & Anconella - two riverfront parks and their context Down- and upstream of the historic centre

on the north side can be found in the

the

with

unofficial paths created by intensive use

two parks as the main functional parts,

(Figure 289), despite the completely fenced

respectively: Cascine and Anconella. The

and ‘inaccessible’ area above. At the same

main analysis of these areas and their

time, the current train schedule of 1 retour

context is given below. For the extensive

per day on this track which ends just 850

background of the related archive material

meter from Santa Maria Novella station in

and the perceived (dis)use during the site

no way compares to the disadvantages of

visit you are referred to the appendix “A.4. -

the largely insurmountable boundary for

Archival history of the open riverfront areas”

all Novoli residents (RFI, 2021). In fact, the

on p.327 and “C - Site visit” on p.342.

exceptional connections between Novoli

riverfront

is

relatively

open,

and Cascine are difficult to find. As an

Cascine & accessibility

example, the main connection starts from a

The Cascine is the largest park in Florence,

street like any other to go through a small

with a long standing history. It used to be a

tunnel followed by a double turn (Figure

riparian forest that became a hunting ground

287). As this makes it difficult to remember,

to the Medici. Since the opening to the public

see or to make the mental connection, the

in the 19th century the Cascine became a

connections between the two areas are

popular park for all sorts of recreation and

even poorer than the limited number may

it still is today (Figure 290) (Alberti & Paloscia,

suggest. It is no coincidence plans have been

2018). This important position only got

made to convert this railway into a fourth

stronger, as the Cascine is centrally located

tram line (Figure 291) (ComuneFI, 2020). This

within the vast 20th century city expansions

conversion would only be of added value if

directly northwest of the historic centre. On

it involves a turn from boundary to central

top of this, the benchmark for accessible

seam stitching the two sides together160.

natural green spaces dictates areas of various minimal sizes157 and the 86ha

The need for extra connections across the

Cascine is the only park exceeding the 20ha

river becomes evident when looking at

boundary by itself. It should be noted the

several bicycle trips between two important

86ha is even excluding the partly derelict and

business areas in Florence (Osmannoro

inaccessible sports areas (Figure 293).

and

Nuove

Pignone)

and

the

Isolotto

neighbourhood across the river (Figure 288). However, there are also drawbacks in the

The route choice is limited to the crossings

area, especially in terms of accessibility.

and their lacking can mean a severe detour,

Evidence for the need of extra connections

making the car more attractive.

Figure 290. Cascine park actively used

Figure 289. Informal passage railway in fenced area 111

156 A riparian forest is a forested area adjacent to water, in this case the river Arno. Riparian forests are frequently flooded, where they form the buffer between the aquatic and the upland environment in which specific organisms find their place. (Molles, 2008) 157 Because of the need of sufficient green spaces for healthy urban environments, governmental bodies provide a set of standards for evaluating the access to urban green spaces. The latest benchmarks originate from recent European research by Harrison et al. (1995) as described in Handley et al. (2003). This has been included in the green space report of the WHO (2017) and the British Accessible Natural Greenspace Standards (ANGSt), where the latter is an elaborate example of its application in planning. These standards function as a benchmark for the provision of places where inhabitants can experience green space and nature (Comber et al., 2008). ANGSt recommends that everyone, wherever they live, should have accessible natural greenspace from their home, of: • min. 2ha in 300m • min. 20ha in 2km • min. 100ha in 5km • min. 500ha in 10km • min. 1ha natural reserve per 1000 population (Natural England, 2010) 158 The new Parco San Donato located centrally in Novoli is the second largest park (if you exclude sports facilities and park systems) and only exists of 12,5 hectare. 159 At the start of this project, (first half 2021) this used to be 6 trains per day (RFI, 2021). It is unclear if the decrease to 1 retour a day is temporary or a preparation of the complete decommissioning. In any case, even 6 retours per day would not outweigh the boundary disadvantages. 160 While the difference would barely be noticeable on a map, the effect on the image of the city and the relation between various districts could not be bigger as clearly distinguished by Lynch (1960).


---2. Current Situation & What If?---

Figure 291. Planned addition of tramlines

Renai overflow park

Le Piagge

Mantignano plant

Cascine park (Accessible ~86ha)

Albereta

Anconella plant

Argingrosso

Rovezanno riverfront

Anconella park (5,5ha)

Figure 293. Riverfront parks, relatively disused open space and hard boundaries

Concrete factory Disused station Sports Disused Gipsy town Amfitheater Hippodromo

Mantignano plant Dog training

Institutes military science & agriculture

Hotel Park

Golf

Park

Park Theater Power plant

Sports Camping Caserma

Station Porta al Prato Opera

Agri & Poultry Car dealer

Fire department Gardens Sand excavation

Materials UniFi Agri Hippodromo Art centre Agri Sport Carabinieri Pool & rest club

Figure 294. Riverfront open space functions

Figure 292. Argingrosso rest functions, a.o.: sand digging, illegal dump-sites, gypsy settlement 112

Swim club

Canoe club

Water plant

Park

Industry & wholesale

Hist. Mulinos & Hotel

Park


---2.1. Analysis & Potentials---

Cascine context

and industrial sand digging sites (Figure 292

As can be seen in Figure 291 the open area

& Figure 294). The imageability of the district

continues west of the Cascine. With the green

comes especially from its dual function

appearance and adjacent location you could

as an overflow area and its apt name162.

mistakenly conceive this as one continuous

The cacophony of functions only share a

park area on the map. However, the Le

temporary and replaceable character, which

Piagge and Argingrosso areas are spatially

in themselves would not leave a very vivid

clearly delineated by hard boundaries and

impression.

they are largely disused (see appendix ”C -

Anconella

Site visit” on p.342 ).

The Anconella park is the well used core of Downstream of the Cascine, the northern

the larger public green system in the east of

area has been redeveloped with the ‘Le

the city (Figure 296). While the park itself is

Piagge’ neighbourhood above the railway

around 5,5ha, it is connected to the Albereta

boundary161.

river,

park along the river and sports facilities

railway underpasses have been added to

in the east (Figure 294). A large part of the

connect to the green routes through the

green surface is given in concession to the

neighbourhood. This completely changed the

Publiacqua Anconella drinking water plant163.

neighbourhood-river relation here with the

As a result, a rather large fenced area is

aim to enjoy the riverbanks as a longitudinal

hindering the access of local residents to the

park (MTA, n.d.). However, roughly 20% of

river (Figure 293 & Figure 295).

In

relation

to

the

the plan remained unexecuted, including many facilities and the bridges crossing the

In a way, the situation across the river from

Arno (Gaggioli, 2010). The neighbourhood

the Anconella going upstream is similar to

is thus less self-sufficient than planned and

the situation of Argingrosso. This too is a

the omitted bridges limit the value of the

rather disused riverfront space with many

underpasses as all potential cross-routes are

open or temporary functions, but it does

cut of by the river.

not have a dual function as overflow area. In general the east riverfront area can be seen

On the opposite side of the Arno, the

as a mirroring of the western situation, but

Argingrosso is located, which currently has

on a smaller scale, which fits with the lower

an inconsistent mix of rest functions, ranging

density context.164

161 Since 2002 the ‘Le Piagge’ neighbourhood has been realized in western Florence between the old via Pistoiese and the Arno (Gaggioli, 2010). It prevented an imminent housing crisis by creating extra housing for 9000 inhabitants just outside the city (Gaggioli, 2010). The existing Piagge area was rather rundown and disorganized and the new expansion aimed to tackle the problems in a Garden city approach of green areas alternated with housing accessed by slow internal routes (MTA, n.d.). 162 Argingrosso stems from the words ‘Argin’ and ‘Grosso’, which literally means ‘Big embankment’. 163 The Anconella drinking water plant is designed for a flow rate of 4000 liter per second. With an intake in the southbank of the Arno upstream of Florence the water is filtered, pumped up and purified after which the booster station pumps the treated water into the 900km long distribution network (Publiacqua, 2010a). 164 The appearance and use value of both the Cascine context and the Anconella context can clearly be seen in the picture sequence in appendix “C - Site visit” on p.342

from a gypsy settlement to a golf course

Figure 296. Well used Anconella park

Figure 295. Anconella plant as fenced entity in green space 113


---2. Current Situation & What If?---

What if... ‘The Greater Cascine & The Greater Anconella as off-central parks’

165 See chapter “3.1.1. Downstream | The ‘Great Cascine’” on p.139 for the planning proposal by Ferrara, which was the first ‘Great Cascine’ proposal in 1982 (Alberti & Paloscia, 2018). 166 The tap water of Florence is drinkable, but as the water is heavily chlorinated it does take extra effort to reduce the chlorine taste, in other words: it doesn’t taste great (Korey, 2010; MRA, 2011). As the tourist sector influences the bottled water prices in most neighbourhoods, the alternative of buying water bottles is quite expensive, besides the obvious negative environmental impacts (MRA, 2011). Nevertheless, Italy is the third largest consumer of tap water in the world and Tuscany the highest in Italy (Korey, 2010). It is not without reason that Publiacqua and the municipality launched a campaign to drink the tap water, where the ‘Fontanelli ad Alta Qualità’ (the filtered water fountains) spread through the city provide the needed alternative. (Korey, 2010). It is interesting to note how such a small communal service has positive social implications as people of all ages go to the fountain for the free and pure water, where they meet and talk about the improved situation while being there (Korey, 2010). The fountain is also stressed as a kind of communal meeting point still present in many cultures (Gehl, 2011). 167 For additional control, this can be closed of at night which is already the case for the Anconella park itself as well.

The Greater Cascine165

The Greater Anconella

By overcoming the boundaries and disuse

The same counts for the Greater Anconella,

as shown in Figure 293, the influence of the

which may function as the off-central park on

Cascine park on the daily lives can be stretched

the east side of the city. In this balancing act

much further. This would entail two measures:

the disused north side of the river would be

Firstly, improving the recreational green

re-natured, while the Anconella park would

use quality of the adjacent areas. Both by

reclaim its full extents. Instead of an inaccessible

moving or integrating functions and by

fenced off area, the Anconella plant can become

strengthening their connections. In this

a valuable addition to the public space of the

way, all areas together can work as a well-

local residents. A similar approach has been

integrated overall green area, where the

taken at the newer downstream Mantignano

distinct characters supplement each other

plant. Here, as a benefit to the inhabitants the

and a valuable access can start anywhere.

area consumed by the plant is incorporated in

Secondly,

a park which is partly accessible for recreational

the

boundaries

should

be

addressed so the amount of access points

visits (ilreporter, 2013).

can be increased. This turns the edges delineating the difference between city and

Obviously this would be different than your

green from boundaries to seams.

average generic park and as such it may be limited to a wadable walking route. In this way,

By these measures, the bicycle could become

protection of both plant facilities and visitor

more competitive to the car in crossing the

safety can be ensured167. On the other hand,

area. Either because of the shorter route or the

the unique character of the plant facility can be

variation in options, which may include routes

harnessed with signs, highlights and perhaps

in which the natural green environment can be

even tours to provide an informative addition

enjoyed longer.

to your average park walk. This would be an important step in reclaiming the water supply

The expanded area and varied programming

as an experience rather than taking it for

would also extent the influence and use value

granted. This already improved with the newly

of ‘the greater Cascine’ further into the city157.

introduced drinking water fountains166, but the

Florence high quality built environment would

incorporation of the Anconella plant is extra

find its high quality green space counterpoint

valuable as it simultaneously strengthens the

right in the centre of the city, additional to the

connection to the waterfront as the source.

already valued hills and mountains around the city.

Figure 297. Below | Greater Cascine and Greater Anconella

Park atmosphere Wetland atmosphere

114


---2.1. Analysis & Potentials---

What if... ‘Isolagrosso | Argingrosso as an island’ When stitching together the various open spaces

is present. The atmospheric power of islands,

in a ‘greater’ area, it is not the intention to end

which are cut of from their surroundings by the

up with a monotonous maze stretching as far

continuous water170, is perhaps best expressed

as the eye can see. As already highlighted at the

in the view of the Pont Neuf at the tip of the Île

incorporation of the Anconella plant, the unique

de la Cité in Paris (Figure 298).

characters may be celebrated to end up with a diversity in areas that reinforce each other not

This would give power and a distinct character

just by shear size, but also with their program

to the Argingrosso where a clear transition

or spatial atmosphere.

from one atmosphere (the city) to another (the wetland) is provided (Figure 297). The points

For the Argingrosso this may count in particular.

where the river embraces the island have

A wetland function168 would already distinguish

a unique position171, which in the Parisian

the area and building on the ideas by Ferrara169

example is used for a park inside the urban

delineating the area as an island may be part

fabric. At the Argingrosso this may be reversed

of this potential. With the central location of the

as a building inside nature172.

green next to adjacent green areas, the potential

168 See “What if... ‘Wetland area was reintroduced’” on p.87 169 See “3.1.1. Downstream | The ‘Great Cascine’” on p.139 170 As described in the book ‘Water & Architecture’ (Moore, 1994). 171 As a strong terminus, this will indicate the destination of the path leading up to or out of the Argingrosso (as described in Lynch, 1960). 172 As we will see in chapter “6.2.1. Downstream area” on p.164, the position at the Pescaia delle Cascine and the split of both streams makes this ideal for a hydropower installation which could simultaneously control the water entering the Argingrosso stream.

Figure 298. Pont neuf in Paris

Figure 299. Point of the Argingrosso seen from the Cascine, before (top) and after (bottom) the extra canal 115


---2. Current Situation & What If?---

2.1.9. Parks and streams in the city The current state of the smaller streams

still beloved by the locals (Romoli, 2011).

in the city is not as natural and free as the

Despite the limited possibilities or lacking

historic imagination may suggest173. The

state, the neighbourhood inhabitants do use

deep and canalized water is disconnected

the streamsides or park spaces, even if this

from the level of the urban fabric and

requires informal access. The current state

where a park is made on top or along, the

of the main streams (and the Arno river) has

continuity and access is often hampered by

been experienced elaborately during the

the present infrastructure. In the context

site visit. Photographical series of the cycled

of a largely asphalted city (Figure 301) with

routes are documented in appendix “C - Site

limited scattered green spaces, the open

visit” on p.342. These form the basis for the

space provided by the natural remnants is

characterization of Figure 300.

Characteristic:

Problem:

Canalized gap at edge park

Disused backside

Canalized gap in street

Largely inaccessible boundary

Natural atmosphere

Discontinuous

Park on top

Unnecessary asphalt

Overflow park

interrupted connection to river

Mensola

Affrico

Mugnone upstream

Mugnone downstream + Terzolle

Fosso Macinante

173 See “1.1.5. Irreplaceable atmospheric qualities of the Arcadian river landscape” on p.29

Figure 300. Stream characterization and indication cycled routes 116


---2.1. Analysis & Potentials---

What if... ‘Streams as linear park network’ Just imagine the possibilities when these

differs, they all ask for specific solutions

linear elements were reinvented as a network

(Figure 303):

of public green space stretched out through

the city Figure 302. This would expand on the city-landscape relation of the Arno,

The Mensola overflow park only needs the connection to the river.

For the Affrico park the unnecessary

where again the continuity is essential. This

disruptions and wide streets can be

stretches the use possibilities from the local

addressed.

scale to strongly imageable linear paths that

The Mugnone upstream has a great

mentally and physically connect the inner

natural atmosphere, where the currently

city with the landscape174. When these paths

isolated patches of access can be

are connected in a network, their potential

connected .

for

recreational

connections

routes

through

and the

alternative

surrounding

The Mugnone downstream is similar to the Terzolle, where the canalized gap

landscape increases even more175.

in the urban fabric may turn from a boundary into a crossable seam.

For all streams, the potential is currently

The Fosso Macinante parallel to the Arno is less needed as a linear park, but it

inaccessibility, but as their spatial character

helps to define the Cascine park edge.

175 As we will see in chapter “2.2. Currently disused Intervention locations” on p.118, a cross connection between the Mugnone, Affrico and Mensola parks can be created by making use of the disused locations, which would also help to strengthen the railcrossing as the weakest link in the Affrico park

Mugnone + Terzolle

Fosso M.

limited by the consistent disruptions and

174 This relation between continuity, imageability and the spatial appearance as explained by Lynch (1960) has been elaborated upon in “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105

Mensola

Affrico

Mugnone

Figure 301. Typical street in Poggi expansion neighbourhood - largely asphalted

Figure 302. Example potential Mugnone (east of Fortezza da Basso) 117

Figure 303. Tools to harness the potential per stream


176 As taken from the book by innocenti et al. (2009), the ‘Invest in Firenze’ booklets (ComuneFi, 2017; ComuneFi, 2021), or as visually inspected during the site visit to Florence.

2.2. CURRENTLY DISUSED INTERVENTION LOCATIONS

177 You could even go one step further and ignore the recently completed projects when they are considered a severe mistake that would be degrading any logical masterplan or would be...

The current situation contains quite some

of the masterplan you could grant yourself

buildings and areas that are currently

the freedom to ignore these proposals as

disused or subject to change176. As such

they have not been built yet177. However, this

these

easily

would make the whole project hypothetical

incorporated as intervention locations within

and when working on the scale of an entire

the masterplan. A part of these disused areas

riverfront, you may wonder where to draw

have recently been transformed or have

the line.

locations

can

be

rather

advanced planning proposals. For the sake

1. Horse buildings p.121

2. Manifattura Tabacchi & Factory site p.122

3. Freight yard Leopolda

9. West restructuring p.127

14. Monte Oliveto Convent p.131

13. Teatro Comunale p.130 11. Palazzo Serristori p.129

12. Caserma Cavalli p.130

Figure 304. ‘Currently Disused / unused intervention locations’

118


As this research and design strives for a

which may cause a need for redefinition.

realistic outcome, these partly finished

All relevant currently disused locations in

projects are thus taken for granted. Aspects

relation to the riverfront or the Arno sub-

of projects which are still in progress may still

streams have been highlighted in Figure 304

be slightly adapted if this could possibly help

and they are shortly elaborated upon below.

the masterplan.178 In both cases, these areas

On top of this, the bad state of the water

in change are important to consider, given

engineering is highlighted as the fifteenth

their impact on the existing spatial relations

point.

...standing in the way of an architectural endeavour. 178 This is preferably in the form of tuning with consideration of the preceding work. Only where completely in contrast with the masterplan and impossible to tune, these plans may be overturned, which as we will see in “Chapter 6 Urban design” on p.161 has not been necessary.

4. Freight yard & bus depot p.124

p.123

5. San Salvi p.125

6. Caserma Perotti p.126

7. East riverfront p.126 10. Santa Croce complexes p.128

8. Canottieri Comunali p.127

119


---2. Current Situation & What If?---

Figure 305. Disused horse buildings north of the Ippodromo delle Cascine

Figure 309. Disused horse buildings (north) and tribune (south) of the former Ippodromo Le Mulina

Figure 307. Casa nuova del Podere di Visarno

Figure 306. Casa del Podere Tinaja

120

Figure 308. Mulino wall remnants


---2.2. Currently Disused Intervention Locations---

2.2.1. Horse racing buildings

It should be noted that in the first row there

At the Northern boundary of the Cascine,

are two Cascine park farm villas, which

just below the Fosso Macinante, a parallel

are visible on the 1789 overview map of

row of horse buildings is located that used to

the Cascine (Figure 310). Both the Casa del

function as stables during competitions and

Podere Tinaja (Figure 306) and the Casa

events taking place on the adjacent racing

nuova del Podere di Visarno (Figure 307 &

track named ‘Ippodromo delle Cascine’

Figure 311) are functioning today, where the

(Visarno,

disuse,

latter houses a horse-oriented police station.

following from their derelict and empty

The Cascine mulino just northeast of the

appearance (Figure 305) was confirmed by

Ippodromo Le Mulina is also shown in Figure

passerbys. They stated the racing on the

310 of which the main wall in the Fosso

tracks of the Ippodromo delle Cascine still

Macinante is still standing (Figure 308). Their

occurred occasionally, but the the extensive

historic importance, makes these buildings

buildings along the Fosso Macinante were no

worth keeping. In case of the mulino, this

longer required as the direct track space and

means the remnants should be given due

facilities were sufficient for this. Additionally,

attention as an artefact along the route to

the area of the Ippodromo

make it readible for the ignorant passerby.

n.d.).

The

suspected

delle Cascine

179 E.g. Firenze rocks and decibel open air (Visarno Arena, n.d.) 180 Especially since the Novoli district has a poor green provision with the exception of the Parco San Donato (See chapter ”2.1.8. Cascine & Anconella - two riverfront parks and their context” on p.111)

is used as ‘Visarno Arena’, hosting all sorts of events, concerts and festivals179 (Visarno Arena, n.d.). A smaller Ippodromo named ‘Le Mulina’ entirely northwest in the Cascine has definitively lost its function and so did the surrounding horse buildings (Figure 309). At present a pop-up restaurant fills a minor part of this void. Nevertheless, the dysfunctional corner currently postpones the Cascine park experience, while it has the potential to form the stretched park entrance to the large number of Novoli inhabitants180.

Figure 311. 1789 plans and facade Casa nuova del Podere di Visarno

Figure 310. Casa del Podere della Tinaja, Casa nuova del Podere di Visarno and the Mulina on a 1789 map of the Cascine farm 121


---2. Current Situation & What If?---

2.2.2. Manifattura Tabacchi & Factory site The tobacco factory built in 1930-1940 had been closed in 2001 and is currently being transformed (Figure 312). The proposal opens the closed premises with a functional mix and a strong identity as a hub for sustainable creativity with a large variety of ateliers, offices co-working spaces, education (Polimoda) and exhibitions. The area is already hosting various events during its

Figure 313. Manifattura Tabacchi between Novoli and the Cascine

transformation, but the final completion is planned for September 2022. (TF, 2021) The complex has a key location between the Cascine and the Novoli district delineated by the rail181 and Fosso Macinante in the south and the Mugnone in the north (Figure 313). The proposed transformation is well aware of this as it is already aiming for urban, cultural and social integration (MT, 2020). This unique project can thus likely be embedded in the masterplan without too much trouble, by giving due attention to its special character. Just west of the Manifattura Tabacchi there is a freed site resulting from a demolished industrial hall (Figure 314). With a similar location in the urban context as the nearby Manifattura Tabacchi (just south of the Mugnone), this site too can be transformed from a boundary to a connection between Novoli and the Cascine.

Figure 312. The transformation of the Manifattura Tabacchi

Figure 314. A3 | Demolished and yet empty site

Figure 315. Disuse symbolized by tree on the railway tracks 122


---2.2. Currently Disused Intervention Locations---

2.2.3. Freight yard Leopolda

(ComuneFi, 2021). The disused railway could

As already mentioned at the accessibility

be transformed into a tramline. It should

of the Cascine (Chapter 2.2.), the number

be noted that the current proposal (Figure

of daily trains crossing the railway North

318) is rather inconsiderate of its context,

of Cascine to the Firenze Porta al Prato

with a flimsy line of modern styled buildings

station is almost negligible (six at most).

squeezed between two backsides and lined

The freight yard and workshops along it

by infrastructural abundance. The functional

are used just as little as they have been

aspects would suit the area between Poggi’s

decommissioned in their entirety since 2002

expansion neighbourhood and the Cascine

(Figure 316 & Figure 315) (Innocenti et al.,

park, but the edges of both should be

2009, p.100). In the meantime the Eastern

addressed simultaneously, while the tram

part of the area has been redeveloped with

can be incorporated inside the street. Lastly,

the Teatro del Maggio Musicale Fiorentino,

within the linkage of mainly functional halls,

the Stazione Leopolda and a couple of

one part in particular stands out for its

residential apartment buildings attached to

architectural value (Figure 319). Incorporating

the Poggi neighbourhood (Figure 317). The

the transformed building would leave a fitting

remaining western areas are still planned

reference to the historical use.

181 As we saw before, this will be transformed into tramline 4, which will give another boost to the integration of the area. See Figure 291 in “2.1.8. Cascine & Anconella - two riverfront parks and their context” on p.111

for transformation with a mix of living, commercial, offices and touristic function

Figure 316. Freight area on a 1986 map

Figure 319. Architectural value as potential centrepiece

Figure 317. Situation in 2021: east partly transformed, rail still boundary

Figure 318. Initial development proposal 123


---2. Current Situation & What If?---

182 See “What if... ‘Streams as linear park network’” on p.117 183 By adding a separate pedestrian bridge from the extended park on the north side.

2.2.4. Freight yard & bus depot

made with the Affrico park, where the new

East of the historic city centre, we find a

node between the two can be used to ease

slightly similar location with the freight

the crossing of the railway for pedestrians183.

yard of Campo di Marte that has been

184 Unfortunately it is rather difficult to connect the railway park to the Mugnone stream directly due to the infrastructural complexity of the area. By creating this larger well programmed public green space at the end it should be possible to mentally bridge the gap between the two linear green spaces. By indicating the route, this would still allow for continuous recreational networks along the open spaces of the city.

decommissioned since 2002 (Figure 320)

As a northwest continuation of the linear

(Innocenti et al., 2009, p.104). An important

freight yard you find the bus depot on Via dei

difference is that the continuous rail line

Mille (Figure 321). The municipality has been

next to it remains to function as the main

looking for investors to buy all bus depot

rail traffic artery connecting Florence to a.o.

properties, including this one (Ferrara, 2017).

Rome.

While its function is not allowed to change, the Florentine population is afraid the site

Recent developments involve the new high

will eventually fall victim to the speculative

speed rail connection as described in the

powers of the tourist industry (Salvi, 2017).

Atlas (Cuijpers et al., 2021). The northwestern

As this privatization would come at the

buildings have already been demolished for

cost of yet another open space in the city

this as the line will surface at the Campo

it would be preferable to let the collective

di Marte station in this area (Figure 320)

interests prevail in its future destination.

(Innocenti et al., 2009). Nevertheless, there is

If the function of the bus depot were to be

no need for the entire railway zone to be as

relocated, this area would form the perfect

broad as it is today. This leaves a rather large

culmination of the potential railway park. By

linear space, which grants opportunities

incorporating the architectural heritage with

similar to the linear park potential of the

collective functions along the wider park

smaller streams182. As a currently disused

space, the space could become a gravitation

intervention location this linear space may

point between the various neighbourhoods

add to the system of linear parks, as an

from where the connection to the stream

eastern supplement to connect the streams.

network can be made184.

On the southeast end, the connection is

Bus

Rail

Rail Figure 321. Bus depot Via dei Mille

San Salvi

Figure 320. Freight area with high speed line (red) 124


---2.2. Currently Disused Intervention Locations---

2.2.5. San Salvi

(Novaradio, 2016). No plans are fixed yet, but

The location just east of the freight yard is

since 2018 the project seems to proceed as

what makes the former psychiatric hospital

follows: roughly three quarters are kept for

of San Salvi extra interesting. The psychiatric

public use, with some sports and cultural

hospital was built in 1887-1891 as a unitary

facilities and a core of residences to finance

system of pavilions nestled in a large park

the transformation186 (Ulivelli, 2018).

(Figure 323). Later expansions retained the unity, symmetry and the green character,

Similar to the bus depot northwest of

with a total of 40 buildings on 90.000 m2. By

the freight yard, this complex can form

2002 only a part of the San Salvi complex

an extension of the potential linear park

was still in use185 and the whole was partially

towards the east. If the park qualities in the

degraded. (Innocenti et al., 2009)

transformation are retained and also on the

185 The Basaglia law sanctioned the closure of asylums in 1978 as part of a large reform of the Italian psychiatric system (Ulivelli, 2018). 186 A new inspection of the area took place and Mayor Nardella promised to include a new recovery plan in the operational plan of 2020-2025 Comitato San Salvi (2021).

east side the connection to the riverfront or In 2010 a reconversion plan was presented

other green areas is made, the recreational

to the municipality in which 60% of the

green

buildings would be sold to real estate

increase even more.

possibilities

across

the

city

will

investors in order to free funds for other hospitals (NF, 2010). This ‘snatching of the patrimony of all of us’ was contested by the population, who would rather see the public social heritage opened up to the neighbourhood and the city as ‘San Salvi Park’ (NF, 2010). An example of a more public oriented proposal by the ‘Association for the living memory of San Salvi’ with a focus on history, inclusion and enhancement of the existing buildings is shown in Figure 322

Figure 323. Historic situation San Salvi at the outskirts of the city

Figure 322. Example of a public oriented proposal for San Salvi in 2016 125


---2. Current Situation & What If?---

187 See “What if... ‘The Greater Cascine & The Greater Anconella as offcentral parks’” on p.114

2.2.6. Caserma Perotti

2.2.7. East riverfront

One of these potential connections is the

The east riverfront allows for opportunities

Caserma Perotti (Figure 325). The Via del

with its low density character, the high

Gignoro passing between these complexes

percentage

already has some very green stretches,

functions and disused buildings. One of

despite the abundance of asphalt (Figure

these disused buildings is a run down

324). On top of this, the Caserma Perotti

community centre just west of the Anconella

connects to the Mensola overflow park on the

plant (Figure 326). This building effectively

east side and in extension to the hills behind.

blocks the neighbourhood from access to

The integration with the neighbourhood

the green and the riverfront behind with its

and Mensola park is also intended by the

fencing. Including the community building

mayor and planning institutions. Functionally

in an integral transformation of the unused

it is mainly intended for public and state

green area could benefit the community and

offices, where the walls may be removed to

strengthen the park potential187.

of

open

land,

temporary

make the whole permeable (Ulivelli, 2018; FirenzeToday, 2018).

Along the northeast there are even more open or disused spaces, including the

However, at the time of writing, there is no

buildings of Figure 328 and Figure 327.

finished urban plan and the area remains

The latter used to be the textile factory

disused and illegally inhabited (OKFirenze,

Fratelli Franchi, which has been destined

2021). To ensure an all-day permeability and

for partial destruction and retail due to its

quality public space for the 1400 m2 area at

accessibility (ComuneFi, 2021), but in light of

the green edge of the city a combination with

the context, this would also make an integral

dwellings is thus strongly advised.

transformation of the whole northeastern riverfront conceivable. In that case, new construction inside this potentially natural zone should be limited. However, some of the essential architectural elements may be incorporated (with historic remnant qualities), while the rest can be demolished.

Figure 324. Tree-lined Via del Gignoro between Ospedale and Caserma

Figure 326. Disused building west of Anconella

Figure 325. Disused Caserma Perotti could go from walled to wadable 126


---2.2. Currently Disused Intervention Locations---

2.2.8. Canottieri

2.2.9. West restructuring

The association spaces of the Canottieri

In the western part of the city, there are

Comunali Firenze form another building in

similar opportunities to use strategically

change on the eastern riverfront. Opposed

located disused areas in a restructured

to the other locations, this building is most

connection to the river. One of these is a

certainly not disused. Nevertheless, the

former Esselunga area with an adjacent

municipality wants to free this space along

footbal pitch in the le Piagge area (Figure

the river by demolishing the association

330). These together provide the opportunity

space and its precious gym (Figure 329).

to make a connection between the riverfront

This forms an element so important to the

and the Fosso Macinante park as a green

association and its neighbourhood that

area of the tunnelled stream in the northern

the carabinieri had to intervene to stop the

Peretola188. Another area is located at

demonstrations. (Mongati, 2014)

the point where Firenze grew chaotically

188 See “2.1.9. Parks and streams in the city” on p.116 189 Using local removal or densification.

attached to the historic Peretola village In the mean time, the canottieri buildings

amidst a tangle of infrastructure (Figure 330).

are still present on the riverfront and the

A freed up space like this one can initiate the

500 member association does not yet have

turn to a clear urban structure by allowing

a new association building. While freeing

for relocation189 to untangle the diverse

up the space along the Lungarni to retrieve

factors with a clear vision.

the connection between neighbourhood and river is a great idea, it would be a pity if this would be at the expense of the social life along it. Ideally, an integral solution will thus be found that allows the access, while maintaining the Canottieri activities.

Figure 328. Disused building east riverfront

Figure 330. Disused area as potential for Peretola-Arno (top) & Peretola-Firenze (below)

Figure 327. Factories of partial heritage interest on disused riverfront

Figure 329. Demonstrations gym demolition (Left) & obstructed riverbank even continues below the bridge (right) 127


---2. Current Situation & What If?---

190 This complex originates from a 1424 convent that was transformed into a prison, which functioned from 1883-1985 (Tribelskaya, 2020). 191 The ex-convent of Santa Verdiana was transformed to be a female prison from 1865-1983 until it was again transformed to house the architecture faculty of the University of Florence (Orefice, 1996). Here part of the block and the Largo are still open for transformation as elaborated in several preceding study projects at the TU Eindhoven, f.e. Cuijpers & Van Perlo (2021). 192 The convent of San Girolamo delle Poverine was founded in 1382 and the Sant’Onofrio delle Cappuccine dated back to 1720-1726. Both were suppressed in respectively 1808 and 1810 (Innocenti et al., 2009)

2.2.10. Santa Croce complexes

after their individual origins as convents192,

The book on the abandoned areas ready

they were transformed into barracks in 1910.

for transformation by Innocenti et al. (2009)

It was the headquarters of the Military Health

highlights a series of complexes in the

Academy until the start of 2000, when the

Santa Croce district (Figure 331). Of these,

complexes were decommissioned (Innocenti

the Le Murate complex190 is renowned for

et al., 2009). The former Laugier barracks

its transformation by Renzo Piano. The

along the Lungarno has been renovated

guidelines for permeability (Figure 333)

since 2014 and currently houses a group

applied in his 1998 proposal inverted the

of State police organs (Addario, 2018). The

closed prison structure into a completely

complex behind is still unused and in a bad

wadable apartment complex with cultural

state (Figure 335).

and recreational plinth functions as opened wadability

The third complex seen from the river is

continues through the block north of Le

the Pia Casa di Lavoro di Montedomini. This

Murate along the ex-convent of Santa

was a poor workhouse built in 1812 by the

Verdiana to reach Largo Pietro Annigoni191.

Napoleonic government on the location of

in

2011

(Pirro,

2013).

The

two former monasteries. It currently houses The three complexes just north of the Arno

residences for the elderly in need of care

are less known, since they were transformed

aside from rehabilitation and socio-health

with a less public character or have not been

facilities (Montedomini, n.d.), but the building

transformed yet at all. The two complexes

is in a bad state (Innocenti et al., 2009) (Figure

closest to the river belonged together as

332).

Figure 335. Derelict garden wall of the second caserma complex yet unused

Figure 332. Montedomini in bad state

Figure 334. Caserma court before & after renovation

Figure 333. Permeability as proposed in vision Le Murate

Figure 331. Series of disused complexes to be transformed as indicated in the book by Innocenti et al. (2009) 128


---2.2. Currently Disused Intervention Locations---

2.2.11. Palazzo Serristori

The recent disuse has already initiated

The U-shaped palazzo Serristori originates

the renovation of palazzo Serristori into

from 1515 and has seen quite some

luxury apartments (Lionard, 2021). This

transformations. This includes the clipping of

transformation allows the opportunity to

the building for the creation of the Lungarno

re-evaluate the position of the garden in

in the Poggi plan, which was carried out

the urban fabric. Instead of maintaining the

in 1873 and involved a new facade and

privatization (as proposed in the current

redistributed interior. (ComuneFi, 2017)

renovation), it would make sense to return this space to all citizens. As an adaptation

This also changed the urban position of the

to the ongoing transformation you could

large giardino that the palazzo overlooked

therefore propose to open the garden as

on its east side (Figure 336). Where it used

a small park, which is not to be enjoyed

to overlook the gora of the Mulina dei Renai

just by the lucky few, but by all surrounding

and the Arno behind, it became sandwiched

residents who are granted a much more

between two streets in its new position. As

direct access to the riverfront in the process.

the current situation shows, the garden is still delineated by a large blind wall on the south (Figure 338) and a partly fenced wall including a derelict closed loggia along the Lungarno (Figure 337).

Figure 338. Southern blind wall delineating the garden

Figure 336. Lush green atmosphere giardino

Figure 337. Fenced wall along the lungarno including a derelict closed loggia 129


---2. Current Situation & What If?---

193 As a reference to the original granary function, meaning ‘granary of the abundance’.

2.2.12. Caserma Cavalli

2.2.13. Teatro Comunale

This 17th century granary built by Cosimo

Of the former Teatro Comunale in Poggi’s

III to preserve the cereals in times of famine

‘Cascine district’ no less than 75% is being

194 See Figure 189 in “1.3.8. Villa Favard” on p.66

has recently been transformed into a hub

demolished, while the protected remnants

for digital innovation (Toscana24, 2021). It

(including the front facade) are restored in

was renamed ’Granaio dell’Abbondanza’193

the new block (Figure 340). The disused void

and reopened in 2021 as an incubator for

will be replaced by 160 new apartments

innovative

start-ups

companies),

a gym and shops (Ciuti, 2021). This is a

including

extra

on

digital

significant development so close to the

professions, co-working spaces and spaces

historic centre and by regenerating this

open to the public including a bar and

central part this allows the experience of this

restaurant (cdp, 2020). As such, the building

Poggi area by the citizens again (NF, 2018).

has the potential to interact with the

This development, located central between

Lungarno and Piazza di Cestello, which is

Cascine and villa Favard, between the two

currently still largely a parking space (Figure

axis of the tunnelled Fosso Macinante and

339).

the Corso d’Italia194 also stresses the need

(40-50

education

to improve the accessibility and experience value of these areas, which may form a next step in the regeneration of Poggi’s ‘Cascine district’.

Figure 339. Minimal interaction between the Granaio dell’Abundanza hub and the exterior parking-filled space (café yet limited to interior court) 130

Figure 340. Former municipal theater being demolished (top) with redevelopment proposal (bottom)


---2.2. Currently Disused Intervention Locations---

2.2.14. Monte Oliveto Convent

“1.1.3. Topography & the staging of views”

The

was

on p.27, the location would be ideal for

founded on the hill southwest of the city

its elevated viewpoint along the Arno on

in 1337 (Figure 343). Following the 1866

the west side of the city. As the panoramic

suppression of the monastery it became a

qualities

military hospital for infectious diseases in the

privatized, the transformation brings the

19th century, until it was decommissioned

opportunity to incorporate the viewpoint (in

again in 1997. The church of San Bartolomeo,

the circle of Italian Cypress trees) as part of

which is part of the complex has a rich history

the surrounding Parco di Villa Strozzi (Figure

of artistic testimonies195 and has recently

341). Together with improved access from

been reopened to the public for religious

the neighbourhood below and a small café

and cultural visits (Figure 342) (Vezzosi, 2018).

or restaurant, the Monte Oliveto can become

Olivetan

Benedictine

convent

are

present,

but

195 including Leonardo’s Annunziata (which was transferred to the Uffizi in 1868) and a fresco of the last supper from 1515 (Vezzosi, 2018).

currently

a valuable asset to the city, of historical, The rest is still disused and planned for

architectural

residences (ComuneFI, 2021). As shown in

importance in a natural setting.

Figure 342. Interior of the Chiesa San Bartolomeo

and

above

all

panoramic

Figure 343. Convent seen from below

Figure 341. Convent on the Monte Oliveto, with the church on the left side and the circular viewpoint in front 131


---2. Current Situation & What If?---

Quay

Embankment

Figure 344. Collapse of Lungarno Torrigiani (2016) with a chasm and cracked wall

Embankment secondary

Quay + embankment Figure 346. Various types of flood boundaries in water engineering

Figure 345. Collapse of the Isolotto weir (2021)

132


---2.2. Currently Disused Intervention Locations---

2.2.15 General water engineering The current state of all structures linked to

In the meantime, extra taxes have been

the Arno, like the weirs and embankments

raised to address the ongoing problems,

are

opposition

but the planned intervention did not come

denounced the lack of attention to the

in time to prevent the collapse of the central

alarming situation raised by the University of

20 meters of the Isolotto weir (Figure 345)

Florence (Firenzetoday, 2021). This followed

(Firenzetoday, 2021). This structure from

the collapse of the Lungarno Torrigiani in

the 1960s was known to have failures that

2016, as the result of a leak in a cast iron

were already visible on the exterior as also

water pipe from the 1950s (Vanni, 2016).

declared by the authorities (MET, 2011). In

Next to subsiding cars in the 200 meter

this notice they also express the ambition

chasm, the embankment walls were severely

to leverage this necessity to invest to

cracked (Figure 344).

incorporate a design catering for a proper

worrying.

In

2020

the

relationship between nature and urban This incident does not stand on itself. In fact,

fabric.

due to the old water piping network around 30% of the water is lost in leakage. This is

In

linked to drops in pressure which make the

engineering can be considered a potential

water supply prone to temporary blackouts.

intervention location. In the current situation,

With the introduction of a secondary drinking

interventions enhancing the quality of the

water plant in Mantignano this problem was

riverfront can efficiently be combined with

reduced (Publiacqua, 2010a), but this did not

the investments that are required anyhow

stop the leaking yet. Updating this immense

to update the necessary water engineering

maintenance issue could be an incentive to

to prevent collapses of vital structures and

take an integrated approach in updating the

flooding.

short, the

spatial qualities simultaneously196.

133

whole

system of

water

196 Publiacqua (the responsible water authority in Florence and the region) is intending to reduce this problem (FAST, 2019). This is a complex and expensive undertaking as the Florentine water system is rather old (see “1.3.10. The acquedotto network” on p.69), which makes it difficult to locate the issues and reach them.


2.3. CONCLUDING OVERVIEW CURRENT SITUATION ANALYSIS

2.1.2. (p.87) Returning wetland area

2.1.2. (p.89) A river to swim in

2.1.6. (p.103) Accessible riverbanks

2.1.6. (p.105) Continuous riverbank route

2.1.7. (p.107) Strategically greening the Arno corridor

Currently disused intervention locations (2.2.)

Potentials (2.1.)

2.1.1. (p.81) Experienceable dual character

134


2.1.3. (p.93) Hydropower architecturally incorporated

2.1.3. (p.93) Distinct architectural types for modern riverfront activities

2.1.4. (p.95) Lungarni as pedestrian public space

2.1.5. (p.98) Balanced mix of functionalities & escaping busy city life

2.1.7. (p.109) Re-naturing the riverbed

2.1.8. (p.114) Off-central parks

2.1.8. (p.115) Argingrosso as an island

2.1.9. (p.117) Streams as linear park network

135



CHAPTER 3 - PLANNING PROPOSALS & CONTEMPORARY APPROACHES Subquestion 3: What does the current situation

By highlighting the main aspects, trends can

ask for?

be uncovered on both the specific Florentine scale and the general riverfront discourse.

This chapter is much briefer than the

These can be compared with the drawn

preceding two. Where the historical (CH1)

conclusions to give an indication on their

and current situation analysis (CH2) form

relevance and position. The structure of this

the backbone of the research, this third

chapter will be as follows:

chapter is intended to embed the research

3.1. Planning proposals

(p.139)

in the most recent Florentine planning

3.2. Contemporary approaches

(p.143)

developments and general contemporary

3.3. Concluding overview trends

(p.145)

riverfront approaches of the wider discourse.

197 River space design (Prominski et al., 2017) focusses on the integration of different aspects in spatial design. Floodscapes (Rossano, 2021) approaches the riverfronts from their flooding character, which is closely linked to the Ruimte voor de rivier (Sijmons et al., 2017) proposal with a focus on a safe and aesthetic landscape. Rivers lost rivers regained (Knoll et al., 2017) looks at the functionality of rivers and their position in relation to the city.

For the latter, several books on riverfront transformations and design have been consulted from a range of perspectives197 (Figure 347).

Figure 347. Main books used to reflect the contemporary approaches from a variety of persepctives Figure 348. Angler testing his new equipment below the Ponte alla Vittoria, despite the lacking ecological state and low waters following the burst weir

137


Figure 349. ‘The Greater Cascine’ birdseye impression Ferrara 1982

Figure 350. The masterplan for the Cascine by MHC approved by the city (2014)


3.1. PLANNING PROPOSALS 3.1.1. Downstream | The ‘Great Cascine’ As mentioned before, Guido Ferrara (1982)

these are not included in the latest ‘Great

provided the first vision for the ‘Greater

Cascine park’ masterplan199 (Figure 350).

Cascine’ area on account of the Municipality

This is the current state, which has not yet

of

beautiful

been followed-up (Alberti & Paloscia, 2018).

birdseye perspectives (Figure 349). Following

Surprisingly, the Le Piagge and Argingrosso

the ‘Great Cascine’ proposal of Ferrara the

area are not explicitly defined with a

expansion of the park area by incorporating

character of their own200. In this respect,

the Argingrosso was kept in most studies

you could learn more from the variety of

including the pilot ‘riverlink project’ scheme

study proposals as highlighted by Alberti &

(Figure 354), but this does not compare to

Paloscia (2018) (Figure 352), like the wetlands

the strong wetland atmosphere hinted by

or heightened platforms that interact with

Ferrara. (Alberti & Paloscia, 2018)

the specific Argingrosso character.

Florence,

accompanied

by

Additional to the Argingrosso, the Le Piagge area can be understood as part of the ‘Great Cascine’ today. The 2003 masterplan for the Le Piagge neighbourhood included two bridges which were omitted198 (Figure 355) (MTA, n.d.). While two different bridges and a clear ‘urban beach’ programming are proposed in a later plan (Figure 353),

Figure 351. The masterplan ‘Great Cascine Park’ proposed in workshop School of Architecture Firenze (2014)

198 As also mentioned in chapter 2.1.8. Cascine & Anconella - two riverfront parks and their context on p.113. 199 This is similar to the functional scheme from a workshop (Figure 351), which also hints at the connections to the urban context. 200 The seeming expression of the linear Le Piagge character with the orange line is in fact the path which is already there. As experienced during the site visit, its use as a path is limited and needs extra affordances. This should be more than just a path. In general, it should be noted that this masterplan could almost be a map of the current situation as it is rather difficult to discern the differences. The only spatial intervention seems to be the added passerella and the removed gypsy settlement, which is effectively replaced by a camper area 1km east.

Figure 354. Riverlink project by Biagio Guccione

Figure 355. Le Piagge neighbourhood masterplan 2003, where the bridges remained unexecuted

Figure 352. Earlier student proposals for Argingrosso Area

Figure 353. 2007 Proposal for the Le Piagge area (2007)

139


---Chapter 3 - Planning Proposals & Contemporary Approaches---

Figure 360. Impression riverbank route upstream of Ponte Vecchio

Figure 357. Impression pedestrian bridge just downstream of the Pescaia di San Niccolò

Figure 358. Impression pedestrian route riverbank

Figure 356. Arno masterplan Richard Rogers & Claudio Cantella (1983-1984)

Figure 359. Proposal floating bridge in masterplan Richard Rogers & Claudio Cantella (1983-1984)

140


---3.1. Planning Proposals---

3.1.2. Historic centre | Claudio Cantella & Richard Rogers Cantella

initial proposal by adding waterplanting and

and Rogers (Figure 356) focused on the

a larger variety of access points. It should be

pedestrian route along the riverbanks of

noted that the area northeast of the Ponte

the Arno combined with a greening strategy

Vecchio has been seriously enlarged. With

to create a new public realm apart from the

the materialization and spatial proportions

fumes of the ‘car-choked streets of Florence’

this transforms the atmosphere into a

(rsh-p, 1984). In activating the riverbank, its

piazza rather than a riverbank route. While

main focus seems to be on the (currently

widening locally may be required to allow

rather inaccessible) historic centre, as the

for various functional possibilities, it should

largest changes take place here. However,

be carefully considered where this is done

this route was already seen in the context of

and how this is materialized as all widenings

the larger river system down- and upstream.

and exceptions have a serious impact on

The plan became executive in 1989, but it

the impression of the riverfront as a whole

was not executed (Gimmy, 2019).

(Figure 360).

This masterplan has been dusted of by

While the general masterplan and urban

Mayor Nardella with the ‘actualization’ of

principles are largely in line with the findings

the Rogers-Cantella project by Rogers Stirk

in chapter 1 and 2, the urban details and

Harbor studio as presented in collaboration

architectural elaboration can be questioned.

with the municipality in 2019201. The plan is

The floating bridge proposal in 1983 (Figure

still applicable today and only asked for small

359) already breathed Rogers reputation

adaptations (Capanni, 2019). Perhaps it is

of the later coined ‘high-tech architecture’,

even more applicable as with recent flood

it was in fact drawn by Cantella. Where the

measures the situation is safer202. From

initial bridge was still quite subtle in close

the updated version for 2019 only some

relation to the water and the pescaia, the

impressions and expressed intentions could

revised variant is a colossus of steel, glass

be found at the time of writing (Tani, 2019),

and curves high above the water and no

to which the reflection below is perforce

longer parallel to the pescaia (Figure 357).

limited:

This approach is certainly not rooted in

The

initial

1983

proposal

by

any kind of Florentine tradition and while it As the traffic situation has been slightly

might be a great feature in a new London

improved with the traffic limitation zones

business district, you can seriously doubt the

and may improve further203, the difference

appropriateness inside the historic centre of

between riverbank and lungarno should be

Florence.

carefully considered. Rogers expands on his

141

201 While architect Claudio Cantella was the initiator who involved Richard Rogers (born in Florence) in the process, the actualization and presentation by the municipality took place without Cantella’s involvement. (Capanni, 2019) 202 In 1983 the plan was estimated to be underwater 18 days a year Valbonesi (2019). With the flood measures like the La Penna Dam, this changed for the better, leaving an even more useful Arno riverbank. 203 See “2.1.4. Car oriented Lungarni” on p.94


---Chapter 3 - Planning Proposals & Contemporary Approaches---

3.1.3. Upstream | No known proposals

Embankment Walls and Promenades

Since the main developments took place

on p.125 and “2.2.6. Caserma Perotti” on

in the northwestern direction, there are

p.126) are thus the only large developments

no real masterplanning proposals for the

that can be found. However, since these do

upstream riverfront area. The transformation

not take place directly along the river, there

projects of the large disused governmental

is not a lot to note in terms of desired river

complexes (as shown in ”2.2.5. San Salvi”

functionality.

Dikes and Flood Walls

Flood Areas

Riverbeds and Currents

Dynamic River Landscapes

Linear spatial expansion

Differentiating resistance

Extending the space

Deflecting the current

Allowing channel migration

Selective spatial expansion

Vertical resistance

Placing over the water

Grading the channel

Initiating channel dynamics

Temporary resistance

Reinforcing resistance

Tolerating

Varying the riverbed

Creating new channels

Placing over the water

Integrating resistance

Evading

Varying the bank reinforcement

Restricting channel dynamics

Tolerating

Temporary resistance

Adapting

Varying the riverbed reinforcement

Adapting

Making river dynamics evident

Figure 361. Process spaces & design strategy overview Prominski et al. (2017) 142


---3.2. Contemporary Approaches---

3.2. CONTEMPORARY APPROACHES From general riverfront discourse, three

watercourses

main trends can be distilled, being: re-

places for all flora, fauna and people

naturing,

along and in the water.’ (Prominski et

recreational

repurposing

and

as

multifunctional

al., 2017, p.5)

controlled flooding204. This coincides with nature,

In this transition, the urban river in particular

recreation and flood protection are not

is valuable as an outdoor classroom to

necessarily mutually exclusive and can in fact

educate the public about the value of nature

be designed in synergy205.

and to show the effects of environmental

the

underlying

awareness

that

efforts, which are otherwise often out of sight

Ecological era

for the general public (Knoll et al., 2017).

The ecological value is a returning element in riverfront developments. This is also clearly

Recreational repurposing

expressed in the book ‘Rivers Lost, Rivers

The re-naturing is often combined with a

Regained – rethinking city-river relations’,

recreational repurposing. The transformation

where one of the authors (Harold Platt) even

of the Isar in Munich is a key example of

refers to the present situation as the ‘Age of

this206 (Figure 362), which as it turns out has

Ecology’ (Knoll et al., 2017).

a lot in common with the Arno. Both have a torrential character, which was originally

This is a sharp turn away from the past ideal

reflected in the Arcadian meandering river

of canalization that has left us with the many

landscape. Up to the 19th century this

straitjacketed rivers today (Rossano, 2021).

remained the dominant appearance outside

This shift is also stressed in the ‘River space

the city, which changed with the planning

design’ foreword by Herbert Dreiseitl:

of large city expansions. As shown in the

‘The way we deal with a river is

1891 situation the complete course in the

shifting from hard technical hydraulic

Munich context was canalized and kept at

engineering

semi-natural

a safe distance to allow for rising water in

biological engineering for shaping

the artificially maintained void. The straight

to

1808

1891

Figure 362. Key example of the Isar in Munich in Rossano (2021) 143

204 Prominski et al. (2017) name ecology, amenity and flood protection as the three major thematic fields of river design. While not explicitely stated, the various essays gathered in Knoll et al. (2017) are drenched with these aspects as well. ‘Floodscapes’ by Rossano (2021) focusses on the controlled flooding, but in doing so strongly expresses the ecological and recreational gains. 205 This is the sole purpose of the 304 page book by Prominski et al. (2017), which is stuffed with recent examples. The second chapter of Rossano (2021) is dedicated to the ‘search for combinatory landscapes’, quoting Prominski et al. (2017) as introduction. 206 The Isar may be the most exemplary case of contemporary riverfront transformations as it is highlighted with great appreciation in Knoll et al. (2017), Prominski et al. (2017) and Rossano (2021).

2011


---Chapter 3 - Planning Proposals & Contemporary Approaches---

207 Where the carefully crafted floodable landscape ready to be experienced in full while mitigating disaster is called a ‘floodscape’ by Rossano (2021).

element was an uninteresting cut in the city,

This is what Dutch water managers like to say

until the municipality decided to redesign the

to stress the need for continuous upkeep

Isar with a more natural setting and a park

of flood mitigation measures, which are

functionality. The result is a very popular

lost out of sight when there is no apparent

208 Most flooding disasters result from maintenance shortcomings (Rossano, 2021).

location, in which the nature of the river and

imminent threat208. When carefully designed

the recreation of the city have found the

to incorporate controlled flooding in the

right balance. (Rossano, 2021)

experience of the river landscape this figure

209 The Dutch ‘Room for the river’ measures that could be relevant in the Florentine situation are shortly elucidated (meausres based on Sijmons et al. (2017)): Flood channel: rerouting part of the water at high levels is already happening at the end of the Arno near the sea, but could perhaps locally be incorporated as a new function to the Fosso Macinante, in combination with water storage (as the small reroute itself would not make much difference). Water storage: If the riverwater cannot be processed it can be temporarily stored. Next to the retention areas of Argingrosso and Renai the Fosso Macinante could reroute water to wetlands in the plain of Firenze. Depoldering: Moving the dikes further back to free the river is difficult in Florence due to density. Dike relocation: This inbetween measure only moves the dikes slightly to enlarge the floodplain, which could fit the natural Florentine areas and enhance the experience, like the originally riparian Cascine forest. Obstacle removal: The San Niccolò bridge as the narrowest point is a clear example Floodplain lowering: Not applicable since limited Floodplains in Florence. Riverbed lowering: This measure is already taken since the 1966 flood and maintained by dredging. Dike improvement: Strengthening and heightening the dike (due to limited space) has already happened in Florence and more would create a visual blocking. Groyne lowering and longitudinal dams: Not applicable.

of speech gets a double meaning: one of Much more examples of opening the

necessity and one of joy. A statement which is

riverfront

underlined by the success of the completed

for

recreational

interaction

are given by Prominski et al. (2017), also

Ruimte

without ecology ranging from pontoons to

someone proposed a nation-wide free day

promenades.

in case of flooding, to enjoy the spectacle of

voor

de

Rivier

project,

where

high waters with a safe conscious. (Rossano,

Floodscape as an experience

2021).

Where flood protection in the past was considered a matter of higher embankments

Design principles

and engineering this approach is increasingly

With

challenged by climate change and severe

principles for the river space have expanded

storms or water levels. Since the end of the

into a diverse range of options. Prominski et

20th century this resulted in a transition,

al. (2017) categorizes these interventions in a

where rivers and their floodplains are

particularly clear overview (Figure 361), which

transformed

without

is elaborated with examples throughout the

severe damages. A certain cohabitation with

book. Additionally the watermanagement

the natural fluctuations is reinvented within

principles209 of controlled flooding in the

the notion of ‘controlled flooding’207.

‘Room for the River’ program is given in Figure

to

allow

flooding,

these

developments,

the

design

363. Depending on the desired outcomes ‘Dear Lord, give us our daily bread and a flood

the appropriate intervention or combination

once in a while’ (Rossano, 2021, p. 15).

can be selected.

Dike improvement

Groyne lowering

Floodplain lowering

Dike relocation

Obstacle removal

Water storage

Flood channel

Depoldering

Riverbed lowering

Figure 363. Ruimte voor de rivier watermanagement principles 144


---3.3. Concluding Overview Trends---

3.3. CONCLUDING OVERVIEW TRENDS In

summary,

the

variety

of

planning

In

the

wider

discourse

on

riverfront

proposals may be diverse in their focus,

transformations, the focus lies in three

but they all share the addition of (outdoor)

trends: re-naturing, recreational repurposing

recreational functions, improved accessibility

and controlled flooding. These three are no

and connections (bridges) combined with the

longer seen as mutually exclusive and often

value of green / natural space. It should be

design integrations try to achieve a synergy

noted that some proposals are rather trend-

between various aspects.

sensitive or generic in their elaboration, where you could argue for a more sensible historical

and

contextual

embedding.

Nevertheless, the programmatic aspects give an indication of the local range of desired

Literature contemporary developments (3.2.)

Planning in Florence (3.1.)

use possibilities.

(Outdoor) Activity

Ecology / nature

Connections / accessibility

Ecological era

Recreational repurposing

Floodscape as an experience

145


PART B


DESIGN


2. Transition between City & Nature 1. The experience potentials of a direct relation between city and river / landscape 2. The ecological needs and the potential to combine this with recreational enjoyment as an ‘escape’ of everyday city life

Access to the riverbank

Florentine plain originally wetland

Irreplaceable atmospheric qualities Arcadian river landscape

Topography & staging views

Specific types add to riverfront experience

Direct transition nature city shifted to streams

Arno as a natural force to reckon with

Experienceable dual character

Streams as linear park network

A river to swim in

Hydropower architecturally incorporated

Distinct architectural types for modern riverfront activities

Argingrosso as an island

Re-naturing the riverbed

Accessible riverbanks

Lungarni as pedestrian public space

Balanced mix of functionalities & escaping busy city life

Strategically greening the Arno corridor

Off-central parks

Returning wetland area

Continuous riverbank route

(Outdoor) Activity

Ecology / nature

Connections / accessibility

Ecological era

Recreational repurposing

Floodscape as an experience

Literature contemporary developments

CH3 Trends

Planning in Florence

CH2 Current situation potentials

CH1 Historic lessons

Arno as an extension of the public space


CHAPTER 4 - VISION As we have seen, the Arno has historically

to

combine

this

with

recreational

had its own function in the city depending

enjoyment as an ‘escape’ of everyday city

on the era and necessities. In the post-

life.

modern era these functions were lost due to modernization and fear following the 1966

This focus on ecology in addition to the

flood. The rivers position became undefined.

experience and use value is underlined by

Today, flood protection measures have

the contemporary developments of previous

improved the situation and the attention is

planning proposals in Florence and the

returning to the Arno. Now, the riverfront

literature on riverfront developments in

has to be charged with new meaning fitting

general.

to the current time and conditions. These recurrent themes of direct (spatial) The

main

conclusions

from

the

historic lessons, current potentials and

experiences

and

nature

(or

natural

atmospheres) are combined in the vision of: ‘Rediscovering ecology’

contemporary trends were used to sensibly fuel the new vision for the Florentine Arno

As this may at first seem to focus on the

riverfront.

natural aspect of the river, it is important to To summarily recapitulate these conclusions,

emphasize that the ‘Rediscovering of ecology’

an overview is shown in Figure 364. Where

should be understood in two parts (as shown

the historic lessons could be grouped in

in Figure 365):

two main categories. Firstly, the historically present direct relation of the individual with the spatial experience of the river. Secondly,

1.

Generally: Natural relations of flora, fauna and their environment

the historically clearly defined transition between city and nature, where both had

This broad notion is how ecology is generally

very strong atmospheres of their own.

understood and puts the focus on the natural aspects and atmospheres. It is

These

relate

strongly

to

the

current

however important to stress, the human-

potentials, that can be summarized in:

being is just as much taking part in ecology.

1.

The experience potentials of a direct

The human experience and connection to

relation

the (natural) environment can therefore

2.

between

city

and

river

/

landscape

be understood as an essentially ecological

The ecological needs and the potential

relation.

Figure 364. Overview research conclusions as elaborately treated in chapters 1-3 | behind the Wanderer above the sea of fog 149


---Chapter 4 - Vision---

Rediscovering ecology

Vision

General

Specific

Experiencing immediacy

Natural atmosphere Two-parts

Flora

Fauna

Human individual

Ecosystem relations

Direct relation

Environment (Arno)*

Environment

Intervention

Landscape: Letting things run their course

Urban & Architectural: Strategic staging indoor & outdoor experiences along the river

*including considerations of the dual character

Figure 365. Vision ‘Rediscovering ecology’ and its elements

100%

80%

60%

40%

20%

0%

landscape

(natural) park

linear park

centre

linear park

= The percentage of focus on Immediacy (to the water as main natural element) = The percentage of focus on Natural atmosphere (natural flora & fauna) Figure 366. Spatial gradient of interventions in rediscovering ecology 150

(natural) park

landscape


---Urban & Architectural Principles---

Since the focus of this research and design

population can have close-encounters

is on the riverfront, the specific environment

to the river, while the general ecology

that we are talking about here is the natural

of Flora & Fauna is locally reduced to

water-body of the river Arno in particular.

the expression in the green and blue of

Combined with Cullens fitting notion of

parks, gardens and the river(banks).

‘immediacy’ to describe the directness of a (spatial) relation, the second (specific) part

It should be noted that the notion of

can be described as:

‘rediscovering ecology’ and its subdivision in two parts are mere conceptualizations

2.

Specifically: The experience of immediacy in

of the large variety of specific intervention

the relation between the human individual

possibilities

and its environment

They have to be understood as overarching

uncovered

in

the

analysis.

concepts rooted in the lessons, potentials The first is best left untouched (for the most

and trends of Figure 364 that make up

richly natural atmosphere), while the second

the total breadth of the vision and its

benefits from a strategic staging of indoor &

interventions.

outdoor experiences along the river, which is

Urban & Architectural principles

where the focus lies.

As we have seen in the analysis, Florence is With

characters

a highly specific city with a high genius loci210

and potentials, a gradient can thus be

and imageability211. The whole city image

conceptualized in the transition between

would thus be at a loss when a generic

inner city and the landscape outskirts (Figure

riverfront development would be applied. Or,

366):

perhaps even worse, when interventions in

the

Where

diverse

the

spatial

landscape

interventions

on the one hand are limited to light functional

programming

of

the historic centre would be out of tune with the historically rich identity.

paths,

accentuating edges and minimal building

To ensure the specificity of the Florentine

interventions. The general ecology of

riverfront as no other, the local water-

Flora & Fauna is allowed free reign

related typological precedents (as analysed

in the major part of this area, while

in chapter 1.3.) will be used as much as

the immediacy is locally limited to the

possible. This will be either in their original

strategic implementations along the

function, or with a contemporary function

(recreational) routes.

fitting to an analogical translation of the

Whereas the inner city on the other

original type. The translation of the original

hand is particularly suited for built

types to the contemporary situation to fuel

interventions that actively pursue the

the riverfront with new indoor and outdoor

direct relation of inhabitants with the

experiences is shown in the intermezzo on

Arno. In this area, the focus is thus

the next spread.

on the immediacy, where the dense 151

210 The Sense of place theory states that every environment possesses unique aspects that distinguish this place from another and with which people can identify and be intrigued (as described by NorbergSchulz, 1980). With today’s high levels of efficiency and standardization, environments that celebrate a singular genius loci are more important than ever (Cushing & Miller, 2020). The abundance of historic character in Florence, particularly in its centre, should therefore be cherished and potential interventions here could built upon this character and where necessary dust it off (e.g. building types, topography, water edges, etc.). 211 Florence is a strongly imageable city, as it can ‘be apprehended over time as a pattern of high continuity with many distinctive parts clearly interconnected’ (Lynch, 1960, p. 10). The many landmarks, great coherence and continuity and the distinct character of the historical centre make the city an often cited example in ‘the image of the city’ (Lynch, 1960, Florence: pp. 92, 93, 126, 130, Duomo: pp. 82, 92, 102).


INTERMEZZO I Translation ---Chapter water-related 4 - Vision--- typological precedents Ponte | original / analogical Both the ponte as a public space and the pragmatic ponte with proximity to the water can be translated in their original bridge crossing function, together with additional Type A | Ponte as a public space

analogical use opportunities and spaces fitting to the current context.

Type B | Pragmatic ponte in proximity to water

Tiratoio | analogical There could be various analogical functions to benefit from the spatial layout with its open top and rather closed bottom. In case of a spa or swimming pool, the waterintensive use character and the direct relation in the positioning next to the Arno can also be revived.

Bagno | original The three types of Bagno spaces (tent, riverbank and protected zone of mill or bridge) can return in their original function as a system of diverse bading spaces along

Type A | Tent structure

the Arno. As a type, this can sometimes even use the original layout. At the same time, there can be multiple variants reacting to their slightly different context to result in the large, with a fitting choice for everyone.

Type B | Riverbank (stepped or ramp)

Type C | Protected zone (mill or bridge) Figure 367. Overview of the translation of the seven water-related typological precedents with their original or an analogically fitting functionality 152


See p.74 ---Urban for the&historic Architectural overview Principles--in chapter 1 Mulino | original / analogical As outlined in chapter 2, aligning with the potentials and Florentine policies this can Organizations / offices

be translated in the original function of hydropower. However, instead of hiding it from view like in the policies an additional analogical functions accessible

translation is

of

the

stacked

where

publicly

exposition

spaces

proposed, societal

together with involved organizations above can fuel the public debate in a walkable

Private Public Power + Common functioning in series

sequence.

Acquedotto network | analogical An analogical translation can be applied to the existing acquedotto network, where instead of transporting water, it can function as a sub-surface walking route experience for humans as a mediator between escaping the city above and connecting to the riverbank below. Analogically, extra ‘control buildings‘ can be introduced as access spaces.

Serbatoio | analogical This sub-surface Serbatoio type is ideal for park and function combinations, where analogically functions with limited demands on daylight (e.g. parking, gym, cinema, etc.) can be incorporated along the riverfront, while

simultaneously

ensuring

a

freely

accessible outdoor park-space in which just the ‘jewel-like’ entrances pop up..

Riverbank structure | analogical The main lesson from the evolved type: the principle of embedding the delicate parts, while keeping direct access to claimed riverside space is analogically applicable to basically all functions that may benefit from a direct location on the riverbank (e.g. terrace).

153

Public societal expositions Functional Hydropower


---Chapter 4 - Vision---

1. Local historical typological water related precedents

2. Context aware design

> Location history

> Direct surroundings

> Florentine context

Figure 368. Urban and Architectural principles for a typically Florentine riverfront with seamless integration in the existing urban fabric 154


---Urban & Architectural Principles---

On top of this, a context-aware design will be applied, to ensure a seamless integration between city and river that fits in a typically Florentine riverfront. This context-aware design consists of three parts: •

The location history, which is important to consider in order to keep the riverfront stories and layered identity alive.

The direct context, where the relation to the direct surroundings is essential to fit in, while the impact of the intervention on

these

surroundings

determines

the improvement on the spatial and functional relation of the city-water relation. In case of the riverfront, the wide views and vis-a-vis are important to consider. •

Florentine required

references, whenever

function

asks

which an

for

are

analogical

specific

design

interventions that cannot be found in the original typological precedent. In this way, the modern translation is still rooted in Florentine history. By

using

these

principles,

the

built

intervention becomes part of its context and the focus shifts to the spatial impact of the contextually integrated whole on the relation with the river Arno. The

total

of

urban

and

architectural

principles (as shown in the overview of Figure 368) forms the guideline for all building designs of the masterplan.

155



CHAPTER 5 - MASTERPLAN The vision, based on the historic lessons,

The urban wetlands are perhaps the most

current

trends

drastic transformation of the masterplan,

is spatially translated into the regional

which can be justified by their natural and

masterplan of Figure 369. As mentioned at

recreational

the introduction of chapter 2, the iterative

selection of areas. Next to the riverfront

process of research and design has resulted

‘off-central’ parks and Parco dei Renai, the

in a close relation between the analysed

central area between Prato and Firenze is

potentials and their design applicability212.

added as a wetland. This area is also largely

Here the focus is on the spatial application,

unbuilt, with a high presence of water-

where the masterplan shows how all these

bodies. In fact, it has been deliberately kept

aspects are joined together in the Florentine

open for a potential ‘central park’ in 20th

riverfront system that stretches its influence

century

across the plain with the smaller streams

specifically fitting to its genius loci could thus

and wetlands. The various interventions are

become a ‘Central Padule’215.

potentials

and

recent

benefits

and

masterplanning214,

the

strategic

which

more

highlighted below: The dotted line indicates the continuous Starting with the ‘off-central’ parks213, the

route along the river219. In the historic centre

‘Greater Anconella’ extends its playground

the interruptions of the riverbank will be

park with a forest park across the Anconella

resolved and a multitude of access points220

plant and a wetland park across the river.

will be added as shall be seen on the urban

This forms a balancing act to the western

design scale (CH6). Similarly, the parallel

‘Greater Cascine’, where the same trinity is

route at the height of the Lungarni benefits

created by connecting to the Argingrosso

from the pedestrianization221 and improved

wetland and the linear Le Piagge riverfront.

traffic nodes at the edge of the historic

The

from

centre, where simultaneously the moved

is

parking is provided underground. Outside

strengthened, both at the centre (Piazza

the centre the route continues running

Vittorio Veneto road continued below river)

separated from car traffic through the

and along Novoli (rail ‘boundary’ transformed

riverfront parks, where in the east the route

into tramline ‘seam’). Argingrosso is turned

runs across the agricultural landscape to

into an island216, which forms an exclusive

evade the narrow ‘car-tunnels’ while enjoying

entrance transition experience. Le Piagge

the marvellous views on the hills, valley and

has increased use value with the bridge

river.

the

connection surrounding

to

the

Cascine

neighbourhoods

connections and the linear wetland on the neighbourhood side of the rail. This runs

Along the entire riverfront there will be a

from the Parco dei Renai in the west up to

balanced mix of functional programming on

the Carabinieri water-body below the airport

the one hand and possibilities to escape the

to provide the much needed space in the

busy city life on the other222. As the riverfront

chaotically entangled urban fabric218.

programming is related to the direct contact

Figure 369. Regional masterplan (open this page 90° to see the whole) 157

212 Since this makes it possible for this masterplan to incorporate these potentials without further ado, you are referred to chapter “2.1. Analysis & potentials” on p.79 for their background and elaboration. 213 “What if... ‘The Greater Cascine & The Greater Anconella as off-central parks’” on p.114 214 As shown in Cuijpers et al. (2021). 215 ‘Padule’ means wetland in Italian. As such, ‘Central Padule’ is a wink to the New York reference, where this one has more natural landscape origins, but too is used as a central park. As a mentioned principle in Figure 363 on p.144, this area can be used for water storage during floods by diverting water via the Fosso Macinante. 216 See “What if... ‘Isolagrosso | Argingrosso as an island’” on p.115. 217 Related to “What if... ‘Wetland area was reintroduced’” on p.87 218 See “2.2.9. West restructuring” on p.127 219 See “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105 220 See “What if... ‘Accessible riverbanks’” on p.103 221 See “What if... ‘Lungarni as pedestrian public space’” on p.95 222 See “What if...” on p.98


---Chapter 5 - Masterplan---

223 See “What if... ‘Distinct architectural types were applied to modern riverfront activities to add to the specific riverfront experience’” on p.93

with the Arno (experiencing immediacy),

The direct transition of the historic wall is in

while the most natural environments (natural

a way revived with a gradual transition, which

atmosphere) are best suited to escape busy

arguably is just as rich as an experience as

city life, these are related to the spatial

it is more difficult to pinpoint one location

224 “What if... ‘A river to swim in’” on p.89

gradient of the vision in Figure 366. While

where the landscape and city are separated.

descending to the riverbank is a way to

Since the specific types of spaces and added

225 “INTERMEZZO I Translation waterrelated typological precedents” on p.152

escape the busy city life, this is far more true

buildings are mirrored on both sides of the

for the landscape outskirts. Contrary, in the

historic centre, they can be understood as

landscape, the functional programming is

small hints to the transition229. When moving

226 “What if... ‘An Arcadian river landscape | Re-naturing the riverbed’” on p.109

light (e.g. routes) and immediacy to the Arno

into and out of the city along the riverfront

can only be induced at strategic locations

you will feel something is ‘right’, while you are

227 “What if... ‘Lungarni lined with trees’ *” on p.107

(e.g. bridges), whereas the higher density

not able to uncover all elements at once. In

and shorter distances will align with the

this way, the riverbank route is strengthened

programming and immediacy in the historic

as an engaging experience.

228 “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105

centre. The functionality includes the hydropower223

as linear park systems, which connect the

229 From the buildings, the most outstanding examples are the two bridges on the ring and the two Tiratoi, as will be seen at the Urban Design.

and river swimming224 as highlighted in

landscape through the urban areas and

the potentials, together with the other

as such allow for a variety of recreational

translations of the water-related typological

routes. This is particularly valuable inside

precedents225 which give shape to a variety of

the city of Florence. Here, the Terzolle,

river related programming as elaborated in

Mugnone, Affrico and Mensola form natural

the urban design (CH6).

corridors that together with the cross

230 By giving the three parks a catchy combined name, they will mentally belong together. When standing in ‘San Salvi’ the name can make you aware that the ‘Freight yard park’ and ‘Caserma Perotti park’ are in fact interlinked. While this has nothing to do with the ‘Forest Stewardship Council’ free publicity for a non-profit organization with sustainable goals is never a bad thing. On top of this, it fits the character of the tree planted park, which can extend to forest like-proportions, especially in the San Salvi area. 231 See “What if... ‘Streams as linear park network’” on p.117 232 See “What if... ‘Experiencing the dual character’” on p.81

The streams in the whole area are used

connection of the ‘FSC’-park230 will create The riverbed and banks will be re-natured226,

a recreational network with a multitude of

starting from the linear parks that stretch into

routes connecting city and landscape. This is

the inner city ring. Inside the absolute centre,

supplemented by the main neighbourhood

both the linear parks and the alternating

connections to the riverfront231.

river profile will stop as the Lungarni and riverbanks simply become too narrow here.

Last but not least, the dual character of

Here, only the green lining of waterplanting

the Arno and its sub-streams is made

will accompany the blue natural corridor on

experienceable232. Use of the banks and

the water level, together with a ‘dotted line’

low crossings are facilitated at low water,

of tree-lined piazza’s above227. As such, a

while the alternatives provided at high water

melodic sequence from landscape to city to

are fuelled with views across the ominous

landscape is created to experience along the

floodscape.

continuous route228.

158


---Urban & Architectural Principles---

159



CHAPTER 6 - URBAN DESIGN

The urban design expands in detail on the

This chapter will start with an overview

large gestures indicated in the regional

of the (additional) intervention locations

masterplan. As seen at the masterplan, there

(6.1. p.163). This is followed by the wider

Removed

is a close link with the potentials, which can

urban and landscape interventions (6.2.

Transformed

in part be recognized by their returning

p.164), which is subdivided in three parts

icons throughout this chapter. The other

(downstream, historic centre, upstream). The

Low water crossing

drawings are also based on the analysis

positions of the translated typological water-

Riverbank access point

and vision values, but they are specified

related precedents are treated separately

in their application. On top of this, the

(6.3. p.178) to keep a clear overview on

analysed intervention locations and types,

their spread and variety. Nevertheless, it

will lead to specific elaboration that add as

should be kept in mind that the architectural

parts to the system as a whole. In this way,

interventions are strongly interlinked with

the experience of immediacy and natural

the urban and landscape interventions, as

atmospheres along the riverfront will be

their placement and specific type is largely

elaborated with a strategic staging of indoor

based on this. The Arno landscape and

and outdoor spaces and uses.

its experiences in flood are highlighted in section 6.4 (p.186), followed by an overview of the interventions imposed on the elevation of the historic centre (6.5 p.190) as a bridge to chapter 7.

Added Added underground

Pedestrian priority Riverbank route

Added parks & connections


Buildings removed Historical intervention locations Currently disused intervention locations Additional buildings removed for masterplan Open or low density for areal transformation Ongoing / planned transformations

Agricultural rest space > in park

Grass buffer before railway

Argingrosso (see p.113) Dwellings with backsides to river

Swimming pool

Two dwellings

Figure 371. Overview of intervention locations, including the attention areas / supplementary intervention locations 162


6.1. INTERVENTION LOCATIONS spatial

are required to make space for execution

interventions, the locations have been based

of the analysed potentials. Either to ensure

on the historic remnants (Figure 141) and the

a clear continuation of the proposed linear

currently disused locations (Figure 297) as a

networks, or to turn a backside into a front

result from the analysis in Chapter 1.3 and

side. These area are not disused, but neither

2.2. While the masterplan made strategic

are they indispensable or irreplaceable as

use of these interesting or opportunistic

shown in the overview (Figure 371).

In

turning

the

Vision

into

intervention locations a few additional areas

parking > in building

Supermarket > in new plan

Industrial spaces at railway ‘backside’

Empty & car-oriented commerce > integrate

Rovezzano Riverfront (see p.126)

Anconella (p.113) Two rows of housing

Backside along the riverfront

Swimming & Rowing > integrate

163


6.2. URBAN & LANDSCAPE INTERVENTIONS 6.2.1. Downstream area

is overlayed with a strategically placed

Starting downstream (see Figure 372 on

recreation network surrounding the water-

the next spread), the riverbed and banks

bodies (6). In between the focus on ‘general

234 See “What if... ‘The Greater Cascine & The Greater Anconella as offcentral parks’” on p.114

are re-natured along the park spaces up

ecology’, these elements thus provide the

to the Pescaia di Santa Rosa233 (1). With

‘immediacy’ of human interaction in close

the added bridge connections across, Le

proximity to the natural237. This includes, the

235 See “What if... ‘Isolagrosso | Argingrosso as an island’” on p.115

Piagge, Argingrosso and Cascine together

incorporated golf course, a bird watching

can function as a ‘Greater Cascine’, where

tower and one main lake for human

the various characters and programming

recreation.

supplement each other234 (2).

The recreational routes connecting these

233 See “What if... ‘An Arcadian river landscape | Re-naturing the riverbed’” on p.109

236 See “What if... ‘Wetland area was reintroduced’” on p.87 237 See “What if...” on p.98

elements introduce immediacy by tuning At the Argingrosso, the added side-arm

their spatial layout to the type of movement

of the Arno strengthens the controlled

where possible (7):

transition to the wetland235 (3). Here the

The walking network exists of narrow

transition from neighbourhood of Isolotto to

paths, that closely pass the water with

nature of Argingrosso will be exaggerated as

occasional vistas along the route. A

a deliberately stressed experience where you

small stepping stone interruption or a

pass through the dike as a mediator between

boardwalk detour fits this profile.

these two very different areas, similar to the

This connects partially parallel to the

abrupt transition when passing through the

slightly broader route network, which is

medieval walls.

tuned to running and cycling. The curves are less abrupt here and the vistas are

The

axial

roads

neighbourhood

through

the

perpendicular

Isolotto to

less frequent, but where present, they

the

Argingrosso will be transformed with a

are combined with sitting opportunities. •

This route differentiation is completed

greening and cyclist priority strategy (4). In

with

the

this way, these secondary roads will form an

long

distance

internal extension of the green recreational

displacements. This network connects

routes in between the lush green Isolotto

the main access points and bridges

neighbourhood interiors. This in opposition

directly, while applying wide vistas by

to the present performance as asphalted

harnessing the elevated terrain (the

infrastructural gaps despite the limited local

dikes and sub-divisions), lined by evenly

traffic.

spaced rows of trees.

broad

relatively

network

for

straight quick

The Argingrosso is turned into the main

The boundary at Le Piagge above is softened

urban wetland area just downstream of the

by adding a linear wetland between the rail

city (5). Existing water-bodies have been

and the neighbourhood (8). The current

incorporated and supplemented with larger

grass buffer only enlarges the void and

interconnected water-bodies, that follow the

emphasizes the railway cut, whereas the

existing landscape structure. This results in

wetland atmosphere will ease the connection

plenty of wetland space reserved for ecology,

to the river-park below the rail with a specific

where flora and fauna can flourish236. This

atmosphere that is more linked to the

164


riverside than to the neighbourhood green.

streets, which are emphasized visually as a

As shown in the masterplan, the linear Le

connection to the Cascine240 and elaborate

Piagge wetland park makes the connection

on the park network of Mugnone and

to the Parco dei Renai in the west and the

Terzolle inside the urban fabric241 (12).

landscape below the airport in the north. The connection to the latter will slowly dissolve

The building wall of the neighbourhood,

the infrastructure and urban fabric that grew

which as a result of the railway boundary

between the Peretola village and the 20th

is currently full of backsides and rest-

century Firenze expansions in an unbridled

functions, is also addressed. The rest-

manner (9). The largely empty space along

functions are removed and the backsides

the rail can be expanded into a continuous

are finished by aligning with the typologies

line by relocating the exceptions inside the

of the neighbourhood behind (13). In

gaps of the existing urban fabric238. This

this way, a strong building line is created

densification includes the use of empty

as

spaces, but also disused buildings and many

while the building types provide a clear

parking lots (for Peretola Airport), which

recognition and smooth transition to the

can be combined in a proper space-saving

neighbourhoods behind. By making the edge

parking building.

1-2 storeys higher than the common height

a

termination

of

the

built

area,

in the neighbourhood behind, the edge The Le Piagge neighbourhood is based on

is accentuated, while granting wide views

green wedges between the built blocks,

across the Cascine on the higher floors.

and one of these will be strengthened to connect to the linear Fosso Macinante park

The

exceptions

of

the

Manifattura

in Peretola (10), which in turn provides a

Tabacchi242 and the architecturally interesting

convenient green connection along the canal

freight yard building243 are gratefully seized

to the valley landscape behind238.

as exceptional historic ‘jewels’ (14). While they are integrated in the urban fabric, their

The main intervention in the Cascine takes

special character is given due attention by

place along its edge with the transition

widening the public space. A multifunctional

from railway boundary to tramline239. As

mix can gravitate around these centres and

this can be incorporated inside the street-

the park edge plinth, while the other blocks

profile, the boundary will turn into a seam,

are mainly residential.

providing a direct connection between the large neighbourhoods and the Greater

Further, the connection from the Cascine

Cascine (11). The Fosso Macinante will form

to the historic centre is improved by

a clear mediating line between the two. In

addressing the traffic node of Piazza Vittorio

this way, a strong park edge can be formed

Veneto244. The existing car tunnel, which

directly behind, which will radiate the park

goes down and up (to cross the Ponte alla

atmosphere to the neighbourhood across.

Vittoria) introduces two huge ramps that

At the same time, access remains controlled

completely disrupt the spatial continuity of

by the bridges. These are spread at regular

the piazza. The Piazza Paolo Uccello south

intervals aligning with the main intersecting

of the Ponte delle Cascine (the next bridge

165

238 See “2.2.9. West restructuring” on p.127 239 See “2.2.3. Freight yard Leopolda” on p.123 240 If possible by greening strategies, like is proposed at Isolotto. However, the streets of Poggi’s expansion (the eastern part of the Cascine) are too narrow for this. As such, next to signage, they will only be emphasized in their pavement and layout as ‘cyclist-oriented’ streets, in which cars are given less priority. 241 See “What if... ‘Streams as linear park network’” on p.117 242 See”2.2.2. Manifattura Tabacchi & Factory site” on p.122 243 See “2.2.3. Freight yard Leopolda” on p.123 244 See “1.3.5. Piazza Vittorio Veneto” on p.60


10

7

2

8 5

6 6

3

4 A

B A

C B

C

Figure 372. Urban & landscape interventions downstream


9 11

12

13

14

15 1


---Chapter 6 - Urban Design---

to the west) has a similar disrupting ‘down-

Veneto, will become a point of historical

up’ tunnel. By connecting the two existing

interest inside the riverbank route (2). As an

traffic node tunnels to each other directly,

unnecessary obstruction in the river-flow the

the disruption is gravely reduced, especially

top part has been removed and when access

along the riverfront245. This intervention

stairs are incorporated in the nearby Ponte

can be combined with a linear park on top,

alla Vittoria there is no need to add additional

which is widened to align with the existing

stairs here as well. Instead, the historical

linear park to the west246 (15). Since this

remnant will receive an information sign to

also alleviates the Ponte alla Vittoria and the

make the historical background perceivable.

southern Piazza Taddeo Gaddi from traffic,

By adding a few steps on either side along

the linear park continues with pedestrian /

the embankment wall, the climbable object

cyclist priority all the way from Argingrosso to

can become a small stage, a space to rest or

the historic centre.

allow for any other sort of interaction.

6.2.2. Historic centre

The Piazza Vittorio Veneto is connected by

The interventions of the historic center are

three parallel streets to the Villa Favard (3).

shown in Figure 373 on the next spread.

Now the villa houses a semi-public institution

251 See “1.3.1. Foundry & Gasometer area in Pignone” on p.55 for its historic value.

Next to the already mentioned increased

with the Polimoda School the influence of the

importance of the cycle and pedestrian

park can be expanded to stress this unique

route parallel to the Arno, the new traffic

position in the Cascine district250. The park

252 By renaming the merged and extended park as ‘Parco Gasometro’, the unity of the entity is also strongly expressed in its name.

situation grants the opportunity to redesign

can be extended to the surrounding streets

the Piazza Taddeo Gaddi and Piazza Vittorio

and even make a connection to the natural

Veneto in their entirety. Both should be

riverbank, where the central core of the Villa

considered as central nodes connecting the

Favard is opened for public during the day.

245 This will be elaborated in the architectural scale of the Ponte alla Vittoria transformation, which is made possible by this transition. 246 See “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105 247 See “1.3.5. Piazza Vittorio Veneto” on p.60 248 This will be separated from the street by running behind the rowhouses instead, where currently a large parking space is located. 249 See chapter ”1.3.2. The gateway pediment” on p.57 250 See “1.3.8. Villa Favard” on p.66

neighbourhoods to the park (1). As such, they should be given extra attention with

Across the river from Villa Favard you have

the atmosphere of an open space in the

the Gasometer area (4), which currently is

park or a rather green piazza, similar to the

a chaotic mix of open and built space with

original intentions of Poggi for the Piazza

abundant parking and fences251. Similar to

Vittorio Veneto247. At Piazza Taddeo Gaddi,

the approach at the Villa Favard, the green

this can be combined with a pedestrian park

spaces already present (Parco Giocchi Santa

connection to the Monastery on the Monte

Rosa and Giardino Henry Dunant) can be

Oliveto248, to stress the presence of this

expanded to include the open spaces and

astonishing viewpoint on the west side of

streets252. In this way they go from ‘quality

the city. This will be complementary to the

green spaces pushed in a corner’ to the

already existing Piazzale Michelangelo with

binding element that makes the area a high

the current key riverview on the east. The

quality entity again. No less than 20 Italian

detailed design of both squares is elaborated

Cypress trees are already present inside the

in chapter 7.1.

Gasometro court. This recognizeable tree will be used as the returning element along the

The gateway pediment249, which is located

various axes that make up the Gasometro

on the riverbank below Piazza Vittorio

area as a whole. The central axis connects to

168


---6.2. Urban & Landscape Interventions---

the riverbank with an amphitheater shaped

been added at historically relevant positions

ramp. Together with Villa Favard park this

supplemented with fitting extra locations,

would from a green space vis-a-vis just

to achieve an appropriate spread257 (6).

outside the centre253.

From downstream to upstream, this starts with the four originally intended Ponte alla

To make the freeing of parking spaces

Vittoria staircases258. Then follow the stair

possible, the added linear park and Piazza

landscape at the Villa Favard with the ramp

Vittorio Veneto can be combined with

of the Gasometer park across. Two diagonal

underground parking space254. This allows

ramps are incorporated in the northern stair

the reclaiming of the Lungarni, the adjacent

landscape as well to allow for wheelchair

piazza’s and parts of the bridges as public

access.

space within the historic centre255 (5). To retain the current diversity in piazza’s along

Another vis-a-vis access follows on the central

the riverfront, these orange indicated spaces

axis of Piazza Ognissanti and Piazza Cestello

remain the same in character, except for the

(7). These staircases are incorporated inside

removal of disturbing mobility, f.e.:

the square, with a symmetrical layout, that

Piazza’s with sidewalk cafés will thus

fits the squares, mirrors in the vis-a-vis and is

remain restaurant and café oriented,

independent on the direction of the diagonal

while

weir, which cannot be mirrored.

obviously

their

unsuppressed

dominance in the space will allow for a •

more cosy and inviting ensemble.

The next set are the revived metal open stairs

Open

restaurant

protruding from the Lungarno Guicciardini,

functions will remain open and at most

together with a duplicate stairs on the same

receive a reorganization of structuring

height of Lungarno Corsini across260 (8).

elements

and

The first connects the heart of the Oltrarno

seating objects. Without the criss-cross

district (known for its cafés and restaurants)

of traffic they will simply allow for all sorts

with a simple turn past the Basilica di Santo

of planned and unplanned meaningful

Spirito to the riverbank terraces (9).

piazza’s

without

(statues

/

fountains)

interactions with friends, acquaintances or passerbys. •

Then follows the staircase southeast of the become

Ponte Vecchio, which fits with the terrace

the open boulevards that they were

square and descends towards the east

intended to be256. The only alteration

where the end of the Acquedotto tunnel is

on top of removed mobility are the

located261. Interesting enough, this connects

addition of

carefully placed benches

the Arno as the lowest point in Florence

and riverbank descends. If fitting, the

to the curved ‘Costa dei Magnoli’ leading

freed-up parking space can be claimed

directly to the top of the hill at the Forte di

by the plinth functions, to increase the

Belvedere (10). Across from this tunnel, the

interaction along the riverfront.

rowing association is located, which already

The

Lungarni

once

more

has an indoor access to the riverbed that To make the connection from the lungarni

remains unchanged262.

to the riverbank several access points have

169

253 This would form a fitting addition outside the walls of the historic center on top of the piazza vis-a-vis of Ognisanti and Cestello inside the historic walls. 254 This has even been initiated at the Piazza Vittorio Veneto, with the creation of a parking entrance within the tunnel, but the parking has not yet been taken in use (see “1.3.5. Piazza Vittorio Veneto” on p.60). 255 See “What if... ‘Lungarni as pedestrian public space’” on p.95 256 See “1.3.7. The origins of the Lungarni” on p.63 257 See “1.1.2. Accessibility of the riverbank in the historic stem of the Arno” on p.23 and “What if... ‘Accessible riverbanks’” on p.103 258 See “1.3.4. Ponte alla Vittoria” on p.59 259 For flood safety this is generally the more appropriate option, as it gives extra space to the river, instead of taking it away. As the staircase wall becomes a part of the square layout it also interacts more with the Lungarni level. However, sometimes this is not the most appropriate option given specific location history or requirements. 260 See “1.3.6. Guicciardini staircase” on p.61 261 See “1.3.10. The acquedotto network” on p.69 262 See “1.2.7. Riverbank structures” on p.51


Piazza Cestello

13 3 7

Piazza Ognissanti

2

1

4

9

16

Figure 373. Urban & landscape interventions historic centre


Lungarno Corsini

14 5 Lungarno Guicciardini

8

10

6

19

12

15

17

11

18


---Chapter 6 - Urban Design---

263 Based on the type of “1.2.5. Acquedotto Network | Canal & control building” on p.45 as shown in section “6.3. Architectural interventions” on p.178

The next ones descend from Giardino Lutero

to go down again at the added staircase east

and Piazza Nicola Demidof, which go below

of the Terrazza, which passes a remaining

the Lungarno and cross the Acquedotto

platform of the Officina Idraulica266. Across

tunnel263. Following a dark descend they exit

the river, there is an interior staircase at the

264 As seen in “1.1.2. Accessibility of the riverbank in the historic stem of the Arno” on p.23 there used to be a temporary access on this location.

on the riverbank with views respectively to

Tiratoi type, which exits at a widening in the

the ramp and stairs of the historical ‘Porte

riverbank route.

265 As shown in “1.3.3. Foderaia” on p.58 this underground space can be used as it is located behind the underground stream. 266 See the southeast staircase in Figure 201 of “1.3.10. The acquedotto network” on p.69 267 This also relates to the 4 staircases of the existing Ponte San Niccolò, which are currently disused, see Figure 261 in “2.1.6. Accessibility riverbanks & continuity riverfront” on p.101. The Ponte San Niccolò will be replaced for hydraulic, traffic and riverbank route reasons. 268 See “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105 269 See “What if...” on p.98

d’Arno’ and towards the Biblioteca Nazionale straight across (11). Next to the added

The new Ponte San Niccolò completes the

buildings, this last vis-a-vis is answered

sequence of access points inside the historic

by the staircase264, which is placed on the

stem with the same four stairs principle that

central axis of the library piazza. In this way,

the Ponte alla Vittoria started with267. The

it uses the existing ‘dent’ in the Lungarno

resulting spread of descends ensures an

embankment and makes it align with the

ease of access on the entire riverfront, with

square. On the other side of the dent (200m

the exception of the direct Ponte Vecchio

west) a second stairs is added to mirror the

surroundings. The more private access of the

same approach.

rowing association is hidden inside here and the nearby access at the southeast piazza

At Terrazza Riccardo Marasco (next to

is hidden behind the building block. This

Piazza Poggi) the existing west ramp is kept,

is intentionally done to prevent crowds of

which together with the historic ‘Rampe

tourists from occupying the riverbanks below

d’Arno’ (and possibly the natural riverbank

this famous tourist hotspot. It is of course

northeast) ensures the riverbank route can

not impossible to reach this location as the

be followed by wheelchair on both sides,

continuous riverbank route runs through

without the need to turn around. Interesting

the entire historic stem, but reaching this

enough, the riverbank route stops on the

particular location may take some extra

north side of the Terrazza. This is done on

effort. In this way, the riverbank route may

purpose, to grant the urban beach a special

be used by the dedicated tourist, but as a

position free of obliged passerbys, which

public space it is especially intended as an

allows for different possibilities (privacy,

enjoyable alternative for the local population.

events with claimed space, etc.). On top of this, it prevents disruption of the active mill

Compared to the Lungarni, the riverbank

outlet and its foderaia, which remains a

route distinguishes itself with the more

pure object defying the Pescaia stream with

direct natural atmosphere and immediacy to

a fierce lookout point on top (12). On the

the Arno. To make the link to the landscape

contrary, the foderaia downstream is used

evident, the route aligns in materialization

as a passage for the riverbank route (13)

with the paths along the riverfront parks

and even includes swimming facilities. As

outside the city centre268 (14). Along with

the downstream foderaia is perpendicular

the Gravier d’Or pavement, this includes

to the Lungarno, this can simply be more

various sorts of waterfront planting, which

subtly integrated265. Upstream this is not

strengthen the natural atmosphere inside

the case and consequently the riverbank

the riverbank269. The natural elements on

route temporarily ascends to the Terrazza

the Lungarni are limited to the trees on the

172


---6.2. Urban & Landscape Interventions---

wider piazza’s and lungarni269, which has only

west-side parking to free the car space inside

been added at Villa Favard (expansion park),

the inner city. In this way, the car can be

Piazza Ognissanti (vis-a-vis) and Lungarno

parked on both sides of the centre, in order

della Zecca Vecchia. Since the latter is very

to continue with mobility alternatives (e.g.

wide, the park environment can be stretched

shared scooters, mobike, etc.)273.

(15). The spatial atmosphere of the other piazza’s would simply be distorted too much.

The other underground canal, which is linked to the Arno tunnel is already touched

Along the riverbank route, the Pescaia di

upon, but deserves more elaboration on its

Santa Rosa provides a cross-river connection

exact character. This is the currently empty

at low water levels by incorporating stepping

canal running from the Terrazza Riccardo

stones in its profile (16). Except for swimming

Marasco below the Lungarno Serristori274. It

a more ‘immediate’ crossing is hardly

forms a unique atmosphere that could be

imaginable. The same is done at the Pescaia

perfect to add to the multitude of spatial

San Niccolò. However, in this case it is more

experiences along the Arno. Making this

an experience than a real crossing, since

canal accessible is one thing, but as a parallel

the pescaia ends at the foderaia, where it is

line to the available route along the Arno, the

deliberately separate from the urban beach.

experience should be of more added value than the current underground quite and

Instead, the real crossing here takes place a

darkness. While the latter is a nice quality

few meters upstream parallel to the pescaia

inside an inner city, this atmosphere is

and below the Arno270. As a continuation

likely to be associated with any other urban

of the Lungarno tunnel this forms an

underpass. This would not be positive as

underground route that can be accessed

these are usually preferably passed around

through

when possible.

a

system

of

carefully

placed

entrances on the spread parks and squares along the river. The part connecting to the

On

the

other

Arno tunnel is accessed by the escalator

the tunnel with a line of functions would

which goes down in the Terrazza Ricardo

completely eradicate the original unique

Marasco as the deep counterpoint of the

atmosphere aside from being difficult to

Rampe Poggi (17). The passage below the

achieve across a 900m length. Perhaps

Arno goes up by escalator again to exit at

the best result can thus be achieved when

the Torre Zecca271. The Torre Zecca is saved

the route is a valuable experience in itself,

from its lost location amidst traffic and

where the existing atmospheric qualities

instead becomes a beacon from where to

and the historic character of underground

cross to the other side. This is strengthened

water transportation passage is accentuated.

by making the piazza and the Lungarno della

Aligning with the stillness and the genius

Zecca Vecchia car free. The Torre Zecca also

loci, a shallow waterstream is therefore

grants access to the parking which is added

introduced running through pebbles along

below the park-lungarno272 (15) next to the

the side of the tunnel. The white noise of

existing underground system. This east-side

the water running through the pebbles will

parking follows the same principle as the

create a unique atmosphere highlighted by

173

extreme,

programming

270 See ”1.3.10. The acquedotto network” on p.69 271 The tunnel connection is worked elaborated upon as a part of the context in “7.4. Mulino | Societal exposition space” on p.249 272 The park lungarno and its underground parking are elaborated upon as a part of the context in “7.2. Tiratoio | Rari Nantes pool & spa” on p.213 273 See “What if... ‘Lungarni as pedestrian public space’” on p.95 274 See Figure 208 in “1.3.10. The acquedotto network” on p.69


---Chapter 6 - Urban Design---

275 See “2.2.10. Santa Croce complexes” on p.128 276 See “What if... ‘Arno as a continuous recreational route connecting city & landscape’” on p.105 277 See “2.1.6. Accessibility riverbanks & continuity riverfront” on p.101 278 See “What if... ‘An Arcadian river landscape | Re-naturing the riverbed’” on p.109 279 “What if... ‘The Greater Cascine & The Greater Anconella as off-central parks’” on p.114 280 See “C - Site visit” on p.342 281 See “2.2.7. East riverfront” on p.126

the atmospheric lighting that accentuates

canottieri (rowing and canoe) association

the long stretch of round canal contours (18).

below the ground, this opens the linear park towards the east276 (2). Now the riverfront

Another

route

providing

an

alternate

is accessible, the edges which could still be

experience is initiated from the Murate

deemed as backsides are strengthened. The

complex. Here, the applied concept of

re-naturing of the riverbed and -banks, which

opening the closed block is expanded to the

started below the Pescaia di San Niccolò also

other closed blocks towards the riverfront of

continues upstream278 (3).

the Santa Croce district275 (19). In this way, the link created between the disused blocks

Further upstream, the linear park connects

forms a court-route disconnected from the

to the ‘Greater Anconella’279 (4). Here, the

streets. This series of court atmospheres,

rest functions west of the Anconella drinking

each with their own character, can form a

water plant have been removed so the rather

pleasant pedestrian connection between

open green area can gain its full power

the Arno and Sant Ambrogio and boost new

as a connection from neighbourhood to

uses for the blocks simultaneously.

riverfront. Since the area already contained a lot of trees, it makes sense to strengthen the

Lastly, given the gradient from the vision,

forest atmosphere (5) as a supplementary

the historic centre has the highest density

addition to the Anconella park, which is a

of architectural interventions with a direct

traditional park with playgrounds. As such,

relation to the immediacy. Obviously the

a similar dual atmosphere can be achieved

urban and architectural interventions are

like the Cascine park offers in the northwest.

strongly intertwined, but the architectural

The sports functions can stay along the

interventions resulting from the typological

waterfront as they are not fenced of280. The

translation is treated in detail in chapter 6.3.

community centre will be incorporated as an integrated part of the forest (6), without

6.2.3. Upstream area

extra fencing281, in this way it can both

In line with the potential analysis and the

benefit from the outdoor possibilities the

masterplan, the upstream area (see Figure

forest has to offer, while the community of

374 on the next spread) will partly mirror

the neighbourhood can also easily get to the

the interventions of the downstream area,

forest and consequentially the riverfront.

but on a smaller scale, fitting to the available space and less dense urban context. In

The Anconella plant, will become a special

this way, the balanced riverfront with the

feature in this park lying between the forest

melodic landscape-city-landscape transition

and the playgrounds. To breach the huge

is achieved276.

boundary, while keeping safety and added value in mind, a rooftop walk will be created.

Starting just east of the historic centre,

As such, the visitors are clearly separated

a new Ponte San Niccolò will resolve its

from the water plant activities going on

current

below, which simultaneously grants them

hydraulic,

traffic

bottleneck277

(1).

and

riverbank with

a wonderful overview across the various

the move of the Rari Nantes (swimming)

facilities and the process as a whole (7). This

and the architectural integration of the

is thus a path with a view, that connects

route

Together

174


---6.2. Urban & Landscape Interventions---

the forest to the Anconella park and the

honour its name, but above all form a solid

neighbourhood to the riverfront. Along this

natural backbone, to compensate for the

route, information is included about the

missing water-features.

various plant elements and the system of drinking water in Florence as a whole282.

The Mugnone upstream only needs footpath connections between the local high quality

Like the transformation of the Argingrosso

areas286 (16), which can rather easily be

downstream, the trinity of park, forest and

achieved with a timber boardwalk along the

wetland is completed by the Rovezzano

steep sides. On top of the underground

wetlands upstream283 (8). This incorporates

Affrico stream the existing central linear

some historic parts of the industrial heritage

park islands are stitched together, increasing

along the riverfront, which can form the start

the priority of the park over traffic, where

of events or temporary exhibitions or add to

possible286 (17). The weakest link is present at

the experience value of the pre-dominant

the bridge crossing the railway line. Here the

natural

directly284.

freight yard and San Salvi park connections

The industrial tower of the Frattelli Franchi

are a welcome addition to strengthen the

Factory is an example of the latter, as it can

green character and the clear park-use

be transformed to a wetland viewpoint along

possibilities of the node. As the Freight yard

the river (9).

park also decreases the width that needs to

wetland

atmosphere

be crossed a smaller separate pedestrian The routes through the Greater Anconella

crossing is added next to the bridge to

park have the same three division, based on

continue

speed similar to the Greater Cascine (10).

experience.

the

convenient

park-network

On the north side of the river the fast route continues all the way along the water, except

The recently redesigned Mensola park can be

for one turn around the mill of Rovezzano.

connected to through the redevelopment of

The southern route includes an elevated

Caserma Perotti287. With the transformation

cycle-path that turns away from the river in

of the latter, the Caserma can become part

order to separate the cyclists from the car

of the FSC park and the new users will also

traffic, which runs in deep narrow ‘canal-like’

benefit from the already available Mensola

roads285 (11). This elevated path runs through

park. To further integrate the Mensola park

the hilly agricultural fields and as such grants

in the park-system, it’s connection to the

views across the Arno, Apennines and valley.

riverfront is improved, with a pedestrian and cyclist passage along the stream below the

The park network of the streams continues

road and railway286 (18).

on this side of the city286. As mentioned in the masterplan an important cross-connection

Lastly, also on the east there are additional

is provided by the ‘FSC’-park, where the

cyclist green priority connections towards

linear freight yard (12), the San Salvi (13)

the adjacent neighbourhoods. Since the

and the Caserma Perotti (14) together with

northern urban fabric was quite weak

an already richly tree-lined street (15) are

and open, this main connection has been

transformed into a linked park. By planting

strengthened with the missing edges to line

them with additional trees, the park can

the green route. 175

282 See “What if... ‘The Greater Cascine & The Greater Anconella as offcentral parks’” on p.114 283 See “What if... ‘Wetland area was reintroduced’” on p.87 284 See “2.2.7. East riverfront” on p.126 285 See “2.1.6. Accessibility riverbanks & continuity riverfront” on p.101 286 See “What if... ‘Streams as linear park network’” on p.117 287 See “2.2.6. Caserma Perotti” on p.126


16 13

12

17

1

2

3

Figure 374. Urban & landscape interventions upstream

5

6

7


15

14

18

10

9 4

8

11


6.3. ARCHITECTURAL INTERVENTIONS An overview of the translated water-related

with the ‘pragmatic ponte with proximity

typological precedents has been shown

to the water’ (Type B), where the public

in Figure 367 on p.152. These translated

space qualities are placed below the bridge.

types have found their application inside

In this way, the noisy street is left above,

the urban design, where their positioning

while the space below the bridge provides

and spread is carefully considered, based on

uninterrupted views just above the water.

their contextual requirements and functional

On top of this, an easy connection to the

opportunities (see Figure 375, next spread).

riverbank route is provided, which is already well visited here in summer to enjoy the sun

6.3.1. Ponte

in a relatively cool natural atmosphere. Due

The ‘ponte as a public space’ (Type A) finds

to the slightly altered position, the existing

its place inside the historic centre. The Ponte

bridge can keep functioning during the new

Vecchio is a great remaining example of this

construction, while afterwards, a large part of

type. As such, this bridge does not need any

the southern traffic node can be reclaimed

adaptations, but it should also be prevented

as useful public space, by combining the

that interventions to other bridges hamper

pieces of ‘rest-green’ in one area.

the expression and visibility of the Ponte The Ponte Amerigo Vespucci and the

Vecchio.

Ponte alla Vittoria downstream are less Therefore, the Ponte Santa Trinita and Ponte

restricted by their context and the freed

alla Carraia downstream and the Ponte

pedestrian space can be reclaimed in part

alle Grazie upstream will improve their

by built interventions to fuel the public space

public space qualities without additional

possibilities. On the Ponte Amerigo Vespucci,

built spaces on top. Especially in case of

located just inside the historic city-walls, this

the nearest Ponte Santa Trinita, which was

has to fit in the urban context, whereas the

reconstructed in its original slender curved

Ponte alla Vittoria can be considered a part

profile, building on top is likely to detract from

of the park. The latter used to connect the

its current expression and the expression of

two major traffic nodes on the west side

the Ponte Vecchio. Instead, these bridges

of the Viale. Since these are freed by the

focus on the provision of benches, planting

underground connection, they will become

and elements for interaction (e.g. ‘chess

important park entrances instead. As such,

tables’), which becomes possible due to the

the Ponte can be considered as an integral

pedestrianization of the Lungarni.

object inside the park, which simultaneously connects the two sides. Based on this unique

The new Ponte San Niccolò will not (yet)

position, this bridge has been selected for

be freed of traffic as the eastern cross-

elaboration.

river connection of the Viale. The ‘public space qualities’ especially experienced by

The ‘pragmatic ponte with proximity to the

a pedestrian are therefore more difficult

water’ (Type B) finds its place outside the

to achieve on the same level as the car-

city centre along the Greater Anconella and

deck. Instead, a combination can be sought

Greater Cascine. The low height above the

178


water can be used for interaction in various

the historic centre on carefully selected left-

ways (e.g. fishing, swimming, toe dipping,

open walled areas instead matches with

etc.). This should be incorporated in the

the historic context and helps to gratify the

bridge layout, so the function as a passage

riverside as a front.

can continue simultaneously. Along the Le Piagge area, the positions of these bridges

The two Tiratoi are placed on either end

have been deliberately combined with the

of the historic stem, just ‘inside’ of the

ramps for bading, as a specific programming

Pescaia on opposite sides of the river

added to this linear park. At the railway

(north and south). Since the two are clearly

bridge upstream of Rovezzano a variation

linked in their roof appearance, this similar

on this pragmatic crossing is made with a

positioning creates a mirroring balance that

hanging pedestrian bridge suspended from

amplifies the transition towards the historic

the railway bridge above289.

centre as indicated by the pescaia itself. The upstream Tiratoio is selected for elaboration,

The remaining new bridges that have not

as it is simultaneously the termination of

been indicated as a type resemble ‘Type B’

the wadable court series initiated from the

as they will be relatively narrow pedestrian

Murate. On top of this, the location can

and cyclist bridges for a pragmatic crossing.

programmatically

However, with a focus on a quick connection

of the Rari Nantes swimming association,

for daily movement across the Arno and

which had to make place for the linear park

through the parks288, they will ensure a

just upstream. As such, this Tiratoio lives

continuous connection at higher water levels.

up to the analogical water-intensive interior

While the focus may be on the pragmatic

process. This includes an underground

crossing, they will be part of the public space

connection to the riverbank, where an

on top of the river. Despite their basic and

extension is made to carry on the swimming

narrow setup, it is therefore still good to

activities outdoors if desired.

show

the

integration

consider the public space qualities of Type A in their views and potential options to take a

6.3.3. Bagno

pause.

As shown in the typological precedent analysis, the variety of bading places along

6.3.2. Tiratoio

the Arno has been tremendous. Ideally, this

For the large Tiratoi a position had to be

will be reinvigorated with the same wealth

found inside the urban fabric of the historic

of swimming alternatives290. However, as

city. As such, they can once more add to the

the water is not yet clean enough at this

typological diversification inside the historic

moment291, this development will start with

centre, with their characteristic appearance

the tent structure (Type A). With this type,

that had been lost over the years. Outside the

filters can be incorporated, which makes

historic centre this type would stand out in a

it an ideal initiator to give the Florentines a

misplaced manner as it seemed lost among

taste of what was and once more could be

the vast expanses of 19th and 20th century

along the entire Arno. The tent structure is

developments. The Tiratoi placement inside

placed in front of the Biblioteca Nazionale,

179

288 As a beneficial alternative to car transit as described in chapter 2 289 While this was less common as the low Arno could easily be crossed by a pole structure, there are historic precedents of this application (see appendix “A.1. Ponte” on p.320). In this case, the presence of the railway bridge, makes this an easier option, with less impact on the river flow rate. It should be noted that this bridge can be lifted in case of flooding to prevent the risks of damage all together. 290 See “What if... ‘A river to swim in’” on p.89 291 See “2.1.2. Ecology & waterquality” on p.83


BAGNO

RIVERBANK STRUCTURE

SERBATOIO

TIRATOIO

PONTE

2x

2x

3x

2x

4x

Figure 375. Architectural interventions

2x

ACQUEDOTTO NETWORK

MULINO


2x

3x

3x

2x

2x

2x


---Chapter 6 - Urban Design---

292 Ideally these are integated in the embankment wall to be protected against flooding (see ‘riverbank structures’).

on the position where historically a tent

retained. Northeast of the bridge connecting

structure used to be. Next to the historic

Anconella to Rovezzano there will be a

relevance, this is the perfect location to raise

riverbank swimming area on the ramp

293 As mentioned, this association will find a new place in the nearby Tiratoio instead, so this riverbank can be freed for the linear park.

awareness, due to the essential position in

between river and wetland, where swimming

the characteristic river-view from the Piazzale

can take place on both sides. The last formal

Michelangelo. Because of the key position as

bading area upstream is the natural area

initiator, this bading structure is selected for

of the Pescaia di Sant’Andrea a Rovezzano,

elaboration.

which is already popular for sunbathing. As

294 This is possible, since historical documentation points out there is space between the Foderaia and the path of the Fosso Macinante. See Figure 162 in “1.3.3. Foderaia” on p.58. As the main toilet and shower facility for the northwest area at the edge of the historic city, this unique subterranean view is extra valuable as it will be experienced by a large audience. 295 It should be noted that all these extensions may provide affordances for other activities as well. With fishing in particular, they can be used all year round.

the population density diminishes towards When the Arno water is sufficiently clean,

the east, additional facilities would be

this clears the way to many less complex

redundant at the last pescaia before the

alternatives. The riverbank can form a place

railway bridge.

for swimming, especially when it is easy accessible and provides places to sit or

Downstream, on the other hand, the Pescaia

watch on a stepped or ramp landscape (Type

di Santa Rosa could become a very popular

B). Swimming can also take place under the

bading area. The downstream corner of the

cover of a bridge or canal (Type C). As seen

Pescaia along the Piazza di Cestello could

in the historic analysis, this can come with

be of urban beach qualities, with café and

a variety of facilities, but essentially toilets,

restaurant facilities on the piazza above.

showers and changing rooms (possibly

On the opposite side, the Ponte Amerigo

combined) provide the basics292.

Vespucci provides the benefits of shade, along with the naturally widened riverbank,

Upstream, the existing urban beach and the

where a dead-end pool can be dug into

riverbank northeast of the Pescaia di San

the sand below the bridge. As has already

Niccolò are already used for sunbathing,

occurred in part naturally. From the access

which can be expanded with swimming

at the Piazza Ognissanti the swimming area

facilities.

respectively

below the bridge is reached by following

incorporated below the Terrazza Riccardo

the riverbank route that passes through the

Marasco and as an extension of the

foderaia. The toilet and shower facilities can

temporary provided toilet and café facilities

thus be incorporated inside the embankment

in summer. The new Ponte San Niccolò and

below the foderaia, which can grant an

its pedestrian path below forms a covered

intriguing insight in the underground path

swimming area, which can be accessed from

of the Fosso Macinante behind294. At the

extensions in the pedestrian path or the

piazza di Cestello, these facilities can be

adjacent riverbanks. This can use the same

incorporated below the stairs. The next

facilities northeast of the Pescaia di San

option is the stepped riverbank at the Villa

Niccolò. Further upstream, the historic steps

Favard park, which has a high affordance

of the Rari Nantes swimming association

for sunbathing, picnicking and swimming.

can be restored by removing the artificial

This will be a more informal swimming

swimming pool on top293. Conveniently, the

area, along with the entire riverbank up to

facilities are already present and can be

the foderaia, since these facilities should

These

can

be

182


---6.3. Architectural Interventions---

be sufficient to cover the entire 200 meter

the Rampe Poggi, just inside the city centre.

stretch. Two extensions on either side below

As mentioned, aside from the hydropower

the transformed Ponte alla Vittoria will offer

function,

the affordance of a covered swimming

the stacked functions proposes publicly

place295. Four more riverbank bading places

accessible

are located along the Greater Cascine. One

together with involved organizations above.

stepped riverbank at the linear park as a

By making the ground floor an outdoor

formalized backed by the development of

exposition space, the views towards the

two new buildings and the underground

river are not blocked and they become

parking garage. In this way, toilet and shower

an eternal backdrop of the alternating

facilities can be integrated in a parking access

temporary expositions. The mulinos and

building. Two ramped riverbank bading

their expositions together can fuel the

places in a natural ‘beach’ setting are located

public debate in a walkable sequence. This

along the Le Piagge, next to the ‘bridges in

sequence can start anywhere and can be

close proximity to the water’. This allows for

experienced both in its entirety or in parts.

interaction between the two types. On the

Nevertheless,

same note, swimming may be possible from

of the central mulino will form the main

the other immediacy bridges just as well (e.g.

starting point and will be the grandest in its

the two at the Cascine), but these do not

expression and programming, with an extra

provide additional facilities. Lastly, the activity

roof terrace forming the fifth facade when

lake of the Argingrosso wetland also provides

looking from the Piazzale Michelangelo.

the

analogical

societal

the

translation

exposition

prominent

of

spaces,

location

options for swimming as an alternative to the river.

While hydropower at the Pescaia di Santa Rosa downstream was not included in the

This results in a spread of formal bading

municipal planning, this can be incorporated

places across the entire Florentine riverfront.

when

These are the most visited due to their extra

postpone the drop of water to a suitable

facilities or favourable atmosphere296. Their

location. In fact, these side-canals were key

additional facilities are provided by the

to the historic value of mills as the power was

context.

used directly on location. Due to electricity

using

the

Fosso

Macinante

to

this is no longer the case, but it is still

6.3.4. Mulino

interesting to incorporate a great historical

Within the municipality of Florence, the

example of this inside the sequence. The

reintroduction of hydropower with the

location of the historic mill proposal297, just

Mulino type has found position along the five

east of Villa Favard, is currently empty. This

pescaia. The central one is located on the

convenient location will be used, since the

Terrazza Riccardo Marasco, where both the

societal exposition function fits perfectly

Mulino di San Niccolò and the later Officina

along the extended ‘Villa Favard park’ and the

Idraulica used to be. This one is selected for

Polimoda fashion school298 might just be one

elaboration due to its historic location and

of the involved organizations to make use of

the prominent central position at the foot of

these spaces.

183

296 The river stretches in between the formal bading places are more difficult to access due to planting or have a limited width which results in a lacking comfort zone. This does not necessarily make these areas impossible to swim in. However, in the areas where rowing takes place, the formal bading areas are carefully placed so the two can coexist. Nevertheless, the real diehards can still decide to swim along the stretch, e.g. from their work at the Biblioteca Nazionale to their home in Le Piagge. This form of commuting will however require a swimming cap and a careful consideration of the rowers by the swimmer which goes beyond the formalized bounds. 297 See appendix “A.3. Mulino” on p.322 298 Which is housed in Villa Favard, see “1.3.8. Villa Favard” on p.66


---Chapter 6 - Urban Design---

299 In this regard it should be noted that the water is diverted into the wetlands through the mills upstream, which naturally flows out again downstream at regular water levels. Fish can thus enter and exit the wetlands at the downstream connection, without the need to swim through the mills. 300 In fact, the access point of the Mulino is also worked out, since this is simply formed by the complete Mulino type on top. However, while the consideration of both systems is of course incorporated the focus in the Mulino type lies on the Mulino sequence, which may use this alternative tunnel route as part of its experience.

The Pescaia delle Cascine is located at the

levels the choice can be made between

edge of the Isolotto neighbourhood and

returning the water in the Arno or diverting it

the Argingrosso wetland. Instead of placing

in the wetlands.

the Mulino directly next to the pescaia as an awkward attachment to the Isolotto district

Lastly, along with addressing the hydropower

it is moved 150 meters downstream. The

a fish-ladder will be incorporated inside each

water can easily be diverted on the same

pescaia, to ensure the continuity of water-

height by a canal below the linear park. By

ecology through the city299.

doing so, the Mulino is placed at the corner of the Argingrosso and as such it forms the

6.3.5. Acquedotto network

terminating building of the natural wetland

As

area. This both accentuates the entrance or

the disused acquedotto tunnel will be

exit of the Argingrosso area and strategically

transformed into a walkable tunnel with

locates the societal exposition space. The

a unique spatial experience to return to,

view across the river and wetland area

without the need of functions. As the related

gains in meaning by making the mulino

buildings are essentially riverbank access

simultaneously function as a control point in

points, these have been mentioned as well.

the diversion of Arno water into the wetland.

The connection to the acquedotto tunnel

elaborated

in

the

urban

design

and their covered entrance as ‘jewel’-like The two pescaia upstream, have never

objects is what makes them stand out from

completely lost their mulino buildings, but

the other access points. Due to the position

they are no longer functional. They can be

of the acquedotto tunnel all entrance

reinvigorated

modern

buildings are located in the southeast of

hydropower in their functional basements.

the centre. They are spaced evenly as an

Reusing these buildings does provide the

added centrepiece in Giardino Martin Lutero,

opportunity

historical

an incorporation in a new diffuse garden

backdrop and some interior exposition

wall along the Giardino Serristori and an

space in the sequence of mills. This variety

incorporation in the modern Mulino San

and heritage value may provide reasons to

Niccolò. The Piazza Nicola Demidof between

highlight the societal issues at stake from

Martin Lutero and Serristori is not included

a different perspective or setting. This is

as this space already has a centrepiece in the

far more valuable than making them look

form of a statue and adding the access would

the same as the modern mulinos, since

only derail the even spacing. Nevertheless it

their position along the pescaia gives away

is a convenient side benefit to have the motif

their mulino type as part of the sequence

of the centre piece continue in between.

by

to

incorporating

incorporate

a

anyway. With their position at the weirs along the wetland, these two mills will control

The

the diversion of water into the Rovezzano

the

Serristori

wetland. This can be incorporated along with

for

elaboration

the adaptation of the basement for modern

simultaneously opens the privatized park to

hydropower, so depending on the water

all neighbourhood citizens and passerbys300.

184

acquedotto

network

garden as

entrance

in

wall

is

selected

this

intervention


---6.3. Architectural Interventions---

6.3.6. Serbatoio

the continuous riverbank route between the

As a type of underground storage, the

boardwalk upstream and the wider naturally

Serbatoio is very suitable for parking garages.

planted riverbank downstream. This forms

The proposed parking garages just outside

the perfect space to enjoy your aperitivo

the historic city are thus based on this type.

along the Arno in the evening sun.

These will be more interesting than your average parking garage, with the attention to the access buildings, the beautification of the interior structure, the introduction of daylight from above and the relation with the park on top. Additionally, the type is used to incorporate functional program below the linear park in the east. This includes the Canottieri (rowing and canoe) association, which also requires serious amounts of storage. In the current situation, the canoe equipment is deteriorating in the outdoor conditions and blocking the river-access. This serbatoio translation is selected for elaboration due to the direct relation with the water and the clearly visible effect on the linear park continuity.

6.3.7. Riverbank structures As mentioned before, all structures inside the

riverbank

may

be

considered

as

riverbank structures. Even if they also belong to a different type they will thus incorporate the delicate parts in the embankment, while claiming the use of the exterior space301. As a final elaboration of just this riverbank type, the reintroduced riverbank access next to the Ponte Santa Trinita is elaborated as an extension of the restaurant-rich Oltrarno district. Two kitchens are incorporated inside the embankment wall below the Lungarno with terraces on the steeply consolidated riverbank. This space is embedded as part of

185

301 We have seen this already at the bagno in particular, but this is the case for all buildings with an access to the riverbank, independent of type.


6.4. ARNO IN FLOOD - A NEW EXPERIENCE 302 I.e. claiming the outdoor space, while protecting the delicate parts inside the embankment wall. Additionally, In case of flood events, all riverbank access points that normally break through the lungarno wall are closed of by steel flood doors, which is already common practice on the handful of locations today. 303 This is especially not the case anymore after the interventions of the past decades. However, this does not rule out an extreme flood event from happening at all, see chapter “1.1.7. The Arno as a natural force that should be reckoned with” on p.33.

architectural

requires evacuation of the entire area. In this

interventions in chapter 6.2 and 6.3 the high

case, the second embankment protects the

water situation of the Arno has been kept

Isolotto neighbourhood and provides surreal

in mind. Not just as a flood-proof situation,

views across the Arno floodplain which is up

where

to 12 times its original width here (4).

At

both

the

the

urban

principle

and

of

the

‘riverbank

structure typology’ has been applied302, but also as an additional experience, which adds

The same principle of controlled flooding

a new dimension to the relation with the

by regulation of the mulinos is applied at

river (see Figure 376 on the next spread).

the Rovezzano wetlands upstream (5). The subdivision in six zones outlined by elevated

In this carefully staged ‘floodscape’, the

routes makes the partial elevation of the

Cascine again becomes a riparian forest,

water levels possible. This also enriches

where occasional flooding in extreme events

the upstream wetland with an additional

is taken into account with a secondary

experience of temporary flooding without

flood barrier around the core of buildings

damage, which can safely be enjoyed from

(1). By lowering the embankments on

the main routes (6). The embankment along

the riverside, the Cascine can be flooded

the Arno is higher than these routes and only

without becoming problematic. By slightly

in extreme cases this boundary is crossed to

highering the main roads through the park,

flood the entire riverfront area. Even then,

this riparian forest can still be enjoyed during

the flood water only flows up to the second

higher water.

embankment line, which protects the main road and the neighbourhood behind. The

In the Argingrosso wetland a similar system

‘experience’ is then limited to the view from

is applied, where the main routes can

the secondary embankment, where you can

still remain accessible by bicycle and foot

look across the extremely wide Arno river (7).

during higher water (2). Here, the Mulino on the far east corner of the Argingrosso

A final overflow area is created at the Central

simultaneously controls the diversion of

Padule wetland on the plain in between

water, which can either return into the Arno

Firenze and Prato. Only in extreme events,

or flow into the Argingrosso wetland (3). By

the Fosso Macinante can be used as a

partly closing of the subdivisions between

diverting channel that temporarily diverts

the main routes, the wetland flooding can

a part of the high waters into the plain

be controlled. To make this possible and

(8). This is only possible in extremely high

decrease the risk of damage during flooding

Arno waters as in these occasions, the

in general, the existing built areas, which are

height difference with the slightly higher

retained are protected by an embankment

located wetlands will be negated. Since the

on the same height of the higher routes. Only

Central Padule is a controlled wetland with

if the water level gets too high, the flooding

determined

starts

slightly

diversion from the Fosso Macinante can

lower embankments downstream. This is

be closely monitored so flooding damage

unchanged from the situation today and this

outside the wetland is ruled out.

automatically

across

the

186

boundaries,

the

controlled


Inside the historic stem, during a high water or near flood-event all riverbank structures will have closed of their entrances by flood proof doors. As this especially takes place in the winter months, the riverfront objects that take more time to remove can be removed in advance (e.g. the bading tent structure). The monitoring of the water levels upstream makes it possible to remove any temporary objects in time when necessary and elements like the riverbank extensions or low bridges are constructed so they can be temporarily flooded. With the high water levels, the immediacy to the river is lifted from the riverbank to the Lungarni level. The riverbank access, routes, crossings and viewpoints are inaccessible and the alternative higher roads have to be used instead. Since the Lungarni and bridges are largely pedestrianized, this car free public space provides ominous views across the raging waters. As an extreme example, new seating places on the bridges would make it possible to experience the 90 meter wide swirling Arno from its centre (9). Even extremer, the underground space of the Mulino di San Niccolò, which normally looks out well above the water entering the inlets suddenly provides underwater views (10). This

is

obviously

only

an

interesting

experience when the high water is kept within save bounds. At very extreme floods, this would be really unsafe and one should help take emergency measures instead of enjoying the disaster. However, it should not be forgotten that yearly higher waters take place in winter and luckily these are not all as extreme as the historic 1966 event303.

187


8

3

1

2

Re

gu

lar

wa

ter

lev

4

el Ex

pe

rie

nc

ea

ble

flo o

Primary waterline: Quay wall Primary waterline: Dike Secondary waterline: Dike Stage 0 | Regular water level Stage 1 | High water experience (controlled, no damage) Stage 2 | Severe flooding (controlled, limited damage) Controlled overflow Max height flood overflow Passage between flood-bodies Subdivision flood-bodies (slightly elevated) Figure 376. Situtation in flood

din

g Co

mp

let

ely

flo

od

ed


7

5

10

9 6

Controlled floodwater levels in wetland (top) & fields (bottom)


6.5. A CLOSER LOOK AT THE HISTORIC CENTRE To give an overview of the sequence and

This overview forms a bridge to the

interrelations inside the historic centre, the

architectural

interventions are shown on top of the original

elaborated upon in the following chapter.

situation in the elevation on the inserted

Here their position in the cities context and

plot. As this is based on the original sketch

the relation to the other elements can be

by Steiner (1989), the overview is limited to

understood. Both in terms of the connection

the historic center for practical reasons.

from riverbank to Lungarno and in terms

Besides, the major part of the interventions

of vis-a-vis from one side of the river to the

at the intersection of architecture and

other.

urbanism take place in the historic centre, so the impact on the elevation is most relevant in this area. The base-layer by Steiner has been altered to show the continuity of the riverbank route below the bridges and to update the 1989 situation to the present day situation where necessary.

- Insert plot in print -

Figure 377. Elevation overview interventions historic centre

190

interventions

that

are


- Insert plot in print -

191



CHAPTER 7 - ARCHITECTURE As seen in chapter 6.3, the translated water-

The architectural elaboration follows the

related typological precedents have been

same order as presented in the typological

spread along the riverfront and one of each

analysis and elaboration before, namely:

has been selected for elaboration. This

7.1. Ponte | Ponte alla Vittoria Parco

(p.197)

selection was based on the importance in a

7.2. Tiratoio | Rari Nantes pool & spa

(p.213)

larger system, which is either an interesting

7.3. Bagno | Arno swimming initiator

(p.237)

position in the urban fabric or a central or

7.4. Mulino | Societal exposition space

(p.249)

initiating position in the series of the specific

7.5. Acquedotto network | Giardino Serristori

(p.269)

type.

riverbank access

In this chapter, the architectural elaboration

7.6. Serbatoio | Canottieri linear park

(p.281)

7.7. Riverbank structure | OltrArno terrace

(p.301)

of each type is worked out to show the possibility of these interventions in the existing urban fabric and their effect on the redefined meaning of the riverfront. Since they are built objects, the focus in the experienced atmosphere lies on the aspects of immediacy, but the close connection to the natural atmosphere of the contextual urban and landscape interventions is also highlighted.

193




Figure 378. Birdseye overview situation existing (left) and new (top)

Both the ponte as a public space and the pragmatic ponte with proximity to the water can be translated in their original bridge crossing function, together with additional analogical use opportunities and spaces fitting to the current context.

Figure 380. Recap Ponte type translation | original / analogical

Figure 379. Situation plan 1:2000


7.1. PONTE | PONTE ALLA VITTORIA PARCO Within the system of bridges (Figure 381), the

artificial water elements or caves or make

304 See chapter 6

Ponte alla Vittoria has been selected for its

use of an elevated viewpoint, the bridge

interesting position at the crossing of the two

makes use of the added experience of the

major traffic nodes that have been alleviated

view across the river.

305 See chapter “1.3.5. Piazza Vittorio Veneto” on p.60

by connecting the two existing traffic tunnels (at Piazza Vittorio Veneto and Piazza Paolo

The effect of the transformation from the

Uccello). With its redefined position, the

existing traffic oriented situation to the new

bridge

centrally

situation of main park nodes and improved

between the two hinges of the Linear park in

pedestrian and cyclist access is shown in

the South and the start of the Cascine park

Figure 378. Here Poggi’s original intentions

in the North. By addressing these piazzas

for the Piazza Vittorio Veneto as the grand

and their context respectively the connection

oval open space, connecting the main axes

to the Monte Oliveto viewpoint can be

of park, centre and bridge can be clearly

emphasized and the direct accessibility of

distinguished305. Directly along the urban

the Cascine from the historic centre can be

fabric, the existing trees are expanded in

improved304.

a tree row lining the edge, with playground

is

strategically

located

spaces for easy access. In this context, the bridge should not be seen as a separation between park on one side

On Piazza Taddeo Gaddi in the South two

and the city on the other, but it can bridge

main axes remain, which are formed by

the park experience across the river. As if it

the linear park and parallel to the river

were a park folly, but instead of introducing

and the perpendicular bridge with the

Figure 381. Ponte interventions in the urban design plan

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306 These are the typical long slender trees, which are also known as Italian or Tuscan Cypress.

connection to the Monte Oliveto viewpoint.

hints to the continuing path. This path runs

To emphasize this space as an important

separated from the car streets behind the

access node like the Piazza Vittorio Veneto

buildings by replacing a shared garden and

307 These are the pine trees with a high stem and a large flat canopy on top. For this reason, they are also known as ‘Umbrella pine’.

but smaller, a similar approach has been

parking with a park that runs up to the foot

taken. The two axis come together in the

of the Monte Oliveto from where the ascent

central open space. To achieve a varied

can be started.

spatial atmosphere supplementary to the Piazza Vittorio Veneto, the central element

Regarding the bridge design itself, the

in this space is a water-feature cooling

general typological concept was to reclaim

down the space with a high affordance for

the public space. In this specific context,

playing children. The tree row parallel to the

this gained the form of a park bridge. Here,

Arno continues on the other side, while the

the natural atmosphere crosses the river

Mediterranean cypress306 and stone pines307

and you can enjoy the space on the bridge

lining the square put emphasis on the open

and the views across the river in a variety of

space. This also orients the pedestrian to

indoor and outdoor spaces partly protected

the entrance portal across the bridge, which

from the sun. This basically amounts to a

with a similar appearance to the bridge head

large pergola structure stretched across the

(shape openings, materialization, green roof)

bridge, but to make this fit in the Florentine

Figure 382. Loggetta Bondi in Giardino delle Orticoltura

Figure 383. La Loggia del Piazzale Michelangelo

Figure 384. Ponte alla Vittoria existing structure 198


---7.1. Ponte | Ponte Alla Vittoria Parco---

context a closer look was taken at the related

elements of piers, abutments and bridge

Giardino architecture.

deck are merged in a single curved volume.

The open Loggetta Bondi in the Giardino

The

dell Orticoltura (Figure 382) and the closed

atmosphere are integrated in the roof as is

Loggia del Piazzale Michelangelo (Figure 383)

occasionally presented by the arches and

were fitting examples in this park context.

roof terraces throughout the city (Figure 386).

However, applying a similar neo-classical style

Together with re-use of the existing bronze

on top of the local context of the modern

railing (Figure 385), this leads to the following

concrete Ponte alla Vittoria (Figure 384)

view from the eastern Ponte Amerigo

would look ridiculous. With the two examples

Vespucci (Figure 387).

intentions

to

bridge

the

in mind, a translation was made that uses the open arch and vault system, along with the ratios and certain specific elements, like the adorned frieze or the roundles above the columns. This translation aligns with the principles that underlie the curved design of the Ponte alla Vittoria, where the separate

Figure 386. Ivy suspending from butress

Figure 385. Re-used existing railing

Figure 387. Overview of the park bridge ‘bridging’ the natural atmosphere between the two park sides 199

natural


B1

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Terrace Garden Indoor space Covered area

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Figure 388. GF | Park bridge 1:500 200B1

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---7.1. Ponte | Ponte Alla Vittoria Parco---

The spatial layout of the bridge is defined

As the intervention is built on top of an

by a central vaulted corridor for crossing,

existing

which is surrounded by a sequence of

‘indoor’ parts are aligning with the piers and

terrace, garden and interior spaces on the

abutments, while the built space in between

sides (Figure 388). In this way, enjoying the

is more open. This has a dual purpose as

river view, lingering, taking group pictures,

the volumes on top resonate the bridge

etcetera can take place on the sides of

structure by emphasizing the bridge heads

the bridge, along the waterside, without

and its anchoring on the piazzas (Figure

interfering with the functional crossing. The

391). In this way, a strong inviting front is

perpendicular access stairs to the riverbank

created on the piazzas and the long bridge

route below cross the axial corridor in the

is subdivided by the four indoor spaces in

entrance volumes along the piazzas.

three equally sized outdoor spaces.

Figure 389. -1 | Riverbank 1:1000

bridge

Figure 390. Roof 1:1000 201

structure,

the

heavier

Figure 391. Longitudinal section across the indoor spaces

B-B


---Chapter 7 - Architecture---

In elevation and section, the emphasis

higher vegetation, which is possible due to

on the bridge heads is also clearly visible.

the deeper earth layer right on top of the

The higher and solid entablature of the

support. On the corridor, this is limited to

rectangular volumes stands out from the

wild grasses, ivy suspending from the roof.

arcade, which is lying back and reduced

By stressing the crowning element of the

in scale by the shaded frieze relief (Figure

corince, the volumes on the piazzas are given

394). On top of this, the green roofs of the

slightly more importance.

larger volumes are planted with shrubs and 11,5 10 8,5 6

0m -1,5 Figure 392. Front facade (same on north and south side)

11,5 10 8,5 6 0m -1,5 -10 B1-B1 Figure 393. Longitudinal section across the corridor

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---7.1. Ponte | Ponte Alla Vittoria Parco---

The sections also show the newly introduced

is almost leveled (Figure 396). At the start of

higher level of the corridor. The existing

the bridge the height difference exeggerates

bridge has a curved bridge deck, which is

the separation of the sides, where you have

straigthened out by starting the front level at

to descend to the garden and you look down

the same height as the centre of the bridge

into the river from the corridor. In the centre,

(Figure 392). Due to this, the bridge garden

the corridor level merges with the sides into

spaces on the sides are located on a lower

one floor, with terraces on both sides.

level (Figure 395), while the cental open space

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---Chapter 7 - Architecture---

Figure 398. Detail integrated bench (right)

Figure 397. Facade detail (below)

11,5

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204


---7.1. Ponte | Ponte Alla Vittoria Parco---

2

3

8

4

5

6

7

9 1

10

Figure 399. Impression sequence

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---Chapter 7 - Architecture---

of impressions that show the various spatial

opposite Cascine park. When continuing

atmospheres and possibilities for interaction

the approach from the front (2), you can

when moving through the plan. Starting at

look straight through the vaulted corridor

the approach from the linear park east of

centrally located in the symmetrical facade.

the Piazza Taddeo Gaddi (1) the terraces of

After passing the two small café kitchens of

the small café kitchens in the bridge heads

the entrance volume, you enter the corridor

offer the possibility to sit and chat on the

with the garden spaces along (3). The single

lively

between

curved columns rise from the ground to

river and piazza. The lush green planting

merge in the vaults above. From the benches

dances on the roof landscape towards the

lining the path you can look out across the

pedestrianized

crossing

3

4

206


---7.1. Ponte | Ponte Alla Vittoria Parco---

river. When descending from the heightened

the visible surface of plants. Along with the

corridor to the open side space (4), you see

ivy draping from the curved roof, this most

the effect of the height difference, which

certainly forms a natural atmosphere from

combined with the open railing makes you

the four symmetrical mirrored green corners.

look down into the river. Together with the

When continuing along the path, you pass

stairs, two benches surround the open

the café or shop spaces that provide inside

‘outlook space’. The backs of the benches

views across the river (5). This provides a

combined form a planter, which curves

pleasant alternative in cold winters and

upwards with the riverside wall. While this is

caters for the central terraces all year long.

only around 40% of the space, this increases

The central space along the fence is again

5

207

6


---Chapter 7 - Architecture---

lined by benches as a mediating element

similar gate building across, which invites for

that ensures a public access of the central

a trip up to the Monte Oliveto (8).

views across the river (6). After passing the second half of the bridge, which is essentially mirrored (providing a ‘melodic sequence’), you exit the bridge with a view across the axis between the terraces towards Piazza Vittorio Veneto with the statue in its centre (7). On the south side the view looks out across the fountains of the Piazza Taddeo Gaddi to the

7

8

208


---7.1. Ponte | Ponte Alla Vittoria Parco---

In case of high water, the public space of the

railing elements. The steps are left open to

bridge provides magnificent views across

ease the water-flow and to keep a view on

the raging water (9). Combined with heavy

the historic stone remnants of the first Ponte

rain, the gargoyles above each column (the

alla Vittoria. Below the bridge, on both sides,

historic position of the roundles) will start to

a platform is formed by large boulders in the

overflow, resonating the column rhythm by

riverbed, which allows for all sorts of direct

the beams of water. On regular water levels,

interaction with the water.

the space below the bridge can be used (10). The riverbank is easily accessed by the four stairs that reuses the rest of the original

9

209

10




Figure 400. Birdseye overview situation existing (left) and new (top)

There could be various analogical functions to benefit from the spatial layout with its open top and rather closed bottom. In case of a spa or swimming pool, the water-intensive use character and the direct relation in the positioning next to the Arno can also be revived.

Figure 402. Recap Tiratoio type translation | analogical

Figure 401. Situation plan 1:1000


7.2. TIRATOIO | RARI NANTES POOL & SPA From the two Tiratoi in the urban design

The focus here however lies on the new

plan (Figure 404), the upstream one has been

central court building following from the

selected due to its interesting position as the

typological Tiratoio translation. With the

terminus of the extended Murate wadable

typically open roof structure well suited for

structure308. The effect of the incorporation

an outdoor swimming pool, this provides the

of the Tiratoio inside the existing police office

perfect solution to house the Rari Nantes

block and the connected transformation of

swimming association. They had to move

the parking lungarni to park lungarni is shown

out of their current location 700 meters

in Figure 400. The pedestrianization returns

upstream to make place for the linear park.

308 See chapter 6

the public space to the historic situation of Figure 403, where the openness (currently with a lot larger trees) provides a variety of possibilities, which supplement the narrow Lungarni. The court is opened to the public, where a walled garden with and small terrace is created and the parking is incorporated underground (Figure 401). This is accessed by car from the ramp northeast of the Torre Zecca. The tower is emphasized and made accessible in the open public space, where it again plays an active role in the city, this time as an entrance to pedestrians. The smaller access buildings spread along the park (aligning with the volumes of the street-wall) complete the access options and both follow the Serbatoio principle.

Figure 404. Tiratoio interventions in the urban design plan

Figure 403. Lungarno in front of Caserma Baldissera historic situation

213


---Chapter 7 - Architecture---

309 As a more private function, this can also fit in the rather closed bottom volume, which is typical to the Tiratoio as a contrast to the open timber framework on top.

The analysis of the spatial needs of the

complete the whole on the third level below

existing situation (Figure 406) showed the

the roof. Lastly, the building contains two

two pools would fit precisely on the plot.

layers of underground parking that are

It should be noted the pool area can be

connected to the Lungarni parking.

310 Next to the double helix staircase, two back-toback elevators are in use as well to make all floors wheelchair accessible without mixing up wet and dry functions. Figure 410 shows a section across this double helix stairwell.

protect from the sun, but it can also be

In this manner, the private-public gradient

removed to allow for sunshine and a breeze,

of functions is aligned with the closed-

depending on the circumstances. Further, a

open division of the Tiratoio type. This

tribune and lifeguard post is required, along

also ensures appropriate ratios that fit the

with changing and shower facilities. Even

historic appearance and the local context of

when incorporating a café restaurant with

the block. The block context is also a main

terrace, there would be space left in the

reason why the hipped roof is chosen over

reserved volume. To benefit from shared

the shed roof, along with the possibility

facilities a spa function309 is therefore added

to surround the pool by tribune and the

to the functional mix of swimming pool and

stability of the roof spanning structure.

covered to control the indoor climate and

restaurant. Opposed to the historic type the latter cannot be additionally supported due to

the changing rooms, showers and plinth

the pool. A strong 3 meter high king post

functions fill the ground floor (including the

truss system is therefore used to cover the

restaurant and kitchen), the spa facilities

rather large timber span of 15 meter. This

fill the first floor, the outdoor pools fill the

is a common truss type in the Florentine

second and a roof terrace and tribune

churches (Figure 405), where the Chiesa di

Figure 406. Rari Nantes existing situation Figure 407. Cross sections western stairwell (B-B), spa entrance (B2-B2) and spa corridor (B3-B3) (below)

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+-8.000 214

B3-B3

B2-B2

B-B

Figure 405. King post truss structure in San Miniato al Monte (top) and Chiesa di San Salvatore al Monte (below)

This lead to the sections of Figure 407, where

+-8.000


---7.2. Tiratoio | Rari Nantes Pool & Spa---

San Salvatore al Monte even spans 14 meter.

in section A-A. These solve the quite complex

With additional triangle supports on either

functional mix by using the west staircase

side, the span is effectively decreased and

exclusively for the spa guests, while the east

the lightweight roof can surely be supported,

staircase uses a double helix to separate

while at the same time enlarging the effect

the people in swimwear from the tribune

of the timber roof atmosphere. The timber

audience and terrace visitors310. As the main

third floor and wooden railings further add

connections that pin the mutually additive

to this atmosphere.

functional mix together these stairwells are given extra emphasis with vertical wooden

To carry the heavy loads from the pool

battens that connect the grand ground

waters to the ground, the solid bottom uses a

floor entrances to the timber roof-structure

structure of columns and cross-vaults so the

space on top. By leaving space between the

layout of the large floors is flexible and can

battens, daylight can enter from the roof. In

be determined based on the requirements

case of the double helix staircase a double

that vary with the different programming.

layer of spaced battens allows for light

Technical spaces

The only elements shared between the

entrance while mediating as a privacy screen.

Parking

floors are the two main stairwells as shown 20,3 17,3 14,3 11,3

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-8

Figure 408. Longitudinal sections across the outdoor gallery, the circumferential spa corridor and the rooftop tribune (A1-A1) and across the two stairwells, the pools and various spa spaces (A-A)

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---Chapter 7 - Architecture---

Figure 409. Exit at Arno riverbank

B4-B4 216 Figure 410. Cross section dual helix staircase and the tunnel connection to the Arno


---7.2. Tiratoio | Rari Nantes Pool & Spa---

The

dual

helix

staircase

continues

downwards for the swimming visitors. Here, a ramp connection grants the possibility to go swim inside the Arno, while making use of the showers, changing rooms and lockers inside (Figure 411). Like at all other entrances portals with a wristband ticketing system limit the access to the paid visitors. At the exit on the Arno riverbank a platform extension is added to grant some extra space to the swimmers (Figure 409). If at some point the Rari Nantes want to hold a match inside the Arno this space can be used for the swimmers, coaches and perhaps the core audience, while others can stand along the route or even on the Lungarno. By making the ramp pass above the -2 parking road (Figure 414) and below the -1 parking road (Figure 413), the riverbank can be reached without perceiving the garage. Figure 411. Corridor to swim in Arno below park

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---Chapter 7 - Architecture---

Spa & swimming pool: S1 | Ticket office S2 | Spa changing & lockers S3 | Pool changing, lockers, toilets & showers S4 | Treatment rooms S5 | Flower bath 33°C

S6 | Fire bath 42°C S7 | Sound bath 35°C S8 | Cold bath 14°C S9 | Sauna S10 | Drinking space S11 | Turkish bath S12 | Wheelchair access and changing room

S13 | Employee space S14 | 25x12m competition pool (1,8m deep) S15 | 12x7m practice pool (0,8m deep) S16 | Tribune

Restaurant: R1 | Restaurant R2 | Bar R3 | Kitchen R4 | Storage and cooling R5 | Roof terrace

T

T T

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0,01 %

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Figure 413. -1 | Garage

Figure 414. -2 | Garage & riverbank

B

A1

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S5

S6

S7

S8

S9

T

S10

S11 S13

S4

Figure 415. 1 | Spa 1:400

A1 R4

S2

R3

S3

A

T R2

E1

S1

B

B2

Figure 412. GF | Changing facilities & plinth functions 1:400

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---7.2. Tiratoio | Rari Nantes Pool & Spa---

With the exception of the parking levels a

a concatenation of 3x3 spaces. To reset the

3x3 meter grid is used311. This results in a

spatial experience and provide an enclosed

dense series of columns, which may at first

private atmosphere in the interior most spa

sight seem inconvenient. However, as it

functions are accessed by a turning hallway

turned out, the 3 meter spacing is ideal for

or stairs (in case of the pools) with a lowered

the spatial needs of the different forms of

ceiling. When reaching the spa function the

programming. On the ground floor, two rows

space opens up again to crown the 3x3

of showers or benches with lockers can line

square with the majestic vault (see section

a central corridor which is an ideal remaining

B2-B2 in Figure 407). Outside the darker core

width. The same counts for the restaurant

functions, the filtered light offers a serene

kitchen counters, and also various shapes of

atmosphere to relax in the window benches

dining tables fit inside this grid, where each

along the corridor.

311 The parking garage requires a larger grid of around 6 meters to allow for passing cars and turning. This connects to the entire parking garage, which needs to be organized as efficiently as possible as a whole. Since this is not the point of this design study, a coarse indication of the main routes and parking spaces is given as an indication. 312 As was common to this type, see chapter “1.2.2. Tiratoio | wool factory” on p.39

table is adorned with its own vault. On the floor of the swimming pool, the effect In the spa, the division in five rows, makes

of this grid is limited to the columns along

the circumferential corridor possible, where

the sides. By protruding the timber floor by

the spa facilities are centrally clustered in

1 meter312, the circumference becomes large

the interior. In this way, the variety of spa

enough to lay down beside the pool.

spaces can all find their own 3x3 space or

B

B2

B3

B4

A1

S16

A

R5

Figure 417. 3 | Roof terrace 1:400

A1

S14

S15

A

B Figure 416. 2 | Swimming pool 1:400

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---Chapter 7 - Architecture---

Figure 418. Material detail direct building context

Figure 421. South elevation

On the floor above, the tribunes can be

top, the two parts fit neatly together, despite

incorporated in this grid without problems

their different characters. The finer grain of

and the terrace tables again do conveniently

the stones and the rhythm of the rain pipes

fit in between. As such, the table layout

help to attach the two parts in a single entity.

resonates the structural system of the roof

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Wijziging

trusses and each table gains a certain level

As the Tiratoio is integrated inside the court

of privacy, while there is still sufficient space

surrounded by the existing building complex

to walk around entirely. In this way, the view

it is important to align the facade with the

can be fully enjoyed, which is also why the

closely

terraces are lined along the south.

420). However, as the specific typological

connected

surroundings

(Figure

characteristics already makes this a clearly Since the 3x3 meter grid is a shared system

recognizable addition there is some freedom

between the solid base and the framework

to deviate from the exact facade system. In

Figure 420. New facade and tree-lined park in existing context (below)

220


---7.2. Tiratoio | Rari Nantes Pool & Spa---

fact, as this becomes a completely public

rustication is stronger. From the present

volume inside a rather inaccessible building

rustication (Figure 418), the heavy rustication

block it makes sense to stress the exceptional

is used for the ground floor and the medium

position of the Tiratoio in its facade. This is

rustication for the first floor. Further, the play

aided by the two symmetrical side buildings,

of lines with the marca piani is continued.

which frame the Tiratoio as a centrepiece no

The downwards jump in the side buildings

matter what. The portals create breathing

is repeated in the Tiratoio, but due to the

space on either side, so the Tiratoio can

higher ground floor this jump makes a

easily be identified as a separate entity, while

switch from the second to the first marca

being incorporated in a continuous building

piano, which further stresses its central

wall313.

character. The rain pipe continuing through the marca piano before entering the building

The volume is made slightly higher and the

wall and the window with shutters are two

221

313 On top of this, the attachement to the side buildings is minimal, which makes this solution relatively easy to construct while maintaining all window openings. 314 See Figure 334 in ”2.2.10. Santa Croce complexes” on p.128


---Chapter 7 - Architecture---

Figure 424. Detail integrated window bench

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other details that are incorporated in the facade design. The latter is translated as a fixed frame, which permanently provides a privacy mediation and filtered light to the spa

17,3

corridor (and incorporated window-benches) behind (Figure 424).

16,5

Figure 426 shows the discussed elements in

16,3

a detailed part of the facade. The complete

15,3

front facade is shown in Figure 421. The other facades do continue the marca piani,

14,3

window and rain pipe details, but the wall surface is plastered as this is the case in the entire court interior314. This clear separation between front and backside can also be seen in the height level, which is kept consistent on the Lungarno, but descends by 1,5 meter

12,3

towards the court. 11,3

This can be seen in the impression sequence, where the wadable courtyard route between

20.30 5 roo 17.30 9,15 4 4e 14.30 8,53 3e 11.30 2 2e

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0 -1.50 0 Beg -1 Co -4.50 5,25 -2 Ga

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Figure 425. West elevation

-8.00 -3 Ga

Figure 426. Facade detail (right)

3,9 20.300 5 roof top 17.300

3,4

4 4e verdieping - roof bottom 14.300 3 3e verdieping - terrace & tribune 11.300 2 2e Verdieping - swimming pool 5.250 1 1e Verdieping - spa 0 -1.500 0 Begane grond -1 Courtside level_Basement -4.500 -2 Garage -2 -8.000 223 -3 Garage -3_Riverbank level

1,9

0,4 0m


---Chapter 7 - Architecture---

18

9

the Murate and the Arno starts or ends when 17

10

2

1st

2nd

passing below the right portal in the front facade (1). The height difference is bridged by ramped landscaping that runs right up to the passage corridor which is visible behind.

6 4 3

7

12

14

11 5

GF

Figure 427. Impression sequence

13

8

16 15

The ground floor of the building is kept on the same level, so the loggia terrace stays horizontal and is directly accessible from

3rd

all repetitive doors behind, which can be

1

opened entirely on hot summer evenings

r Fase Project EducationalVersion tgever #Project Code PLGProjectnaam

Tekening Opdrachtgever Fase 1e INDICATIE 1_1000PLG /PLG Naam opdrachtgever

Schaal/Formaat 1:1000/A3

Tekening Datum 3e INDICATIE 1_1000 /PLG 25-1-2022

Wijziging Schaal/Formaat 1:1000/A3

Datum 25-1-2022

Project Fase EducationalVersion #Project Code tgever PLGProjectnaam

Opdrachtgever Fase Tekening Naam opdrachtgever PLG BG INDICATIE 1_1000/PLG

Schaal/Formaat 1:1000/A3

Tekening Datum 2e INDICATIE 1_1000 /PLG 25-1-2022

Schaal/Formaat Wijziging 1:1000/A3

Datum 25-1-2022

1

2

224


---7.2. Tiratoio | Rari Nantes Pool & Spa---

(2). The introduced height difference on the

filled planters stretch the walled garden

backside is resolved by integrating planters

atmosphere into the loggia. This loggia forms

as the pedestal foot of the building. This

an extension of the restaurant, which has

continues along the westside, where the 12,7

direct access from the east side, while a door

meter high blind wall can form a green wall

on the west side grants a direct connection

along the sub-court of the ‘walled garden’ in

to the swimming pool and spa with a

the western entrance. The terrace continues

backside entrance.

in the court on the right and behind the Serliana like openings, which is used to open

However,

the

formal

access

is

clearly

the rhythm of arches. There the smaller ivy

expressed on the front side along the park

3

225

4


---Chapter 7 - Architecture---

(3). The far left portal grants an alternative

relation to the new park space, benches have

access to the walled garden court behind.

been integrated in the facade, with reference

The left door provides the front entrance to

to the palazzo typology (4). From these

the spa and swimming pool. The right door

benches, the wide view across the Lungarno

grants access to the restaurant, the rooftop

park and river-space can be enjoyed. When

terrace and the tribune. The two central

entering the left door, you can look straight

doors allow for two more plinth functions

through the building to the walled garden

(e.g. health or beauty treatment spaces

court on the other side (5). The ticketing

related to the spa or small shops). To stress

office is located on the left and the vaulted

the public position of this new building in

entrance corridor is split for the spa (left) and

5

6

226


---7.2. Tiratoio | Rari Nantes Pool & Spa---

swimming pool (right) by a wall with spaced

possibilities of the two staircases takes place

wooden battens. This spaced division allows

automatically. In this way, the changing

the visitor to grasp the space as a whole and

rooms can also be designed more exclusive

makes a reference with its material to the

in their spatial layout and detailing, fitting to

timber top floors. When entering the spa

the function. After changing, you walk into

on the left you can look straight through the

the grand stairwell space, where you make

changing rooms from the entrance corridor

a turn around the wooden battens and you

to the wooden battens of the west staircase

pass the showers incorporated below the

(6). By making separate changing rooms

staircase (7). The bottom part of the staircase

for the spa, the split between the access

is made in concrete as a massive foot that

7

227

8


---Chapter 7 - Architecture---

covers the shower spaces. The second stairs

the second floor access for swimming pool

open into a light stairs of timber threads

guests (13).

(without risers) connected to the wall. On top of the see-through benefits of perceiving

Halfway the west stairwell, the spa facilities

the stairwell as a whole, this allows the light

are located, which are only accessible by

of the second floor exit space to pass down

the spa guests. The view from the stairwell

into the stairwell (8). Here the spa guests

along the corridor shows the vaults, the

can enter the swimming pool area, where

filtered light and the small gaps in the wall

they are treated on the panoramic river view

that provide access to the various pools and

when coming up, similar to the view from

facilities (9). After passing through these low-

9

10

228


---7.2. Tiratoio | Rari Nantes Pool & Spa---

ceiling hallways you will once more enter

When we go back to the entrance space

an isolated vault on a square plan, which

and go through the right access into the

completely encompasses you in your spa

swimming pool changing rooms instead,

experience. The integrated window benches

you see how the vaults can even turn the

are lined along the entire circumferential

changing rooms and showers into majestic

corridor, where you can relax between

spaces (11). Next to two large changing

bading or treatments with views across the

rooms, there is a part with individual cubicles,

river on the south side (10).

including larger ones for families and one for wheelchair access. The changing rooms are followed in sequence by the shower space,

11

229

12


---Chapter 7 - Architecture---

where you can directly look through to see

Not to mention the parallax effect of the

the wooden battens of the central double

shifting trusses when swimming laps. To be

helix stairwell (12). Here you go up (or down

clear this space is also accessible for the spa

as we have seen in Figure 410) in the skylit

guests, who use the west stairwell instead.

stairwell which gets lighter to the top. When

When the pool is reserved for matches or

reaching the second floor, the swimming pool

other events in coordination between the

guests exit while facing the panoramic view

Rari Nantes and the Spa, this door can be

across the Arno (13). When swimming inside

closed, so the specific spa activities can still

the pool, the roof structure is maximally

continue.

experienced through the void above (14).

13

14

230


---7.2. Tiratoio | Rari Nantes Pool & Spa---

The final route through the building is the

this core, with one table per vault and this

one from the right door. When entering

continues in the outdoor loggia. The indoor

this door, the double helix stairwell with the

space can effectively become a part of this

double row of spaced battens invites you

outdoor loggia by opening all doors.

to ascend (15). This space also contains the basic wardrobe and toilet facilities for the restaurant, which is entered on the right (16). You enter past the bar, which forms the core together with the kitchen and cooling in the volume behind. The tables are surrounding

15

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16


---Chapter 7 - Architecture---

When the stairwell of the right entrance is

enjoying a bite or drink. The tribune is lined

ascended, you again experience the space

around the other three sides of the pool and

getting lighter to the top, as this is the

as such also grants views towards the river in

same double helix stairwell, but from the

the background below (18). Since the tribune

other side. This time, the exit is not on the

is stretched around and not very wide,

second story, but on the third and again, the

almost everyone can enjoy the spectacle

orientation is towards the south to enjoy the

from front row position. With a larger

‘in your face’ panoramic Arno view (17). From

audience, the descending tribune also makes

the roof terrace tables on this floor, you can

it possible to watch the match while standing

relax with the view and Arno breeze while

on the circumferential path. The tribune

17

18

232


---7.2. Tiratoio | Rari Nantes Pool & Spa---

and terrace level is also reachable by the

they can be closed halfway or entirely to

swimmers via the outdoor staircase on top of

prevent balls from ending on the street. The

the double helix stairwell, which is controlled

fabric texture can be looked through from

by an access gate. Lastly, the entire rooftop

inside to outside. From the exterior, the open

loggia can be closed of by screens, which are

loggia becomes closed, but the deliberate

integrated between the timber columns on

integration between the floors and columns

the exterior (19). With two rows of screens

makes sure the main play of lines continues

(one below the roof and one below the third

(20 in comparison to 3).

floor) the direct sunlight access and breeze can be controlled. During waterpolo matches

up

halfway

down

19

233

20




Figure 428. Birdseye overview situation existing (left) and new (top)

The three types of Bagno spaces (tent, riverbank and protected zone of mill or bridge) can return in their original function as a system of diverse bading spaces along the Arno. As a type, this can sometimes even use the original layout. At the same time, there can be multiple variants reacting to their slightly different context to result in the large, with a fitting choice for everyone.

Figure 430. Recap Bagno type translation | original

Figure 429. Situation plan 1:1000


7.3. BAGNO | ARNO SWIMMING INITIATOR From the Bagno type based buildings, the

Aside from the tent structure, the local

tent structure in front of the Biblioteca

context is changed with the pedestrianization

Nazionale has been selected for elaboration

of the Piazza dei Cavalleggeri, the added

(Figure 431). Within a filtered setting, this

stairs and the continuous riverbank route

can be the initiator of Arno swimming on a

(Figure 428). By aligning the top of the

high profile location with historic relevance

stairs to the edge of the square, the formal

(Figure 432). The view along the Arno from

characteristics

the Piazzale Michelangelo has become the

the wider and planted riverbank route is

characteristic panorama of the city and the

stretched along the tent.

are

strengthened,

while

tent structure could take a main stage inside this view in line with the Duomo. While to the unaware spectator this might seem to be a page from the MVRDV playbook, this can in fact be backed up with historic relevance as a similar tent bading structure used to be located exactly on this spot. Anyone who would claim this to be a crazy idea unfit for the UNESCO centre of Florence can be pressed with their noses to the fact that the only crazy thing in this situation is the water pollution which has expelled the Arno swimming, which used to be so common less than a century ago.

Figure 432. High profile historic location in view Piazzale Michelangelo

Figure 431. Bagno interventions in the urban design plan

237


B

B1

A

A

Figure 435. Roof | Lungarno 1:400

A

A

Opdrachtgever Naam opdrachtgever

Fase PLG

Tekening 2e 1_400/PLG

B

Schaal/Formaat 1:400/A3

B1

Figure 434. GF | Swimming pool 1:400

16m

32m Figure 433. Analytical reproduction historic situation

Figure 436. West elevation


---7.3. Bagno | Arno Swimming Initiator---

By looking closely at the historic pictures315,

even moved an additional 5 meter into the

the basic structure and dimensions of Figure

water. This ensures some additional privacy,

433 were distilled. This has been used as a

strengthens the experience of entering the

reference, which was adapted to the current

bagno across the platform and maximizes

context and needs (Figure 434 & Figure 435).

the atmosphere of swimming inside the Arno.

As discussed, the additional facilities are

The 5 meter platform simultaneously levels

better incorporated inside the embankment

any height difference between the riverbank

as a flood proof strategy. The toilets, showers

and the water and the total extension into

and changing rooms are thus integrated

the water is kept within bounds to steer clear

underneath the new staircase.

of the rowers.

To make the tent structure align with

Further, as the initiator of Arno swimming,

the Piazza dei Cavalleggeri on both sides

the relation with the Arno cannot be

the modern structure is slightly enlarged

emphasized enough. Next to the covered

compared to the estimated dimensions.

circumferential platforms, a larger uncovered

In this way a balanced symmetrical view is

platform is oriented towards the middle of

created both when looking upon the library-

the Arno. This space near the centre of the

piazza-bagno combination (e.g. from the

river invites to look around and enjoy the

Piazzale Michelangelo) and when looking

elements. On top of this, all sides of the tent

from the Piazza dei Cavalleggeri on top of

can be rolled open, so the continuation of

the tent. This also provides the required

the encompassing Arno through the bath

dimensions to create a competition pool

can be perceived even while swimming. For

(25x12) and a learning pool (12x7), just like in

privacy reasons it can be decided to keep the

the Tiratoio.

side along the riverbank route closed, which

315 See Figure 97 in chapter “1.2.3. Bagno | Arno bathing” on p.41 and Figure 34 in”1.1.2. Accessibility of the riverbank in the historic stem of the Arno” on p.23

only focusses the views inside the bath away In this case, the riverbank is continuous and

from the artificial embankments. It depends

will be used as a route for passerbys as well,

on the growth of waterplanting in between

which is why the bagno is moved away from

the bagno and the riverbank route if this

the embankment. The modern bagno is

makes the atmosphere more natural or not.

Datum 23-1-2022

Wijziging

6,5 3

Figure 437. South elevation

239

0m -2


---Chapter 7 - Architecture---

Figure 439. Riverbank view with alternate uses of the ‘bagno’ in winter

Figure 440. Riverbank view with a ‘reconstructed’ tent bagno after winter

+6.500 +3.000 maaiveld +-2.000

240 Figure 438. Longitudinal section

Figure 441. Cross section across the practice pool


---7.3. Bagno | Arno Swimming Initiator---

6,2

To filter the polluted water, the principle of the New York ‘+ pool’ (see chapter”2.1.2. Ecology & waterquality” on p.83) is applied, where filters are incorporated in the walls and floor of the pool to clean the Arno waters which enter the pool space. These filters are

3,2

mounted on floating elements, which rise

3

with water level changes, so the pool floor is always on equal height. This makes it possible to maintain the 1,8 meter competition pool and a 0,8 meter practice pool (Figure 438).

2,1

These controlled conditions, together with the tent cover will ensure the value of this bading structure even after the Arno waters have been sufficiently cleaned and the filters can be permanently removed. The tent structure is made of timber king post trusses, which were commonly used in

0m

Florentine roof structures (see Figure 405 on p.214). Since timber was commonly used

-0,2

in the various bagno types standing in the

-0,85

Arno this material was preferred. However, the educated guess that these structures were swept away by high waters every now and then (which outpaced rotting) is not a very sustainable thought for a high profile

-2

initiator. The timber columns are therefore supported by concrete foundations, which are protruding from the water. The fabric, the timber and the floating pool floor and walls (Figure 443) can all be circulary dismantled before the winter, to prevent damage during high waters. The circumferential platforms remain, so they can still be of alternate uses

Figure 443. Facade detail corner (northwest), showing connection concrete-timber, rolled fabric and floating pontoons

during winter (Figure 439). Just before high waters hit they can be sunk to the bottom of the river (Figure 444). In this way, the circular elements can safely be reconstructed into the full fletched bagno during spring (Figure 440). +6.500

6,5

+3.000

3

maaiveld

0m

+-2.000

-2 -4

241 Figure 442. Cross section across the competition pool

Figure 444. Cross section in sunken flood condition


---Chapter 7 - Architecture---

The tent structure returns in the view from the Piazzale Michelangelo (1). The 5

4

3

6

renaissance of Arno swimming will be caught in every new picture of the Florentine skyline and the Arno riverfront. The fitting proportions

7

tuned

to

the

Piazza

dei

Cavalleggeri are seen from the hill angle and confirmed from the opposite riverbank,

8

right at the meeting between the Arno and 2

Fase PLG

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Tekening BG INDICATIE 1_1000/PLG

1

the narrow stream running through the

Schaal/Formaat 1:1000/A3

1

2

Figure 445. Impression sequence

242

Datum 25-1-2022

Wijziging


---7.3. Bagno | Arno Swimming Initiator---

Terzo Giardino (2). In this strong vis-a-vis, the

you can get an overview of all activities

bagno becomes an extension of the Public

when looking from a distance. However,

building and the public square as a public

on approach, the tent protects from direct

facility inside the river. When walking along

nearby views, which ensures a certain level

the existing higher levelled sidewalk of the

of privacy (4). The difference becomes clear

Lungarno della Zecca Vecchia you can just

in comparison to the riverbank view on

look down into the bath and catch a glimpse

the tent as shown on the previous page (in

of the swimming activities going on inside

summer and winter). The toilet, shower and

the Arno waters (3). Due to the covered roof

changing room facilities are incorporated

and back and the position inside the water,

below the stairs across from the bagno

3

243

4


---Chapter 7 - Architecture---

entrance. In the shower space behind the

crossing the platform to enter the bagno

second (flood-proof) door from the right a

you can feel the transition from the solid

window is incorporated that provides a rare

ground to the realm of the river (6). With the

view inside the subterranean world with an

two baths on both sides, the path continues

underground canal (5). The water from this

straight through to the outdoor sunbathing

canal used to exit on the position of the

area and protrudes 2 meters further into

stairs, so for the creation of the stairs the exit

the water. Along with the continuing floor

has been moved backwards. Stepping stones

plank directionality, the axis is stressed with

sided by a boardwalk are used to cross the

a framed view from the entrance to the river

exhaust stream, also by wheelchair. When

and its opposite bank. Obviously, the main

5

6

244


---7.3. Bagno | Arno Swimming Initiator---

experience of the bagno type lies in the

even without filters. The controlled setting of

direct interaction with the Arno, by swimming

the floor (and its height), the fabric roof and

in its waters (7). By continuing to raise

the adjustable sides are always valuable. The

the awareness and forward river cleaning

functionality of the space will only expand

developments,

become

as the sunbathing platform can additionally

completely swimable. This will unlock the

become a springboard for unchained Arno

potentials of all other bagno locations as

swimming (8).

the

Arno

may

mentioned in the urban design plan. Like can be deduced from the large historic variety, this unique tent bagno will remain of use

7

245

8




Figure 446. Birdseye overview situation existing (left) and new (top)

As outlined in chapter 2, aligning with the potentials and Florentine policies this can be translated in the original function of hydropower. However, instead of hiding it from view like in the policies an additional analogical translation of the stacked functions is proposed, where publicly accessible societal exposition spaces together with involved organizations above can fuel the public debate in a walkable sequence. Figure 448. Recap Mulino type translation | original / analogical

Figure 447. Situation plan 1:1000


7.4. MULINO | SOCIETAL EXPOSITION SPACE Florentine

is aligned to the Mulino and as such, the

municipality was selected for elaboration

covered societal exposition space becomes a

due to its central position, the high profile

part along the Poggi axis. This axis ends on

location at the foot of the Rampe Poggi and

the Terrazza with a view across the river. As

316 See chapter 6

the rich history of the Mulino San Niccolò and

mentioned, the continuous riverbank route

the (later) Officina Idraulica site316. The whole

is purposefully discontinued after the urban

Terrazza Riccardo Marasco can be seen as

beach, for the privacy of the beach and the

317 See “1.3.9. Fourth Piazza San Niccolò building” on p.67

a remnant of the latter, but this platform

safety of the mill outlet. Here, the existing

originated below the building volume on

riverbank functions related to the urban

the east side. There covers, staircases and

beach (e.g. toilets, supping) are incorporated

platforms form reminders of the hydro

with flood-proof doors below the other

power functionality that took place below.

side of the Terrazza. More importantly, the

The new mulino dimensions are based on

riverbank route is exceptionally forced to go

the historic Officina Idraulica

up the Terrazza Riccardo Marasco. As such

The

central

mulino

in

the

this new axis crosses the Poggi axis right To turn the unfinished and weakly defined

in front of the Mulino, where the riverbank

Piazza Poggi into the strong foot of the

route passes along or through the societal

Rampe Poggi axis as originally intended by

exposition space in order to descend on the

Poggi317, the fourth San Niccolò building

other side again.

is finally added (Figure 446). This building

Figure 449. Mulino interventions in the urban design plan

249


---Chapter 7 - Architecture---

It is thus safe to say the Mulino is firmly

The typological precedents of the mulino

routed in the urban fabric, where the existing

had public spaces on the ground floor,

canopy of trees is replaced by a built canopy.

which were a part of the closed building

This forms a counterpart to tree provided

volume. However, in the present situation

canopy on the other side of the Terrazza,

with the goal of reconnecting to the river it

where the natural atmosphere may hint to

is undesired to built a large closed volume

the ramp descend onto the largest and most

directly along the water as this would only

planted riverbank inside the historic stem.

help to block the river access and views. This

When advocating for immediacy to the river

situation asks for an open public ground

and the value of the natural atmosphere

floor instead, which begs for the additional

the removal of trees may not be the first

Florentine reference of the Mercato typology.

idea that springs to mind. However, in the municipally planned transformation of the

The Mercato Nuovo (Figure 450) presented

underground space for hydropower, these

an interesting case, as next to the solution

trees were bound to be removed anyway.

for an ‘open ground floor’, two more design

When you consider the societal exposition

problems were resolved. The first was

space a replacement for the municipally

the access to the first floor, so involved

planned bare patch of grass, this makes

institutions could be incorporated in a

much more sense. The six stone pines that

‘stacking of functions’ above. As it turned out,

could be retained on the solid ground next to

the Mercato Nuovo in fact has a first floor

the hydropower are dearly saved to maintain

and the stairs are so well integrated that

the natural atmosphere as much as possible.

you almost have to know they exist in order to see them (Figure 451). Due to the massive

Figure 450. Mercato Nuovo ‘open ground floor’

Figure 451. Mercato Nuovo roof space & ‘column-stairs’

Figure 452. East elevation (below)

22.000 519.000 416.000 15.000 3 roof top 2 2e Verdieping - roof 12.000 1 1e Verdieping - organizations

0 0 Begane grond

-4.000 -1 -1 tunnel+hydropower 1m lower+riverbed upstream

250

-8.000 -2 -2 hydropower basement_waterlevel downstream -10.000


---7.4. Mulino | Societal Exposition Space---

proportions of the Mercato, a complete

After closer inspection, the attached facade

staircase could be integrated in the corner

of one of the four Ponte San Niccolò buildings

column and a floor was hidden behind

across uses the same principles of material

the (3m!) entablature. The second design

and protrusion (Figure 455). Additionally,

problem was the desire to give due attention

these principles would thus make the mulino

to the historic presence of the Officina

fit neatly in line with its local built context.

Idraulica. Next to the size and position, resting on the Terrazza remains, the characteristic

Applying

barrel vaulted three division with a clear

context resulted in the elevation of Figure

directionality

to

454. The ‘Front sides’ facing the Terrazza

the Arno river seemed a suitable reference

on one side and the water inlets on the

(Figure 453). In this respect, the Mercato

other are given a strong straight stone-cut

Nuovo also expresses a certain directionality

expression (Figure 452). By returning these

by using two different arch systems. A strong

‘front side’ slabs twice inside the building

‘front’ and ‘back’ are formed by using straight

the three-division is created. The symmetry

cut pietra forte, while in between round

and centre is emphasized by making the

columns in Tuscan style form the supports

middle entablature protrude along with the

of a vault system which combines pietra

stone slabs. While the grid is square, the

serena with plaster. The different shapes

introduction of the wider slabs in between

and materials, combined with the protrusion

the columns skews the vaults (Figure 456),

of the ‘front’ and ‘back’ with reference to the

which start to play along in the architectural

‘sides’ provides clear tools to approach this

directionality.

situation.

position in relation to the Arno and the

Figure 453. Officina Idraulica and its three barrel vaults

Figure 455. Side facade of a ‘Piazza San Niccolò’ building

oriented

perpendicular

the

principles

This

to

resonates

the

Mulino

with

the

Figure 454. North elevation (below)

16 15 12

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-5 -8 -10


B

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Figure 456. GF | Exposition space 1:400

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Opdrachtgever Figure 457. South elevation (top) and Fase longitudinal Naamsection opdrachtgever parallel to the Arno (bottom) ELE

Tekening Project South 1_400/ELE GSEducationalVersion #Project Code Projectnaam

Schaal/Formaat Opdrachtgever 1:400/A3 Naam opdrachtgever


---7.4. Mulino | Societal Exposition Space---

conversion process that takes place below

floor right above one of the turbines. The

the surface. As shown in the sections, the

incorporation of this functional hydropower

water enters parallel to the Arno (Figure 457)

in the exposition experience is continued

and after passing the turbines, it is pushed

when taking the escalators down to the

out in perpendicular direction (Figure 458).

turbine level (Figure 459). The functional space with the large turbines is made

The sections also show the stacking of

visible through the glass wall around the

functions that followed from the Mulino

entrance door. The remaining space forms

type translation. The main public space

a supplementary extension of the exposition

is the societal exposition space, which is

space below the ground, which is also where

emphasized with the grand gestures of the

the acquedotto tunnel starts and goes all the

vaults. With the open character the Arno

way up to Via de Bardi across from the Uffizi.

atmosphere (connecting the mountains to

When going further down the escalators,

the sea) forms the eternal backdrop of the

you descend below the water (Figure 460),

temporary expositions hosted inside this

where the Arno tunnel runs parallel along

space. A glimpse of the hydropower space

the pescaia up to the Torre Zecca as a

below forms another permanent element in

pedestrian connection. Next to the location

the exposition space through a circular glass

at the crossing of the Rampe Poggi and

318 The large space could remain entirely open or it could be subdivided. For now a schematic subdivision in three roughly equally sized offices is indicated to show the requirements of access and daylight can be ensured. Further, two fire escapes are integrated on the southwest and southeast end, which run from roof to streetlevel. Sanitary or kitchen facilities can be installed as boxes inside each space or as a combined space shared between the offices, but this depends on the organizations and their demands.

16 15 12

0

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Schaal/Formaat -10 Figure 458. West elevation (top) and Cross Datum 1:400/A3 19-1-2022 section perpendicular to the Arno (bottom)

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---Chapter 7 - Architecture---

B

A1

A Trafo

Figure 459. -1 | Waterpower 1:400

A1

Techn. ventilation

Opdrachtgever Naam opdrachtgever

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319 By disconnecting the stairs from the indoor office spaces, the insulation can be contained to the ‘office box’ on top and complicating insulation in the columns can be spared. Additionally, the stairs to the roof terrace does not require a cover, so in this way disruptive protrusions are spared. Further, by means of integrated rainpipes, the collected rainwater can run through the larger columns. 320 The historical documentation shows the Arno tunnel as split in two rather narrow corridors. Recent photographic material on the other hand shows the tunnel can easily be walked in. By combining the two separate tunnels into one this can thus most certainly be ensured.

riverbank axes, the Mulino thus also forms

based floor plan is entirely flexible and can

a sub surface node between the Arno

be filled in depending on the organization(s)

(Figure 463) and acquedotto tunnels and the

and their desired level of shared facilities318.

Lungarno level above, with the hydropower

In any case an appropriate spatial access is

and exposition space at the core (Figure 464).

ensured by the shared outdoor entrance space319. Here the central facade square is

The first floor above contains the office

not supporting, so all five squares are filled

space for involved organizations (Figure

with windows that provide a view through

461). This can be reached by the stairs or

the northern tree canopy and down to the

elevator incorporated inside the large central

Arno. This downward view is framed when

northern columns on the ground floor

descending the final stairs that connect to

(Figure 465 & Figure 467). The windows are

the shared roof terrace (Figure 466). A final

incorporated in the entablature as a kind of

stairs leads up to the shared roof terrace,

frieze decoration. The central ‘openings’ are

which forms a flexible outdoor space with a

located on the grid, so a niche is applied to

view across the river and the rampe (Figure

continue the facade rhythm, while ensuring

462). This roof terrace is specifically added

the interior support capabilities. The column

to this mulino as an additional feature to

Figure 463. Lungarno Tunnel perspective

Figure 464. The acquedotto and Arno tunnels connecting below the Mulino

256


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Figure 466. Downwards view to river forced upon descend

Figure 467. Detail materiality & use opportunity

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12 stress its central importance. Here, all sorts of activities can be hosted, ranging from 7 4

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which expand on the topic of the societal 9

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fundraising dinners to rooftop artworks

from the controlled access, the interaction of passing along the organization spaces or

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simply the views (1) or the visibility from the

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Piazzale Michelangelo (2) As can be seen in

Mulino forms an important addition in the

the impression sequence (Figure 468). The

sequence of the Rampe Poggi axis. The

edge is lined with a green roof that by its

four similar ‘Piazza San Niccolò’ buildings

width strengthens the massive appearance

are defining the open space of the Piazza

of the structure, while the planting blends

Poggi and the Mulino stretches the motive of

the roof-line in the park atmosphere320.

strong stone cut piazza lining walls onto the Terrazza Riccardo Marasco. At the same time

The view from the Piazzale shows how the

it is clearly a distinct part of the Terrazza,

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with the planted edge and the see-through

volume, depending on the exposition (4).The

ground floor. Here it is important to note that

forest of columns is in fact not very different

the open character of the space changes with

than the trees on the Terrazza. Since the

the perspective. From the Torre San Niccolò,

replaced trees had low canopies and the

the diagonal view continues the strong

remaining stone pines have high trunks, the

building wall along the piazza, but hints to

aligning high openings in fact make the river-

the Riverfront behind (3). On the Terrazza

view wider than before. The bidirectional

itself, you can look straight through the

cross vault as a result of the rectangular

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---7.4. Mulino | Societal Exposition Space---

shape between the columns which reflects

(6). Here the windows provide an intriguing

the in and out direction of the water can be

insight on the hydropower production,

seen when paying attention. When passing

where the shear size of the turbines is

the Mulino, the floor window hints to the

already impressive (7). The glass doors are

turbine space below, which as such becomes

for access by authorized staff only. From

part of the permanent exposition (5). This

behind the glass, the maintenance activities

gives additional incentive to go down the

can be followed by a potential audience on a

escalators that start from the Lungarno

safe distance. The subterranean atmosphere

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is lit by the windows placed above the

visual connection possible (9). The spatial

hydropower inlets, which allows for a visual

understanding is increased by the large

understanding of the water that passes

window below the escalator, which allows the

below to drive the turbines behind (8). The

visitor to look down into the basement, where

shape of the windows and the stressed

the flow of water can be perceived (10). As

continuation of the embankment walls inside

such, this underground space becomes an

creates this strong link between the interior

embedded part of the Mulino, where the

and exterior appearance that makes this

water runs below and the acquedotto route

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---7.4. Mulino | Societal Exposition Space---

is connected to the Arno tunnel. A visual

entrance, On the opposite side of the river

connection with the -1 level and window

your can turn around to look back upon the

is retained with the full space height when

Mulino and the trajectory taken underwater

descending the second escalator that runs

(12).

up to the Arno tunnel entrance (11). After passing the tunnel as seen in Figure 463, the Torre Zecca is exited through its existing

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Finally, the detailed materialization is shown in the facade part of Figure 469. Pietra serena is used for all stone elements, including the cut stones, the window framing, the arches and columns. The surfaces in between the stone elements are plastered with a soft greyish white. This is tuned to the materialization in the local context of the side walls from the four Piazza San Niccolò buildings. Opposite to the Mercato Nuovo no differentiation in material is made between the strong straight parts and their round column infill. The shapes and protrusions are already sufficient to hint to the historic three-division. By using just one stone color, the transitions are more subtle and the building still blends together as a whole. This is especially important when looking from a distance, which was not of concern for the Mercato Nuovo. However, for the Mulino this is essential and in this way, the pietra forte Torre Zecca and Torre San Niccolò remain easily recognized in views across the river. Lastly, a variation is made on the classical footing of both column types, so they merge together and can be sat upon (also see Figure 467).

264

Figure 469. Facade detail materialization and integrated seating foot


---7.4. Mulino | Societal Exposition Space---

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Figure 470. Birdseye overview situation existing (left) and new (top)

An analogical translation can be applied to the existing acquedotto network, where instead of transporting water, it can function as a sub-surface walking route experience for humans as a mediator between escaping the city above and connecting to the riverbank below. Analogically, extra ‘control buildings‘ can be introduced as access spaces.

Figure 472. Recap Acquedotto type translation | analogical

Figure 471. Situation plan 1:1000


7.5. ACQUEDOTTO NETWORK | GIARDINO SERRISTORI RIVER ACCESS From the acquedotto network interventions

while the addition of a green roof can

spread along the acquedotto tunnel321 that

make the garden wall take part in the

starts at the Mulino the central one has

green character. With the addition of the

been selected for elaboration (Figure 473).

enlarged centrepiece the garden wall could

The riverbank access on this location is extra

be made precisely fitting between the two

interesting as it provides the opportunity

existing buildings. These already have a

to open the Giardino Serristori322 to all

similar facade style and appearance that

neighbourhood inhabitants and passerbys

can be aligned to (Figure 477). However, with

(Figure 470). This is done by opening and

some exceptions in the different corner

lowering the wall on the backside and by

solutions it would be impossible to neatly

replacing the fencing on the front side by a

connect the two in detail with a similar or

permeable garden wall corridor. The ongoing

bridging approach. The existing connection

renovation of the Palazzo Serristori is thus

detail applies a plaster spacing between

altered with this small intervention, which

the building wall and the first column. In

severely improves the connection of the

this way, the two form separate entities

321 The tunnel itself has been elaborated in the Urban design. see chapter “6.2.2. Historic centre” on p.168 322 See chapter “2.2.11. Palazzo Serristori” on p.129

streets behind to a natural atmosphere, the river-view and the riverbank. The disused building on the east side is also ready for renovation. Like the Palazzo Serristori it can join the interaction with the opened public garden (Figure 471). The loggia width and rhythm is based on the existing derelict loggia (Figure 476). By using this limited width, the lush green atmosphere of the garden can be retained,

Figure 474. Potential of the lush green garden in current closed situation

Figure 473. Acquedotto network interventions in the urban design plan 269


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14

Figure 477. Connecting to facade materialization context

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Figure 476. Disused and closed loggia322

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---7.5. Acquedotto Network | Giardino Serristori River Access---

which are pragmatically attached together.

character is expressed by ending the stones

This detail could be applied on the Palazzo

below the arches instead of above. In this

Serristori side as well, but the connection to

way, the three visually separable parts

the rusticated wall including a window would

(spatially and in details) together form a clear

gravely detract from the monumental facade

ensemble, with the lush green garden in

in a very unsubtle manner. Instead of forcing

between.

a visually separated connection, it makes more sense to allow real spacing between

The central access element is located straight

the ‘Garden corridor’ and the buildings. This

across from the Biblioteca Nazionale. In

is possible as it is no longer necessary to

this way the emphasis on this entrance can

completely close the garden, which is now

simultaneously form a vis-a-vis across the

public. By using a similar style and language,

river (Figure 475). The access is therefore

the mediating garden wall can thus form a

designed as a height accent with three

third entity, that bridges the gap between

large arches headed with an enscripted

the other two. While the materialization of

entablature, similar to the central entrance of

orange red plaster with grey Pietra Serena

the Biblioteca. The height protrusion of this

stones is shared, the details are distilled from

central part is resonated in its larger cornice

the derelict loggia (Figure 476). In this way, the

and higher planting. The height of this accent

garden wall has its own details apart from

(14m) is making a subordinate reference

the other two. In main lines, this aligns, but

to the roof lines of Palazzo Serristori (18m)

at the same time the subordinate ‘bridging’

and the east building (16m) (Figure 480). As

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a result of the playful two meter jumps the Cornice additionally aligns with the second floor marca piano of the Palazzo Serristori and the one of the east building matches the line below. The width of the larger arches relates to the width of a smaller arch and column combined. This is also the same as the spacing provided between the buildings, so all crossable openings are emphasized in the same width.

B

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The other openings have a 0,9 meter low wall between the second row of arches, which is topped by planks (Figure 481). These deliberately high integrated benches form the mediation between the Lungarno and the lush green of the garden, where you can

Figure 481. Detail columns and integrated bench

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---7.5. Acquedotto Network | Giardino Serristori River Access---

worlds. This detail also shows the careful

riverbank behind (Figure 484 & Figure 482).

proportioning of the vaulted corridor. The

This is lined by the same low walls and due

depth of the corridor had to be limited to

to the difference in column depth and width

retain as much as possible from the garden,

a niche is formed as the termination of the

while a minimal depth was needed to allow

corridor in the central staircase volume.

the stairs to go down. The columns were thus

As the central and essential element in this

made rectangular to keep the rhythm and

building typology, the staircase is given a

strength of the disused loggia columns, while

clear access on the Lungarno side. This

limiting their depth. This also emphasizes the

prevents it from being hidden in the garden

longitudinal corridor character when walking

and makes a compact volume possible with

through and frames the cross views when

one open turn in the stairs, that can be

sitting down. The stone dimensions and

directly looked down in, in order to feel safe.

column sizes were tuned so five equally sized

The symmetrical dual stairs merge together

stones could be used for easy production

in a wider underground descent. As the

and construction.

acquedotto tunnel is located slightly lower than the riverbank, seven steps go up to the

The central opening contains the stairs to go

riverbank on the other side, with the same

down towards the acquedotto canal and the

shape, angle and distance to the tunnel.

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8 7

In the spatial experience of the intervention,

-1

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the opening of the Giardino Serristori as a public place is clearly visible from the Lungarno through the arch openings and

1

the spacing between the buildings (1). The

5

places to stay inside the green can already

2

be perceived and the incorporated benches

GF 3

along the arcade form an integral part in

4

Figure 485. Impression sequence

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---7.5. Acquedotto Network | Giardino Serristori River Access---

this (2). From here, you can enjoy both the

down into the Acquedotto tunnel (4). The

garden atmosphere and the views along the

central arches also frame the view towards

river past the pedestrianized lungarno space.

the Biblioteca Nazionale straight across.

From the side of the garden, the Arcade

The strong expression of the central part

encloses the garden space, but at the same

stressing the access to the riverbank is even

time allows for framed views to pass through

clearer on the side of the Lungarno (5). Here

across the Arno (3). When approaching the

the trees and green forms the backdrop of

central arches from this side, you can look

the built volume instead. The stairs invitingly

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---Chapter 7 - Architecture---

ends on the lungarno and as such it may

through the pebbles can be followed all the

even spark the interest of the unknowing

way up to the Mulino upstream or the height

passerby. In the descend, the acquedotto

of the Uffizi downstream. The acquedotto

tunnel is entered, which stretches below

tunnel can also be exited straight across

the surface as a parallel pebble-lined route

from the entrance again, where a few steps

below the lungarno and the riverbank (6).

take you out of the underground space

The tranquillity of this space, with the subtle

again (7). Since a 180° turn was made on

sound of a gentle water stream running

the stairs, the vis-a-vis with the Biblioteca

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---7.5. Acquedotto Network | Giardino Serristori River Access---

Nazionale is framed again. Where this could

end of this path towards the arcade clearly

remain unnoticed on the Lungarno level,

shows its relation in the ensemble of the two

the vis-a-vis relation (including the Bagno at

buildings (8). Also, the direct link between

the foot) is hard to miss when following this

the embankment access and the stressed

sequence. This is emphasized by the existing

centrepiece above is visible, where the

path through the Terzo Giardino, which

entablature highlights the connection to the

would connect the two straight across if not

garden behind.

for the Arno interruption. The view from the

7

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Figure 486. Birdseye overview situation existing (left) and new (top)

This sub-surface Serbatoio type is ideal for park and function combinations, where analogically functions with limited demands on daylight (e.g. parking, gym, cinema, etc.) can be incorporated along the riverfront, while simultaneously ensuring a freely accessible outdoor parkspace in which just the ‘jewel-like’ entrances pop up.

Figure 488. Recap Serbatoio type translation | analogical

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Figure 487. Situation plan 1:1000


7.6. SERBATOIO | CANOTTIERI LINEAR PARK From the Serbatoio type, the far east building

With these recurring elements, the relation

location was selected for elaboration (Figure

between the two similar parks returning on

489), due to the present functions which are

both sides of the city becomes clear when

blocking the linear park potential. On this

cycling the linear riverside route along them.

location specifically, the Canottieri comunali

In this case the trees are placed between

di Firenze is very well suited to be integrated

the park and street, so the existing trees

below the park instead of blocking the

can be retained and completed as a linear

passage. By removing the obstructing canoe

element. The cross connections common to

storage and jumble of buildings, the linear

the western linear park are also added here,

park can become publicly accessible, while

where in a rhythmic pattern the connection

simultaneously the water-related activities

with the skylights is made. These elements

of the rowing and canoe association do

integrate the building and the park by

not have to be expelled from their current

doubling their functionality as seating objects

location just upstream of the centre (Figure

along the paths or flowerbeds between

486)323. This is done by translating the barrel

the grass. Beyond the building, the dotted

vault serbatoio, where on this location, two

pattern is continued by shrubs, which also

barrel vaults run on either side of a central

line the park-sides completely. From the park

access building parallel to the river with a

a ramped connection to the riverbank route

park on top. Similar to the linear park in

is added. An emergency exit is connected to

the west, two paths are running through a

this, which is repeated with a staircase on

stretch of grass lined by trees (Figure 490).

the other side.

Figure 489. Serbatoio interventions in the urban design plan

281

323 As shown in the top left corner, the linear park expands with the transformed ‘Anconella forest’ area on the other side of the Ponte Amerigo Vespucci.


---Chapter 7 - Architecture---

Figure 490. Reference Linear park west

Figure 491. Analysis existing programmatic and spatial needs

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---7.6. Serbatoio | Canottieri Linear Park---

Since the Canottieri comunali di Firenze

be too much for just the gym. The central

provide a real situation the existing situation

sports bar is expanded with a restaurant

could be further analysed to uncover the

function above (GF), which may involve all

programmatic and spatial needs (Figure

residents and adds to the activities inside the

491). By counting all boats stored outdoor

park by its terraces.

the amount and types of racks could be determined, along with the present

Aligning with the Serbatoio type, the central

indoor areas and landings. This has been

building forms the main connection between

incorporated in the integrated design, along

the different levels (Figure 493). A central void

with some additional general notes on canoe

visually relates the three layers and physically

and rowing associations by Neufert et al.

connects the restaurant (GF) and canteen

(2000). Spatially, the existing program has

(-1). This is stressed by a skylight right above

been placed as follows. On the location, the

the void and rowing boats below to express

height difference between lungarno and

the main function.

riverbank level is around 8 meters. By making the semi-circular barrel vault large enough, it

Starting with the boathouse level (-2), Figure

can be subdivided in two useful levels (Figure

494 shows how the boats can be neatly

492). On the riverbank level (-2), the 4 meter

incorporated below the park. In this way, the

high boathouse is located, which forms the

riverbank is freed for public access and the

main size determining element. The related

boats are preserved better as otherwise they

association functions are located above (-1),

are degraded by outdoor conditions. By two

including the gym in particular and a central

large flood-proof sliding doors of 4 meter

canteen or sports bar. Half of this floor level

height the bottom of the central volume can

can be used flexibly (upstream) as the large

be opened in its entirety. This ensures easy

area required by the boathouse below may

access and exit of all boats, which go up to

B1-B1

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---Chapter 7 - Architecture---

18,9 meter in length and are carried above

a space in itself. This would be suited for

the head with limited view. This is also why

parties or events, where a temporary bar or

the largest boats are located near the exit

stage can be placed below the void.

and the others are grouped per type, with the smaller boats in the back. The rotation

On the upstream end of the boathouse there

of the void and its supporting columns by 45

is a separate entrance for boat trailers. The

degrees is another adaptation to ease the

landscaped embankment is kept in shape by

turning of boats. The boat racks are custom

the aligning concrete wing walls and tunnel

designed to simultaneously function as the

roof (Figure 495). The hole is covered with

support for the first floor (Figure 492). The

a sliding door under the same angle that

racks and floors are made of timber and

is built up like a sedum roof, so in the end

finished in wood, fitting with the boathouse

only the door edges and guiding profiles

atmosphere

timber

are visible. An additional straightforward

landings. In this way, the concrete walls and

flood-proof garage door is added behind to

ceiling remain legible as the pure structure

prevent flooding. The space for boat trailers

of the barrel vault. In the central volume,

is functionally kept free of columns. With the

opposite to the entrance, large curtains are

related omission of the floor above, the full

hung. These can either form the backdrop

shape of the barrel vault becomes visible and

of the space or they can be closed along the

the skylights reach all the way down. Aside

boundary with the barrel vaults. In this way,

from the experience in the trailer space

the large boat spaces can be separated, so

itself, this special feature is made visible by

the temperature in the central volume can

the glass wall as the termination of the floor

be controlled better and it can be used as

above.

in

relation

to

the

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Since the complete boathouse and the floor

B2

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B

B

above are underground spaces, emergency exits are required on both ends. Upstream, the boathouse exit is provided by the trailer space. The space above has a separate exit door as this can be hired by other parties. Downstream, the exit is shared between the two floors, where an emergency staircase leads to the exit door on the -1 level that connects to the riverbank ramp. The last aspect to mention on this level is the large landing, which is the size of the current separate landings combined into one. These align with the monumental staircase of the ‘jewel-like’ central building. The floor above contains the canteen or sports bar, which has three large semicircular windows that look out on the Arno and the water-related activities. A kitchen, bar and toilet facilities are located opposite to the windows. The seating area at the bar stretches along the void and informal seating areas wrap around the void and along the windows. This space is conceptualized as various scaled down living room corner settings to form an open yet cosy atmosphere. In this spatial experience, the connection to the two barrel vaults is incorporated. Next to providing identifiable cosy spaces they stretch the canteen space so proper compact entrance hallways can

Figure 495. Section across trailer storage including east elevation (left) Figure 494. -2 | boathouse (right)

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be formed that are accessed from the

As mentioned, the ground floor contains

monumental staircase. Next to the canteen,

the

these hallways connect to the boathouse

access to the canteen below via the stairs

access staircases and the large barrel vault

in the void. The two atmospheres are

wings. As such, these entrances are especially

supplementing each other and in fact, the

focused on members, so the exterior doors

toilet and kitchen facilities are shared. In

and the doors to the boathouse require a

this way, the association can either earn

membership access pass.

some extra money on the side or they can

restaurant,

which

forms

another

cut a deal with an in-house restaurant to the

enjoy a professional bar service. The kitchen

also

and toilets are deliberately concentrated

requires membership access controlled by

on the below ground level, so the ground

the gate. Here, the height, light and privacy

floor only needs a small bar and a kitchen

of the spaces had to be carefully considered

elevator. In this way, the ground floor plan

related to the functions. The changing and

can remain entirely open, so the ‘jewel-

shower facilities are lit by an indirect skylight

like’ volume can be optimally used. From

which lets daylight enter, but prevents

all sides, the interior looks attractive and

visual connections. Additional window slits

inside there is always a view along the river.

have been added in the north facade that

Without any walls, the square space can be

do allow for visual connections to the Arno

made entirely symmetrical with the void in

(Figure 499). These align with the skylights

the absolute centre. To match the rotated

and are made wide and deep enough to sit

interior grid with the exterior grid, additional

in. To benefit from the daylight and views,

posts are added on a small distance from

the hallway thus passes on the north side.

the wall. Together with their counterparts

The gym itself is one open space, where the

embedded in the wall and the beams above,

barrel vault atmosphere can be maximally

the timber structure creates a subtle spatial

enjoyed. Both skylights and window slits

subdivision and ceiling pattern that ensures

come together here and the rhythm is

a comfortable atmosphere and seating

resonated in the equipment spread through

arrangement. To prevent draught without

the space.

walls entrance curtains are applied, but with

The

downstream

Canottieri

wing

association

contains

gym,

which

the Tuscan climate their necessity may be same

limited. The connection to outdoor seating

specific atmospheric qualities and spatial

possibilities may be more important. For this

characteristics from which various functions

terraces are located on both sides, so the

could benefit. This could range from an

preference for sun or shade can be chosen

extension of the gym space to an event

independent of the time of day.

The

upstream

wing

has

the

space (e.g. weddings), a bouldering hall, or a bowling alley, etc.. This can either be used by the Canottieri or by another party, which is not a problem due to the separated access and hallway. The variety of functions that would fit these spaces can also be applied in the other serbatoio of the urban design plan a few hundred meters downstream, in a similar fashion to this serbatoio gym

Figure 497. Roof 1:500

example.

Figure 496. GF | Restaurant & park (right) 1:500

Figure 499. North elevation (left)

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The restaurant is the only serious built volume visible in the park, like a pavillion placed on top, which asks for a carefully crafted approach (Figure 505 & Figure 506). On the riverside, the facade continues all the way down (Figure 503). As such, a combination is made between the Serbatoio alla Carraia and the Serbatoio del Querche Figure 500. Double lining height of balcony

Figure 501. Typical embankment wall

facade structures. (see p.47). The facade symmetry

and

three-division,

expressed

by the stone columns and arches with centrally embedded windows are returning elements. On the park-sides, the contact with the ground is expressed with a higher plinth stone. Below the windows this has a double function as a seating object, by making the element protrude under the same angle of the trapezium shaped columns (Figure 502). On the riverside, the lungarno level is expressed with the larger stones, but instead of forming a horizontal band, the vertical direction continues here.

Figure 502. Detail plinth bench and wall structure

This is interrupted by the large lintel above the sliding doors, which continues with its lines in the curve of the concrete staircase. The association name is cut into the lintel,

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---7.6. Serbatoio | Canottieri Linear Park---

the columns is deliberately made twice the size of the columns themselves, the vertical lines can even be subtly continued in the sliding doors below by dividing them both in four equal parts. Their importance, heavy duty and the strong position at the base of the building is expressed by the fine grain of lines, which leads to a heavy play of shadows Together with the semi-circular windows on top, the amount of floors is diffused,

7,5

leading to an expressive formal facade that monumentally bridges the two levels with

6

the dual symmetrical curved staircases and an exactly square centrepiece elevation. This is combined with the local context, where the surrounding facades present a double lining along the height of the balcony (Figure 500). This same ratio and height is used as the crowning of the volume, with an emphasized cornice on top. This is finished with a green 0m

roof around the skylight to further stress the fit in the park context. In terms of materialization, a combination of concrete, pietra serena, plaster and timber

-3,5

frames is used for the facade (Figure 504). The combination with concrete likely saves costs as this aligns with the context just outside the city centre. Here only the key elements are made in massive stone which in

-7,5

this case are the cut stone columns. The soft yellow plaster and dark brown timber doors and windowframes returns from the existing

Figure 504. Facade detail materialization

canottieri building. Lastly, the embankment wall is finished in a typical manner (Figure 501), to align with the complete system.

Figure 505. South elevation central building

289

Figure 506. West elevation central building (similar to East elevation)


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reconnection to the riverside is clearly visible. The walk along the street is no longer cut of

5

3

In an impression sequence, the achieved

from the riverside by the fences and walls (1).

4

-1

11

7

character of the riverfront onto the lungarno level and the wide views along the river are

14+15 16 13

Instead, the park atmosphere lifts the natural

only interrupted by the inviting ‘restaurant -2

12

pavillion’. These views can be enjoyed while

Figure 507. Impression sequence

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2

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---7.6. Serbatoio | Canottieri Linear Park---

sitting on the ‘skylight seating objects’ or

wall is lined by low shrubs and ivy to ensure

by walking along the embankment. The

a green atmosphere on the riverbank

descend from the additional ramp has an

and some privacy in the gym. The central

extremely long view along the river, stressed

volume sticks out in this perspective and on

by the parallel elements of the landing and

approach this central importance is stressed

the embankment wall (2). The perspective

(3). The curved monumental staircases

rhythm of the latter provides a scalable face

provide an open space for preparing the

to the river, in which the emergency exit on

boats between the boathouse and the

the right is incorporated. The embankment

landing. The symmetry and equal width of

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---Chapter 7 - Architecture---

the landing and the large staircases grant

rhythm. This is also the space where the

grandeur to the building, where its height

secondary entrances on the gym and sports

is stressed even more by the disconnection

bar level are located. Above this staircase,

from the embankment. When ascending

the restaurant terrace is located between

the stairs a balcony is provided halfway by

the building and the park (5). As can be seen,

protruding the corner in front of the volume

the embankment wall is lower here than in

(4). This frames the view on the river and

the centre. Due to the width of the wall, this

boat preparing space and grants a close

is still safe and as this is not a busy place the

up view on the northern facade detail and

chance of accidents in collision is very low.

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6

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---7.6. Serbatoio | Canottieri Linear Park---

In this way, the views to the river are more

atmosphere, which is embellished with the

direct even from the Lungarno level and the

beam pattern in the ceiling. The stairs pass

walls can be used to sit on. This continues

through the skylit void, from where the sports

in the building plinth, with the integrated

canteen below is reached (7). Here the open

seating possibility on the same height. The

space for sitting is wrapped around the void

entirely open interior of the building allows

along the three semi-circular windows that

for views to the riverside even from the far

frame the views to the river. The subdivision

back corner (6). At the same time, the timber

in cosy seating spaces by the columns

structure subdivides the space for a cosy

continues here and is supplemented by two

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pieces of the barrel vault wing on each end.

stepped in to enjoy the view. When entering

These are connected to the hallways, from

the gym, the barrel vault opens up entirely

where downstream the gym hallway can

and the outdoor rhythm of skylights in

be entered (8). The barrel vault character is

the park and the window slits along the

harnessed by aligning with the window slits

riverbank join together in the interior (9).

that run from the ceiling to the floor. With

The equipment joins this rhythm, where

exactly one step height difference between

the window slits in between can be used

the floor and the bottom of the window slit,

to take a brake (10). The windows are deep

the space along the window can literally be

enough to sit in and due to the extra step

9

10

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---7.6. Serbatoio | Canottieri Linear Park---

the seating height is easily accessible, while

curved concrete barrel vault walls remain

keeping the window sill aligned with the

visible, but the repetitive timber structure of

embankment height. Upstream, the same

the rowing boat and canoe racks becomes

barrel vault atmosphere defines the flexible

dominant in defining the space (12). Since

open space. Here the glass wall at the end

these racks form the supporting structure

of the space takes this one step further, by

of the timber floor above, their rhythm is

showing the full height of the barrel vault

resonated in the beams and joists, which is

above the trailer space behind (11). Inside

made visible in the detailing. As can be seen,

the boathouse level below, the slightly

the racks themselves consist of just two

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CNC-milled timber elements: the posts (2

central space on the riverbank level this

per rack) and beams (6 per rack), which are

provides the right qualities to form a place

connected by dowels and attached to the

to be just as well. During outdoor summer

floor by T-shaped steel connecting plates

events or a christmas gala, the space can

(13). During regular use, these longitudinal

form the perfect riverbank location. Next

barrel vaults with the boat rack perspectives

to the already mentioned bar or stage, the

are in direct connection with the central

space below the void can also be used for a

entrance space, which is ented on ‘through

temporary staircase that could link the three

traffic’ of carrying boats (14). As a square

levels together in a multi-floor with different

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atmospheres, music genres or performances

the kitchen and toilet facilities from the open

(15). In any case, the void provides the direct

bar space. Simultaneously, this adds to the

visual relation between the three related

void experience by showcasing all trophies

levels, which become more private and

and achievements at the heart of the

darker the further you go down. The skylight

association.

passes down through the voids, where the reflection via the trophy case on the sports canteen level helps to bring the light to the bottom (16). This trophy case helps to divide

15

297

16




Figure 508. Birdseye overview situation existing (left) and new (top)

The main lesson from the evolved type: the principle of embedding the delicate parts, while keeping direct access to claimed riverside space is analogically applicable to basically all functions that may benefit from a direct location on the riverbank (e.g. terrace).

Figure 510. Recap riverbank type translation | analogical

Figure 509. Situation plan 1:1000


7.7. RIVERBANK STRUCTURE | OLTRARNO TERRACES As mentioned before, all structures inside

becomes part of the continuous riverbank

the riverbank can be considered riverbank

route. Upstream, the boardwalk along the

structures. In the elaboration of parts of

narrow Arno stretch below the Ponte Vecchio

the other types, the principles for riverbank

starts and downstream the wider banks are

structures have thus already been applied.

naturally planted. The area in between with

Here, one final architectural elaboration

the straight embankment transition to the

will be shown of the only intervention that

water level is used for the terraces. As this

solely belongs to the translated riverbank

existing situation already provides a direct

structure typology (Figure 511). This entails

transition, it was not deemed necessary to

the two riverbank terraces that are added

add any kinds of platforms that can only be

as a riverfront extension to the popular

damaged in flooding. Instead, it is chosen to

restaurant-rich Oltrarno district. For this, the

diminish the risk of damage by strengthening

Lungarno Guicciardini staircase is revived,

the existing embankment. By means of

which is conveniently located at the end of

three flood-proof doors, two kitchens and a

the Via dè Coverelli which directly leads up

shared publicly accessible toilet facility are

to the Basilica di Santo Spirito at the heart of

incorporated in the embankment wall.

the Oltrarno district324. Figure 508 shows how the riverbank space is made accessible and

Figure 511. Riverbank structure interventions in the urban design plan

301

324 See chapter 6


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A

A

Figure 513. Lungarno level

A

kitchen

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storage

storage

kitchen

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---7.7. Riverbank Structure | Oltrarno Terraces---

On the lungarno level the changes are

be paved as the originally intended riverfront

hardly visible (Figure 513), except for the

boulevard (Figure 515).

new reopened staircase and the view on the terraces below. On the riverbank level,

To ease construction, the compact toilet

these terraces are most dominant in the

facilities are attached to one of the restaurant

changed appearance and use value. These

kitchens at the foot of the staircase. The

tables and chairs are foldable, so they can

kitchen spaces are located on either side of

be temporarily stored inside the kitchen

the staircase, to cater for their own area. The

spaces during flooding (Figure 517). The table

doors are placed centrally, so the entrance

dimensions therefore in part determined

subdivides the space in two, which can be

the width of the embankment spaces. Since

used for splitting the kitchen and storage

these spaces remain rather narrow (Figure

area, without having to pass one to reach

512 & Figure 516), they could be dug from the

the other. As shown in Figure 516 the angle

side of the river, which would leave the street

of the embankment is preserved in the

untouched. In this case however, it is more

interior to express the relation between the

convenient to combine this intervention

two. Since the added wall is sufficiently thick,

with the transformation from car-oriented

the door can remain straight and by creating

lungarno to pedestrian public space. For

a surrounding recess the door can open

this intervention, the asphalted street and

wide. The main problem that comes with

sidewalk will be removed anyway in order to

a kitchen in this confined space below the

Figure 517. Foldable furniture stored inside during flood

Figure 515. Transformation street pavement into boulevard

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Figure 516. Cross section

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0m

Figure 518. Lamp posts spaced approximately 15 meter

-3,5 -4 Figure 521. Active flood seal by Storm Meister

Figure 520. North elevation

Figure 519. Elevation detail showing materialization

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---7.7. Riverbank Structure | Oltrarno Terraces---

flood level is how to handle the extraction

by the second kitchen door. The kitchen

of cooking fumes. Ideally, this is therefore

doors are larger and invitingly opened as

combined with a linked building, like was the

the host to the terrace in front. Next to the

case at the Uffizi basement. Unfortunately

lantern chimne combination, Figure 519 also

no documentation about basements and

shows the entire facade materialization. The

their availability could be found on the

embankment wall exterior will be retained

Lungarno Guicciardini. A chimney thus had

to stay in line with the complete system of

to be integrated on the Lungarno. While

embankment walls along the river. A water

this might be integrated in a new seating

resistant concrete box is made behind

object or another element fitting to the

the embankment wall exterior to prevent

pedestrianization, this would not be ideal.

any leaking. The weakest point in the flood

The exiting fumes need sufficient height to

barrier is the door opening, which can rather

limit the nuisance, which may lead to rather

easily be solved by using a flood proof door.

awkward arrangements. Instead, the existing

These door types do not necessarily need

lamp posts may provide the solution. These

to look very different from a regular door,

form high elements, which you barely notice,

as the devil is in the details here. It just has

because they are everywhere (Figure 518).

to be made sure that the seams are entirely

The ones above the kitchens can be altered

closed during a flood event, f.e. with an active

to incorporate a duct that may lead to mistic

flood seal that gets pressed to a close by the

light effects by night, which hints to the

water (Figure 521). Nevertheless to ensure

riverfront activities going on below. For this,

durability a sturdy steel door is chosen,

the narrowest sections are widened and the

which is not easily damaged by heavy objects

crown is opened on the sides (Figure 519).

that may be carried along the storm surges (e.g. tree trunks). With a similar material

In elevation (Figure 520), the interventions

appearance to the lamp posts and the steel

form a balanced spaced sequence, starting

staircase (all black) the separate parts start

with the kitchen door, followed by the

to form a clear ensemble.

stairs and the toilet door and terminated

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1+4

The

Lungarno

sequence

shows

the

introduced riverfront activity potential, where 6 5

Riverbank

impression

the experience of the riverbanks is in stark contrast with the present state of the river

2

3

on this location as an inaccessible unused 8

‘gap’. As stated by Gehl (2011) ‘Life between buildings is a self-reinforcing process, where something happens, because something happens’. With the introduced activities, the

7

riverbank in itself becomes more interesting

Figure 522. Impression sequence

1

2

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---7.7. Riverbank Structure | Oltrarno Terraces---

to look at, which enriches the views from in

again becomes a lively place. From the

this case the Ponte Santa Trinita (1). Due to

Lungarno, only the revived staircase and

the pedestrianization and added seating

the fumes from the lamp post give away

opportunities on this bridge, the situation on

the public space and its activities below (2).

the bridge also has a higher affordance to

In case of flood events, all riverbank access

stay, which may in turn be interesting to look

points that normally break through the

at from the terraces or during a promenade.

lungarno wall are closed of by steel flood

This intervention, however small, thus has to

doors, including this one (3). This is already

be understood as part of the supplementary

common practice on the handful of locations

mix of all interventions, where the riverfront

today and ensures the high waters can be

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---Chapter 7 - Architecture---

safely experienced from the lungarno. The

the immediacy of the Arno river, which due

view from the Ponte Santa Trinita would be

to the fixed embankment is already deeper

just as dramatic, especially when you can

right next to your table (6). With a breeze of

consider you enjoyed your apperitivo below

wind through the wide space, this is a perfect

the water level three days ago (4). When

location to enjoy an apperitivo in the evening

the waters are down during the rest of the

sun. The sanitary and kitchen spaces are

year, the stairs can be descended with a view

very basic, where the only spatial feature is

across the waterbound terraces and the re-

the angled interior wall, which resonates the

natured riverbed behind (5). When sitting

angle of the embankment, so this unique

down on the terrace you can experience

location is not forgotten when inside (7).

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6

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---7.7. Riverbank Structure | Oltrarno Terraces---

Lastly, the location along the riverbank route

back to Gehl’s self-reinforcing process of

may provide a useful dynamic between the

life between buildings. It should be stressed

two. On a stroll along the river, the riverbank

that these relations apply to all other types

terrace may provide a welcome stop that

in their riverbank or riverfront interaction.

presents itself when f.e. curving around

Their short mentioning may have drowned

the Ponte Santa Trinita abutment (8). If not

in the specifics of the type, which is why they

for a bite or drink, a required sanitary stop

are stressed in this somewhat more general

is always a relief. At the same time, people

typology.

sitting on the terrace may be entertained by the people passing by, which brings us

7

309

8



CONCLUDING WORDS The bigger picture is easily lost when diving

interaction along, on top or even below the

into the specific architectural interventions.

water. The immediacy to the Arno extends

To close of, these concluding words will

towards the landscape with the riverbank

therefore summarize the project in main

route, the bridges close above the water and

lines. This research started with the question

the recreational interactions like fishing or swimming opportunities.

How to define a new relation between Florence and the Arno?

This has been made possible firstly by the When zooming out to the whole, the

urban and landscape interventions, which

various

the

enriched the natural character of the Arno

historic, current and planning analysis were

river and freed the riverfront spaces as high

summarized in the concept of ‘rediscovering

quality places for pedestrian and public

ecology’. With the two parts of ‘immediacy’

enjoyment. Secondly, the elaboration in

and ‘natural atmosphere’ that stand for

architectural

the rich background of historic lessons,

the same enriching of interaction and use

current

trends

possibilities, while giving due attention to

that can find their place in the redefined

the natural qualities that were not to be

Florentine riverfront. It should be stressed

disturbed.

aspects

uncovered

potentials

and

during

recent

interventions

demonstrates

once more that these two notions are mere conceptualizations of the large variety of

As shown in their elaboration, the ponte,

specific intervention possibilities uncovered

tiratoio, bagno, mulino, acquedotto network,

in the analysis.

serbatoio and riverbank structures all add to a typically Florentine riverfront that is fuelled

When grouped in these two categories,

with new meaning: providing a large variety

these aspects fuel the new meaning of

of interaction opportunities with the natural

the riverfront, where especially outside

qualities of a complementary place to escape

the historic centre the way is cleared for

the busy city life above.

the natural atmosphere, which continues inside along the riverbank route and the park network. The aspects of immediacy especially find their place in the close relation of the historic city, with the many connections to the riverbank route, the views across the Arno and the spaces for

Figure 523. Leonardo da Vinci - A deluge (ca. 1517-1518) 311


PART C


REFLECTION



REFLECTION When mentioning Florence in conversation,

architect I would like to keep working on

most people start jumping with enthousiasm.

these preferably complex and challenging

With the amazing experiences of my first

assignments inside historic fabric filled with

visit (2015) in mind, I could totally get why.

storylines and patterns that are yet to be

Nevertheless, I was not exactly jumping at

uncovered. This project tought me a lot

the thought of graduating on Florence. In a

about how to grasp the essence of both the

city with such a rich history and high quality

urban and architectural context in order to

inner city, is there anything left to improve?

draw inspiration to fuel new designs with

As it turned out, there obviously is a whole

aligning qualities from the urban form to the

lot of city outside the historic center that may

architectural detail.

benefit from some adjustments. However, the thought of moving the focus away

When looking at the designed buildings in

from the intricasy of the historic center did

isolation, you could note a predominant

not exactly increase my heart rate. These

neoclassical architectural style. However, I do

projects are legio in current practice and

not consider myself a neoclassical architect.

with the freedom to shape a project of your

Instead, I believe in a contextual approach

own, I preferred to dive into something

rooted in history. Hence, it should be noted

touching upon the historic center instead.

that I would most certainly refrain from using

For a moment, I seemed to get lost in the

a full-blown neoclassical language in a typical

suburbs anyhow and I am eternally grateful

Dutch ribbon village. It is not unlikely that I

for the support to undo this toss and turn.

will carry the spatial experiences of Florence

In terms of heart rate, the historic and

in the back of my mind in any future designs,

contextual

riverfront

but this will be limited to the spatial principles

project did cause my vital organ to skip a

that a certain situation or design challenge

beat everytime a piece of the puzzle was

may ask for. In my personal approach, the

uncovered or suddenly seemed to fit. With

style would be translated to align with the

hindsight I can only be amazed how much

local context, in terms of materiality and

potential for interventions and improvement

detailing.

complexity

of

the

is in fact present in the everyday historic center, if only you know where to look.

Of course, the real fun starts in conciously creating variations within the basic guidelines

Notes on architectural style

provided by the material. E.g. brick buildings

Looking back at the series of architectural

are not much fun when stripped of any

interventions my preference for contextual

subtleties, while a specific masonry bond or

architecture

interventions

molding stone can make all the difference.

carefully embedded in existing urban fabric

In the case of the seven projects grouped

is apparent. As an urban designer and

in this book, the stylistic translations may

with

specific

Figure 524. Opposite page | Veduta di una parte di Lung’Arno, e del Ponte à S. Trinita, presa dal Palazzo del Sig: March: Ruberto Capponi Zocchi, G. 1744 View of a part of Lung’Arno, and of the Ponte à S. Trinita, taken from the Palazzo del Sig: March: Ruberto Capponi Figure 525. Previous spread | Veduta della Pescaia d’Arno fuori della Porta à San Frediano Zocchi, G. 1744 View of the Fishing on the Arno outside the Gate at San Frediano 315


be less apparent. This is because of the

for a material and style translation. While

limited need to forcefully translate the style

it was fun to model the classical loggia and

of the building references that were strongly

loggetta details, the result was a joke close

rooted in the Florentine context, when

to blasphemy (Figure 526). The additional

applying them in the Florentine context. As

time spend on finding the right translations

the graduation studio entails a combination

in the contextual approach was simply less

of urban and architectural design, the

necessary for the other designs. Those could

focus has been on the interaction between

remain closer to the original details of their

the two, both in appearance and user

reference, where in the abundancy of detail

experience. Unfortunately, time remains a

variations present inside Florence (and even

scarce commodity. With a complete focus on

in the local context, e.g. the two Serristori

a single piece of architecture a larger level

park buildings), the key lied in finding the

of translation and design detail scrutiny may

right fit.

have been the result.

Notes on personal standpoint As mentioned above, this is not to say the

Looking back at the whole project and its

appearance and details are completely

process of research and design there are

disregarded. On the contrary, they are

several points that start to float atop. These

conciously embedded in their context, but

lessons taken from the process of this

the main design translations focussed on

graduation project are critical notes that may

the use value. These considerations are

sometimes be neglected in contemporary

perhaps best illustrated by the Ponte alla

(planning) policies and design practice. They

Vittoria transformation. In contrast to the

reflect my current personal standpoint at the

other designs this location defined by the

end of my education that I will take with me

existing concrete curved bridge begged

in my career as a practitioner.

Figure 526. Initial literal style application Ponte alla Vittoria unfit to context.

316


The value of water in cities and its

unless you are a lazy designer, there is

atmosphere

human

no need to worry about copying. Every

experiences and spatial interactions

situation is different and by specifying

should be acknowledged.

the design to the new context and use

There lies a risk of generic approaches

you will always end up with something

in

new, while still aligning with the local

riverfront

with

direct

redevelopments.

It

is

context and historic traditions.

important to consider the local character and typological precedents to give

true identity to the specific riverfront, irreplaceable by any other. •

The ‘joys and pleasures’ of design can be found in these translation details.

The materiality and details are important

The historic city ≠ a museum. It is a

to dignify the intervention and make it

living place, rich in history, stories and

fit within its context. This is always the

people telling and experiencing them

case no matter the kind of intervention.

every single day. Anyone treating the

The kind, location, and intention only

historic city as if it were a museum that is

determine the required materiality and

ought to be untouched would eradicate

detail choice.

all life and opportunities to experience

Translation = specification. The fact is,

potential to form a unique (natural)

With limited time, nothing is more

anything new at all - effectively forcing

frustrating than a corner problem.

the historic city into a soulless place.

Likewise, nothing is more satisfying

The historic city ≠ disposable. While

than its carefully considered solution.

steering clear from survival bias, all

Historic cities are rich in reference to apt

historic remnants have proven to be

solutions.

durable. As a living city, this should be

• •

built upon and finding the right fit is

That said, these notes are open-ended as

essentially sustainable.

in general, but certainly at the brink of my

On a related note, new ≠ per definition

career, it would be wise to quote Socrates

better.

when he said ‘I neither know, nor think I

Translation ≠ always abstraction. While in

know’ (Messerly, 2019). It is inevitable there

contemporary architecture abstraction

will be many authors and practitioners with

seems to be key in steering clear of

many standpoints that may alter or specify

straight copying I would argue there

my point of view. To close of, my graduation

is no need for abstraction when this is

thought me to open my eyes a little wider

exactly what a situation asks for.

and I am looking forward to looking further in my future career.

317


PART D


APPENDIX


---Appendix---

A - ARCHIVE MATERIAL Relevant archive material that would be too much to include in the body of this book, but nevertheless is deemed relevant for further substantiation or reference is gathered in this section.

A.1. PONTE

Figure 530. Ponte alle Grazie showing the first house with a door leading to the ladder of the figure above

Figure 528. Ponte alle Grazie

Figure 529. Ponte alle Grazie model of the hermitages Figure 531. Passerella at the Ponte alle Grazie as a temporary post-war solution (picture taken in 1954)

Figure 527. Hanging variant of the passerella type (1962)

Figure 532. Ferry alternative

Figure 533. Previous spread | Veduta di una parte di Lung’Arno dalla parte opposta al Palazzo del Sig: P.e Corsini Zocchi, G. 1744 View of a part of Lung’Arno from the opposite side of the Palazzo del Sig: P.e Corsini 320


---A - Archive Material---

A.2. TIRATOIO

Figure 539. The Tiratoio della piazza d’Arno in a drawing of the Cento Vedute di Firenze

Figure 534. Tiratoio dell’Uccello on fire

Figure 538. A likely simplified depiction of the Tiratoio della piazza d’Arno by Fabio Borbottoni (19th Century)

Figure 535. Situation of rebuilt Tiratoio dell’Uccello from same perspective as Figure 534

Figure 540. Tiratoio della piazza d’Arno

Figure 541. Piazza d’Arno

Figure 537. Tiratoio dell Uccello in southwest (from Cascine ~1700) 321

Figure 536. Tiratoio dell’Uccello reconstruction without roof loggia characteristic to original type


---Appendix---

Mulino on either side of the weir at Rovezzano

A.3. MULINO

Mulino di San Moro at Bisenzio (end of Fosso Macinante)

Figure 548. Sketched birdseye overview of the mills and Rovezzano weir in 1552

Figure 547. Combined site plans northern and southern mills (1840)

Fosso Macinante

Figure 549. Sections and elevations of the mills (1840)

Figure 546. Cross section Mulino SM ca. 1700-1780

Figure 544. View of Mulino San Niccolò with Porta in back

Mulino di San Niccolò

Figure 545. Site plan Mulino SM at the confluence Fosso Macinante in Bisenzio

Figure 543. Ground floor plan of the complex of mills of San Niccolò

Figure 542. Mulino San Niccolò 1770 (left) and 19th century (right) 322


---A.3. Mulino---

3rd

2nd

Figure 554. Plans of the Zecca Vecchia

1st

Right: 1 Weaving rooms 2 Passage on the arno 3 Wooden staircase that goes to ground floor

Figure 552. The Zecca with its mulino (ca. 1770)

GF

Figure 551. The Zecca with its mulino

1 Rooms where the passes are located 2 Stairs leading down into the underground rooms are the machines, which pull the metals 3 Rooms where the stoves melt metals 4 Ground floor of the tower 5 Lawn 6 Garden 7 Large room of the Telaia (=weaving machines) 8 Underground machine rooms, which remain under the passes

-1

Figure 553. Castelletto for minting coins, made of Bronze by the mint of Florence

Figure 550. Floorplans Royal factory of the old Mint (1770-1780) 323

Mulino della Zecca Vecchia

Left: 1 Large room above the passes 2 Terrace 3,4,5 Torre Zecca


---Appendix---

Mulina della Vagaloggia

Figure 555. Plan of the garden of the Vagaloggia, with the Mulina della Vagaloggia (right) and Mulina della Porticciola (Consorteria) (left), 18th century

1. Entrance 2. Group of cedar trees 3. Gardener’s rooms 4. Large room of vases

Figure 556. Plan of the gardener’s quarter, and large room of vases joined to the garden of the vagaloggia (2nd floor below)

Figure 561. Mulina della Vagaloggia in demolition plan

Figure 560. Pescaia di Santa Rosa looking downstream (note Cestello church on left), with the Mulina della Vagaloggia on the right side of the images (across the river)

Figure 559. Detail of 1744 etching

Figure 558. Mulina della Vagaloggia in cento vedute Firenze 324

Figure 557. Painting of the Arno with Molina della Vagaloggia in front and Pignone Foundry in back - mid 19th century


---A.3. Mulino---

Figure 566. Site plan

Mulina della Porticciola

Figure 567. Fosso macinante just after the Mulina della Porticciola (named consorteria in the plan, see dotted line in plan above)

Figure 562. Elevation on the square to be formed above the waste margin

Figure 565. Section across line TT

Figure 563. Elevation on the side of the square

Figure 564. Elevation on the Via S. Salvadore 325


---Appendix---

Figure 568. Fabbrica delle Cascine and related adjacent buildings ca. 1770-1780

Figure 569. Cascine farm 1759 326


---A.4. - Archival History Of The Open Riverfront Areas---

A.4. - ARCHIVAL HISTORY OF THE OPEN RIVERFRONT AREAS Cascine park

has been replaced in a symmetrical layout

For an open area, the Cascine park has a

which is still present at the centre of the park

very rich history which is evidenced by the

today325.

multitude of maps in the various archives. Its

could already be understood as part of a

cultivation starts in 1531, when Alessandro

larger riverfront farm system, while it had

325 The other buildings can in part be found throughout the park as well, sometimes just as remnants (e.g. the mulina wall at the northern entrance of the Cascine).

de’ Medici created a Royal Estate for his

a distinct forest character (Figure 572). In

326 The sister of Napoleon

own use for agriculture and hunting. The

its 18th century expansions the estate was

first nucleus was called ‘Tenuta dell’Isola‘

named ‘Cascine dell’Isola’ where Cascine

(Island Estate) and consisted of a rectangle

literary

of pastures within a dense network of canals

start of the 19th century Elisa Bonaparte326

and streams inside the original thick riparian

opened the park to the public, before it was

forest156 (Pecchioli & Schiff, 2015).

bought by the Florentine municipality. By the

Interesting enough, the Cascine

means

‘farmhouses’.

Since

the

end of the 19th century, the park was widely The estate was specializing in dairy cows and

used for promenading as the culmination

forage cultivation, and was equipped with

of the Lungarni327 (Alberti & Paloscia, 2018).

premises such as burraie, stables, caciaie,

The agricultural area has been transformed

similar to the Lombard farmhouse with

in the 20th century, where the area between

salaried workers (Pacini, n.d.). Two of the

the main building and the Mulina became

first buildings on the map are the Fabbrica

lined with military and university buildings,

delle Cascine in the centre (Figure 571 &

with the adjacent areas used for sports

Figure 568) and the Mulina in the northwest

facilities. The southern stretch of Forest

(Figure 570). Over time many farmhouse

remained largely intact.

327 As part of the 1866 Poggi plan during the Risorgimento the eastern extents of the Cascine became a city expansion by the name of ‘Cascine district’, together with a new ‘Lungarno Nuovo’ continuing the lungarni up to the Cascine.

additions were made to work on the neatly divided plots (Figure 569) and they were neatly documented for a renovation fitting to the style of the 18th century (Figure 573 & Figure 574). The Fabbrica delle Cascine

Figure 571. Cascine farm ca. 1550-1630 (initial extents)

Figure 572. Cascine farm seen in the larger context 1793, with forest as clear exception

Figure 570. Cascine farm 1662 327


---Appendix---

Casa del Podere Secondo dei Cancelli

Figure 573. Cascine farm 1789 adaptation plans, showing the existing farmhouses in their ‘derelict’ state and their transformations in red

Casa del Podere Primo dei Cancelli

328


---A.4. - Archival History Of The Open Riverfront Areas---

Casa di una Guardia

Casa del Podere di Gazzarra

329


---Appendix---

Casa del Podere delle Mulina

Figure 574. Cascine farm 1789 adaptation plans, showing the existing farmhouses in their ‘derelict’ state and their transformations in red

Casa del Podere dell’Orto ferdinando

330


---A.4. - Archival History Of The Open Riverfront Areas---

Casa del Podere dei Vivai

Casa nuova del Podere di Visarno

331


---Appendix---

Figure 575. 1600-1700 map of the Argingrosso plot division

Figure 576. 1759 plan and impression of the Casa del Podere dell’Isolotto and the farm extents within the Argingrosso area

Figure 577. 1848 update of the same situation extended with the Podere di Legnaia - both buildings are still present today (Casa dell’Isolotto on right) 332


---A.4. - Archival History Of The Open Riverfront Areas---

Argingrosso

Anconella

The Argingrosso area on the other hand has

The Anconella area upstream has just one

just a handful of results in the Florentine

archive result in the complete imagotusciae

state archives (Figures on opposite spread).

database. In this map (Figure 578), the outline

Interestingly enough the scattered farm

of the Anconella area in the arc-shaped bend

buildings have survived quite well over the

of the river is already clearly recognizable.

centuries and are still used today (Figure

The area was used as regular farmlands,

577). Since this area has been omitted in the

where the original streams of Anconella,

large 20th century expansions, the original

Mensola and Affrico can be seen. The plan

buildings have not been overwhelmed by

shows the works that need to be done to

new constructions.

carry the river water from B to H, where a new mill was constructed that deposited the waste water via I in the Arno again. The area in the arc of the river was later filled with the Anconella drinking water plant. The mulino is not there anymore, the outlet of the Affrico reaches the water directly and the Fosso del Anconella is covered in its entirety, but the outlet is still visible.

Figure 578. 1699 Anconella map from the Pescaia di Rovezzano to the Pescaia di S. Niccolò 333


---Appendix---

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---Appendix---

B.2. IMAGES Archives: Archivio Storico del Comune di Firenze (ASCFi) 108, 566, 561, 562, 563, 564, 565 Francolini, F. (mid 19th century). Molina della Porticciola. Riduzione e ingrandimento [colored ink on paper]. Imagotusciae (2018). (ASCFI, 277.a, 277.b, 277.c, 277.d, 277.e, 277.f, 277.g, 277.h, 277.i, 277.l, & 277.m) 310, 573, 574 Manetti, G. (1789, March 13). Pianta di quella porzione della Real Fattoria delle Cascine dell’Isola tenuta a cultura, la quale dimostra la posizione delle Case Coloniche rispetto ai Poderi nei quali è divisa, ed il punto nel quale si propone la nuova Fabbrica per il Podere di Visarno [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=9616&archivio=39. (ASCFi, {Piante dello Scrittoio delle Regie Possessioni, N38, 14bis (map), 17-29-43-67-81-95-107 (impression drawings), 118bis, 26bis, 40bis, 54bis, 64bis, 78bis, 92bis, 104bis (elevations), 22bis, 24bis, 34bis, 36bis, 48bis, 50bis, 58bis, 60bis, 72bis, 74bis, 86bis, 88bis, 100bis, 102bis, 112bis, 114bis (plans) 543 Adapted from Anonymous (1753). Pianta del primo piano a terreno dove sono situate le macine de Mulini del Regio Spedale di Santa Maria Nuova fuori la Porta di S.Niccolò delineata nel mese d’agosto MDCCLIII. Retrieved from http://www. imagotusciae.it/index_N.php?archivio=39#page-23 .(ASCFi, Miscellanea di Piante, 179.a). 547, 549 Adapted from Vaneziani, L. (1840). Piante, tagli e alzati dei mulini di Rovezzano [ink and watercolor on paper]. Retrieved from Maccabruni et al. (2016). (ASCFi, Piante Topografiche delle Regie Possessioni, 277)

Piante, 737) 569 Mascagni, A. M., Kindt, G.G. (1759, January). Pianta della Fattoria delle Cascine dell’Isola di S.A.R. [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=3050&archivio=39 (ASCFi, Piante relative a diverse località della Toscana, 1, 112). 570 Anonymous (1662, May 12). Pianta delle Possessioni delle Cascine dell’Isola fatta nel 1662 a 12 Maggio [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/ index_N.php?id=16469&archivio=39. (ASCFi, Piante dei Capitani di Parte Guelfa, C13, 17) 571 Anonymous (1550-1630). Pianta di un tratto del fiume Arno con le Cascine di S.A.S. alla Porta a Prato [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=16458&archivio=39. (ASCFi, Piante dei Capitani di Parte Guelfa, C13, 7) 575 Anonymous (1600-1700). Pianta di un tratto del fiume Arno dall’Anconella e Argingrosso a valle di Firenze fino alla confluenza del fiume Greve [pen on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=16490&archivio=39. (ASCFi, Piante dei Capitani di Parte Guelfa, C13, 38) 576 Medici, G. (1759). Podere dell’Isolotto [ink and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=17213&archivio=39. (ASCFi, Religious corporations suppressed by the French government, N140, 235, 17) 577 Top map Orlandini, O. (1848). Pianta dei poderi detti dell’Isolotto comunità di Legnaia. Retrieved from http://www.imagotusciae.it/ index_N.php?id=8605&archivio=39. (ASCFi, Miscellanea di Piante, 740)

(Caporali, 2021). 150, 152 Retrieved from database http://www. imagotusciae.it/ 180 Signorini, S. (1868), Pianta degli immobili Serristori & Del Sarto, L. (1866). Il Mulino dei Renai e il palazzo Serristori: pianta e sezione. (ASCFI, CF 4900, fasc. 5279/3) 113 Del Sarto, L. (1866). Il Mulino dei Renai e il palazzo Serristori: pianta e sezione. (ASCFI, CF 4900, fasc. 5279/3) 117, 201, 200, 204, 203 Corsi, E. (1874-1876). Officina Meccanica di San Niccolò. Pianta al piano delle Macchine (ASCFI, CF DIS car. 447/009 & Sezione Longitudinale (ASCFI, CF DIS car. 447/010) & Sezione transversale (ASCFI, CF DIS car. 447/011) 199 Ruffoni, A. (1893). Pianta delle fogne della cità di Firenze entro il perimetro della cinta daziaria [print on matte paper] (ASCFi, car. 377/014). Retrieved from Maccabruni et al. (2016). 59 Anonymous (1836). Carta che dimostra l’andamento dei bracci di strada destinati ad allacciare il Ponte di Ferro attraverso il Fiume Arno fuori della Porta San Niccolò [colored ink on paper]. (ASCFI, 341). Retrieved from http://www. imagotusciae.it/index_N.php?id=6009&archivio=39 62 Balatri, L. (1844-1850). Profili e Pianta di un tratto del fiume Arno a Firenze con i livelli delle piene [engraving]. (ASCFI, 496.1). Archivio di Stato di Arezzo 58 Sezioni trasversali del fiume Arno entro Firenze (1850-1860). [engraving]. Retrieved from http://www502.regione.toscana.it/searcherlite/ cartografia_storica_regionale_scheda_dettaglio. jsp?imgid=12836 Nàrodni Archiv Praha (NAP) Images below retrieved from http://www. imagotusciae.it/ 133 Anonymous. (1770-1780). Pianta delle Reali Scuderie di sotto gli Uffizi di S.A.R [ink and watercolor on paper]. (NAP, B.A. 49, car 113)

545, 546 Adapted from Anonymous (1700-1780). Mappa del Fosso Macinante e del mulino di San Moro [ink and watercolor on paper]. Retrieved from Maccabruni et al. (2016). (ASCFi, Piante Piante Topografiche delle Regie Possessioni, 236)

577 Bottom plan Orlandini, O. (1848). Casa colonica del podere detto dell’Isolotto - Piano terreno [colored ink on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=8608&archivio=39. (ASCFi, Miscellanea di Piante, 743.1)

548 Anonymous (1552). Disegno della pescaia e delle gualchiere di Rovezzano sul fiume Arno a Firenze [ink on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=16261&archivio=%. (ASCFi, Medicean miscellany 93 / III, 107)

56, 578 Pianta del fiume Arno dalla Pescaia di Rovezzano fino alla Pescaia di S. Niccolò fatta il settembre MDCIC (1699). [ink and watercolor]. Retrieved from http://www.imagotusciae.it/ index_N.php?id=4034&archivio=39. (ASCFi, Piante dello Scrittoio delle Regie Possessioni, N4, 3 )

556 Anonymous (1770-1780). Pianta del quartiere del giardiniere e stanzone dei vasi unito al giardino della Vagaloggia di S.A.R. [Pen and watercolor]. Retrieved from http://www.imagotusciae.it/ index_N.php?id=11824&archivio=37. (NAP, B.A. 48, 2)

554 (top) Anonymous (1650-1750). Pianta della Zecca Vecchia di Firenze con la pescaia sull’Arno [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=16417&archivio=39. (ASCFi, Piante dei Capitani di Parte Guelfa, C12, 4)

568 Anonymous (1770-1780). Pianta della Real Fabbrica delle Cascine di S.A.R. [pen and watercolor on textured paper]. Retrieved from imagotusciae http://www.imagotusciae.it/index_N. php?id=11825&archivio=37. (NAP, B.A. 48, 3-4-56-7)

555 Pianta del Giardino della Vagaloggia di Firenze con mulini e pescaie adiacenti (18th century) [pen and watercolor on paper]. Retrieved from http://www.imagotusciae.it/index_N. php?id=4091&archivio=39. (ASCFi, Tavola relative a diverse località della Toscana, 4, 52)

Retrieved from Caporali (2021), unless stated otherwise: 75, 115, 116, 202 Corsi, E. (1873-1876). Gallerie di distribuzione dell’acqua comprese tra San Niccolò e l’Anconella (ASCFI, CF DIS car. 447/008) 117 Chiesi, F. (n.d.). (ASCFI, car 354/1) Retrieved from Maccabruni et al. (2016). 128 Corsi, E. (1873-1876). Progetto del serbatoio settentrionale del Pellegrino, pianta, sezione e fronte principale. (ASCFI, CF DIS car. 447/007) & 129 Assetto distributivo del serbatoio della Querce (ASCFI, CF DIS car 138/017) 74, 130 Corsi, E. (1873-1876). Città di Firenze. Servizio dell’acqua. Lavori Serbatojo Meridionale. Sezione generale a 25 metri dalla Grotta e Vista geometrica delle Rampe e Casotto (ASCFI, CF DIS car. 447/006) & Sezione longitudinale (ASCFI, CF DIS, car n.n.) & Pianta generale delle fondazioni (ASCFI, CF DIS car 447/005;)

553 Mignoni, N. A. (18th century). Castelletto per coniare le monete, fatto far di bronzo dalla Zecca di Firenze, quale ha patito. Retrieved from http://www.imagotusciae.it/index_N. php?id=8602&archivio=39. (ASCFi, Miscellanea di

131 Corsi, E. (1873-1876), Pianta quotata della Valle con l’insieme dei lavori eseguiti. (Retrieved from Caporali, 2021)(ASCFI, CF DIS, car 447/003) 132 Cantagalli, A. (1871). Pianta della località per la costruzione dei nuovi serbatoj. Retrieved from

554 (bottom) Anonymous (18th century). Pianta della zecca vecchia [colored pen on paper]. Retrieved from http://www.imagotusciae.it/ index_N.php?id=8601&archivio=39. (ASCFi, Miscellanea di Piante, 736).

338

550 Anonymous (1770-1780). Pianta della Real Fabbrica della Zecca Vecchia di S.A.R. [ink and watercolor on paper]. (NAP, B.A. 49, 73-74-75-76).

572 Caglieri Filippo (1793). Pianta dell’attuale circondario della reale bandita di caccia delle Cascine dell’Isola e delle parti che si aggiungono alla medesima [pen and watercolor on textured paper]. Retrieved from http://www.imagotusciae.it/ index_N.php?id=14943&archivio=37. (NAP, 271) Archivio Publiacqua: 125 bottom picture: Caporali, A. (2021). Veduta del vano centrale. Retrieved from (Caporali, 2021) 159 Retrieved from Publiacqua 195, 207 based on stills from movie Publiacqua (2010). Le vie dell’acqua: Le fognature di Firenze. Retrieved from https://www.youtube.com/ watch?v=F9qxydhAC5A&ab_channel=Publiacqua Foto Arreda - Catalog storiche Fi E Toscana Retrieved from https://www.fotoarreda.com/


---B - Sources--quadri-su-tela/foto-d-epoca/foto-storiche-firenzee-toscana.html?limit=24&p=4: 98, 157, 179, 206, 128 (top picture), 129 (top picture) Archivio Foto Locchi 57 Arno piene Piazzale Michelangelo (1966). Retrieved from https://www.internazionale.it/ foto/2015/11/04/alluvione-firenze-anniversario Archivio Fotografico G. Spadolini 189 Spadolini, G. (n.d.). (Retrieved from Steiner, 1989) Archivio Alinari Images below retrieved from https://www.alinari. it/it/esplora-immagini?lastquerywithpage=1#NVQ -S-002202-0003 10 Centre top, 137 Manelli, A. & Manelli, C. (1896). L’Arno con vista del ponte di Santa Trinita: in primo piano lavandaie. Retrieved from (intoflorence, 2014) (MAA-F-01355A-0000) 10 Right bottom Unidentified author (ca. 1895). Lavandaie sul greto dell’Arno a Firenze. (ARC-F-010439-0000) 11 Centre bottom: Alinari (ca. 1915) I Renaioli sull’Arno, veduta dal Ponte di Ferro di San Niccolò. Retrieved from https://www.intoflorence.com/ boat-trip-arno-Renaioli/ (ACA-F-029254-0000) Left bottom: Brogi, G. (1890-1899). Renaioli sull’Arno a Firenze con veduta del Ponte Vecchio. (BGA-F-010030-0000) 16 Centre bottom: Unidentified author (ca. 1940). La motonave Fiorenza sul fiume Arno, Firenze; fotografia scattata nel tratto tra il Ponte alle Grazie e il “ponte di ferro”. (ARC-F-007552-0000) 32 Manelli, A., Manelli, C. (ca. 1890). Panorama del Piazzale Michelangelo. Archivi Alinari-archivio Mannelli, Firenze, Italy. (MAA-F-001339-0000) 43 A view of Santa Croce before the construction of the BNCF (19th century). Retrieved from https:// www.santacrocefirenze.it/?p=1523 & National library of Florence in the thirties (1930s). Retrieved from http://demo.netribe.it/anni30/it/biblioteca_ nazionale.html 191, 205 Brogi, G. (1935). Le Rampa di San Niccolò [photograph] Retrieved from http://casavacanze. poderesantapia.com/nederlands/firenze/ rampedelpoggi1.htm (ACA-F-003355-0000) Soprintendenza Photographic archive 103 Archeologia, Belle Arti e Paesaggio per la città metropolitana di Firenze e le province di Pistoia e Prato. https://soprintendenzafirenze.cultura.gov.it/ tutela-e-ricerca/archivio-fotografico/ Foto Archivio Torrini 16 Left bottom: Torrini (1954). bagni in Arno alla Pescaia di San Niccolò, sullo sfondo il vecchio acquedotto. Retrieved from https:// www.facebook.com/torrinifotogiornalismo. firenze/photos/firenze-1954-bagni-in-arno-allapescaia-di-san-niccol%C3%B2-sullo-sfondo-ilvecchio-a/1629645423776969/ Right top: Torrini (1957). Pescatori sull’Arno San Niccolò. Retrieved from https://www. torrinifotogiornalismo.it/it/prodotto/0-68-68/ negozio-online/782/132-pescatori-sull-arno-sanNiccolò.html Centre top: Torrini (1953). Bagni nel fiume Arno con bambini. Retrieved from https://www. torrinifotogiornalismo.it/en/product/0-68-68/ online-shop/756/106-bagni-nel-fiume-arno-conbambini.html (106) 99 Retrieved from https://www. torrinifotogiornalismo.it/en/ Catalogo generale dei Beni Culturali

14 Right top: Philpot, J. B. (1850s). N.4 - l Ponte alla Carraia, con i preparativi per i fuochi di San Giovanni [calotype] .Galleria degli Uffizi, Firenze, Italy. Retrieved from https://catalogo.beniculturali. it/detail/PhotographicHeritage/0900644548 47 Philpot, J. B. (1850s). Firenze - L’Arno e il ponte Vecchio - Antica veduta 30/40 [calotype]. Galleria degli Uffizi, Firenze, Italy. Retrieved from https://catalogo.beniculturali.it/detail/ PhotographicHeritage/0900644560

[pen on paper]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XLI_-_L 24 bottom Burci, E. (ca. 1870). Ponte alle Grazie. [watercolor]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXXI_-_XL

Vecchia Firenze Mia 11 Top right: Il duro lavoro dei Renaioli per tirare fuori dall’Arno il desinare (n.d.) Vecchia Firenze Mia (2020). Retrieved from https://m.facebook.com/ vecchiaFirenzemia/posts/3079846228745138

24 top Ballagny from drawing by Burci, E. (ca. 1870). Ponte alle Grazie [litograph]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/ wiki/Cento_vedute_di_Firenze_antica/Vedute/ XXXI_-_XL

12 Top Si pesca sotto il Ponte a S. Trinita (n.d.). Vecchia Firenze Mia (2013). Retrieved from https://m.facebook.com/vecchiaFirenzemia/ photos/a.457507237645730/498736263522827/? type=3&source=54

25 Moricci, G. (n.d.) Ponte alle Grazie [pencil drawing]. Cappugi collection in the National Library, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_ di_Firenze_antica/Vedute/XXXI_-_XL

16 Left top: 169 left: Canottieri (1911). Vecchia Firenze Mia (n.d.). Retrieved from https://www. quinewsfirenze.it/firenze-il-mistero-delle-scalesull-arno-appassiona-il-web.htm

18 Bargioni, G. (n.d.). Porticciuola delle Mulina detta de’Renai [watercolor]. Cappugi collection in the National Library, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_ vedute_di_Firenze_antica/Vedute/XLI_-_L

16 Right bottom: La motonave Fiorenza. (n.d.). Vecchia Firenze Mia (2016). Retrieved from https:// www.facebook.com/vecchiaFirenzemia/photos/ la-motonave-fiorenza-qui-al-suo-attracco-sotto-illungarno-corsini-offriva-music/1125983067464807/ 168 Bellucci, M, (ca. 1955). [La Scala Lungarno Guicciardini]. Vecchia Firenze Mia (2021). Retrieved from https://www.facebook.com/ vecchiaFirenzemia/photos/a.469180639 811723/3750107018385719/

Paintings & drawings: Buonsignori map: 21, 67, 87, 88, 89, 91, 109, 110, 176, 281 based on Buonsignori, S. (1594). Pianta del Buonsignori. Wikimedia Commons (2013). Retrieved from (https://commons.wikimedia.org/wiki/File:Pianta_ del_buonsignori,_1594,_00.JPG) Giuseppe Zocchi etchings: 1, 6 (central), 8, 9 (right), 12 (bottom both), 13, 17, 19, 27, 42 66, 67, 156, 104, 112, 524, 525, 533, 559 Zocchi, G. (1744). Scelta di XXIV vedute delle principali contrade, piazze, chiese e palazzi della città di Firenze [etching]. Firenze, Italy. Giuseppe Zocchi: XXIV views of the main districts, squares, churches and palaces of the city of Florence. Retrieved from https://lookingatcities.info/2019/12/21/ giuseppe-zocchi-choice-xxv-views-of-the-maindistricts-squares-churches-and-palaces-of-thecity-of-florence/ 73 Zocchi, G. (ca. 1744). Firenze, vista dell’Arno e del Ponte alla Carraia [oil on canvas]. Private collection. Retrieved from https://www.mutualart. com/Artwork/FLORENCE--A-VIEW-OF-THE-ARNOTOWARDS-THE/EE79217EBC572F42 111 Zocchi, G. (ca. 1744). Firenze, veduta dell’Arno dalla Porta San Niccolò [oil on canvas]. Private collection. Christie’s (2015). Retrieved from https:// www.christies.com/en/lot/lot-5868335 Drawings in cento vedute di Firenze antica (Ricci, 1906): 9 left bottom, 20 bottom: Bargioni, G. (n.d.). Porticciuola d’Arno. Cappugi collection in the National Library, Firenze, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_ vedute_di_Firenze_antica/Vedute/XLI_-_L 20 top Burci, E. (ca. 1870). Porticciuola d’Arno

339

9 left top: Deroy (first half 19th century). Veduta di Firenze della prima metà del sec. XIX [Litograph]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource. org/wiki/Cento_vedute_di_Firenze_antica/Vedute/ IX_-_XX 10 left bottom: Burci, E. (1864). Ponte Vecchio. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource. org/wiki/Cento_vedute_di_Firenze_antica/Vedute/ XLI_-_L 155 Burci, E. (ca. 1870). Mulina di San Niccolò [pencil drawing]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXXI_-_XL 85 Burci, E. (1846). Ponte Vecchio. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/ wiki/Cento_vedute_di_Firenze_antica/Vedute/ XLI_-_L 84 Borrani, E. (n.d.). Ponte alle Grazie [pencil drawing]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXXI_-_XL 94 Burci, E. (ca. 1870). Ponte Rubaconte [pencil drawing].Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://commons.wikimedia.org/wiki/File:Cento_ vedute_di_Firenze_antica,_1789_(page_121_crop). jpg 60 Ballagny (ca. 1844). L’ Arno con la piena del 4 novembre 1844 [Litograph]. Based on drawing Giovanni Signorini. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/LI_-_LIX 65 Burci, E. (1851). Via Degli Archibusieri and ponte vecchio [pen drawing]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_ di_Firenze_antica/Vedute/XLI_-_L 539 Ballagny after Burci, E. (ca. 1870). Ponte alle Grazie [Litograph]. Topographic collection of the


---Appendix--Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXXI_-_XL 544 Burci, E. (ca. 1870). La Pescaia, Le Mulina e La Porta di San Niccolò [pen on paper]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/ wiki/Cento_vedute_di_Firenze_antica/Vedute/ XXXI_-_XL 558 Burci, E. (ca. 1870). Mulina della Vagaloggia [pen drawing]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXXI_-_XL

Collezione Banca Intesa-San Paolo, San Paolo, Brasil. Retrieved from https://progettocultura. intesasanpaolo.com/patrimonio-artistico/opere/ festa-darno-per-le-nozze-di-cosimo-de-medici-emaria-maddalena-daustria/

Commons (2011) retrieved from https://commons. wikimedia.org/wiki/File:Caspar_van__-_View_of_ Florence_from_the_Via_Bolognese_-_WGA25831. jpg

22 Van Wittel, C. (1694). L’Arno dal Pignone [oil on canvas]. Private collection. Retrieved from (Menduni, 2017)

55 Vasari, G. (1530). 1530 Siege of Florence [fresco painting]. Palazzo Vecchio Sala di Clemente VII, Florence, Italy. Retrieved from wikimedia commons (2009). https://commons.wikimedia.org/ wiki/File:Siege_of_Florence1.jpg

30, 93, 134 Patch, T. (1760). Veduta di Firenze con il fiume Arno agli Uffizi durante il carnevale [...]. Cassa di Risparmio di Firenze art collection, Firenze, Italy. Wikimedia Commons (2018). Retrieved from https://commons.wikimedia.org/wiki/File:Thomas_ patch,_veduta_di_firenze_con_il_fiume_arno_agli_ uffizi_durante_il_carnevale,_1760,_01.jpg

560 Burci, E. (ca. 1870) Riva Destra D’Arno (left) [pencil drawing] & Cestello (right) [watercolor]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource. org/wiki/Cento_vedute_di_Firenze_ antica/Vedute/LI_-_LIX

33 Rawle, S. after Turner, J. M. W. (1818). Florence, from the Ponte alla Carraia [engraving]. Tate, United Kingdom. Retrieved from https://www.tate. org.uk/art/artworks/turner-florence-from-theponte-alla-carraia-engraved-by-s-rawle-t06026

567 Silvestri, G. (1830). Porticciuola al Prato [watercolor]. Topographic collection of the Uffizi, Florence, Italy. In Ricci (1906), retrieved from https://it.wikisource.org/wiki/Cento_vedute_di_ Firenze_antica/Vedute/XXI_-_XXX

35 Strafforello, G. (1878). Firenze - Veduta da S.Miniato. Territoridel900. Retrieved from https:// territoridel900.wordpress.com/2017/10/21/ edmondo-de-amicis-un-saluto-alla-citta-difirenze-13/

Other: 10 Left top, 82, 105 Signorini, G. (ca. 1850). veduta di firenze con il fiume arno da ponte vecchio verso Ponte alle Grazie. Cassa di Risparmio di Firenze art collection, Firenze, Italy. Wikimedia Commons (2018). Retrieved from https://commons.wikimedia. org/wiki/File:Giovanni_signorini,_veduta_di_firenze_ con_il_fiume_arno_da_ponte_vecchio_verso_ponte_ alle_grazie,_1850_ca.,_03.jpg

39 Patch, T. (1767). Veduta di Firenze da Bellosguardo. Cassa di Risparmio di Firenze art collection, Firenze, Italy. Wikimedia Commons (2018). Retrieved from https://commons. wikimedia.org/wiki/File:Thomas_patch,_veduta_di_ firenze_da_bellosguardo,_1767,_02.jpg

10 Centre bottom: Moricci, G. (first half 19th century). Veduta dell’ Arno dal Ponce alle Grazie con un gruppe di lavandaie in primo piano, sec. XIX [pen on ivory paper]. Uffizi Gallery, Firenze, Italy. Retrieved from Maccabruni et al. (2016). 12 second from top, 31 (detail), 171 Signorini, G. (1846) Veduta dell’Arno da Ponte alla Carraia [oil painting on canvas]. Private collection. Artribune (n.d.). Retrieved from https://www.artribune. com/arti-visive/arte-moderna/2019/10/mostragiovanni-telemaco-signorini-firenze/attachment/ giovanni-signorini-veduta-dellarno-da-ponte-allacarraia-1846/ 14 Left, 26 (detail): Signorini, G. (1843). I fuochi d’artificio sul Ponte alla Carraia per la festa di San Giovanni [oil on canvas]. Galleria d’arte moderna di Palazzo Pitti, Firenze, Italy. Giovanni Signorini (2014). Retrieved from https://public.fotki.com/ honda1992/european_art_-_public/s_-_t/giovannisignorini/i-fuochi-dartificio.html 14 Right bottom: Burci, E. (ca. 1840-1850). Fuochi di S. Giovanni dal Ponte alla Carraia [etching]. Galleria Uffizi, Firenze, Italy. Retrieved from https://twitter.com/uffizigalleries/ status/1408081439044874240 15 Greuter, M. (1608). Page 67 & 125 in the book: Descrizione delle feste fatte nelle reali nozze de’ Serenissimi principi di Toscana d. Cosimo de’ Medici, e Maria Maddalena arcidvchessa d’Avstria [engraving]. Getty Research institute. Retrieved from Rinuccini (1608). https://archive. org/details/dellefestefatten00rinu/page/n67/ mode/1up?view=theater & https://archive. org/details/dellefestefatten00rinu/page/n125/ mode/1up?view=theater 15 Right bottom: Florentine painter. (ca.1800-1825) Festa d’Arno per le nozze di Cosimo de’ Medici e Maria Maddalena d’Austria [oil on canvas].

40 Turner, W. (1828). Florence from near San Miniato [painting]. Pixels. Retrieved from https:// pixels.com/featured/florence-from-near-sanminiato-1828-joseph-mallord-william-turner.html 46 Van Wittel, C. (second half 18th century). View of Florence from San Niccolò weir [painting]. Cassa di Risparmio di Firenze art collection, Firenze, Italy. Wikimedia Commons (2009). https://commons. wikimedia.org/wiki/File:View_of_Florence_and_ Arno_river_(4).jpg 46, 542 (right, detail), 552 (detail), Van , C. (ca. 1700). View of Florence from San Niccolò weir [oil on canvas]. Cassa di Risparmio di Firenze, Firenze, Italy. Wikimedia Commons (2008) Retrieved from https://commons.wikimedia.org/wiki/File:View_of_ Florence_and_Arno_river_(4).jpg 48 Reschi, P. (1675-1679). Veduta dell’Arno alle Cascine [oil on canvas]. Retrieved from https:// www.pinterest.it/pin/326229566753736861/ 49 Costa, N. (1859-1869). An afternoon at the Cascine [oil on canvas]. Private collection. Retrieved from https://www.finestresullarte.info/ recensioni-mostre/recensione-mostra-la-firenzedi-giovanni-e-telemaco-signorini 53 Signorini, T. (1861-1862). il ponte sul torrente Affrico [oil on canvas]. Private collection. https:// www.finestresullarte.info/recensioni-mostre/ recensione-mostra-la-firenze-di-giovanni-etelemaco-signorini 50 Van Wittel, C. (ca. 1700). A View of the city from the right bank of the river Arno looking towards the Ponte alla Carraia [oil on canvas]. Private collection. Retrieved from https://visualelsewhere. wordpress.com/2016/02/05/caspar-van--privatecollection-florence-a-view-of-the-city-from-theright-bank-of-the-river-arno-looking-towards-theponte-alla-carraia-c-1700/ 51 Van Wittel, C. (ca. 1695). View of Florence from the Via Bolognese [oil on canvas]. Wikimedia

340

61 Morozzi, F. (1762). Segni di varie inondazioni incisi nella porta di chiesa delle R.R.M.M. di S. Jacopo in via Ghibellina di Firenze, e nella Porta della Casa del Oodere di Piano a Fibbiana dell ll. Sig. Guavio Mannelli. Retrieved from (Galloway et al., 2017) 71 il ponte a rubaconte detto moggi il ponte delle grazie fatto nel 1236 (17th century). Wikimedia Commons (2013). Retrieved from https:// en.wikipedia.org/wiki/File:Ponte_delle_Grazie_-_ Ponte_a_Rubaconte_-_Firenze.jpg 76 Wolgemut, M., Pleydenwurff, W. (1493). View of Florence in Italy, around 1490 [woodcut print]. on page 86-87 of ‘Die Schedelsche Weltchronik by Schedel (1493). Retrieved from Wikimedia Commons (2012) https://commons.wikimedia.org/ wiki/File:Florence1493.png 77 Moricci, G. (n.d.). il Ponte alla Carraia (con l’oratorio di santa rosa). Collections of the Pinacoteca Foresiana, Firenze, Italy. Wikimedia Commons (2019). Retrieved from https:// commons.wikimedia.org/wiki/File:Giuseppe_ moricci,_firenze,_il_ponte_alla_carraia_ (con_l%27oratorio_di_santa_rosa).jpg#metadata 92 Morozzi (1879). Tiratoi at the Piazza d’Arno [painting]. 95, 534 Barberis, C. (1874). Firenze - L’incendio del Tiratoio dell’arte della lana (13 september). Retrieved from https://www.maremagnum.com/ stampe/firenze-l-incendio-del-tiratoio-dell-artedella-lana/130052173 106 Gelati, L. (ca. 1869). L’Arno a San Niccolò con il bagno delle donne e i panni stesi al sole [oil on cardboard]. Collezione Ente Cassa di Risparmio di Firenze, Firenze, Italy. Retrieved from https:// www.deartibus.it/drupal/sites/default/files/opere/ Gelati%2C%20Veduta%20dell%27Arno%20a%20 San%20Niccolò%20a%20Firenze.jpg 147 Anonymous (ca. 1850). L’Arno con il Mulino della Vagaloggia sullo sfondo del Pignone [oil on canvas]. Uffizi Gallery, Florence, Italy. Firenze Capitale (2015). Retrieved from https://twitter. com/firenzecapitale/status/565219201820786688 170 Harding, J. D. (ca. 1830). The bridge of Santa Trinita [engraving]. private collection. Firenze, Italy. Meisterdrucke (n.d.). Retrieved from https://www. meisterdrucke.uk/fine-art-prints/James-DuffieldHarding/130218/The-Bridge-of-Santa-Trinita-.html 172 Cooke (1844). Alluvione. ConosciFirenze (2016). Retrieved from https://www.conoscifirenze. it/libri-free-su-firenze/335-Inondazioni-inFirenze-1844-1864.html 184 Borrani, O. (ca. 1850). Sull’Arno lungo le mura della Gora [sketch]. 194 Vasari, G. (1563-1565). Fondazione di Firenze, colonia romana [oil painting on wood]. Palazzo Vecchio Museum, Florence, Italy. Wikimedia Commons (n.d.). Retrieved from https://commons. wikimedia.org/wiki/File:Giorgio_Vasari_-_Arnolfo_ shows_the_plan_to_enlarge_Florence_-_Google_


---B.2. Images--Art_Project.jpg 198 Stradano, G. (1550-1605 ca.). The Piazza del Mercato Vecchio [fresco]. Palazzo Vecchio, Sala di Gualdrada, Florence, Italy. Wikimedia commons. Retrieved from https://nl.m.wikipedia.org/wiki/ Bestand:Repubblica,_stradano.jpg 190, 69 detail of Gelati, L. (ca. 1850). Veduta dell’Arno con le Mulina e la torre di San Niccolò [oil painting]. Museo di Firenze com’era, Firenze, Italy. Musei civici fiorentini (2009). Retrieved from http://opacmuseicivicifiorentini.comune.fi.it/mcf/ fotografico/detail/IT-MCF-FT0001-0000023880/ veduta-arno-mulina-e-torre-san-Niccolò-lorenzogelati-2.html#n 364 Friedrich, C. D. (ca. 1817). Der Wanderer über dem Nebelmeer [oil on canvas]. Hamburger Kunsthalle, Hamburg, Germany. Retrieved from https://en.wikipedia.org/wiki/File:Caspar_David_ Friedrich_-_Wanderer_above_the_sea_of_fog.jpg. 523 Da Vinci, L. (ca. 1517-1518). A deluge [black chalk, pen and ink, wash on paper]. Royal collection trust, United Kingdom. Retrieved from https://www.rct.uk/collection/912380/a-deluge 537 Van Wittel, C. (ca. 1700). View of Florence’s Oltrarno from the Cascine [oil on canvas]. Retrieved from https://visualelsewhere.wordpress. com/2017/05/28/caspar-van--fondazione-crfirenze-view-of-florences-oltrarno-from-theCascine-c-1700/ 540, 541 Antico Tiratoio sull’Arno (n.d.). Retrieved from CDT (n.d.) 551 Wilson, C. H. (n.d.). View in Florence, along the Arno [watercolor on paper]. Scottish National Gallery of Modern Art, United Kingdom. Retrieved from https://www.nationalgalleries.org/art-andartists/21708/view-florence-along-arno 557 Anonymous (mid 19th century). L’Arno con il Mulino della Vagaloggia [oil on canvas]. Uffizi Gallery, Firenze, Italy. Retrieved from Maccabruni et al. (2016). (GDSU, n.1316) 538 Borbotonni, F. (ca. 1850). Tiratoio delle Grazie. Cassa di Risparmio di Firenze Collection, Firenze, Italy. Retrieved from https://it.wikipedia. org/wiki/File:View_of_Ancient_Florence_by_Fabio_ Borbottoni_1820-1902_(10).jpg 542 (right) Borbottoni, F. (19th century). Porta e Molina di San Niccolò. Cassa di Risparmio di Firenze Collection, Firenze, Italy. Retrieved from https://commons.wikimedia.org/wiki/ File:View_of_Ancient_Florence_by_Fabio_ Borbottoni_1820-1902_%2814%29.jpg

Photographs: Google maps:

135, 149, 167 Left & right bottom, 183, 185, 186, 188, 193, 289, 243, 285, 295, 319, 327, 330, 341, 371 (part images), 328, 274, 275, 276, 277, 278. 577 Right bottom, 535 Retrieved or adapted from Google Maps 288 based on traffic data Google Maps Other: 11 Left top, 11 Centre top 139, 14, 78, 79, 80, 81 Retrieved/adapted from Grifoni (2016) 34 Retrieved from Bargellini & Guarnieri (1985) 37 Streeter, R. (n.d.) Villa Medici Fiesole. Retrieved from https://www.gardenvisit.com/gardens/villa_ medici_fiesole_garden 52 Fotografia del Canale Macinante tra via Magenta e Solferino (1880-1890). Retrieved from https://www.facebook.com/ ConosciParcodelleCascine/photos/fotografia-del-

canale-macinante-tra-via-magenta-e-solferino1880-90il-fosso-maci/146924859309528/ 97 Retrieved from ConosciFirenze (2015) 100 Misericordia di Firenze (>1700). Il Bagno pubblico nella zona di Bellariva. Dietro lo stabilimento balneari. Retrieved from https:// www.facebook.com/misericordia.firenze/photos/ fin-dal-1700-sullarno-esistevano-degli-stabilimentibalneari-lalluvione-del-66-n/424140530976342 101 ConosciFirenze (2020). Stabilimenti balneari Arno.Retrieved from https://www.conoscifirenze.it/ schegge-di-storia/860-Stabilimenti-balneari-Arno. html 102 Rari Nantes ‘Florentia’ Sede Sociale (n.d.). Retrieved from http://curiositadifirenze.blogspot. com/2012/09/la-rari.html 118, 119 La Repubblica Firenze. (2015). Ecco il tunnel sotto il Arno. Retrieved from https://firenze. repubblica.it/cronaca/2010/06/10/foto/ecco_il_ tunnel_sotto_l_arno-4738927/3/ 120 Brunetti, P. L. (1966). Lungarno del Tempio da Piazza Cavalleggeri Firenze. 122, 123, 124, 125, 126, 129, 208 Davide Virdis (Retrieved from Caporali, 2021) 138 SCF (1911). Inaugurazione della sede della società presso il ponte di Santa Trinita. Retrieved fromhttps://www.museounasci.com/prodotto/ fotografia-15-2/ 223 bottom right Retrieved from Buckley (2015). 298 Van der Biest, S. (2019). [Pont neuf]. Retrieved from https://pixabay.com/photos/paris-francearchitecture-city-4688555/ 382 Buonaventura’s & Carla’s (2010). Firenze Giardino dell’Orticoltura Loggetta Bondi. Retrieved from https://www.flickr.com/photos/ buonaventura42/4970923473 383 Sommer, G. (n.d.). Piazzale Michelangelo. Retrieved from https://www.firenzetoday.it/ cronaca/segreti-piazzale-michelangelo.html All remaining Photographs were taken by the author during the visit to Florence from Friday 10 to Friday 17 September 2021.

Miscellaneous

(references, literature, contemporary and substantiation drawings author): 3, 45, 64, 197 Remake or adapted from (Cuijpers et al., 2022) 4 based on Aiazzi (1967) 6 (right), 28, 29, 72, 83, 143, 164, 181, 182, 183, 187 Adapted from Steiner, 1989 36, 151, 192 Retrieved from Poggi, 1882 38 Line drawing made by author based on section in Fanelli, & Trivisonno (1983). 63 Manetti (ca. 1844). Corso dell’Arno e dei suoi principali influenti novembre 1844. Retrieved from http://www.adbarno.it/adb/?page_id=5465 68 Retrieved from Istituto Nazionale di Urbanistica (1953). URBANISTICA N. 12 Rivista dell’Istituto Nazionale di Urbanistica. Torino. 70 Tiratoio detto d’Altafonte. (n.d.) Retrieved from (Manetti, 2019) 90 Il Tiratoio dell’Uccello Retrieved from (Manetti, 2019) 136, 169 right: based on: Lungarno Guicciardini (2020). Quinewsfirenze (2020). Retrieved from https://www.quinewsfirenze.it/firenze-il-misterodelle-scale-sull-arno-appassiona-il-web.htm 144, 145 TuttaToscana (n.d.) 148 Adapted from: Zumkeller, E. (1935). Birdseye perspective of the pignone district [drawing]. Firenze, Italy. Retrieved from (Steiner, 1989) 154 (Forte di Belvedere, 1986) 165 Ponte Sospeso (1932). [photograph] Retrieved from http://spazioinwind.libero.it/circolo16firenze/ pignone/p_sospes.htm 166 Poggi (1886). Proposal for the Piazza Vittorio Emanuele elevation, plan, birdseye impression. Retrieved from Poggi (1882). 167 adapted from: Progetto di sistemazione prevista per piazza Vittorio Veneto a conclusione dei lavori per la linea 1 della Tramvia (n.d.).

341

Retrieved from CAF (2014). 175 Retrieved from (Menduni, 2017) 177 Barocchi, E. (n.d.). Le Fondamenta del Lung’Arno Amerigo Vespucci [photograph]. Retrieved from (Menduni, 2017) 178 Adapted from Fanelli, 1973 196 Adapted from Archivio Edizione Polistampa (D’Angelis, 2012) 219 based on Appennino Settentrionale (2014) 220, 221, 222 based on ARPAT (2020) 224 Based on Ramsar (2021) 225 Based on Regione Toscana (2020) 231 Retrieved from FOOD (n.d.). 232 Studio Octopi (n.d.). Section Retrieved from Frearson (2015 April 23) 233 Basin de la Vilette (2017). Retrieved from https://www.dockmarine-europe.nl/en/ news/287_a-floating-pool-in-the-bassin-de-lavillette-paris 234 Retrieved from (Cohen, 2017) 235 Retrieved from (Mansfield, 2015) 236 Retrieved from (Messynessy, 2019) 244 based on Flores (2020) 238, 240 Retrieved from Regione Toscane (2021). 291 based on ComuneFi (2020). 316, 333, 320 (Based on), 331 (based on): (Regione Toscane, 1986) - via Innocenti, 2009 312 MT (2020) 313 TF (2021) 318 Retrieved from ComuneFi (2021). 322 Guicciardini & Magni architetti con Arch. Laura Figuccia (2016). San Salvi Riparte Dalla Cultura! Retrieved from NovaRadio (2016) 323 Retrieved from http://www.affratellamento.it/ elena-giannarelli-storia-san-salvi-2/ 325 FiorentinaNews (2020) 329 Retrieved from Mongati (2014) 340 Retrieved from NF (2018) 342 Mariani, F. (2014). Retrieved from http://www. laterrazzadimichelangelo.it/news/riapre-a-firenzelantica-chiesa-di-monte-oliveto/ 343 Bertil, N. (2018). Retrieved from https:// www.tripadvisor.nl/Attraction_Review-g187895d15211108-Reviews-Chiesa_di_San_Bartolomeo_a_ Monte_Oliveto-Florence_Tuscany.html 344 Retrieved from Vanni (2016). 345 Retrieved from Firenzetoday (2021 February 12) 347 Book covers, retrieved from Prominski et al. (2017), Rossano, (2021), Sijmons et al. (2017), Knoll et al. (2017) 349 Ferrara, G. (1982). ‘Great Cascine’ proposal. Retrieved from Alberti & Paloscia (2018). 350 MHC (2014). Una vision per il Master Plan del Parco delle Cascine. Retrieved from MHC (2020). 351 UniFi architecture (2014). Masterplan ‘great Cascine park’ workshop. Retrieved from Alberti & Paloscia (2018). 352 student proposals argingrosso (n.d.). Retrieved from Alberti & Paloscia (2018). 353 Alberti, F., Massa, M., Carlini, J. (2007). Beach of Florence proposal at Le Piagge. Retrieved from Alberti & Paloscia (2018). 354 Guccione, B. (2003-2006). Riverlink project. Retrieved from Alberti & Paloscia (2018). 355 De Carlo, G. (2003). Le Piagge masterplan. Retrieved from MTA (n.d.) 356 Rogers, R., Cantella, C. (1984). Masterplan. Retrieved from rsh-p (1984) 357 Rogers Cantella Project update (2019). Retrieved from Tani (2019) 358 Cantella, C. (ca. 1984). Retrieved from Capanni (2019) and Valbonesi (2019). 359 Cantella, C. (ca. 1984). Retrieved from Valbonesi (2019). 360 Rogers Cantella Project update (2019). Retrieved from Tani (2019) 361 Prominski et al. (2017) 362 Images from Rossano, 2021 363 Based on Rijkswaterstaat (n.d.)


C - SITE VISIT from

areas (and their detours), a photo-series

location

is made for each stream. This is shown

characteristics were explored in depth,

in the next spreads, that start with

by cycling and walking along the Arno

a map of the stream and cycle route,

river and the Mensola, Affrico, Mugnone

where it was tried to stay as close to the

and Terzolle streams. To capture the

stream as possible. Small detours from

specific layout and the development

the main route are indicated with the

along the course, together with a

red arrow and are slightly desaturated.

simultaneous inventory of interesting

The pictures that do not follow the

elements or dead ends and inaccessible

main direction (e.g. looking backwards

During 10-17

the

visit

September

to 2021

Florence the


or sidewards) are toned desaturated

most Italians did not speak English,

even more, but do not have a red line.

however with gestures, Italian words

They are made on the location of the

and

photograph they follow up on.

questions could still be posed. Since the

translation

applications

basic

amount of gathered information was These routes were combined with small

limited, the relevant aspects have been

conversations with inhabitants in the

incorporated in the text directly and the

form of passerby’s or active riverfront

notes are left out of this print.

users (e.g. fisherman). In general, the language barrier was quite serious as


C.1. ARNO | C.1.1. Centre north


C.1.2. Cascine


Pescaia delle Cascine

Piazzale delle Cascine


Piazzale dell’Indiano

Amphitheatre


C1.3. Le Piagge


Riverbank


Train station


Rail station North side


Ponte all’Indiano

C.1.4. Argingrosso



C.1.5 Isolotto

Riverbank



Riverbank



Riverbank

Gasometer area


Gasometer dead-end


C1.1.6. Centre south


Riverbank Pescaia di Santa Rosa


Ponte alla Carraia


Giardino Martin Lutero

Ponte Vecchio (left)


Riverbank San Niccolò




Riverbank east of Terrazza

Terrazza Riccardo Marasco


C1.7 Albereta | Anconella

Ponte San Niccolò


Ponte Amerigo Vespucci


Anconella plant & park





Riverbank



Ponte di Varlungo


C1.8. Rovezzano | San Jacopo al Girone

Connection to parallel street


Pescaia di Rovezzano




C1.9. Varlungo | Poggi

Parallel street




Pescaia di San Niccolò


Return to Ponte Vecchio

C.2. AFFRICO

Ponte alle Grazie




C.3. MENSOLA



C.4. TERZOLLE




C5. MUGNONE | C5.1. Upstream


Lush green pocket backside 1

Watermanagement

Blocked on other side


Lush green pocket backside 2

C5.2. Middle course




C5.3. Downstream

Riverbed



Looking back from crossroad to Cascine

Fenced along Novoli


C.6. FOSSO MACINANTE


Like all streams, the Fosso Macinante continues into the landscape, where in this case its confluence with the Bisenzio leads along the Parco dei Renai wetlands.

Copyright 2022 Department of the Built Environment at Eindhoven Univeristy of Technology and the Firenze Combined Graduation Studio. All rights reserved. No part of this publication may be reproduced or utilised in any form or by any means, electronically or mechanically, without permission in writing from the author. The information used has been obtained from a variety of sources and the author has done his utmost best to find and refer to these original sources. Eindhoven University of Technology accepts no responsibility for the accuracy, completeness and validity of this information. Any holders of reproduction rights who could not be identified or contacted may notify the author for incorporation in following editions.




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