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
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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
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B
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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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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
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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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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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Figure 398. Detail integrated bench (right)
Figure 397. Facade detail (below)
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A detail of the integrated column-benchplanter combination is shown in Figure 398. The materiality and shading effect of the curved concrete surfaces, combined with the planting that moves along with these curves is shown in the facade section of Figure 397. The experiences incorporated in the design are best shown in a sequence -10
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---7.1. Ponte | Ponte Alla Vittoria Parco---
2
3
8
4
5
6
7
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Figure 399. Impression sequence
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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
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---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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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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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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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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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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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
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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
5.250 1 1e
0 -1.50 0 Beg -1 Co -4.50 5,25 -2 Ga
6,1
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
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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
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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
231
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
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A
A
Figure 435. Roof | Lungarno 1:400
A
A
Opdrachtgever Naam opdrachtgever
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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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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
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A
B
Figure 456. GF | Exposition space 1:400
Opdrachtgever Naam opdrachtgever
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Opdrachtgever Figure 457. South elevation (top) and Fase longitudinal Naamsection opdrachtgever parallel to the Arno (bottom) ELE
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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
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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
10
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exposition space below. This can benefit
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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6
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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
7
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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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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
11
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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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15
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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
11,1
Figure 476. Disused and closed loggia322
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Figure 478. Facade detail (left)
---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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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
3
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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
5
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276
---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
277
8
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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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.
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Figure 490. Reference Linear park west
Figure 491. Analysis existing programmatic and spatial needs
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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
283 Figure 493. Sections across central void, cross section mirrored (top) and longitudinal section (right)
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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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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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which strengthens the frontal expression and three-division. Since the space between
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288
---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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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.
5
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
294
---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
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
304
---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
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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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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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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.