Credits
Professors
Student Committee
Radoslav Zuk
ThemeT I and II
President
Lorenzo Saroli Palumbo
Ricardo L. Castro
Theme III
Vice-President U1
David Auerbach
Vice-President U2
Rubing Xu
Treasurer - Materials
Ruo NIng (Rose) Deng
Treasurer - Printing
Aya Abdallah
Graphics - Coordinator
Patrizia Bayer
- Titles
Xiang Di (Aster) Cai
- Text
Yvonne Liao
Transportation
Alan Adriano MacQuarrie
Accommodation
Yang Yang Chen
Guidebooks
Kamilla Jolicoeur
Manager - Apartment #1
Hagop Sarian
#2
Wei (Rita) Wei
#3
Patricia Johnson
#4
Philippe Saurel
Final Graphic Layout
Cover photo and design
Radoslav Zuk
Map of Venice - courtesy of Istituto Universitario di Architettura di Venezia, Prof. Paolo Ceccarelli, Rector (1986)
Lorenzo Saroli Palumbo
Motto
of Theme I - Urban Sructure and Theme II - Urban Space
OBSERVE
RECORD
ANALYZE
ABSTRACT
INTERPRET
to grasp the architectural essence of the city and thus gain fundamental insights for one's own design work.
Saroli Palumbo
LSP
1
2
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3
2
The basic structure unit of Venice consists of neighborhood building around a campo that is dominated by a church. Since every inch of land is valuable in venice, almost all buildings are connected. The facade becomes, therefore, the most important characteristic feature.
3
In each campo, the church’s front facade stands out from the surrounding environment and becomes the focal point. The sense of orientation is emphasized by the contrast between the front facade and the side facades of major buildings. The front facade is lavishly decorated while the side facades remain plain, as we can see in the basilica Santa Maria Fermosa. Great attention are accorded to these facades in order to maintain the spatial harmony of the city.
A
B
Tripartite division is used for the front facade of churches and major builidings on campi, adapting similar architectural language of Venetian palaces. The tripartite division on the facades reflects the interior spatial organization. For example, a Venetian Neo-gothic basilica consists a central longitidunal passage with annexes on both side; a Venetian palace constains generally a large central room with one smaller room on each side. Moreover, the tripartite division could be observed in the horizontal direction as well.
C
Church San Maurizio
Church Moise
1 1
2
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3
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A A
B B
C C
Church S. Maria Zobenigo
Venetian palazzo in Campo Santi’Angelo
Church Santa Maria Fermosa - North facade
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1. Campo San Angelo
2. Campo Santa Maria Formosa
3. Campo Della Celestia
4. Campo San Zaccaria
5. Campo Arsenale
6. Campo San Pietro
I / 2 / HS
Attached
Behind
Detached
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TOWER TYPOLOGIES & their RELATIONSHIP TO CAMPO
Interpretation Towers represent the main vertical elements of the city and mark places of interest. These towers rise above the continuous horizontality of rooflines and windows, guiding travellers to public buildings and squares. The latter are churches and campi, both crucial spaces in the historic city.
Audible Beacon
Focal Point
Campi are essential in providing citizens with an open space where they can meet and relax. They are a refuge from the maze of narrow streets with high walls. When one reaches a campo, light and air pour in, inviting one to sit down, eat, talk or rest. Streets cut through at every corner. Many people pass by whereas others stay. Moreover, shops and churches often line the edges, allowing theirs users and functions to spill into the open space. Campi are lively spaces that brim with sight, sounds and smells. The majority of Towers are located in or around campi. However, their relationship and role in the campo varies.
Free Standing
Church Connected
The most common tower typology is the one that is attached to a Church. They act as bell towers which not only pinpoint the Churches from a distance but also ring their bells during mass, summoning devotees. In this typology, the Church and tower possess the same architectural language and are clearly identified as being part of the same whole. In the end, towers act as visual and audible extensions of their church. In some rare instances, towers may be free standing. When there is a clear seperation of the tower from the surrounding buildings, it acts more as a focal point in the Campo. Activities and congregations may occur around the tower instead.
Visual Landmark
Passage Point
Another case is when the tower is attached to the wall, such as in the Arsenale. With two of them side by side, they form a gate, effectively seperating one space from another. Instead of gathering people, they restrict them from passing. Finally, some towers tend to be shared and seen between Campi. Their distance from the Campo prevents their active participation in the campo and simply function as visual landmarks; assiting visitors to orient themselves. In conclusion, Campi and Towers reside side by side, collaborating and benefiting one another. They fulfill vital roles in the livelihood of Venetians.
Behind Building
Wall Connected
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12
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5 3
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2
7
8
9
10
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1. San Pietro di Castello
3. Santa Maria Formosa
5. San Giovanni e Paolo
2. San Pietro di Castello
4. Santa Maria Formosa
6. San Giovanni e Paolo
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7. San Angelo
9. San Stefano
11. Ghetto Nuovo
8. San Angelo
10. San Stefano
12. Ghetto Nuovo
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Abstraction
Abstraction 1 : Volumes
Abstraction 2 : Planes
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Interpretation
Each campo of Venice is composed of few components, the whole being enclosed by three major building types caracteristic of the city life. The enclosure of a campo is usually composed of a church, transforming the public place into a gathering space related to the religious activities. The campo has an access to the Venice canal network, these canals often defining a portion of the campo. The other building enclosing the space are mainly composed of houses. The two abstractions represent how volumes and planes define the space. The first abstaction illustrates the relation between the volume of each building, streets and water canals with the open public space. The second abstraction illustrates how the planes of the various surfaces (green = residential, purple = canal, black = streets, red = church) defines the space of the campo. The different colours of venician architecture act as clearly defined planes closing a defined space. The plan of the campi San Pietro di Castello and Santa Maria Formosa shows the presence of a campanile taking part in the definition of the enclosure. Except the campo San Pietro di Castello, each campi have at least one well remaining of an older period in Venice.
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4 3
6
1
5 2
I / 1 / YL
1 CAMPO S. POLO Guardia di Finanza
2 CAMPO S. MARGARITA Residential Building
3 CAMPO DEI FRARI Basilica dei Frari
4 CAMPO S. ROCCO Chiesa di San Rocco
5 CAMPO S. MARGARITA Polizia Municipale
6 CAMPO S. GIACOMO DA L’ORIO Regione del Veneto
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Campi Symmetry in main buildings
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Interpretation Similarities and differences which I observed between the two types of main buildings found in west side campi, religious bulidings and domestic bulidings.
Similarities: - Symmetry - Pediment on entrances - Decorative statues on top of the buildings
Differences: - Religious buildings generally have less windows, while domestic buildings have a number of windows and balconies. - Religious buildings are built vertically, while domestic buildings are mostly horizontal. - Religious buildings have more decorative columns, while domestic buildings’ columns are structural. - Curves can be found easily on religious buildings, such as windows and steps, while openings for domestic buildings are rectangular.
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2
5
1
3 6 4
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1- CAMPO SAN MARCO
2- CAMPO SAN GIACAMO DEL ORIO
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3- CAMPO SAN ANZELO RAFAEL
4- CAMPO SANTA MARGARITA
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5- CAMPO SAN POLO
6- CAMPO DEI FRARI
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FACADE OVERLOOKING THE CAMPO ANALYSIS
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Interpretation A campo is a big irregular open space delimited by surrounding buildings of about 5 stories. They are a social place, bringing together people of all ages and background. An alternative suggestion could be a purely architectural one. Since the buildings are so dense and close together, the campi provide an open space in a compact location which allows light to enter the homes. The windows are set a little higher on the ground floor to provide more privacy. They are vertical and numerous. This is an efficient method to let light in. The diagrams are a visual representation of the different elements present in the campi. They are many similar traits such as churches and wells that are recurrent in the different locations. Nevertheless they each have their own identity that they express through their style, their ambiance, their location, their trees and their shops. The churches are clearly visible from all the campi except for Santa Margarita. They have an imposing presence over the neighborhood. Only a few have trees like Santa Maragarita San Polo and Giacomo Del Orio. CAMPO DEI FRARI AND SAN MARCO
CAMPO GIACOMO DEL ORIO
Legend: Church
CAMPO SAN POLO
CAMPO SANTA MARGARITA
Well
Tree
CAMPO SAN ANZELO RAFAEL
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7 8 9
10 11 12
4 5 6
1 2 3
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1. Campo de l’Anzolo Rafael
2. Campo de l’Anzolo Rafael
3. Campo de l’Anzolo Rafael
4. Campo Santa Margarita
5. Campo Santa Margarita
6. Campo Santa Margarita
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7. Campo San Rocco
8. Campo San Rocco
9. Campo San Rocco
10. Campo dei Frari
11. Campo dei Frari
12. Campo dei Frari
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Chiesa di S. Raffaele Arcangel
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Interpretation Navigating through the crowded streets and narrow alleyways of Venice can seem both impossible and oppressive. The towers that jut out above the skyline act as guides and impose their visibility on nearby campi. For example, the tower of Chiesa Carmini is visible from Campo de l’Anzolo Rafael and Campo Santa Margarita, but is adjacent to neither. Towers are shared by those who see them, and serve as meeting points, viewpoints, clock towers, bell towers, and religious symbols. The tower depicted on the left can be seen from Campo San Rocco and Campo dei Frari, and is attached to the Chiesa dei Frari. The commanding structures can be blinding in the light, suggesting the power of those who built them. The towers often belong to adjoining churches, and as such, imply the strength of God’s wrath and love.
Campo San Rocco
Campo dei Frari
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6
5
4
1
2 3
I / 1 / PB
1. Sotoportego San Zaccaria
2. Calle de la Pietà
3. Rio de la Pietà
1. Sotoportego San Zaccaria
2. Calle de la Pietà
3. Rio de la Pietà
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4. Calle Larga Berlendis
5. Ramo Callle Larga
6. Calle Ruzzini
4. Calle Larga Berlendis
5. Ramo Callle Larga
6. Calle Ruzzini
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non-linear street least contrast least visibility of landmark focus on walls
street with overpass
most contrast most visibility of landmark focus on landmark
linear street canal
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Interpretation Looking towards the sea along the canals and streets of Venice, two main landmarks are visible; the Cimitero San Michele to the north and the San Giorgio Maggiore Church to the south. Both complexes are at roughly at an equal distance from the shore, however the viewing experience is quite different. The sight onto the cemetery, being short in height while very broad in width, is relatively consistent from one street or canal to another in this area. This is due to a minimalistic faรงade, repetition of elements, uniform materials and a contunuous green background. Thus experience is as though the observer is panning along the complex rather than getting quick glimpses of it.
Vistas looking down streets or canals on the southern shore
The view towards the church however, with its tall and narrow dome and tower, is in contrast more punctual, since the vista down one street or canal is very different from the one adjacent to it. Further, these views on this shore of the city are often obscured by people, stalls, large boats or vaporetto stops, making only the tops of the structures visible. Thus, at times it is unclear from within the streets if there is in fact water separating the two islands, while the vista down the canals offer more information on this matter.
Vistas looking down streets or canals on the northern shore
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03 01
02 11
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12
04
08
07 06
05
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Plate 01
Plate 02
Plate 03
Plate 04
Plate 05
Plate 06
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Plate 07
Plate 08
Plate 09
Plate 10
Plate 11
Plate 12
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Interpretation The photographs from this short study reveal through simple compositions the powerful visual impacts of key views towards landmark structures in Venice. Whether these views are strategic, or simply coincidental with the city’s biotic infrastructure, they supply wonderful visual moments throughout the meandering streets and canals of the city. The foremost value of these views is undoubtedly owed to an overall aesthetic harmony which produces a picturesque landscape of built structures. Since there are very few twentiethcentury buildings in the heart of Venice, key landmarks are usually consistent in age and material with the streets and buildings that frame them. Although crucial to the overall architectural analysis, this temporal and material consistency is not merely manifest in its own right, but is instead articulated through fundamental architectonic principles such as geometry, volume, and site placement. We will examine these. function; residential, commercial, civic, academic or religious. sense that Venetian towers mostly belong to churches and basilicas), but for the sake of abstraction we will ignore the obvious architectural associations that each function incurs. The second important distinction is their alignment within the visual framing. Structures may appear to be freestanding if they are placed in a campo for instance, or if they project from a principal building. They can appear to be full within the frame, as many facades do, or simply if the street is too narrow to frame the entire structure. They can appear to be hidden behind on one side of the frame if the street or canal is not aligned with the landmark; often these views are accidental and not planned. Some landmarks appear behind other shorter buildings in the foreground, in which case we may consider them
if the observed structure is perpendicular to the framing street. It will be oblique if it is running at an angle to the street, which is often the case with informal or coincidental views. If a corner planes and the overall volume of the building, we will call this a perspective view. These are often the richest views and produce some of the most interesting visual moments. The fourth and not the least will be rhythm. When structure, changes in volume, and decorative applications. We will call it unique if a pattern or volume occurs once in the structure, as would be the case of a large walled structure where only one opening or projection is visible. It will be continuous if an even and proportional rhythm is developed throughout the surface, and varying, like many palazzos, if the rhythm is inconsistent. It may also be symmetrical, as is the case with many religious, Palladian and civic structures. Among these parameters, many variations and relationships occur. There should be no strict ‘either-or’
material and temporal harmonies. This then becomes a way in which to translate the important views of Venice into universal tools for designing and placing urban structures.
base (or source) of the structure is completely obscured, and only its superior portion is visible. The alignment is often framed in two main setting: the street and the canal. Both are similar from a topographic and people. Canals are often less crowded and provide more
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3 4
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2
I / 1 / RBX
1 - San Giorgio Maggiore Church from the tip of the west side
2 - Le Zitelle Church between two columns along the shore
3 - Santissimo Rendentore Church from a tiny alley
4 - A building that breaks the pattern of the houses
5 - Molino Stucky in harmony with the pier
6 - Human interactions with the Molino Stucky
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Interpretation Looking towards the sea from the west side of Venice, the islands of San Giorgio Maggiore, Giudecca and Sacca Fisola appear. The facade of the buildings on the island is very consistent except for four attractions that are listed on the map at the right. When someone’s view is framed from the alleyways, their views can always be focused on the four landmarks of the island across the sea. They are evenly spaced out and not too extravagant interms of height so the facade as a whole is not overwhelming for the viewers. The alleys are not built intentionally towards them but the buildings are the focal points.
San Giorgio Maggiore Church
Le Zitelle
In terms of the four buildings themselves, three of them are very typical Venetian churches. The one that has been transformed into a hotel at the west end used to be a flourmill which has a very modern facade. There are some other interesting aspects about the views. As the pictures were taken, some interesting views of the island were obstructed by the permanent infrastrctures such as the landpost and the piles from the piers. The other aspect is the human interaction with the pier and the facade of the island. Because of the unique water transportation and the booming tourism of Venice, restaurants, cafes, piers and vaporetto stations were built in a high density. The views originally seen from the alley are somehow blocked. You have to spend money to have the privilege to enjoy the vista.
Santissimo Redentore Church
Hilton Molino Stucky Venice
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3
5 6
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9
12 10
11
FRAMED LANDMARK VIEWS - WEST TOWARDS GRAND CANAL
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1 - San Geremia via Calle Zen
2 - Casino di Venezia via Calle Megio
3 - Tribunale Administrativo via Fondamenta de Ca Pesaro
4 - Palazzo via Rio de S. Maria Mater Domini
5 - Galleria Giorgio Franchetti via Calle dei Botteri
6 - Ca’ d’Oro Vaporetto Station via Calle dei Botteri
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7 - Governmental Palazzo via Rio de la Madoneta
8 - Palazzo Corner Spinelli via Rio de San Polo
9 - Chiesa di San Samuele via Fondamenta Rezzonico
10 - Campanile di San Maurizio via Fondamenta Zorzi
11 - Palazzo via Rio de la Fornace
12 - Santa Maria del Giglio via Traghetto S. M. del Giglio
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The colours refract following the framed rhythm of both the converging facades and the canal.
1 - Framed rhythm
The simplified geometry of the Ca d’Oro is mirrored in both colour and form along both the canal and the converging facades.
2 - Framed reflections
Planar tiling following both the materiality and urban variety of the framing corridor absorbs the essence of the opposite coast through colour.
3 - Planar reflections
An obstruction in the framing corridor brings about opportunities pertaining to the transmission of the opposite coast’s essence, as well as to the further accentuation of the framed convergence.
4 - Linear convergence
ABSTRACTION - SIMPLIFIED GEOMETRIES
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Intervention The abstraction showed how it was possible, through the framing of views along the West side of the Grand Canal, to capture the essence of the East side of the canal, through the reflection and dispersion of basic geometries and colours. Pushing this idea a bit further, it would be possible to create a permanent dialogue between both the East & the West, which would bring the architectural language of one side of the canal to the other. Hence bridging a gap, without interrupting transport or the overall feeling or vista of the canal. All in all, the intervention’s goal would consist in the conservation of the framed views dictated by narrow corridors (streets + canals), as well as the creation of expanding vistas upon the Grand Canal. Through the installation of mirrors along interior streets and canals, this transmission of architectural language and urban essence could be complete, as well as provide the viewer with an opening regarding the upcoming marveks along the Grand Canal. The mirrors would follow both the rhythm of the fenestration and the urban variation, as well as the planar juxtaposition of materiality. This playfulness with regards to the installation of the mirrors would allow for greater design freedom and the option to highly customize these expanded vistas.
Framed rhythm I / 4 / LSP
2 3
4
6
1
5
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1. Framed Vista of CAMPO S. POLO
2. Framed Vista of Two Palaces
3. Framed Vista of Two Towers
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4. Framed Vista of S. BARNABA
5. Framed Vista of CA’ PESARO
6. Framed Vista of GALLERIE D. ACCADEMIA
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Interpretation Based on the observation, the landmark views can be divided into two categories which contains different fferent features: ff •
Combination of landmark buildings which attain following characters: variation in geometries of different fferent buildff ings; variation of distances and angles towards the view point; rigid architectural elements combined with organic natural elements (ex. trees); complexity of geometric compositions.
•
Single landmark building which attains following characters: the richness and brightness in color; unique geometric shapes; complexity of the façade.
In common, the incomplete geometric shape of the framed view and discontinuity of the colors inside the vista make the landmarks distinguishable. The angle and size of the canal and the street also help to frame the view. In this case, the three diagrams analyzes the geometric variation and composition, and the color composition of the landmark views.
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4 5 1
6 7
2 8 3 9 13 14 15
16 17 18
10 11 12
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1. Station Bridge Left - Up Canal
2. Station Bridge Center - Up Canal
3. Station Bridge Right - Up Canal
4. Station Bridge Left - Down Canal
5. Station Bridge Center - Down Canal
6. Station Bridge Right - Down Canal
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7. Rialto Bridge Left - Up Canal
8. Rialto Bridge Center - Up Canal
9. Rialto Bridge Right - Up Canal
10. Rialto Bridge Left - Down Canal
11. Rialto Bridge Center - Down Canal
12. Rialto Bridge Right - Down Canal
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13. Academia Bridge Left - Up Canal
14. Academia Bridge Center - Up Canal
15. Academia Bridge Right - Up Canal
16. Academia Bridge Left - Down Canal
17. Academia Bridge Center - Down Canal
18. Academia Bridge Right - Down Canal
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Station
Rialto
Academia
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Interpretation
Fig. i
Venice’s Grand Canal boasts some of the city’s most spectacular and lavish architecture. At the apex of the city’s wealth and power, it was a sign of great prestige to live in a palazzo along the huge waterway. Furthermore, palazzo’s closer to the canal’s center were a sign of greater stature than those at the edges. Neighboring these majestic palaces are institutional buildings, such as churches and government complexes. One trend evident in the canal’s planning is the placement of institutional buildings on the edges, and rarely in the center. As it was more desirable to own a palazzo in the center of the canal, this trend makes sense. A large basilica (fig. i) sits across from the Piazza, Basilica and Palazzo of San Marco at the far edge of the canal. These two architectural marvels lie at the intersection of the canal and sea, providing a majestic site upon entrance, but not interfering with the desirable living space in the center. On the opposite end of the canal, close to the train station rests another church (fig. ii), the only other religious institution along the waterway. In the center of the canal, there is a government building, the only example of institutional architecture in the canal’s center. Though there are no religious buildings in the center of the canal, nearby church towers often protrude above the palazzos, giving the illusion that they are a part of the canal itself (fig. iii).
Fig. ii
Fig. iii
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8
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1
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1. S. Zulia (Type1 )
2. Palazzo Treves De’ Bonfili (Type 2)
3. C.D. Scuola (Type 1)
4. Palazzo Cavalli (Type 2)
5. Yello Apartment Building (Type 2)
6. Palazzo Grassi (Type 2)
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7. Ca’ Rezzonco (Type 2)
8. Scuola Grande Di S. Rocco (Type 2-1)
11. S. Maria Formosa Cafe (Type 2)
9. Squola S. Rocco (Type1)
10. Campo Del Traghetto Glass Shop (Type 1)
12. Tourist Information Centre (Type 3)
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Type 1
The simple piteched roof with a boxy bottm resembles a shed, and a traditional image of “home�.
Type 2
Type 2 of the analysis is made up by a gable roof and a box; a rectangle plus a trapezoid in terms of the profile
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Type 2-1
Explanation Type 1 is an example of a group of typical free-standings in Venice. This group is characterized by its cubical base and a pyramidal top. The facade is symmetrical, made up of seven elements (six of them are openings, with the door in the bottom centre, and the geometric centre as some religious decoration). The door is often heightened into an arch.
Type 2 categorizes another group of free-standing buildings. Like Type 1, it has a cubical bottom, but its top is a trapezoid. The facade is tripartite horizontally, and they are all equal in length. Also, the floor level is signified by the openings.
Type 2-1 is a sub-group of Type 2. It is a typical palazzo with an additional 2/3 palazzo, and in total, it becomes a 5/3 palazzo. In general, Type 2 is made of a matrix with 3 in the x direction, and ranging from 2 to 4 in the vertical direction. Type 3
Finally, Type 3 showcases a neo-classical free-standing building. Its height is 1/3 of the width, and the facade is divided into three parts, allowing each plane to be read as a squre. The centre of the dome on the roof is above the geometric centre of the rectangle, and its diameter is also 1/3 of the width.
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Interpretation Venice is a city that should be read as a whole. The continuous fabric of ancient architecture stretches along the canals, weaving a long-forgotten poem filled with imagery.
It is rare to find a free-standing building in this town. If one does, one might ponder upon the eeriness of this structure, and eagerly search for the reason why it was built this way. However, in closer scrutinization, it is not difficult to realize that these seemingly lonely buildings actually exist in pairs, across the canals from each other. Venitian architecture and the city planning are often likened to music, with rhythmic facade and melodious waterways. The pairs of free-standing buildings are the male and female voices in an Italian opera, forever separated by the canals, though longing for each other’s presence.
Therefore, the arrangement of free-standing buildings were perhaps inspired by music, mimicing the staccato sung by the hero and the heroine. It is a dialouge, a conversation exchanged by them, and each is a dramatic pause in the romantic encounter.
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1. Giardini Reali (Type 2)
2. Palazzo Cavalli (Type 3)
3. Campo San Agnese (Type 4)
4. Rio Terra Saloni (Type 1)
5. Palazzo Dario (Type 4)
6. Campo San Vio (Type 1)
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7. Palazzo Malipero (Type 4)
8. Campo San Polo (Type 4)
9. Viale G. Garibaldi (Type 2)
10. Giardini Pubblici (Type 2)
11. Parco Delle Rimembranze (Type 2)
12. Viale Piave (Type 1)
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13. Viale Santè Elena (Type 1)
14. Campo Della Chesa (Type 4)
15. Fondamenta Darsena (Type 1)
16. Santè Elena/Maggione (Type 3)
17. Viale IV Novembre (Type 1)
18. Campo Dell’ Indipendenza (Type 4)
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19. Calle Roverto/Calle del Carnaro (Type 3)
20. Campo del Grappa (Type 4)
21. La Marinaressa (Type 3)
Parts of the six sesteri of Venice were explored that included the Eastern part of Dorsoduro, the Southern part of San Polo, San Marco, and the Eastern part of Castello. From my observations after noting down the urban public green spaces encountered during the excursion that the city has very little green spaces, especially in the extremely dense areas that are usually the commercial centers and some residential sectors. The existing greenery belonged to approximately four different categories, type 1 as the typology with up to a couple rows of trees in a wider street, type 2 as official parks constructed by the city, type 3 as green spaces that had belonged to residential palazzos that were opened up to the public, and type 4 as the campos which include greenery. From the twenty-one public green spaces that were surveyed, six belonged to type 1, four to type 2, four to type 3, and seven to type 4.
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1. Giardini Reali
2. Palazzo Cavalli
3. Campo San Agnese
4. Rio Terra Saloni
5. Palazzo Dario
6. Campo San Vio
7. Palazzo Malipero
8. Campo San Polo
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9. Viale G. Garibaldi
13. Viale Sant’ Elena
10. Giardini Pubblici
14. Campo Della Chesa
11. Parco Delle Rimembranze
15. Fondamenta Darsena
12. Viale Piave
16. Sant’ Elena/Maggione
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1. Giardini Reali
2. Palazzo Cavalli
3. Campo San Agnese
4. Rio Terra Saloni
3. Campo San Agnese
Through examination of the plans of the twenty-one urban green spaces, a few observations can be made. Green urban public space are constructed where ever there is enough room to support the greenery, thus there is no particular geometric particularities to the plans of the spaces except that their borders echo the facade lines of their surrounding buildings. It can then be stated that the urban green spaces are constructed according to available space and not according to geometric symbolism. This approach is highly utilitarian, which can also be seen in the paths located in the green spaces. They always cut direct paths into the grass so people do not have to waste time skirting around the green but can directly penetrate and walk through. Most of the green spaces aldo has benches placed strategically to provide the best shadowing and social interaction. Though there is very little available greenery, the Venetians make the most of what they have. It can also be stated that between the four different fferent categories, where they ff differ ffer would be the nature of their geometric plans. The row typology tends to be long and narrow, covering a whole street. The parks typology tends to be of a larger area, while ff the residential ones are usually rectinlinear in plan and the campo typology contains the most variation according to the shape and size of the campo itself.
I / 3.3 / RD
4. Rio Terra Saloni (Type 1)
10. Giardini Pubblici (Type 2)
I / 3.4 / RD
21. La Marinaressa (Type 3)
Upon analysis of the different fferent typologies, there are also similarities that can be extracted from all of the categories. Visually, in ff almost all the urban green spaces, a prevalence of the colours red and green can be seen. The green from the vegetation and red from the bricks of the surrounding buildings provide a pleasant contrast with eachother, bringing colour and thus life into a place for social interraction
5. Palazzo Dario (Type 4)
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Interpretation In an overall map of the Venetian area, even though not all of the city was explored, but it is still evident that the urban green spaces are fairly spread out with a radius of a few blocks. The campo locations appear to be carefully planned and are evenly distributed. However most of the campos explored actually did not have green spaces. Only a few contained trees and other vegetations. The parks are concentrated along the beach, but mostly congregating in Castello and Sant’ Elena, where the developments were made later. The row typology appears where ever there is a wider street for planting and the residential typology is more or less random. Though the four typologies appear different, there are still underlying similarities that can be identified. It can be seen that the Venetians knew of the importance of urban green spaces and incorporated into their urban fabric whenever possible, thus there contained no special geometric relationship. They were planned and constructed whenever possible and convenient.
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Theme II - Urban Space
ARCH 379
Canal Grande
a. b. c. d. e. f.
Patrizia Bayer XiangDi (Aster) Cai Alan Adriano MacQuarrie Kamilla Jolicoeur Lorenzo Saroli Palumbo RuBing Xu
PB XDC AAM KJ LSP RBX
Zattere
g. h. i. j.
Yvonne Liao Patricia Johnsson Hagop Sarian Aya Abdallah
YL PJ HS AA
Riva degli Schiavoni
k. l. m.
David Auerbach YangYang Chen Philippe Saurel
DA YYC PS
Piazza San Marco Piazzetta di San Marco
n. o.
RuoNing (Rose) Deng Wei (Rita) Wei
RND WW
1. Visual Record 2. Location 3. Abstraction 4. Interpretation X. Excursion Sketches
ARCH 519 1. Visual Record 2. Geometric Structure 3. Architectural Elements 4. Interpretation X. Excursion Sketches
II / 1 / PB
II / 2 / PB
II / 3 / PB
Interpretation The area around the northern-most end of the Canal Grande serves as a transportation hub for the whole city. All major types of transportation have terminals in this region; the train stops at the Venezia Santa Lucia station connecting the city to the rest of the country and beyond. The regional busses arrive and depart at the Piazzale Roma bus terminal, while the Venice People Mover connects the Piazzale Roma to the Tronchetto island car park and the Marittima cruise ship terminal. In addition, Piazzale Roma is also a major vaporetto stop, where routes 1, 2, 4.1, 4.2, 5.1, 5.2, 6.1, 6.2, 13 and 15 either depart, end or transit through, transporting passengers to all districts of Venice, the other islands in the Lagoon and the Marco Polo airport. The Canal Grande as well as the smaller canals are also used extensively by private boats, water taxis and boats transporting goods. Moreover, a Traghetto crossing is located at the foot of the train station, which shuttles passengers across the canal and back. This region is further one of the only places where the infrastructure can accommodate road traffic, with the above-mentioned bus terminal as well as short stretches of roadways and major car parking facilities. Lastly, as a result of all other forms of transportation, foot traffic is very high and dense, especially across the bridges as well as along the fundamente and is comprised of both tourists and locals alike. train traffic road traffic Venice People Mover line vaporetto traffic pedestrian traffic trahetto crossing
II / 4 / PB
II / 1 / XDC
II / 2 / XDC
II / 3 / XDC
The uniform color and shape of roofs from three venishing points based on the perspective view.
The variation and similarity in color of the facade along the canal based on the perspective view.
The use of wood locks which forms the boundary between the land and the canal, and the boundary of parking spaces for boats.
Interpretation The visual function of the space is attained by the perspective view which is formed by different fferent architectural and natural eleff ments. The harmony and the contrasts between the buildings along the canal enrich the content of the view. For instance, the uniform color and the similar shape of the roofs, combining with different fferent patterns of the facade gives the uniqueness to each inff dividual building and buildings as a group. Besides, there are dif different kinds of spaces which are provided for natural elements, such as balconies on the façade, the empty space between buildings and flower boxes along the canal marking the boundary between the land and the canal. The first floor of the buildings beside the canal forms a common corridor which provides the path for passengers. This makes the first level of the neighboring buildings sharing similar architectural character, a the same time, variations of the façade are indicated on the upper levels. What’s more, the window patterns of each building vary according to different fferent functions on each floor. This also gives the visual ff richness of the façade. In conclusion, the urban space which is composed of various architectural and natural elements not only provides actual functions based on daily use of the building, but also gives visual joy to the citizens and tourists.
The spaces provided for green elements varies from an empty square to the balconies on the facade along the canal.
The common space on the first floor along the building which provides a corridor for passengers walking beside the canal.
II / 4 / XDC
II / 1 / AAM
II / 2 / AAM
II / 3 / AAM
Interpretation immediate success of the built fabric in Venice is owed to material and temporal consistency, meaning that the age and material makeup of the structures is largely identical and historically concurrent. This analysis stems from the building vernacular which with stucco, stone, or marble cladding. It is worth noting that even those important civic and religious buildings that punctuate the city with elaborate marbled facades have secondary building requirements which are usually addressed in the same vernacular language. New residential buildings in Italy, as I have observed in Milan, also follow the same vernacular: load-bearing brick walls are clad in stucco or stone, and when an opening is required, a stone lintel or frame completes the entire circumference and strengthens the opening. Stucco and stone are usually applied in a way that makes the lintel visible, allowing this structural necessity to become part of the building’s vocabulary. Stucco, brick, and stone are now to be considered as part of the fundamental color palette of Venice. Stucco veneer is usually colored during its mixing and prior to its application. dense autumnal forest. Bright yellows, deep reds, ochre, pinks and washed purples (rarely), brilliant whites, and never green or blue; these are the common colors of the Venetian palazzo, and they are all in harmony with stucco’s clay cousin, brick. As I will describe, this last coincidence makes for an interesting material phenomenon.
When stucco decays, its colors never wash away since they are entirely embedded. Stucco can be stained my moss and water, or it can be bleached by the sun, but it can only leave the material when the stucco chips, falls, and turns to dust. In spite of this loss, the process happily reveals brick and mortar, and therefore the color palette, throughout the inevitable decay of this simple architecture, comes full circle and remains beautifully unique to Venice. In fact, many projects which have lost their be easily left unclad since they remain coherent with the city’s architectural landscape. From an architectural perspective, this cycle transcends the tangible material qualities of the vernacular and becomes instead an active process that has fostered so much of the rustic qualities we associate with Venice. So, instead of trying to prevent this natural decay, it is important to understand how and why it happens, and to integrate it into our material understanding of the city so that we can better design for it. From a visual perspective, scenic moments in Venice will testify to this active material process. From a distance, the color palette and light interactions are consistent and harmonious, although not monotonous. It is the natural aging that allows the variety of structures in Venice to act as one harmonious architectural landscape, and it is undoubtedly the primary source of Venice’s great visual appeal.
II / 4 / AAM
II / 1 / KJ
II / 2 / KJ
II / 3 / KJ
Interpretation The range of colors of the Grand Canal waterfront buildings varies from white to brown, including midtones such as beige, yellow and red. This range of colors is represented by the shift of rectangles changing from light to dark above and below the horizontal line. These warm facade colors stand out against the colder green and blue tones of the water and the sky. This contrast focuses and illustrates the colors of venitian architecture. In Venice, many inland canals open up to the Grand Canal, creating ways of circulation from the Grand Canal towards the inside of the city and vice versa. This circulation shows movement, fluidity and rythmn, which makes the city look as if it is breathing in and out. The openings created in the Grand Canal waterfront elevation breaks the stable and monotonous pattern of buildings. This increases the effect of movement in the Grand Canal elevation and highlights the circulation and exchange between the Grand Canal and the inner city waters that pass through the “buildings’ filter�.
II / 4 / KJ
II / 1 / LSP
II / 2 / LSP
3
2
3
2
√
√
2
1
A
II / 3/ LSP in collaboration with Rubing Xu
Interpretation In order to capture the essence of my designated vista of the Grand Canal, the S. Toma vaporetto station was the only location capable of honestly framing the moment where the Rio di Ca Foscari met the canal. This meeting is an important focal point along the Venetian Grand Canal, where the body of water brings about the intimacy of the city. This tightening and interior curving of the canal can hence be thought of as the city’s epicenter. On a previously completed analysis of the Grand Canal, regarding the evolution of building types following the progression of the canal, it was observed that the extremities of the canal, corresponding to its openings, held a concentration of hotels, where as the heart of the canal was mostly bordered by residential and governmental palazzos. It is interesting to link this classification with the geometry of the canal. As the canal sharply curves, with high offset ratios, this shift in geometry brings about the changes in building types, as well as intimacy. The meeting of the Rio di Ca Foscari and the Grand Canal creates three separate entities, all bringing together different architectural styles and building typologies. Also, commmenting on the geometric offset studies, it is possible to observe that high offset ratios between segments correspond to places of high activity and steeper real estate.
II / 4 / LSP
I* / 1 / RBX
I* / 2 / RBX
4 13
2
8
13
12 8
I* / 3 / RBX | In collaboration with Lorenzo Palumbo Saroli
Interpretation This part of the grand canal is probably one of the busiest places in Venice. It is at the intersection where the canal and the sea comes together. The Accademia Bridge is one of the two bridges that go across the grand canal. It is the main circulation route for the citizens to go from the east side to the west side, vice versa. The tourists (especially in group) crowd the bridge with their phones and glasses. There are at least three vaporetto stations in this part of the canal. Water taxis and gondolas travel through this intersection as well. As mentioned before, because of the unique topography of this part of the canal, one can enjoy the views of the sea, the island across and parts of the architecture pieces of San Marco all at the same time. A lot of Venetian palaces were built on both sides of the grand canal. The height of the palaces varies from 2 floors to 5 floors. The most distinctive buildings within the view are the St Maria of Salute Basilica and the Istituto Veneto di Scienze, Lettere ed Arti. The latter building is a very typical example of the Venetian palaces with a garden inside.
I* / 4 / RBX
II / 1 / YL
II / 2 / YL
II / 3 / YL
Interpretation Located at the South-West side of Venice, Zattere is an area with significantly less tourists comparing to the rest of the city. The buildings are mostly residential, with restaurants on the ground floor occationally. Warm colour tones such as red and yellow are used for the facades of the buildings, which show contrasts with the green, blue of Canale della Giudecca. Across the canal sits Isola della Giudecca, where iconic builidngs like Mulino Stucky (old flower mill), San Giacomo, and La Zitelle. From the point of view where I was sketching, Chiesa del Redentore is the tallest, and the most prominent architecture on the island. In my abstraction, the dark red starts from Chiesa del Redentore and fades out to the distance.
II / 4 / YL
II / 1 / PJ
II / 2 / PJ
II / 3 / PJ
Interpretation Just before the vaporetto stop Spirito Santo, the Accademia di Belle Arti di Venezia sits at the site of a former hospital for incurable diseases. The Accademia and the Giuedecca Canal frame the sketch, while the Chiesa della Zitelle is visible in the distance. The fondamenta narrows near the Accademia, and most of the foot traffic is made up of art students lugging their portfolios to and from the university. Tourist traffic comes in waves, timed with the vaporetto’s schedule. Inside the Academia, a central courtyard unites the social spheres of both students and professors. The cafÊ, located off the left entrance of the courtyard, serves students who sit and eat while other students simultaneously work on their projects from open workshop spaces adjacent to the courtyard.
workshops and studios
courtyard arcade
II / 4 / PJ
II / 1 / HS
II / 2 / HS
The Venetian Colour Wheel (Morning to Night)
West
East
II / 3/ HS
Interpretation Colours are everywhere in Venice, from the natural tones of brick, stones and marble to the vibrant palettes of Stucco. One stumbles upon this rich diversity of colours by moving through the narrow streets and canals. However, the most astonishing hues of Venice emerge when one walks along the waterfront. Here, one can really notice the gradual shift in coloration as the sun moves from East to West. The reflection of the water is the most spectacular aspect of the vista, perpetually mirroring the shades of sky. Zattere is one such place where water and sky dominate your view. Dusk is a truly magical moment where the colours of distant buildings melt into a single dark outline. All in all, the colours of Venice are best experienced at different times of the day; each hour painting with its own palette.
II / 4 / HS
II / 1 / AA
II / 2 / AA
II / 3.1 / AA
II / 3.2 / AA
Interpretation The area studied is the Punta della Dogana. It’s the tip of the Dorsoduro district on the island. It has a strategic point because it links the Grand Canal and the Giudecca Canal. It is adjacent to the Dogana da Mar, and Santa Maria della Salute. It is diagonal from the Piazza San Marco. The land is particular because of its organic shape. It has unusual angles that end up in a narrow tip. Gondolas are used to cross the Grand Canal. In the beginning of the 15th century, it was used for docking and customs. The temporary stocking structures were then replaced by the Punta Dellla Dogana building. The place was recently restored by Tadao Ando. Some concepts remain from the old building but new ideas are introduced: big hallways, skylights‌ Today, after many years of abandonment, it is a great exhibition space for the Francois Pinault foundation.
II / 4 / AA
II / 1 / DA
II / 2 / DA
II / 3 / DA
Interpretation The Giardini Biennale area of Venice is at most times an escape from the hectic scramble of tour groups and salespeople in more central areas. There is a beautiful garden, quiet cafes, and fewer tourists than most other zones of the city. This calm; however, is only temporary, as the gardens serve host to the famous Venice Biennales. Pavilions and exhibitions fill the area, and with them, come the tourists. Currently, in late-May, Giardini Biennale still feels quiet, with the majority of foot traffic belonging to locals. Along the water, there are very few pedestrians, and walking into the residential core, the density cannot compare to the more touristic areas, like Piazza San Marco. It is interesting to walk from the Giardini Biennale area into Piazza San Marco, and observe the gradual changes in atmosphere. Starting at the gardens, the walkway is almost empty; there is a lone cafÊ and very few other businesses. Crossing the first bridge, there is a greater presence of restaurants, and more people who appear to be visiting the city. Continuing on, street vendors appear, attempting to sell cheap goods to unwise tourists. Approaching San Marco, restaurants and shops geared towards tourists fill the ground floor of almost every palazzo. The streets are dense with crowds of people, making it difficult and uncomfortable to navigate. Finally, in San Marco, there is chaos. Swarms of tourists gather in packs to take photos of anything that will fit in their viewfinder. There are lineups upon lineups to see the basilica and palace, and pushy vendors desperately attempt to sell everything from children’s toys to fake Louis Vuitton bags. Though the foot traffic in the Giardini Biennale area will not be this intense during the exhibition, there will certainly be a drastic increase, making it all the more difficult to escape the mayhem of the central city. The photos on the left show a progression from Giardini Biannale to Piazza San Marco, and illustrate the respective densities in foot traffic.
II / 4 / DA
III / 12 / YYC
YYC III // 21 // YYC
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Interpretation The city of Venice represents a rich urban landscape. Gothic styles were adapted to create a new kind of Venetian Gothic art and architecture that celebrates lightness and colors. Along the seashore, builidngs vary on height and color. In general, the ground floor is used as restaurants and shops while the upper floors remain residential. However, some of the buildings were converted into hotels when tourism started to flourish in Venice. Large boulevards could accommodate tourists as well as merchants. Walking along the seashore offers beautiful vistas towards the other side of the island. The brilliance of sunlight dances on water and marble celebrating the splendour of Venice. Colors play an important role in the Venetian architecture. The use of colors on the facades creates interesting rythme and visual experience. As contrast to other Italian cities, Venetians layer and blend colors to achieve a flowing richness. The rythme of gothic architecture, the laughter from restaurants, the admiration of tourists and the motor of ships become a musical composition. Everything makes Venice one of the most visitedcities by tourists from all around the world.
III/ /54/ /YYC YYC
II / 1 / PS
II / 2 / PS
II / 3 / PS
Interpretation
The monochrome planes show a rythme in the repartition of buildings and planes, according to the three perspective points.
The three sections of the abstraction correspond to a separation of the facades composing the Riva degli Schiavoni. In order to follow the curvature of the Canal di San Marco, the perspective point have been modified at three places. The three sections formed by the perspective change correspond to three series of buildings being light grey, burnt orange and finally light grey. In the background, the pyramid of San Marco’s campanile is clearly distinguished from the blue plane of the sky. The water is presented with the below plane. The abstraction shows an alignment of building according to their section, the cornices and balconies of the buildings always being aligned as we can see on the picture, to give a feeling of order to the street composition. An emphasis is put on the green pyramid of the campanile, this volume in reality always distinct from its surroundings.
The plan show the three sections of building, in relation to three random point representing the point of the perspective drawing.
The plan shows the area presented in the perspective drawing, the three sections regrouped according to their perspective
II / 4 / PS
II / 1 / RD
II / 2 / RD
II/ 3/ RD
II/ 4/ RD
II / 1 / WW
II / 2 / WW
Elevation of the Library
Elevation of Doge’s Palace Ionic Column
The Library is of Renaissance
A typical Renaissance arch
architecture with a balcony
found at the library, making
having openings like a Renais-
up the arcade
sance arch
Byzatine Column
Byzatine Column
with a rectangular
with an octagonal
base
base
A window be-
Similar to the
There are two sets of free
hind a Renais-
Renaissance
standing columns at the
sance arch. It
arch window,
Piazzetta. The first pair signify
is divided into
the Gothic
the entrance into the City
two sections
arch window
from the sea, and are much
vertically, and
share the
taller, of classical orders. The
eight horizon-
same princi-
other pair stand in front of the
tally
ples.
church, and it is quite rare be-
The balcony of Doge’s Palace
A larger Gothic arch found on
cause of its rectangular shape.
having openings in the shape
the 1st floor of Doge’s Palace
Both columns are monumen-
of a Gothic arch
tal, acting as the landmarks of the Piazzetta. A window
A window be-
inserted in a
hind a Vene-
Renaissance
tian Gothic
Another typical balcony shape
A Venetian Gothic Arch found
arch open-
arch with
found on the tower as well as
on top of the Gothic arch on
ing, with one
decoratibe
the facade of the church
the 2nd floor
part of a semi
elements
circle, and
and iron bars
two operable
on the glass
rectangular
panels
parts at the
II / 3 / WW
Interpretation Studying from the architecture enclosing the space of the Piazzetta, one finds an array of styles, including Renaissance, Gothic, and Venetian Gothic. The Library best examplifies Renaissance architecture. Its facade is made of an arcade of Renaissance arches, which can be abstracted into a semicircle on top and a rectangle at the bottom. The composition contains an ionic column sitting on top of another, inspiring a sense of rigor; however, the top arch is smaller in size, as it is set back by a set of smaller columns. This alteration creates a sense of lightness, hinting the growth of the architecture. The Doge’s Palace, on the other hand, can be understood as a later intervention. It is of Venetian Gothic style, somewhat a mix of Gothic and Moorish architecture, and it may be a response to the monumental Renaissance architecture across from it. The facade is composed of one Gothic arch at the bottom, and two smaller Venetian Gothic arches on top (indicated by the diagram). The top arches are half the size of the bottom one, and the middle column lands on the top of the bottom arch. This illustrates how the weight is transferred. Also, the Venetian Gothic arch is constructed as follow: two circles are drawn side by side to each other, and they are divided into eights. The outline first follows the 1/8 circumference of the circles, and when it gets to the point of inflection, it changes the curvature direction. The geometery can be simplified as two circles on top of two triangle. Finally, the special quality of the Piazetta comes from the eclectic archiecture styles co-existing in the same place. Tradtionally, the Piazzetta was used as a place of observation of execution and other ceremonies. Each different architectural style represents its own history, and now, although the place is mainly occupied by tourists waiting for entrance into the church and cafes underneath the library, it still retains its function of a stage-set. The historical back drop of classical architecture strongly contrasts with modern day people, but the meaning of the architecture is also given by them. The crowd and the bustling noises redefine the space, bringing one’s imagination to early 13th or 14th century, when Venice was once a busy port for trade. In Venice, not only does the architecture enlighten people, but people also enliven the architecture.
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Themes I and II - Excursions Vicenza, Rome and optional destinations
II / X Excursion Sketches
ARCH 379
Patrizia Bayer XiangDi (Aster) Cai Alan Adriano MacQuarrie Kamilla Jolicoeur Lorenzo Saroli Palumbo RuBing Xu Yvonne Liao Patricia Johnsson Hagop Sarian Aya Abdallah David Auerbach YangYang Chen Philippe Saurel
PB XDC AAM KJ LSP RBX YL PJ HS AA DA YYC PS
ARCH 519
RuoNing (Rose) Deng Wei (Rita) Wei
RND WW
II / X1 / PB
II / X2 / PB
II / X3 / PB
Excursion Sketch of Torchello Church
II / X1 / XDC
Excursion Sketch of Brion Cemetery
II / X2 / XDC
II / X3/ XDC
II/ X1 / AAM
II / X2 / AAM
Basilica di Santa Maria degli Angeli e dei Martiri, Roma
Piazza del Popolo, Roma
II / X1 / KJ
St. Peters Cathedral, Vatican
MAXXI Museum, Roma
Palazzo Barberini, Roma II / X2 / KJ
II / X1 / LSP
II / X2 / LSP
I* / X / RBX
I* / X / RBX
II / X1 / YL
II / X2 / YL
Torcello
II / X1 / PJ
Burano
II / X2 / PJ
Rome
II / X3/ PJ
II / X1 / HS
II / X2 / HS
MURANO
VICENZA
VICENZA
II / X1 / AA
ROME
ROME II / X2/ AA
Torcello - Church of Santa Fosca
Burano - Canal View
Burano - Window Detail
Verona - Hillside
II / X1 / DA
St. Peter’s Square During Sunday Mass
Coliseum
Piazza del Popolo
II / X2 / DA
II / X1 / YYC
II / X2 / YYC
I / 6.2/ YYC
II / X3 / YYC
II / X4 / YYC
Burano with the campanile in background
Church Santa Maria e San Donato in Murano
II / X1 / PS
Palazzo Barberini in Rome
Piazza del Popolo in Rome
II / X2 / PS
II / X1 / RD
II / X2 / RD
II / X1 / WW
II / X2 / WW
Excursion Sketches Page X1 showcases the plans and front elevation sketches I did while visiting various sites on our excursions. There are the Teatro by Palladio (top left) and his most prominent villa (top right) in Vicenza, an early Romanesque church in Torchello (bottom left), and Brion Cemitery by Carlo Scarpa (bottom right). Page X2 includes a number of sketches of Brion Cemitery, illustrating its harmonious landscape design, unique incorporation of geometrical shapes, and meticulous attention details. Finally, page X3 contains the documentation of our trip to Rome, including various buildings by Bernini and Boromini.
II / X3 / WW