TheStreet&TheWater

THE STREET & THE WATER Via Lungara: a return to the river

Vanessa Lazzerini

LE CITTÀ DI ROMA Graduation Studio Architecture 2015-2016

COLOPHON © July 2016

The research described in this thesis is part of a joint publication by students of the graduation studio ‘Le città di Roma’.

The studio has been jointly initiated by the chair Rational Architecture at Eindhoven University of Technology chaired by prof. dipl.-ing. Christian Rapp and dipl.- ing. Haike Apelt, Politecnico di Torino chaired by prof. dr. arch. Silvia Malcovati, Ricercatore in Composizione Architettonica e Urbana, Prof. Dr. Arch. Paola Gregory, Dipartimento di Architettura e Design and Sapienza Università di Roma, Facoltà di Architettura chaired by prof.

Rosalba Belibani, ricercatore e docente di Progettazione Architettonica, Prof.

Giuseppe Strappa.

Eindhoven University of Technology Department of the Built Environment De Groene Loper, 6 5612 AZ Eindhoven T: +31 (0) 40 247 9111 Politecnico di Torino Dipartimento di Architettura e Design Viale Pier Andrea Mattioli, 39 10125 Torino T: +39 (0)11 090 6655 Sapienza Università di Roma Facoltà di Architettura Piazzale Aldo Moro, 5 00185 Roma T: +39 (0) 649911

Alla mia famiglia, a Jacopo e a Poldo

Abstract

The street and the water. Two key elements in many cities, one of these is our eternal city, Rome.

Two elements that very often have seen their events influence each other . So many cities owe their development to the courses of water, which are energy source, sustenance and communication. River Tevere has always been a place where big architectural construction lean out near small habitation.

In river Tevere coexist the past, the present and the future and it evolves like a big creature. Its appearance radically changed after the construction of the two huge parallel embankments, called “Muraglioni�, located at the sides of the urban section of the river. Nowadays, river Tiber is afflicted by a disconcerting lack of urban life, as if the river would just be a stranger presence, forced to a fast passage through the city. The radical cut brought by the edification of these embankments relieved the nightmare of the floods, but on the other hand swept away a fabric of events and social, economic and architectural interlaces which used to elevate and keep vital a very well delimited urban concept.

Contents

9 11 15

21 23 27 35

43 45 49

57 59 70 87

1. Introduction

1.1 Le CittĂ di Roma

1.2 Research question

2. The Street

2.1 Historical introduction

2.2 Features and functions

2.3 The development of the modernist street

3. The Water

3.1 Water: the genesis of settlements

3.2 Functions and Waterfronts

4. Via della Lungara

4.1 History

4.2 Architecture 4.3 Historical pictures and drawings

95 97 103 107 109

115 117 125 148

155 157 161 166 175 184 202 210 215

5. The Tiber and Rome

5.1 Developments and events

5.2 Proposals for the scourge of floods 5.3 The watermills 5.4 Change of morphology

6. The house: the structure of anthropic space

6.1 Urban pattern

6.2 The Italian Gothic House 6.3 Townhouses

7. Alternative scenery 7.1 Comparison

7.2 Collage 7.3 Concept

7.4 Fronts

7.5 Modules

7.6 Scenery

7.7 Structure

7.8 Conclusion

1. Introduction

Introduction | 9

1.1 Le Città di Roma

The Graduation Studio “Le città di Roma” represents a group effort to undertake a study of the city of Rome. Conducted research is a result of a collaboration between students from Eindhoven University of Technology, Politecnico di Torino and La Sapienza di Roma. Roma, located in the center of Italy, is full of contrast. It is the largest city of the country and the capital of the region of Lazio and Italy. It is also the fourth of the major European capitals.

Founded, according to tradition, on April 21st 753 BC, in the course of its three millennia of history, it was the first great metropolis of humanity, the heart of one of the most important ancient civilizations, which influenced society, culture, language, literature, art, architecture, philosophy, religion, law and customs of the following centuries. The territory on which the city was founded and developed has a complex geological history and this changes also the orography of the territory. The city is also crossed by the rivers Tiber and Aniene, whose activities contributed to the erosion of the reliefs and the characteristic sedimentation of the current territory.

In this story, the street is the key lecture element that we have used to read the city. The streets are strictly linked to the major actor of this story and they represent the development and the morphology of the city.

Introduction | 11

Image 1.01: Nolli map, 1784

12 | Introduction

8 streets, 8 cities.

The ancient Roman road network was a “system” of great importance to the administration of the conquered territories and for the affirmation of political, economic and cultural influences. The numerous archaeological finds and historical sources testify that territorial conquests and road construction went hand in hand.

Perhaps no aspect of Roman civilization is as emblematic as the road. Other people were great organizers and fighters like the Romans; other peoples, like them, have left impressive architectural and artistic treasures: however, no one has ever attempted to “cage” the world with such an amazing road network as the Romans did. As futuristic as the quality of those works was, we can wonder how it remained outstanding until the sunset of the ancient world: we must wait for the second half of the twentieth century, with the highways, to come back to the realization of similar concepts to those in Rome. In fact, the consular roads favoured the straight, faced directly gradients, avoiding drawing winding roads; and therefore they required colossal works such as bridges, arches, tunnels excavations, and rocky shores cuts. The names of Roman roads often reveal the original purpose for the most part. However, their name reminds the one who promoted its construction.

The eight streets chosen reflect the attitude of the city of being constructed around the roads. Each street has in itself a different morphology and a way to develop according with the historical period, functions, social and economic background. We will now investigate in this in order to find out some important theme that will conduce to different projects for the city of Rome.

Introduction | 13

1.2 Research question

This thesis compares two issues strictly linked between each other and very important in the city of Rome.

The street and the water. For the first issue the research question is: what define s the space of the street?

The traditional street is defined by an urban space inside the city, capable to morphologically integrate each architecture, which expresses his characters and his identity, as we can also see in the squares. Po street in Turin could be an example of a traditional street. The street has always been an urban element closely linked to human necessities and during the centuries it has changed along with them. With the industrial revolution radically change the original prerogatives of this element.

Its new role is the technical space, with the fundamental necessity of satisfying car circulation. This phenomenon also involves Lungara street, analysed in the Atlas.

There are many characters, both architects and urbanists, who, since the last decades of the XIX, have given design solutions to this problem. For Example, Hausmann, in his 1853 Paris renovation plan, among the new network of streets and squares, stresses the connection appearance than the architectonical background. The longitudinal dimension is so emphasized with respect to the transversal one that the open space/ building ratio, the proportion between the length and the Introduction | 15

16 | Introduction

width of the street is no more architectonically perceptible.

Otherwise, Ildefonso Cèrda, with his 1859 Barcelona enlargement plan, perceives the split that is opening between the two classical own functions of the streets: the stillness and the movement. His solution aims to decidedly divide these functions: he wide n s the streets in order to fit them for the spreading traffic and re-thinks the public spaces for meeting and social exchanging within the block. The French urbanist Eugène Hénard shows us another example. In the relation “The Future Cities”, presented at the 1910 International Urbanistic Congress, he suggests a city divided in levels, would be able to solve the traffic problem of Paris was affected by. As we can see in the illustration of “The Road of the Future”, some level are located underground, and Hènard himself is the first to introduce the new concept of an artificial level. Finally, Le Corbusier, in the twenties of the XXth century, perceives by intuition the actual importance these changes are creating in the concept of the traditional city. The solution he proposes in “Le ville radieuse” is a clear distinction between motorways and the rest of the city, finding a solution for the technical side of the movement. In chapter two will be analysed other fundamental aspects of the evolution of the street.

There are some important sub-questions in order to further analyse the theme with respect to Lungara Street.

Which are the minimal elements that let us perceive the street as an urban internal space?

Why can’t we feel it in Lungara street?

What can we do today?

Image 1.02: Le Corbusier, La Ville Radieuse, 1924

Introduction | 17

The strong connection between the actual connotation of the street and his relation with the river led to ask for a second “research question”, because in Lungara street the answers could be linked to each other.

Is it possible to create a riverfront both safe and habitable at the same time?

The need for an embankment is obviously of a great importance for the city of Rome, which witnessed many floods in its history. One of the most dramatic took place on December the 28th, 1870: these floods were seventeen meters high. After that, the construction of the “Muraglioni” was decided. This solution gives rise to the creation of a physical and visual hedge, furtherly stressing the natural division the river already represents for the city. (They?) Will be analysed in some study cases where ( studies case in where a similar situation to the roman one has been solved by different approaches. For example brothers Adams’ Adelph Terraces built in London from 1768 to 1772. It was made of twenty four neoclassical raw house blocks along the bank of the river Tames. There’s an elevated basement whose task is shielding the buildings from the floods, with internal spaces deputated to river business trades. Another current example, still working today, is the “Murazzi” in Turin. Built from 1872 to 1877 in order to protect the city centre from the river Po floods, they have internal spaces that until the late fifties of the XX century were used for fishing boats garaging. Nowadays, there are pubs, discos and other young people facilities instead.

An alternative approach will be to propose for the Lungara street. The intent will be to return a front built to the street who will be liveable and secure at the same time. The express way is located underground, the street

18 | Introduction

comes back to be an urban internal space with two built fronts, one of them directly approaching to the river Tiber.

It will be analyzed the residential typology which is already present in the street and from here it will start a new compositional process to the new front. We will then respect the vertical distribution of the Gothic House and at the same time to use the northern European type of the townhouse adapted to the Italian culture.

The two fronts built (the street and the water) will be treated in such different way and autonomy, the contradiction will be that along the river we try to maintain the monumental of the big wall instead the front of the street will try to pander the variable rhythm of the houses already built. New paths and links will try to return the lost dialogue between the city and the river.

Image 1.03: Historical drawings of Lungara street view from river Tiber before the construction of embankments, 1754

Introduction | 19

2. The Street

The Street | 21

2.1 Historical introduction

“There are three kinds of scenes, one called tragic, second, the comic, third the satyric. Their decorations are different and unlike each other in scheme. Tragic scenes are delineated with columns, pediments, statues, and other objects suited to kings; comic scenes exhibit private dwellings, with balconies and views representing rows of windows, after the manner of ordinary dwellings; satyric scenes are decorated with trees, caverns, mountains and other rustic objects delineated in landscape style.� 1 The classification of streets could start with Vitruvius and his description of the three street scenes for use as the backdrop in a theatre. It was Sebastiano Serlio who interpreted these three street types by the principles of perspective construction in the Seven book of architecture (1537-1545). The scenes depicted by Serlio are a Classical form of architecture for the tragic scene, Gothic for the comic scene and a landscape outside the city for the satyric.

Before Serlio, both Leon Battista Alberti and Andrea Palladio distinguish two main types of streets, those within towns and those that run between towns. In speaking of

1 VITRUVIO, The ten books of Architecture, (trans. Morris Hicky Morgan), Dover Publications, New York, 1960, p.150

The Street | 23

Image 2.01: The tragic scene

Image 2.02: The comic scene

Image 2.03: The satyric scene

24 | The Street

streets that connect towns Alberti says: “Highways in the country receive their greatest beauty from the country itself through which they lie, from its being rich, well cultivated, full of houses, and villages, affording delightful prospects, now of sea, now of a fine hill...”2

Palladio takes up this theme suggesting that “the ways without the city ought to be made ample, commodious, having trees on either side, by which travellers may be defended from the scorching heats of the sun, and their eyes receive some recreation from the verdure.”3 He particularly commends the Via Portuense as having “the utmost beauty and convenience, which led from Rome to Ostia; because [...] it was divided into streets; between the one and the other of which there was a course of stones a foot higher than the remaining part of the way, and which served as a division: by one of these ways people went, and by the other they returned.”4 This then, is the model for our great highways that sweep through the landscape, a subject outside the scope of this present work.

When Alberti turns to discuss streets within the town or city he again distinguishes two broad categories that follow on from the Vitruvian tragic and comic theatre scenes. Alberti recommends that streets when they enter a town should, “if the city is noble and powerful’ be ‘straight and broad, which carries the air of greatness and majesty”. Though if the town is small he suggests that ‘it 2 LEON BATTISTA ALBERTI. Ten Books of Architecture (trans. Cosimo Bartoli (into ltalian) and James Leoni (into English) Tiranti, London, 1955, Book VIII, Chapter l , p.l62 3 ANDREA PALLADIO, The Four Books of Architecture, Dover Edition, New York, 1965, Third Book, Chapter III, p.60 4 ANDREA PALLADIO, The Four Books of Architecture, Dover Edition, New York, 1965, Third Book, Chapter III, p.61

The Street | 25

will be better and safe to have them wind about’ and, in the heart of the town, “it will be handsomer not to have them straight, but to have them winding about several ways [...] by appearing longer they will add to the idea of the greatness of the town.”5 Palladio’s ideal for the town or city street is quite clearly the straight, regular, Classical model: “A straight street in a city affords a most agreeable view, when it is ample and clean; on each side of which there are magnificent fabrics.”6 The streets are the formal, military routes - an extension of the regional roads leading to the city. Palladio concentrates on military routes, and as for the other city streets, “ [...] the more they shall be like them, the more they’ll be commended.”7

5 LEON BATTISTA ALBERTI. Ten Books of Architecture (trans. Cosimo Bartoli (into ltalian) and James Leoni (into English) Tiranti, London, 1955, Book IV, Chapter V, p.75 6 ANDREA PALLADIO, The Four Books of Architecture, Dover Edition, New York, 1965, Third Book, Chapter I, p.58 7 Inspired by C. MOUGHTIN, Urban design, Street and square, Edition Elsevier, Oxford, 2004

26 | The Street

2.2 Features and functions

“The streets that are placed in the city plan according to the demands of traffic, construction, health and beauty, as well as streets that have become historical, are outwardly distinguished by their names, in which something of their character is expressed.” 1

Term such as street, path, avenue, highway, way, route, have been used almost interchangeably. lt would be possible to extend this list to include other words such as, road, boulevard, mall and promenade, which have similar meanings. In every city there may be personal surname as the “Graben” in Vienna and Prague, the “Linden” in Berlin, the “Kuckelke” in Dortmund, “Unter Fettenhennen,” “Im Laach” in Cologne, the “Büchel” in Aachen, the “Zeil” in Frankfurt, the “Treille” in Geneva, the “Canebière” in Marseilles, the “Corso” in Rome.

The road through the centuries has often combined two fundamental urban living needs, stay in one place and move through it. For on the one hand the street clearly belongs to the history of architecture and urban design in the strict sense of physical fact. The street could be consider an entity made up of a roadway, 1 J. STÜBBEN, City Building (Der Städtebau), Edition Vieweg, Köln, 1890 (trans.

Adalbert Albrecht, published by Julia Koschinsky and Emily Talen, Part 2, Chapter 2, p. 67)

The Street | 27

Setting the In bup the street beyond the top of the ridge. interfering with city expansion however, it is far better to le 35 unpleasant effect of the unavoidable the unsightlyridg eff changing the by curving the street (fig.of118), or by ben of the ridge dividing it at the top offor the ridge (fig. wi 11 the street beyond the top of the ridge.

In plans into the line the building city expansion however,Setting it is far better to lessenline the farther back,of withridge the traffic, maymay also be helpfo unpleasant effect of theinterfering unavoidable eitherfork charming, groun the 118), unsightly (fig. or 118, 121). The by curving the street (fig. or byeffect bending Curving the str changing the direction of the street at dividing it36at the top ofofImage the ridge (fig.

119, 120).

2.04: Street and sidewalk width Figs.

123 & 125 under certain co ofStreet the ridge will and sidewalk widthperhaps Setting the building line farther back, without bring the alte all. or Theandivis intomay the also line help of another street int interfering with the traffic, to lessenat place, by forking (fig.

120), or in a perpendic fork may be formed; in short, another, the unsightly effect (fig. 118, 121). The necessity emphasizing summit oftop the city-plan ridge thattak th charming, grouping of the of changing the direction of thethestreet at the is closed.

In street order to do is advisab Curving makes the itslope less of the ridge will view perhaps bringthe the altered partthis Figs. 123 & 125 slope with a street intersection or widening of under certain it ceases to be no intoandthe linewidth of another street or anconditions interesting Street sidewalk a suitable fountain, monument, at all.

Theanother, division may belook-out either inmoun a ho fork may be formed; in short, perhaps possible.

As an example may be mentioned the place, bycharming, forking (fig.

120), or in a perpendicular plane by so develop grouping of the city-plan takes place. theridge Sachsenring Cologne, where a ple emphasizing the the summit ofmakes the that the rests there and the Curving streetwith the slope lessineye striking; placing a mound, which is to serve as the site Figs. 123 & 125 view is closed. In order to do this it is advisable to combine the summ under certain conditions it ceases to be noticeable Street and sidewalk width of may the or slope (fig. in 122).

A street much so finer example slope with a street of the that the ere at all.

The intersection division bewidening either a horizontal the Place de l’Etoile in Paris which stands nots suitable monument, look-out terrace, place, by forking (fig. a120), or infountain, a perpendicular plane by so mount, developing andor something streets directed towards it but also at their sum possible. an example mentioned thethe connection emphasizing the summit of theAs ridge that themay eye be rests there and farther of the Karoli thethis Sachsenring in Cologne, where pleasingofeffect view is closed. In orderwith to do it is advisable to combine thea summit the has been prod b) Cross Sections placing a mound, which is to serve as the site of a monument, on the slope with a street intersection or widening of the street so that the erection of The value andhowever rank of a is city is mos of the slope (fig. 122).

A much finer example thestreet triumphal a suitable fountain, monument, look-out mount, terrace, or something similar of its transverse profile.

Hence the choice of t Place de l’Etoile the in Paris which of stands not only at the terminal poin possible. As an examplethe may be mentioned connection the Karolingerring 11 the solution ofsummit. which all(Compare local streets directed towards itin but also athas their fig. 369mu with the Sachsenring in Cologne, where a pleasing effect been produced by conditions Apart from walks passages placing a mound, which is to serve as the site of a monument, onand the glass-covered summit full width, and should be so as far as possible of the slope (fig. 122). b) ACross muchSections finer example however is the triumphal arch on insignificant lanes and “courts” which are provi the Place de l’Etoile in Paris which stands only thestreet terminal point of the The value andnot rank of aatcity is most clearly expressed in the tr 11 the middle, all city streets up to from 25 to 30m streets directed towardsofitits buttransverse also at their summit.

(Compare fig.of369 profile.

Hence the choice the ).latter is an important p a roadway in the middle and a sidewalk on eit in the solution of which all local conditions must be carefully taken into an exceptionpassages either bywhich pavingare thehorizontal whole surface Apart from walks and glass-covered acro b) Cross Sections separating the sidewalks from the roadway, like full of width, should beclearly so as expressed far as possible their length, as wel The value and rank a cityand street is most in thealong treatment and Milan, where the streets are with pavedone with lanes and “courts” are provided merely flatrug of its transverse profile.insignificant Hence the choice of the latterwhich is an important problem, all city streets from 25 to 30m width are usually divi in the solution of whichthe allmiddle, local conditions must up be to carefully taken intoinaccount. roadway in the middlewhich and a are sidewalk on either side.

Some Italian cit Apart from walks and aglass-covered passages horizontal across their 11 See also: Conty, A. Du nivellement des rues. Gaz. Des arch. Et d an exception either by paving the whole surface of the street full width, and should be so as far as possible along their length, as well as very with marble the sidewalks from the roadway, like insignificant lanes and separating “courts” which are provided merely with one flatGenoa gutterand in Palermo, or, li andupMilan, where streets are paved with rubble-stones the middle, all city streets to from 25 tothe 30m in width are usually divided into in which, an a roadway in the middle and a sidewalk on either side. Some Italian cities form an exception either by paving the whole surface of the street with marble without 11 See also: Conty, A. Du nivellement des rues. Gaz. Des arch. Et du bat. 1875, p. 106, 113, 134, 137.

Figs. 126 - 134 separating the sidewalks from the roadway, like Genoa and Palermo, or, like Turin Street cross-sections and Milan, where the streets are paved with rubble-stones which, and onsection the Imagein 2.05: Street and cross 28 | The Street 11

See also: Conty, A. Du nivellement des rues. Gaz. Des arch. Et du bat. 1875, p. 106, 113, 134, 137.

usually a pedestrian way, and flanking buildings. In Italy there is a widespread custom of building the sidewalks as covered ways into the lowest stories of the houses or along in front of them. Also partly in terms of form, one can specify types of streets, as one might distinguish building types. Following the track of the Stubben we can split up the street in accordance with lenght, width and direction.

STREETS WIDTH: it depends fundamentally by the traffic requirements that needs to be offset. We can assemble the streets in three big categories: principal streets, medium streets and secondary streets. In accordance to Ministero dei Lavori Pubblici Prussiano, for big cities were adopted the following disposition: the streets belonging to the first category has got a width higher to 30 metres; the streets belonging to the second category wide limits are included between 30 to 20 metres; the streets belonging to the third category wide limits are included between 20 to 12 metres. Cities less important have got these limits more lower. Obviously these dimensions are valid for the cities of new edification. The dimensions are lower for transformation and expansions of districts already exist. Stßbben mentions like minimal measures of existent streets Colonia Hocstraffe which is in some place no more wise of 5,50 metres and it is brought to 8.16 mt thanks to the backing of the new construction. Between secondary streets already existent at the first place there are some Genova’s streets like Vico della Pace street and some Venice Streets like Calle street which is wise only 0,72 mt and it is lined from houses of six floors. Regarding Hygene and width of the streets must be present a rational relationship with length of buildings who flanking

The Street | 29

64

Fig. 225 Bahnhof streetininNice Nizza Bahnhof Street

Fig. 226 Corso Vittorio Emanuele in Milan Corso Vittorio Emanuele in Milan

Fig. 228 Via Turin ViaSan SanDomenico Domenico ininTurin

Fig. 227 Corso in Rome Corso in Rome

Fig. 229 Corso Milan Corso Venezia Venezia ininMilan

Fig. 230 ViaVia Broletto BrolettoininMilan Milan

Fig. 231 Viale Principe (Amadeo and Margherita) in Florence Viale PrincipeEugenio Eugenio (Amadeo and Margherita) in Florence

Street cross-section: Fig.Via 232Nazionale in Rome Street cross-section: Via nazionale in Rome

Street in 233 Milan Fig. Street in Milan

Image 2.06: Comparison between streets in different cities

30 | The Street

the street. In Trelat 2 opinion, to have enough lighting of buildings the length of buildings must be higher one and half the metres than the streets. In the end the Stubben says that the width of the street should not exceed the traffic needs and the optimal lighting for buildings (Image 2.04 and 2.05).

The aesthetic requirements are not less important for the width study of the streets. Such stifling can be the streets less width of 8 mt such dispersive can be the streets too much wise respect their traffic. Henard in Paris give us a solution to this problem: he changes the width of the street with the advancement and backing of the buildings.

STREETS LENGHT: the length; such as the width, must be subordinated to the traffic needs, sanitation and aestethics. From the point of view of the traffic the street should be such as possible straight. But the street shouldn’t be boring, so it must respect a right connection with the width. Stubben, after he analisyses some streets of Berlin, Colonia and Paris, says that this connection should be 1.25 and the length must not be more than 1000 mt.

STREETS DIRECTION: strictily connection with the length and width it lives? always a conflict with the straight and the curvilinear.

The Stübben includes in the chapter of special kinds of streets the streets with houses on only one side.

2 A.CACCIA, Costruzione, trasformazione e ampliamento della città, sulla traccia della Städtebau di Stübben, Edition Ulrico Hoepli, Milano, 1915, Part 1, Chapter 3, p. 47

The Street | 31

70

Fig. 245 Schaumain in Frankfurt Schaumain Quai inQuai Frankfurt a.M.

PlatzspitzFig. promenade in Zurich 246 Platzspitz Promenade in Zurich

Fig. 247

Casernen street in Zurich Casernen Street in Zurich

Fig. 248

Geßner Alleé in Zurich Geßner Alleé in Zurich

Image 2.07: Examples of waterfront streets

32 | The Street

74

Fig.in256 Image 2.08: Waterfront Florence Lungarno in Florence

Fig. 257 Image 2.09: Waterfront in Rome Lungo-Tevere In Rome

to be preferred in city building-plans because the view remains unobstructed for people passing through the street and also because the fronts not the backs of the houses are then seen in looking up from the valley. As a rule however, the other arrangement, that is, the placing of the houses on the lower side of the kind of because roads are on thefreer, banks rivers or street, is more pleasant forThese the occupants thefound house stands theof view of water, along the from borders of parks from the front windows isother of thebodies street while the valley is seen the back.

If and the houses are built detached thesquares view from the valley up example may still from be the public (Image 2.07).looking We find made attractive. Construction on the sidehas of such streetsa is oftensidewalk made Lungarno in upper Florence not only raised on easier by an arrangement of front gardens which, if they are built up like terraces the water side but the sidewalk itself is covered by a twoabove the street level, form a larger buildingcalled plot (for the which Nerotalconnects in story colonnade theinstance GalleriainPitti Wiesbaden). The construction on hill slopes of streets both sides of which are to the Uffizzi with the gallery of the Ponte Vecchio and thus be built on is usually connected with difficulties; fig. 267 shows the cross section with the other bank of the river (Image 2.08). In Rome of such a street of which there are many in Stuttgart. Where the nature of the instead, after Beltrami’s protests for the buildings built in front of the Gianicolo Woods and Villa Doria-Pamphili, the Town Council in 1903 approved that buildings in front of lungotevere must not be more high than 16 mt and they must be separated each one (Image 2.09).

Fig. 258 Beach promenade (Digue) in Ostende

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Image 2.10: Paris, Boulevard Richard-Lenoir, 1861-3

2.3 The development of the modernist street

“Streets and their sidewalks, the main public places of a city, are its most vital organs. Think of a city and what comes to mind? Its streets.�1

Beyond its architectural identity, every street add an economic function and social significance. The purpose of street traditionally have been traffic, the exchange of goods, and social exchange. All three are inseparably related to the form of the street. The street provides a link between buildings, both within the street, and in the city at large. As a link it facilitates the movement of people as pedestrians or within vehicles and also the movement of goods to sustain the wider market and some particular uses within the street. At some point in the history of human settlement, and in all parts of the world, natural paths of the passage became highways, and these linked up with towns. Sometimes single buildings are not morphologically integrated and the community who lives in are not aggregate. To suggest that practical matters like safety, health and traffic were the only consideration in the long history of regulation the streetscape would be tantamount to mechanizing that history.

1 JANE JACOBS, The Death and Life of Great American Cities, Random House, New York, 1961, and Penguin Books, Harrnondsworth, 1965, p.39

The Street | 35

Russia before Peter the Great, XVIII cent.

In the Herculean Addition, Ferrara, ca. 1490

Russia after Peter the Great, XVIII cent.

Continuous facades in the Grand Manner

In Penn’s Philadelphia, after 1683

In Ledoux’s Chaux, late XVIII century

In Williamsburg (Virginia), XVII-XVIII cent.

In Garnier’s city Industrielle, 1904

Image 2.11: Building lines

36 | The Street

At the crux of the matter is the relation of the street line to the building line. The frontages on the streets were storically the ones more rich and more expressive; inside there were the ones private and domestic which had the court or the garden. Noble building like the Valentino’s castle in Tourin favour the frontage on the street in fact the frontages lateral and backward are not plastered. The line up of the frontages origin urban streets contaminated from the community who lives there every day.

First important change of the streets date back to the first industrial devolution. In October 1910, the Royal Institute of British Architects sponsored a major conference in London on city planning. At least three school of thought were represented among the many prominent names in attendance. Technocrats led by German planners like Joseph Stübben and the city architect of Paris, Eugène Hénard, (Image 2.11) stressed the technicalities of modern urban traffic and engineer of street construction, while they stayed within the esthetic formulas of the Grand Manner. Restructuring plan of Paris edited by Eugène Hausmann in 1853 give a big change respect the previous plan of the 18th century.

Now the connection starts to prevail. (Image 2.10) Inside boulevard there is balance between open space and buildings, between length and width. Ildefonso cerdà 2 was the first to understand with advance the contradiction between the two streets functions: the one of stasis and the one of movement. He tried to solve this problem in 2 Spanish engineer (1815-1876) is known , as well as the plan of Barcelona’s expansion , for attempting to found a scientific statute modern urbanism . A reduced version of the original text of his general theory de la urbanizacion , (1867 ) - a work mammoth more than two thousand pages in which for the first time introduced the term “ urban “ - was published in Italian by Antonio Lopez de Aberasturi in Jaca Book editions (1985 ) .

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Image 2.12: Eugène Hénard, The Future Cities, 1910

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Barcellona with his extension plan; he tried to separate the teo function: enlarge the streets to adeguate them to the new uses and the new means.

Le Corbusier in 19th century summarized with clarity this problem. His project of “A Contemporary City for Three Million People”, presented at the 1922 Paris Salon d’Automne in a vast diorama, shows his idea of the ideal town. He guesses the effects of that breaking, and he is sure that the new demands of the circulation make it disappear. He shows that the city of the past will be lost but he can make it lives inside the new urban conception.

Le Corbusier propose “great blocks [...] of flats opening up on every side to air and light, and looking, not on the puny trees of our boulevards today, but upon greensward, sport grounds, and abundant plantations of trees” 3. The blocks will be lifted up on pilotis and linked by a gridded network of elevated highways and ground-level service roads. The modern street is “a new type of organism, a sort of stretched out workshop.”4 He proposes a similar redistribution of social life within the immense “courtyards” of immeubles-villas. These proletarian housing blocks, framed by a grid of streets devoted solely to vehicles, are complemented by upperclass luxury residences configured as a continuous linear block which he names à redent or indented unit housing.

In the 1930 Le Corbusier designs the Ville Radiuese, a second iteration of the ideal city scheme. It is with this fateful construct of a settlement pattern devoid of streets that he, trough his position at the helm of the Congrès

3 LE CORBUSIER, Towards a New Architecture, trans F. Etchells (London 1929, 1971), p 59 4 LE CORBUSIER, The city of To-morrow, trans F. Etchells (London 1929, 1971), p 167.

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Image 2.13: A Contemporary city for three million people, by Le Corbusier, 1922

Internationaux d’Architecture Moderne (CIAM) branded into Modernist urban design the mandate for a streetless city. In article 16 of its Athens Charter of 1933 the organization declares:

“The house will never again be fused to the street by sidewalk. It will rise in its own surroundings, in which it will enjoy sunshine, clear air, and silence. Traffic will be separated by means of a network of foot-paths for the slow-moving pedestrian and a network of fast roads for automobiles. Together these networks will fulfil their function, coming close to housing only as occasion demands .”5 This idea, the separation between pedestrian movement and high-speed traffic network, had gone through a long period of germination. In the Renaissance, elevated passageways were built as a secret means of communication between princely buildings, for example the Corridoio Vasariano in Florence. It was created in to link Palazzo Vecchio and the Palazzo Pitti. Leonardo da Vinci’s project of around 1490 for Milan is another eminent precedent.

Other prototypes of the vertically segregated paths for people and vehicles that Le Corbusier described crop up in turn of the century projects as well: in France, Eugène Hénard’s multi-level “Street of the Future” (1910), and in America, Edgar Chambless’s linear “Roadtown” of

5 LE CORBUSIER, The Athens Charter, trans A. Eardley (New York 1973), p 57.

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Image 2.14: A Contemporary city for three million people, by Le Corbusier, 1922

the same year come to mind.

What was called for in Modernist theory was continuous network of paths and streets that, rather than duplicating each other at different levels, diverged entirely to create two distinct realms: one for people and one for cars. The streets can find again their role , as it was in 18th century and 19th century, of space of connection like urban and interurban streets with special definition.6

6 Inspired by S. KOSTOF, The city assembled : the elements of urban form through history, Thames & Hudson, 1999

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3. The Water

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3.1 Water: the genesis of settlements

“Rivers, the veins of our landscape, are thrilling, living entities.” 1

A great many towns are built on water, along rivers or on their delta, or at the conflux of two or more rivers, or on the edge of lakes and seas. The development and welfare of the inhabitants it was always strictly linked with the water relationship. For centuries the rivers were an important source of provision for people who lived in the town. Many towns and cities owe their existence to water, developing around a port or being located at a major crossing point on a navigable river. The water frontage became the focus of commerce, industry and transport.

The importance of water as a source and symbol of life goes without saying. Drawn to it for its life-supporting, playful and therapeutic qualities, we cannot exist without it. Although water covers about two-thirds of the earth’s surface, only 3 percent of this amount is freshwater and about two-thirds of that is ice. Much of the remainder is locked underground. Therefore, a mere fraction of 1 percent of earth‘s water supports all life on land. It is this essential ratio of water that provides sustenance to all

1 M. PROMINSKI, A. STOKMAN, S. ZELLER, D. STIMBERG, H. VOERMANEK, River Space Design, Published by Birkhauser, Switzerland, September 2012, p.5

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forms of life and is fundamental to social development.

Water has always been imperative for life. Without water human settlement is impossible. Water is, therefore, protective of life, many cities being sited within the defensive loop of a river, a symbol of the city’s freedom and its raison d’étre.

“Water has long had a spiritual dimension linked to the dissolution of identity and regeneration; the fluidity of water symbolises potentiality as a source of life, of being and identity. lt is this sense in which water can be seen as a source of life, fertility and healing; a fount of youth. Yet such symbolism also incorporates a darker side of mystery and danger. In Greek mythology, nymph as the divinities of water were both feared and worshipped as sources of madness and joy. Water was also the source of masculine monsters - the untamed god Poseidon and the many-headed Hydra as figures of chaos and danger. In psychoanalytic theory, water is symbolic of the unconscious and of the unformed potentiality of the human spirit. For Freud, the unconscious is largely synonymous with the id, for which he uses the fluid metaphor of a ‘great reservoir of libido’, a body of cathartic energy wherein the ‘pleasure principle’ reigns This ‘reservoir’ represents both the source of libidinous energy and its containment. From this view aesthetic pleasure is a form of transference from the reservoir of libidinous energy onto an aesthetic object of desire. From such a view, waterfront developments can be seen in terms of a channelling of flows of libidinous desire that are immanent in the ‘body’ of water. For Deleuze and Guattari, water is one of the models used to describe the opposition between the ‘smooth’ space of ‘becoming’ as contrasted with the static striated spaces of stabilised identity: ‘the sea is smooth space par excellence ... the

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Image 3.01: The Entrance to the Grand Canal, Venice, Canaletto, 1730

archetype of all smooth spaces’. The urban waterfront can also be understood in terms of the spatial dialectic of land and water. ‘The waterfront is a boundary, an edge condition between the stable striations of the city and the smooth flows of the water. lt is a spatial ‘between’ condition that mediates a series of dialectic oppositions - order/chaos; being/becoming; place/space, culture/ nature, closed/open, striated/ smooth; solid/void. It is the mediation of these oppositions, which lends the waterfront a good deal of its experiential potency, the occupation of the ‘between’ zone. The waterfront is an edge of the city and it has a certain edginess; it is a ‘front’ or ‘frontier’, a ‘face’ or ‘mask’ of the city that constructs urban character and identity. Urban waterfronts often represent a margin to the predominant urban spaces of political and commercial power. And they often represent a form of liberation from the city and its forms of spatial and social containment.”2 2 K. DOVEY, L. SANDERCOCK, Q. STEVENS, I. WOODCOCK, Fluid city: transforming Melbourne’s urban waterfront, New York: Routledge, 2005, p. 23

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Image 3.02: Tiber Island, Giovanni Battista Piranesi, 1767

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3.2 Functions and Waterfronts

The traditional function for the water frontage is one associated with the transportation of goods and people. The movement of goods by water transport has decreased significantly since the heyday of the canal in the nineteenth century; nevertheless, it remains an important function of many inland waterways and port cities. Water transport, where it is still operating, adds colour and life to the canal as in the cities of Bruges, Venice and Amsterdam or to the harbour of many great seaports. Clearly the movement of people to and from work and for other city journeys is and will remain largely land based. The relative ease of building bridges and tunnels connecting opposite banks of major cities has reduced the need for and the use of ferry crossings. The use of the ferry in cities such as Hong Kong, Auckland, or in Britain at Southampton and Liverpool, illustrate the potential for this form of urban transport. It endows the city waterfront with life and movement, an opportunity which can be seized by retaining and developing public and private water transport.

The particularity of the site, and the way the settlements meets the water, give character to the city

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Image 3.03: Ponte Vecchio, Florence, today

Image 3.04: “Corridoio Vasariano” connection between the Uffizi and Pitti Palace

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form. Aligning growth with the river is a common response.

Many cities were born on the meeting point from two rivers like Basilea which was born where the river Birsig meets the river Reno. There are other cities like New Orleans developed between a lake (Pontchartrain) and river (the Mississippi), having started out on a restricted strip of natural levee at the mouth of the river.

At the very beginning many settlements born on one side of the river because the river width is too big and it isn’t easy to be surmount. There are some rare cases of cities born on the two sides of the river, like Budapest that was composite of two cities until 1872 Buda and Pest. In fact many cities uses the little island to go on the other side of the river. Rome and Paris are famous cases of the island crossing. The Tiber island (Image 3.02) comes at a point where the river constricts and the rough, sharp banks slope down without leaving too much flat area for alluvial deposits; and since further inland the river becomes broad and shallow and harder to cope with, sea traffic stopped at this island crossing. In Paris the original Gallic inhabitants had occupied the Ile de la CitÊ, one of two strategic islands on the site. The Romans, when they came to found Lutetia, preferred the higher ground on the left bank, just south of the island. After the collapse of Roman dominion, the town withdrew to the island. After the walled itself there. Its subsequent history would be a progressive spilling out of this insular boundary to both south and north. The other island, the Ile St. Louis, was not developed until the 17th century.

During the Middle Ages there are many settlements all over the Europe called ville-pont or bridge cities.

They were that cities born thanks to a bridge who linked districts. The name gave to these districts underlined their

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Image 3.05: Grand Gallery of the Louvre, aqua-tint engraving by Jacques Benjamin De Saint-Victor,1808

Image 3.06: Collège des Quatre Nations engraving by Gabrielle PÊrelle, 1660

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nature like Oltrarno or Trastevere means the other side of the Arno and Across the Tiber. The bridge between the two settlements was critical: it was sometimes fortified, or at least given tower, lined with houses and shops, and was continued at either end with main streets.

The river and his sides were used only for their functional aspect, it was not exploited as something pretty to look at and enjoy esthetically. There were some exceptions. Between some historical buildings types lent themselves to a measure of monumentality, without sacrificing their functional adequacy, we can see the lighthouse of Alexandria, it was celebrated in antiquity.

Another example is Florence, it started exploiting the picturesque aspects of the Arno as early as the XIV century, when the middle of the Ponte Vecchio (Image 3.03) was left open to the view. In the 1560s Vasari’s Uffizi (Image 3.04) was endowed with colonnade and upperfloor belvedere from which to enjoy the river.

In Paris, thanks to the Louvre buildings on the Senna River, on the 17th century were regularized the river and it was realized the great Louvre gallery. In 1662 it was realized the College des quatre nations and it became the first monument entirely design on a river.

St. Petersburg followed suit. The quays of the Neva were facade with granite in the 1760s and 1770s, and on them rose the monumental buildings of the central district. The monumentality of the new stone quays also affected civil architecture. Building height was raised to an obligatory 21 metres or so, and architectural details like cornice line were carefully controlled. Florence and Rome did not get their embankments until the later XIX century, even though both suffered terribly from floods.

London also saw one grand scheme proposed

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Image 3.07: Le Corbusier’s unexecuted Algiers project, Plan obus, 1931

Image 3.08: Adelphi Terrace, Adam Brothers, London, 1768-72

Image 3.09: Adelphi Terrace, Adam Brothers, London, 1768-72

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Image 3.10: waterfront of Algiers redesigned by Raffeneau de l’Isle, 1860-74

by the architects of the later XVIII century like the Adam brothers and George Dance. One of these was executed: the Adams’ Adelphi Terrace, between the river and the Strand. The scheme combined unified blocks of fourstory houses over two basement stories of warehouses opening out to docks. The warehouse turned out to be subject to flooding and were consequently rejected by the authorities. The houses, on the other hand, were very successful.

In some ways, this brilliant double-decker invention is the first shot in a succession of sweeping waterfront designs that will culminate in Le Corbusier’s unexecuted Algiers project (Image 3.07): the viaduct city following the beautiful coastline, with six floors beneath the motorway and twelve above. It was a chance to reconcile traffic needs and port needs with the architectural aesthetic. A meeting between the city and the water.1

1 Inspired by S. KOSTOF, The city assembled : the elements of urban form through history, Thames & Hudson, 1999

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4. Via della Lungara_Rome

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4.1 History

4.1.1 Roman era and Medieval

Already during the Roman era, the territory today located between the Vatican and the Trastevere district, was crossed by Septimiana street, now called Lungara street. The existence of this plan is witnessed by the construction of the Septimiana doorway, when, by the late third century, Aurelian walls incorporated also Trastevere district. Thanks to the Forma Urbis drawings, we can suppose that in the area there were also the houses of workers and traders involved in harbor related activities. One of this buildings could be used during the construction of Villa Chigi (today Villa Farnesina) in the XVI century. The area was mainly made by agriculture fields and just some little secondary routes could be hypothesized.

Subsequently, in spite of its birth couldn’t be directly linked to the great Vatican construction site, which rose in the third decade of the fourth century, it can be assumed that the most important advancement of the street did begin with this construction site itself. Many pilgrims went to Rome due to the presence of the Vatican. Small groups of permanent foreign pilgrims created nationalist spots like hospitals and houses of worship, well known as “scholae peregrinorum”. One of the first rising was, in

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Added buildings Existing buildings

Street Growth 1503 1:5000 The street was not shaped by buildings, it existed as a pass way inside agriculture area since ancient Rome.

In the beginning of 16th century, a few buildings were constructed on both sides of the street.

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Image 4.01: Rome in the XII-XIV century by the reconstruction of R.Valentini and G. Zucchetti, 1946

720, the “Schola Saxonum”, along Settimiana road itself.

A continuous development was prevented by different reasons, such as the barbaric incursions of the Goths in 537, the Langobards during the VIII century and, last but not least, Tevere’s overflows, which often caused dramatic floods, such as the ones that happened between the VIII and the IX century (Source “Liber Pontificalis”). The most important event for the future of the zone took place in the IX century. Between 847 and 852 a defensive wall was erected around the wide built up area, which started growing in the surroundings of the Vatican cathedral in the former five centuries. Two churches were built along Settimiana street in the XII century, San Giacomo and San Leonardo, which became very important landmark spots for the first occupation of the area during the modern era.

Their position reports a medieval road network different to ours, much more devious. During the XIV century, Settimiana road was labelled as sacred, travelled each day by a great number of pilgrims. In the latter century, also a minor hospital was built along the street.

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Added buildings Existing buildings

Street Growth 1590 1:5000 In 17th century, the street was included into the city by the new constructed wall Urban VIII. Residential buildings were built here together with villa and palaces, branches of the street started growing toward the Gianicolo hill.

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Image 4.02: Rome edit Braun_1570

4.1.2 XVI Century

There isn’t a lot of information about the area during the medieval period, just in the XII century some religious buildings were built. Trastevere district grown up and took more importance in the city. In 1498 the activities for the reconstruction of the Settimiana door started. A single low height building was created. The Vatican looking side shows a full curve arch opening, while on the top there’s a walk with masonry parapet.

At the beginning of the XVI century, more or less in the 1512, with pope Giulio II, Lungara street was straightened by a project of Bramante, becoming the main connection between the Vatican and Trastevere. In this period it is also realized Giulia street on the other side of the river. The straightening of the street involves two medieval churches that needed to be aligned, S. Giacomo and S. Leonardo. The road was renamed “Giulia Settimiana street”, and it was twelve meters wide.

The strategic position of the street caught the interest of rich roman families who began building big “ville” (manors) in a continuous challenge of magnitude and beauty. The first building was the “casino Farnese”, than “villa Chigi”, “villa Riario”, etc. Thanks to this new im-

Via della Lungara | 63

portant and rich residents, the street acquired much more importance.

Even the completion of San Pietro in Montorio’s fabric considerably amplifies the symbolic value of this connection.

Subsequently, these are the initiatives which state for Lungara street to enter in the modern era: a very ancient path, characterized by both ecclesiastical and agricultural origin, radically changes his look, obtaining different characteristics and a new importance in the urban landscape.

It will be defined by Tafuri the “otium privato� street. The XVI century is a period of dramatic floods too. The most catastrophic, in 1530, had been nineteen meters high.

In spite of this, the water was still seen as an important resource for the Lungara surrounding area and the new acquirements for terrain lots were many, mainly by families already settled, which aimed to strengthen their properties. In this period, the important Salviati Family, which came from Florence, settled down in the zone.

After the 1527 Rome sack, Lungara street was enclosed by the defending walls of the new pontifical citadel, started in under the direction of Antonio da Sangallo in 1543. The project also included the reconstruction of the Settimiana gateway. By the end of the century the census counted over two hundred inhabitants splitted in forty housing unit.

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Image 4.03: Rome edit G.Van Schayck_1630

4.1.3 XVII - XVIII Century

In the XVII century the population of Rome increased and many areas still free were urbanized. Definitely expanding the idea of a generalized urban partition in the nearby of the street.

Between 1611 and 1615, with pope Paolo V, grows up the idea of a wider program, which aimed to the full urbanization of the plane sector near Gianicolo hill. The area, by that time still partly agricultural thus enclosed by two sets of city walls, will be assimilated by the city to come few years later. In the first part of the century, in the attempt to solve the plague of floods, a work of clearance of the riverbed started and throwing wastes in the river became forbidden. The river conditions got decisively better thanks to the action of pope Paolo V, who reactivated the ancient Traian aqueduct, bringing water on the Gianicolo hill.

The area of via Lungara was planned by Torriani who wanted to straighten the crossroad on the street making rectangular block, but this plan was soon abandoned. The private owners managed land and sales. The first residential houses born in the streets on the border of the big ville, for example Villa Corsini, than also on Lun-

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Added buildings Existing buildings

Street Growth 1670 1:5000 In late 17th century, the street continued growing spontaneously attracting to the border of each land plot. In between those buildings, branches of the street extended and intersected with each other, forming a irregular road network.

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Torriani’s plan, 1615-1617

gara street. In this period were also built a lot of religious buildings, especially thanks to the proximity of San Pietro.

Among these buildings there are also the construction of the monastery of “Carmelitane Scalze di Regina Coeli” in the 1664, and at the end of 1700 the construction of the monastery of “Mantellate” (that is also in the area of Regina Coeli jail). At the end of the XVII century the area is urbanized and well connected to the rest of the city.

The most recurring typology is the terraced house. The concludes urbanization process resulted in a sort of “comb disposition”, denying the possibility of a main link way at the bottom of the hill.

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Added buildings Existing buildings

Street Growth 2015 1:5000

In the 19th century, a large amount of constructions were built, making up or filling in the existing blocks. Besides residential houses, some of those new buildings were municipal facilities, such military academy and prison.

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Image 4.04: Rome today

4.1.4 XIX Century and actual state

The urban morphology of the area appears made by a main long street (Lungara street) and by a system of orthogonal ways sometimes connected between them, that end on the slopes of the Gianicolo hill. The street was narrowed in order to make room for the express-way Lungotevere Gianicolense and the embankments (Muraglioni), which solved the floods problem issue. The green is still predominant compared to built until 1800. Today the area is in the central part of the city that developed over the years. The villas of the ancient nobles have become palaces of public use, for example Palazzo Corsini now holds the Academy of Lincei and its gardens were converted in the botanical garden of Rome. In the same way also the other palaces, like villa Farnesina and Palazzo Salviati, now have a public use and so they are fundamental points of interest of the area. Different was the transformation of the monastery of Regina Coeli that became a jail between 1881 and 1885. The new function of the monastery creates an unsolved node in the district because the jail is in the center of the city and it’s too small and old to accommodate detainees.

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4.2 Architecture

4.2.1 Palazzo Salviati

The Palazzo Salivati was built in the XVI century

by Filippo Adimari on the Via della Lungara 82-83, the land for vineyard owned by Orazio Farnese. In 1552 the palace was sold to Cardinal Giovanni Salviati and soon after its property was transferred to his brother Bernardo Salviati, Prior of the Order of Malta. The edifice was the residence of Cardinal Fulvio Giulio della Corgna, nephew of Pope Julius III, until his death in 1583: in 1571 his famous warrior brother Ascanio della Corgna, coming back from the battle of Lepanto, died in the palace. In 1794 the palace passed to the House of Borghese and, after other transfers of property (Paccanari, Lavaggi), in 1840 it was bought by the Papal State and used as the seat of the city archive and of a botanical garden. After the expropriation on behalf of the Italian State in 1870, the palace housed the military court and the military college. During World War II, in the period of the Nazi occupation, the rooms of the military college were used to lock in for some days (from 16 to 17 October 1943) a thousand Jews captured during the round up in the Roman ghetto, before they were deported. The palace now houses the Istituto Alti Studi per la Difesa, with an important library specialized

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Image 4.05: View of the Palazzo Salviati and the Iron bridge (Ponte del Soldino), 1902

in military and geopolitical disciplines.

It is one of the greatest juvenile works by Giulio Romano. The long facade is symmetrically divided into five sections by vertical bossages; the big gate in the middle is surmounted by a balcony that lies on big shelves. In 1569 it was refurbished by Nanni di Baccio Bigio, who completed the elevation to its present aspect and enlarged the rear. The courtyard was closed by a new wing in 1933.

In front of Palazzo Salviati formerly rose the Trastevere headboard of the Ponte dei Fiorentini, an iron suspension bridge built in 1863 close to the church of San Giovanni dei Fiorentini as an additional connection between the historic center and the new quarter of Prati, then under construction. It was built with a collaboration of a French society and it was crossed payed a little payment, in fact it was cold Ponte del soldo. It was demolished in 1941 and replaced one year later by Ponte Principe Amedeo Savoia Aosta.

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Via della Lungara

Ground Floor Plan 1:500

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Front Facade 1:500

Section 1:500

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4.2.2 Regina Coeli Jail

The monastery of Regina Coeli was built for want of Anna Colonna, the daughter of Filippo I Colonna and also the wife of Taddeo Barberini, as vow to the Virgin Mary.

The construction begins in 1643 and end in 1654 with a period of interruption caused by the death of the current Pope Urbano VIII succeeded by Innocenzo X Pamphilj. This Pope had many contrasts with Barberini’s family, so the works of the monastery were resumed thanks to the Anna Colonna’s diplomatic skills.

We don’t have the original project of the monastery but we know that it included: two cloister, the cells of the nuns, the refectory, a recreation room and others common rooms.

Also in the XVII century, in the same area where now is the Regina Coeli jail, was built another monastery named “Monastero delle Mantellate”, incorporated in the current prison complex.

Many religious buildings, mainly churches, were built in these years close to the Lungara street, thanks to the proximity of the Vatican.

After the constitution of Kingdom of Italy , in the 1873 the newborn Kingdom expropriates and suppresses the monastery. In this year in Rome were in operation the jails of Carceri Nuove, San Michele a Ripa and Regina Coeli in which some of the nuns’ cells were converted in detention cells.

The first idea was to built a new big jail on the area of the monastery but for financial problems the project was abandoned and was proposed the enlargement of Regina Coeli.

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Image 4.06: View of the Regina Coeli Jail, today

With the law 350/1881 was approved the realization of a new arm cell with the use of labor of prisoners.

The project of the new jail was made by Filippo Bucci but he had to retire after the construction of the ground floor so he was replaced by engineer Carlo Morgini.

The works began in 1881 and last more or less ten years. The transformation of the monastery was preceded by a conversion project for the Regina Coeli church in the new office for the Corte d’Assise in 1879. The project was never realized but thanks to the survey made in this occasion, today we know the plan of the church of Regina Coeli.

In more than one hundred years of the Regina Coeli jail’s history, a lot of attempts were made to change the building’s function. At the end of ’20s it had to be demolished to realize a connection between Corso Vittorio and Gianicolo hill to the design of Marcello Piacentini.

In ’60s the new big prison of Rebibbia was built, and the idea was to close Regina Coeli but also on this occasion it was not done.

So this prison is active since about 1884 in a very central area of Rome surrounded by beautiful historical Palace and the lovely Gianicolo’s park.

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Via Della Lungara Front Facade

Section

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Ground Floor Plan 1:1000

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4.2.3 Villa Farnesina

The Villa Farnesina is a Renaissance suburban villa in the Via della Lungara. The villa was built for Agostino Chigi, a rich Sienese banker and the treasurer of Pope Julius II. Between 1506–1510, the Sienese artist and pupil of Bramante, Baldassarre Peruzzi, aided perhaps by Giuliano da Sangallo, designed and erected the villa.

Chigi also commissioned the fresco decoration of the villa by artists such as Raphael, Sebastiano del Piombo, Giulio Romano, and Il Sodoma.Best known are Raphael’s frescoes on the ground floor; in the loggia depicting the classical and secular myths of Cupid and Psyche, and The Triumph of Galatea.

The villa became the property of the Farnese family in 1577 (hence the name of Farnesina). Also in the 16th century, Michelangelo proposed linking the Palazzo Farnese on the other side of the River Tiber, where he was working, to the Villa Farnesina with a private bridge. Later the villa belonged to the Bourbons of Naples and in 1861 to the Spanish Ambassador in Rome, Bermudez de Castro, Duke of Ripalta. Today, owned by the Italian State.

The novelty of this suburban villa design can be discerned from its differences from that of a typical urban palazzo (palace). Renaissance palaces typically faced onto a street and were decorated versions of defensive castles: rectangular blocks with rusticated ground floors and enclosing a courtyard. This villa, intended to be an airy summer pavilion, presented a side towards the street and was given a U shaped plan with a five bay loggia between the arms. In the original arrangement, the main entrance was through the north facing loggia which was open. Today, visitors enter on the south side and the loggia is glazed.

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Image 4.07: View of the Villa Farnesina in the XVI century

At first floor level, Peruzzi painted the main salone with trompe-l’œil frescoes of a painted grand open loggia with city and countryside views beyond. The perspective view only works from a fixed point in the room otherwise the illusion is broken.

Image 4.08: Perspective section of the Villa Farnesina

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ella

d Via a

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Lun

Site Plan 1:2000

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Via della Lungara Ground Floor Plan 1:400

Front Facade

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4.2.4 Palazzo Corsini

The Palazzo Corsini is a prominent late-baroque palace in Rome, erected for the Corsini family between 1730–1740 as an elaboration of the prior building on the site, a 15th-century villa of the Riario family, based on designs of Ferdinando Fuga.

In 1736, the Florentine Cardinal Neri Maria Corsini, nephew of Pope Clement XII (formerly Cardinal Lorenzo Corsini), acquired the villa and land, and commissioned the structure now standing.

Today, the palace hosts some offices of the National Academy of Science (Accademia dei Lincei) and the Galleria Corsini. The gardens, which rise up the Janiculum hill, are part of the Orto Botanico dell’Università di Roma “La Sapienza”, a botanical garden.

The construction of the Palazzo was started in 1736, the first built element in the left arm of the building.

From 1744 to 1746, the right arm was added. The center part was constructed in 1748, which completed a U shape building with a open yard toward the back. During 1751 to 1757, a staircase arm was added on the backside, separated the courtyard into two parts, walls were built to enclose the backyard. In the year of 1758, a stable was added next to the right side of the building.

Nowadays, the Palazzo Corsini still standing as when it was completed in 18th century. The facade is highly symmetrical with repeating elements. The facade was divided into five segments by vertical bossages.

Those elements were well organized in certain rhythm, forming a harmonious but expressive effect.

Currently, the first floor of the palazzo is used as one site of National Gallery of Antique Art. The other two

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Image 4.09: Drawing of the Villa Farnesina, 1758

sites are Palazzo Barberini and Galleria Borghese. Most of the major works that are collected in the Corsini Gallery were donated by the Corsini family, and initially were gathered by the avid 17th century collector, the cardinal Neri Maria Corsini, and added to by other members and from collections of Pope Clement XII and his nephew. In 1883, this palace and its contents were sold to the state, and the collection is displayed in its original location. It has both religious and historical works, as well as landscapes and genre paintings.

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Via della Lungara

Ground Floor Plan 1:1000

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Front Facade 1:1000

Section 1:500

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4.3 Historical Picture and Drawings

Image 4.10: a view of San Giovanni dei Fiorentini and Lungara Street by Hendrik Frans van Lint (oil on canvas), 1739

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Image 4.11: Historical drawings of Via Lungara (left) and Via Giulia (right) view from river Tiber, G. Vasi, 1754 In the first edition of Book V which covered the monuments along the river and which was published in the first months of 1754, Giuseppe Vasi made use of some copperplates he had engraved in the 1740s for Vedute di Roma sul Tevere, a book covering the same subject, but with views of a smaller size. In the plate shown above Vasi enlarged the original view by adding more sky in the upper part and a larger coverage of Giardino Farnese on the left; the additions are clearly noticeable. The plate was not numbered.

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Image 4.12: Historical drawings of Via Lungara (left) and Via Giulia (right) view from Sisto V bridge, G. Vasi, 1754 By the end of 1754 Vasi published a second edition of Book V and he replaced the patched view of the river between Via della Lungara and Strada Giulia with a new one which covered also Ponte Sisto and gave more relevance to the buildings along Strada Giulia. In the new edition the plate was numbered as 88, the number previously used for a plate covering Giardino Farnese. Via della Lungara and Strada Giulia are two streets opened by Pope Julius II at the beginning of the XVIth century to facilitate access to the Vatican from Trastevere and from Ponte Sisto. The view (in the final plate) is taken from the green dot in the small 1748 map.

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Image 4.13: Picture of Via della Lungara between Ponte Sisto and Villa Farnesina, 1882.

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Image 4.14: Picture of Via della Lungara, 1890.

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Image 4.15: Picture of Palazzo Salviati and the Iron bridge (Ponte del Soldino), 1882

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Image 4.16: Picture of Via della Lungara during the flood, 1890

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5. The Tiber and Rome

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5.1 Developments and events

The Tiber has always been a place where architectural episodes live near modest homes. Here coexist past present and future and it lives and grows bigger like a human creature. Houses, temples, churches, buildings and streets border Tiber, in that way they shape Rome urban development, suggesting evolution lines and locating strategically bridges and ports which generate square, stairways and perspective wings. The entrance of river Tiber in contemporary world suggest a removal from the river of the urban life.

The first settlements stabilized on the left river shore (Archaic Rome 300 BC.), so they consolidated the most ancient landing area existing in Rome, situated between river Tiber and Campidoglio and Palatino and Aventino hills. Thanks to Servo Tullio rose up the Portus Tiberinus which was renovated and expanded in republic age. Between 181 and 179 BC work started to build the first rock bridge in Rome called Pons Laepideus or Pons Aemilius (today it is called Ponte Rotto after the over flood of 1598). With the new connection between shores the portual activity are enhanced, Emporium port became well equipped unique in size and monumentality, until the

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Image 5.01: Rome in the IV-VII century by the reconstruction of A. Grisar, 1898

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Image 5.02: Castel Sant’Angelo in the Codex Escurialensis, 1491

realization of Ripetta port and Ripa grande between 16th and 17th centuries.

From 271 AD started a very important intervention placed on the Tiber side near the Campo Marzio area: the realization of the Mura Aureliane. From Flaminia gate the latericium walls accompanied the irregular shore of Tiber, the walls had in left shore sixteen towers and five posterule1, to the Elio bridge where the Aurelia gate starts (image 5.01).

This radically changed the relationship between the city and the river, in fact it introduced a defence element but , at the same time, a separation element between city and river. The Huge Augusto’s mausoleum (3238 BC) and Adriano’s (130 AD) (Image 5.02) assumed, from that moment, a supervision role especially the Adriano’s mausoleum were inglobated into defences walls.

From Adriano’s mausoleum the walls go on until agrippa bridge ( there aren’t any signs now a day that we can see) to Agrippa bridge the walls climbed over the river

1 The postierla, pusterla, posterula, posterla o pustierla, is a narrow gateway to the trenches for patrol guards in the castles and fortifications hidden in the walls .

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and they arrived to Septimiana gate up the Gianicolo hill so they can protected all the watermills which were in the city.

In 300 AD the imperial court were take to Costantinopoli so the building activity suffered a decrease. Many Imperator resources were used to build the first churches which became an element to capture the first Christian converts. Particularly the carrying out of the Vatican Basilica in the place of Saint Peter burial, favours, along the right shore, the settlement of productive assets connected with the itineraries covered by the followers. In the 4th century rose a myriad of monastic complexes, hospitals, inns, taverns and shops to the service of pilgrims. Longara street was protagonist of these change phenomena.

Little by little residential building starts being stratified on the solid Aurelian walls.

The huge realisation of imperial age became quarries of materials to be used in poor domestic construction.

On the right shore, the Vatican complex and the village rose near it and developed out of the Aurelian wall were in globed inside the walls wanted by Leone IV to protect the area. After 1100 the area developed near Saint Angel castle became almost an equivalent part of the left shore of the river.

There were many urban transformations in the renaissance period in the shore of Tiber. Sisto IV seal allows the reconstruction of Saint Spirit in Sassia complex. In this period, started the construction of Sisto bridge to lighten the Saint Angel bridge traffic. Before 1500 jubilee Alessandro VI started the solution of Recta or Alessandrina street, a street put to link saint angel castle with Vatican buildings.

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Most important transformation became under Giulio II who operated in neighbouring river areas; he realised two straight streets, parallel line with the Tiber which regularized pre-existent situation: Giulia street and Lungara street.

The first street was conceived as transit axis in Campo Marzio, it foresees tear? to pieces of urban pattern and then puts itself as an occasion of urban recovery: with Donato Bramante participation they start to plan the realization of Pontifical Courthouses in the middle of the street, changing that area in the new administrative pole political and judiciary which would be link directly to the Vatican complex with the construction of Giulio bridge.

Building and bridge weren’t realized but the new street improved the connection between Regola and Ponte district.

The second street wanted from the Pope was Giulia Settimiana, today called Lungara street, which had the same function in the opposite site of the river: straight road which closed the rectangular rationalised the irregular line of the river. The street beat again the Sancta street layout defined from Sisto IV, in that area there were vegetable garden and religious complex (Saint Giacomo in Sitignano, saint Leonard and saint spirit in saxia).

From the very beginning of 1500 an endless series of public buildings complexes were built near the river, updating the architectural image on the river Tiber.

One of the most monumental opera realized along the river Tiber was the Saint Giovanni Fiorentini church, wanted from Leone X and planned by Sansovino and Sangallo Junior it was finished in the first half of 1700. In this period in river shore were born a lot of theatres : in Augusto’s mausoleum set up Correa theatre, in Trastevere Orti Alib-

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Image 5.03: Drawing of “ferry-boat� between Vai della Longara and Via Giulia by G.Maggi, 1625

erti theatre; Apollo theatre was built in Tordinona and later the Politeama was built in Renella near Sisto Bridge.

The links between two shores of the river were assured by ferry boat which was tied to a cable fixed to the two shores, they took on little boat merchandise and people. (Image 5.03)

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5.2 Proposals for the scourge of floods

From the act of its foundation up to the construction of the embankments at the end of 19th century, Roman history is indissolubly tied to Tiber flood: the overflow of the river were lived as a punishment of Gods to immoral excess of Romans behaviour. At the same time the Tiber gave compensation with water, food water resources and life. It is disturbing like the reports of river overflow tell us about news of damage and they didn’t say anything about measures took to mitigate the floods as it once the flood was pass every damages were erased from memory and nobody thought about the future and a way to solve this problem. Left shore of the river was more victim of floods which damaged the buildings increase ground.

In 17th century Important architects proposals liven up the technical debate and revive the professional competition, unfortunately with lacking realize results, some of the names of these architects are: Giovanni Fontana, Carlo Maderno, Flaminio Ponzio, Giovanni Paolo Maggi, Paolo Sanquirico, Pompeo Targone. In 1685 Dutch engineer Cornelius Meyer published “L’arte di restituire a Roma la tralasciata navigazione del suo Tevere” where he proposed new techniques for cleaning works and to

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Image 5.04: Drawing by Cornelius Meyer. Del modo «come si possano profondare li fondi delli cavamenti nuovi quando siano composti da materie sode e grevi», picture of “L’Arte di restituire a Roma la tralasciata navigazione del suo Tevere”, 1685.

Picture of things used to clearing works of river bed.

Composite system to dredge up the river bed: the flowing and the wind helped this operation.

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make the river bed deeper (Image 5.04). Unfortunately, it appearance some economics interests which made hard (or impossible) a radical liberation operation. From the analysis costs- benefits resulted winner the choice to keep on the Habit strengthen in spite of some acts to fight river overflows.

Another intervention typology proposed to avoid floods was built some “regolatori” or “cateratte” before Rome. Between these proposal there was Giovanni Fontana who imagined the construction of “Regolatore al pariolo” or the Carlo Lomardi’s proposal who thought about a Cataratta near Orte in a place call Salto del Passero.

The advantages would be so many because the water of the Tiber would be hold back and at the same time that water would clear the land near Rome. Unfortunately the opposite thesis are more and they say that these types of interventions are dangerous especially in the area in the north of Milvio Bridge that would be flooded.

Another drastic intervention was that one which was spoken about was the deviation of the course of the river, this intervention started in giulio cesare age.

Leon Battista Alberti, studied canals, recommended three remedies to improve sailing: “dam, purify, bar”. The first operation “dam” would be done after built some embankments make near river shore and not too grip. Giacomo della Porta make a valid proposal to embankments build in his relation wrote on 1599. Carlo Fontana, one hundred years later, suggested a five pieces construction along Ripa.

Paris had got a similar situation as Rome, in 17th century it had river shores already strengthen by embankments, for that reason intern minister ask to Conseil des Ponts et Chausseés , Molè count, to study the rela-

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Image 5.05: «Pian général des Quais Projettés pour la ville de Rome» Eng. Navier project which foresee the construction of two embankments: to the left, starting to Porta del Popolo continued until Sisto bridge, to the right, starting at Castel Sant’Angelo would stop at the port of Lungara, 1811

tion between sailing and floods of Tiber. The project were given to Navier engineer who was an expert innovator on river engineering . His proposal foresaw the construction of two bleachers: one on the left which started at the Popolo gate and ended at Lungara Port and one on the right started at Saint Angel castle until Sisto bridge. (Image 5.05) Of that project were realized only a minimal part.

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5.3 The watermills

One essential element present in river landscape until the end of 1800 were the float watermills . Tiber assure them enough power to operate and at the same time the Tiber was the cause of their destruction.

The watermills seems like temporary wood construction , but during the years they became stable in the river, especially for their presence transmitted by generation in generation as estate. (image 5.11)

The exact moment when these constructions appeared in river landscape it isn’t well known but we can read something about that in a Procopio’s text written in dark ages 1.

Especially in river watermills were conceived a structure which didn’t have technical development: most ancient description of watermills corresponded with the aspect of the last model surviving until the end of 800. A Wood hut with rectangular map, floating with sloping roof, inside there were mechanisms to grind. Operating principle of watermills are very old, we can find description on Vitruvio’s writes 2. It’s probable that the only variation they had it regards the mechanism to grind.

1 “Di contro a questo luogo [Campo Marzio], al di là del Tevere, trovasi un gran colle [Gianicolo] ove da tempi antichi furono costruiti tutti i molini della cità, poiché una gran massa di acqua menata dall’acquedotto [di Traiano] alla cima di quel colle cade di là con grande impeto pel declivio” Procopio di Cesarea, La guerra gotica, I, XIX. 2 Vitruvio, De Architectura, x, 5, 2. Cfr.

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Image 5.11: Flour watermill near to the Tiber Island, 1871

Beyond flours provision, watermills mechanism was used to saw board or every other kind of wood. In one handwritten of the second 600 half, Cornelius Meyer with the help of painter Gaspar Van Vittel illustrated many ways to used the flowing to install some machine invented from him.

In Rome the owners of watermills were the Camera Apostolica, at the beginning of 600 to the half of 800 it results 28 watermills. This floating structure were the principal cause of Rome over floods. All over the 600 sailing architects and engineer tried to eliminate the watermills but the Camera Apostolica didn’t permit it.

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5.4 Changes of morphology

Urban section of Tiber is a point always vulnerable to flowing action, it is the right shore, in the section near Lungara street, downline of turning point of the river after Saint Angel castle and Saint Spirit hospital. One reason was the “passonata”1 built for saint spirit watermill.

In 1619 there was a request for demolition of the house owners on Lungara street. There was the existence of pillar of Trionfale bridge which gave power to the flow water. The island which be formed it grows day by day and this growth caused the increase of the water. From many licenses given during all 17th century to repair walls in that part of river Tiber, we can understand that the event wasn’t resolved, in fact the overflows get worse the static condition of real estate. In 1648 they authorised three licenses to repair some construction on the Tiber located in Lungara street. In the relief made by Bernardo Gambarini and Andrea Chiesa on the half of 1700 there were signed in detail every elements which gave vulnerability to right shore: the constriction of Saint Angel bridge and Altoviti building, watermills presence, the rest of Neroni1 Palificata of passoni: wooden poles mostly chestnut long and narrow driven into the ground .

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Image 5.06: Forma Urbis Romae by R. Lanciani, 1893-1901

ano bridge pillar. Unfortunately the observations given by the bolognesi engineer weren’t realized by the authority.

In 1809 on trasteverina shore arrived new alarm signs : the shore was in gradual attrition. Felice Giorgi was the Tiber architect in that moment, and he saw that the distance between the river and the Lungara street was lower and it would be even more lower without an intervention. He proposed to create an embankment made by “buzzoni” 2 put into the river bed which gave the original profile to the shore.

However, the corrosion of the shore wasn’t resolve until the construction of Leonino Port, started on Leone XII and finish with Gregorio XVI n 1833 (Image 5.07). The work done by the businessman Pietro Fumaroli, showed a symmetric system, lightly moved on the left compared to

2 Work of defense of river banks , consists of a set of stakes with perches filled with sand , gravel and stone

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Image 5.07: Engraving of the Porto Leonino in front of Palazzo Salviati by E. Salandri, 1835

the axis of Salviati building, which had two flight of stairs.

During following years the port was transformed , on its street and in axis with Palazzo Salviati in a new iron bridge already descript. The bridge linked from the left side of San Giovanni dei fiorentini church Lungara street. The bridge was realized by the Society of Iron bridge preside over by Braschi duke who substituted the little boat that was in that point to go across the river.

Another event which gave to the Tiber the actual aspect happened near Tiberina island. Between Ghetto3 shore and Tiberina island there is a piece of land, a little desert island. In that place the river Tiber was divided into three parts and these parts were often not accessible by the floods of the river. (Image 5.08, 5.09) The last years of 700, Natale Marini proposed to put together Ghetto shore with the little desert island. So it started one of the most long and troubled event happened to the Tiber. Many problems were linked to the drain-

3 On July 12, 1555 had been established by Paul IV, with the bull Cum nimis absurdum , the establishment of the Jewish Ghetto . He stood in front of the Tiber Island on the left bank of the Tiber and was confined by walls built by Sylvester Peruzzi .

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Image 5.08: The island between Tiber Island and Ghetto river, G. B. Nolli, 1748

ages, other problems were directly linked to the Jewish who needed new houses but they didn’t have money to expand themselves and built on the new available land.

Beyond real estate failure there were problems about watermills already existent function. Drying out a canal one watermill was inactive and it caused problems in productive activity.

In spite of everything the work was finished and the canal was dried out , free from every buildings and accompany by Ghetto built, it is well recognizable from first photos of the second half of 800.

The relationship between Roman people and the river Tiber changed after the construction of two massive walls parallel put into urban tract of Tiber. These decisions were a token after the devastating floods of 28 December 1870. This system was very efficient for the floods but erased the routine dialogue that the people had every day with the river.

The Tiber was set inside contemporary city. The Tiber today is characterized by a huge absence of urban life, as it is a stranger presence forced to go through the city. The presence of the massive walls solve the flood problem but get away a universe made of events economics plots social and architectonics that made the Tiber urban set clear and define.4

4 Inspired by M. M. SEGARRA LAGUNES, Il Tevere a Roma: storia di una simbiosi, Gangemi Editore, Roma, 2004

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Image 5.09: Historical drawings of Tiber Island, G. Vasi, 1754

Image 5.10: Picture of Jewish river, 18700

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6. The house: the structure of anthropic space

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6.1 Urban pattern

Architectural process are the result of storical and geographical peculiarity and complex cultural process.

Population living in a civil area create during the time a global system of convention as a systemic organism who gives to the city as way to be. In all this things as got a big influence the place nature, climate, and the possibility to find material. We can compare these constructive process to the spoken language which is not only a way to speak but it is the codification of thoughts and its nature to transmit concept.

A building group can born spontaneously, or in a planning way by an intervent of many organized people sometimes coordinated by authority. For example in Italy most part of middle age groups were formed spontaneously, especially the ones which used already existent structures. The major part of ancient cities , especially the ones which had have origin in Roman age, were planned from the beginning.

Following the thoughts of Gianfranco Caniggia we can find to built the process of formation of a spontaneous middle age aggregate.

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I phase

II phase

III phase

IV phase

Image 6.01: Schema di formazione e sviluppo dei tessuti urbani, Tav 1, G. Caniggia, 1976 First phase: building on matrix path; Second phase: building on building installation path; Third phase: Building on connection path with; Fourth phase: building on restructuration path.

“There is no village without previous path which create it.� 1 On this path the building frame gets clear characteristics: the modular occupation of the street front; homogeneity of construct slot thickness , which includes the buildings and the spare places nearby and the pertinence area; and the orthogonality respect street axis. All these characteristics are strictly link to the building typology used and that will be analyze in the next chapter. This one usually

1 G. CANIGGIA, Strutture dello spazio antropico, Florence, Edition Uniedit, 1976 p. 69

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wants the street front wide above six metres and depth above 15/18 metres. After the settlement on the pre-existent path there is the progressive obstruction of the inner areas caused by the realization of additional later paths (orthogonal ,as usual, to the matrix path) and they make completely usable the area. There are some other paths which link this one with later ones so they complete the urban fram. (Image 6.01).

For the planning plants Caniggia says that : “planning is intentional coding of results of a spontaneous typological process and application of this ones in more wide scale than individual intervention. Inside planning is obviously include a generalization of necessity which cause a forgetfulness of not fundamental components for the collectivity but indispensable for individual.� 2 For that reason usually after planning follows a spontaneously adjustment to solve the necessity unresolved.

In ancient cities especially in Roman ones we can find two different classes of estate type: domus and insulae.

Domus is the most ancient typology, matrix of all successive development. Its structure is still recognizable in actual building frame. In fact when it finished its typological function it became a building unit and a bring together module into the conformation of the successive urban frame. For example Caniggia locate in Tor di Nona area, Campo dei fiori and Trasteveere the ones with original plant like elementary domus. (Image 6.02). According to evidences known , its fundamental characteristic in Mediterranean area it is that one of being established with a corral with only one gap to the outside, in the bound2 G. CANIGGIA, Strutture dello spazio antropico, Florence, Edition Uniedit, 1976 p.

72

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Image 6.02: Ricostruzione della lottizzazione dell’Ansa di Trastevere secondo L. Bascià, 1992

er which include the living surrounding it leaves an inner space to get through air and light. The example re- built of that building frame which includes the elementary domus is called “open series.” The paths in that model are parallel with only one relevance slot and they used only one side to get into the domus. The development of this frame is called “close series” and it happens when a street used two relevance slots guaranteeing greater density of building. In the transfer from open series to close series the domus obtained the second floor.

The insulae developed in a moment of big demographic expansion, like the imperial one, where they needed greater building density. The insulae was characterized by single ambient accommodation which were put in double series using a inner bearing walls with outer view in both sides and a gallery or loggia to go inside every single residence. We can find it only in cities densely populated such as Rome Ostia Genova. The is-

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land creation is a phenomenon which happens in urban place usually when the private estate space get blocked inside the corral of the domus originally only on one floor, only for one family. This new insulae settlement created new inner paths private and residents.

There was another typology descended from basilar domus: the taberanae. It was a cell closed on three sides the one open it was orientated towards public space where there opened others tabernae so they created linear structure serial open or closed. The tabernae wasn’t never alone in fact it created frame well recognizable. The origin of tabernae represented the commercial specialization of some cells placed along the principal way and obtained thanks to the re-utilization of some space already existent. During middle age this phenomenon was strictly correlated with pilgrims walk and it was favourite to the building gathering happened in this new city axis. Now the cells weren’t aggregated in the inner part of corral but directly in the paths and they were in both sides. It was common the re-utilization of colonnades using the occupation with connection between the modular of the structural place and the serial front of the derived cell.

The urban frame usage happened usually on public building instead private one. This happened because the private made more resistant to conserve his propriety instead in public one there must be a administrative power enough solid to guarantee cure. When arrived a crisis of this power the public space became private. Furthermore public buildings with particular destination survived until their use were useful. This is testimony from many theatre, thermal baths reused later as estate place ( Siena, Lucca, Rome, Florence) Caniggia

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Image 6.03:Theater of Marcellus, Rome, today

says that “ the history of ancient place reduction in middle age place it is the story of the public space obstruction with private buildings and the changing of destination of specialist building into private residential. 3 (Image 6.03, 6.04).

Between 10th and 15th century the building frame were substantially modified: ancient urban aggregate composite of very big elements, the domus, changed them into buildings smaller which became terraced house. For many years there were many characteristics of Roman houses like one family living and the court like distributor element. The constant elements of terrace houses were the measures around 5-6 metres (the street side) 12-20 metres (depth) and lateral walls used with the inner area for a double view (Image 6.05). 4

3 G. CANIGGIA, Strutture dello spazio antropico, Florence, Edition Uniedit, 1976 p. 74 4 Inspired by G. CANIGGIA, Strutture dello spazio antropico, Florence, Edition Uniedit, 1976

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a) Cadastre floor: it is clear the presence of characteristics of the three structure frame.

b) Actual Survey wall. Compare to the precedent cadastre show us the pre existent in the building frame in spite of the changing with the opening of Vittorio street and Rinascimento street.

c) Roman Pre existent put on top with cadastral map.

Image 6.04: Tessuti medievali sovrapposti ad edifici specializzati antichi, Tav 7, G. Caniggia, 1976 Area of the Theatre of Pompey , the Odeon and the Stadium of Domitian in the Campus Martius

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Image 6.05:Tessuto di case lungo la Strada che viene da Banchi e va al Pelegrino , Roma, 1680 L. BasciĂ , P. Carlotti, G.L. Maffei, La casa romana, Alinea, Firenze, 2000.

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6.2 The Italian Gothic house

“Take the built to unit it doesn’t matter reduce the variety but understand the real potential differences” 1

This building typology has got its roots in middle age. Its peculiarity is serial. It is fundamental the modular repetition of the front in building coming from “insulizzazione” and “tabernizzazione” and from a new expansion area.

The Roman House was characterized for another peculiarity: it was inhabited only from one family. This characteristic will be lose from the 16th century: in fact there were more building for more family, initially obtained from transformation of the old domus later for the introduction of a new house typology: the line house.

I will take a look through four phases at the development of the Gothic house from the high middle age until the 19th century. 2

1 G. STRAPPA, Unità dell’organismo architettonico, Ed. Dedalo, Bari, 1995, p.

15 2 Inspired by L. BASCIà, P. CARLOTTI, G.L. MAFFEI, La casa romana, Florence, Edition Alinea, 2000

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First period: the origin The primitive Roman house had its origin from the domus splitting up in fact it conserved the distributive function of the courtyard. The house had front dimensions nearby 6 metres and often it had a frontal loggia where there were a stairs to go to upper floors. If that stairs was external and out in the open it can be a “profferlo.”1 Later in the house arrived a stair adherence with the path of the lower floor with the function of small shop hall.

This house typology was very common in urban centre of north Lazio and there are some exemplars in Trastevere and inside some Tiber district.

This phase is characterized by the presence , in the street front and in back front either, of logge balconies and “mignani” built in stonework and wood with a distributive function of the activity happened inside the house.

1 Element typical civil architecture of the Middle Ages . It consists of a scale in a single ramp that runs along the facade of the building . On top of the scale a small balcony above the door of the entrance door . Below the scale it opens the half arch that encloses the environment of the ground floor access, generally intended to shop in the basement or , more rarely , in the barn .

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6m 6m

Scale 1.500

Elementary cell

Raising with addiction of external staircase (Profferlo)

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Image 6.05: Gothic house with profferlo in Cappellari street, Rome, today.

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Image 6.06: Gothic house with profferlo in Lungara street, Rome, today

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Second period: XV - XVII century

During this period Roman house had this characteristics: - fabric body built from two cells with border walls in common with other fabricated view on the street and on the pertinence area. The house was built on three floors and the ground floor had got a particular function.

- the stairs body was set , in the ancient version, on a side of the first cell orthogonal to the path; in later typology the stairs was parallel to the front between the first and the second cell and it was link with a tight hallway.

- principal table was characterized on the ground floor from a little shop door and , more tight and lateral, to go inside the house. The upper floors with windows put at the extremity of a cell; in the centre there was a fireplace.

The hierarchy between first and second floor was signed by more height from the two floors and from the windows. The opening can be square with relief cornices.

In this period the stairs position was very important. For example when the stair is orthogonal in its space was reserve one of the two window of the cell so in the space it remained only one window. When the stairs was parallel to the front of the street the space used was lower in fact this was the solution more used.

130 | The house: the structure of anthropic space

Raising with addiction of elementary cell.

Horizontal internal staircase.

6m

Raising with addiction of elementary cell.

Vertical internal staircase.

Scale 1.500

The house: the structure of anthropic space | 131

Image 6.07: Cadastre of S. Spirito, XVI century

132 | The house: the structure of anthropic space

Image 6.08: Cadastre of S. Spirito, XVI century

The house: the structure of anthropic space | 133

Image 6.09: Gothic house in Rome, today

134 | The house: the structure of anthropic space

Image 6.10: Gothic house in Rome, today

The house: the structure of anthropic space | 135

Third period: XVIII - XIX century

Between the 15th and the 17th century the formation phases of terraced houses was finished, in later centuries the city grow with houses of two floors and elevated and with substitution of buildings already existent.

The terraced house became a house for more family than one. Its characteristics were: - body factory composite of two cells but with one or two or more floors added which contained one accommodation each floor. The lower floors sometimes still had the one family characteristic - stairwell variable in number and position; it depended from the function organization of the floor: if the pre existent part remain for one family the original stairs remain and integrated with a new stairs. Otherwise the new stairs needed for each floor and the ancient stairs was lost. The stairwell was located outside in the upper floors or inside in the substitution - principal prospect had the original characteristics with the possibility of a new entrance door on the ground floor and a formal diversity of the new windows.

The more family house had more homogeneity in the front side where the hierarchy of the floors were lost and the basement was accentuated - structural system conserved the original character with more attic vault in the space distribution vertical and horizontal. The reason of this new typological acquisition is the more density land which we had with the built house.

136 | The house: the structure of anthropic space

Multifamily

Scale 1.500

The house: the structure of anthropic space | 137

Image 6.11: House in Tomacelli Street, 1836

138 | The house: the structure of anthropic space

Image 6.12: Campo dei Fiori, Rome, today

The house: the structure of anthropic space | 139

Fourth period: XIX - XX century

The unification of two or more terraced houses started in the 17th century during until the 19th century and it conduced towards a single terraced house. This typology was destined not only popular class and little middle class people but it was destined to rich people too, clergy and nobility became like a small building. Peculiar characteristics where: - a construction industry of high quality which change the formal contents of a building façade such as the rhythmic wall make with inter-axle spacing and floor hierarchy - as an alternative a more detailed unification process of bases building bring to rent houses destined to poor people - a building which grew until 5 or 6 elevations with windows that can be maintained in the original position or moved to simulate a rhythmic wall using windows painted with trompe l’oeil - base and openings of the ground floor levelled out with the entrance gate, put in axis with the facade or on a side where we arrived on a stair crossing through a big atrium with vault sometimes bypass and passable.

- new residents stairs which was in lateral position if the unification was on two serial elements or in the centre of the new building unit if the elements were more of two - the built can block the pertinence area until change in courtyard architecturally well defined.

140 | The house: the structure of anthropic space

Combination of Gothic house

Scale 1.500

The house: the structure of anthropic space | 141

Image 6.13: Gothic house in Rome, today

142 | The house: the structure of anthropic space

Image 6.14: Gothic house in Rome, today

The house: the structure of anthropic space | 143

Horizontal staircase

6m

Elementary cell

Second period: XV° - XVII° century

6m

Vertical staircase

144 | The house: the structure of anthropic space

Raising with addiction of elementary cell.

Fourth period: XIX - XX century

Third period: XVIII - XIX century

Multifamily.

Combination of Gothic House.

The house: the structure of anthropic space | 145

Axonometric section

Example of a Gothic house in Lungara street

During the XVII century, the area extending between the Vatican and Trastevere, is an increase of the “basic building” construction due to an increase of the population that moves in areas adjacent to the city center.

“Basic building” means buildings destined to housing.

This is the type of Gothic house described previously. Generally, this buildings consisting of a room on the ground floor used as a workshop and the rooms destined to domestic life on the upper floors. This aggregation process and fusion of elementary cells is often detectable in the central areas of Rome and specifically concerns also residences on via Lungara. Based on an analysis of the ground floor plan it can identify basics cells on their respective areas of relevance clogged over time from other buildings that have given to the street the appearance we see today. Starting from “basic building” it get through the process of cell fusion and transformation, in what is called special building.

146 | The house: the structure of anthropic space

Facade

Section

Via Lungara

Plan

0

5m

The house: the structure of anthropic space | 147

6.3 Townhouses

The rudiments of Roman house can be find in modern way in the townhouse typology. As Gothic house which was development by the society needs the townhouse too had changes of space conception very actual.

Movement aspect in the map had a particular importance role, giving very importance the entrance position and the inner circulation function.

Many modern architects approach at the planimetric distribution inside the house. Adolf Loos had a Raumplan concept where he thinks that every ambient must have its particular function so they can have different dimension and weight. Other architects in the same period were also striving to overcome the rigid conventions of traditional house plans.

Flowing spaces were already evident in Frank Lloyd Wright’s group of prairie houses built in 1893. A conspicuous horizontal arrangement with wide projecting eaves smoothed the progression from inside to outside.

In successive phases of development, Wright elaborated his principle of flowing space, creating a series of interconnected spaces without built enclosures to form a spatial continuum that extended out as directly as possible into the surrounding landscape.

148 | The house: the structure of anthropic space

Image 6.15: Townhouses in the district of Friedrichswerder, Berlin, today

The principle of flowing space has been realised particularly rigorously by Gerrit Rietveld in the Schröder House built in 1924, by Richard Neutra in almost all the houses he built from 1927 onwards and by Ludwig Mies van der Rohe in his German Pavilion built for the 1929 Barcelona World Exposition, in which he demonstrated a new conception of space within a geometric arrangement: on top of a plinth, he placed a composition of covered and open spaces to form a flowing whole of interconnected spaces. Space flows around horizontal and vertical planes which do not intersect. The interior and exterior space is treated according to the same principle. A closed volume no longer exists. The built space is as open and directionless as natural space. A review of archetypical fluid spaces would not be complete without Le Corbusier’s concept of the “promenade architectural”.

Movement around, within and through a building plays a central role in his thinking. For Le Corbusier “form” was an active, dynamic and tangible force that breathed life into the system of a building. This is particularly apparent in his design for the Villa Savoye, in which he created a route that led through a regular volume, connecting on its way rooms of different sizes and concentration.

Important examples of this typology can be find in the nord Europa, such as in Amsterdam in Holland with the Borneo Sporenburg district or in Copenaghen in Dutch. In England and in Germany this typology is very used. Especially last one I will do two examples of the historical Friedrichswerder district.

The house: the structure of anthropic space | 149

Image 6.16: Townhouses in the district of Friedrichswerder, Berlin, today

Townhouses in Caroline-von-Humboldt-Weg 6, Berlin, Klaus Theo Brenner Stadtarchitektur, 2007

Image 6.17: Prospective section

150 | The house: the structure of anthropic space

First floor plan

Top floor plan

Ground plan

Third floor plan

Basement plan

Second floor plan

Image 6.18: Plans, Scale 1:200

The house: the structure of anthropic space | 151

Image 6.19: Townhouses in the district of Friedrichswerder, Berlin, today

Townhouses in Caroline-von-Humboldt-Weg 20, Berlin, Meuser Architekten, 2006

Image 6.20: Perspective section

152 | The house: the structure of anthropic space

Image 6.21: Basement

Fourth floor plan

Third floor plan

Second floor plan

First floor plan

Image 6.20: Plans, Scale 1:200

Ground plan

The house: the structure of anthropic space | 153

7. Alternative scenery

Alternative scenery | 155

7.1 Comparison

The attempt (utopian) of this planning provocation, will be an imagine of an alternative scenery. It is an attempt of how the relationship would be different between the river and the city if at the beginning of 900 if different decisions had been taken (not the better choice but simply a different choice). The attempt to dam the Tiber marginalized the river from the city life, and it makes two different levels: one of the river and one of the city (Urbe).

The solutions given in this thesis start from the facts that happened in the past and they try to fix the relationship between the existent elements and the river.

All of this look at Lungara street too and its relationship with the past and with the river and the city.

With the two planimetries I will show the changes that happened on the street as I demonstrated in chapter four.

With the comparison with the paint of Hendrik Frans vanb Lindt finished in 1739 and the actual photo taken from the same point of view of the painter we can see the isolation and the separation of the river from the city which implicate the interruption of all the activities which made possible a dialogue between people and the river.

Alternative scenery | 157

Before 1870

0

4m

158 | Alternative scenery

After 1870

0

4m

Alternative scenery | 159

Image 7.01: drawing of San Giovanni dei Fiorentini and Lungara Street, 1739

Image 7.02: picture of San Giovanni dei Fiorentini and Lungara Street, today

160 | Alternative scenery

7.2 Collage

Image 7.03: Superstudio, “The Continuous Monument (Grand Hotel Colosseo, first version),� 1969

To imagine a different scenery I have taken as an example some architectures still existent. I made some comparisons with a situation similar to the Roman situation which reported in different way with the river which had some buildings very different from Lungara street.

One of the projects similar to the roman situation, there is Adelphi Terraces of Adam brothers mentioned in chapter three. It was one of the first neoclassical building rises in London between 1768 and 1772. It is characterized from a huge majestic and elegance obtained from 24 estate houses which are on a colonnade terrace.

From this reference I increase the colonnade thematic taking a look especially to the Weinbrenner colonnade in Karlsruhe.

Alternative scenery | 161

Image 7.04: drawing of portico in Kaiserstrasse by Friedrich Weinbrenner, Karsruhe, 1808

In Italy too some architects take to example the European neoclassical cities, we can see this in Giorgio Grassi in his Students house in Chieti where he proposes again the fifth street colonnade in 1976.

It wasn’t impossible taking a look at the Niemeyer operas like the Itamaraty Palace in Brasilia and Palazzo Mondadori In segrate. I tried to test the collage technique to put a stranger scenery in Lungotevere and in Lungara street. What happened if the lungotevere was thought to be like an Amsterdam district? Or like the townhouses in Berlin?

Image 7.05: drawing of portico of the Student residences in Chieti by Giorgio Grassi, 1976

162 | Alternative scenery

Image 7.06: picture of the Lungotevere Gianicolense and the Lungara street, today

Image 7.07: picture of the Lungotevere Gianicolense and Amedeo di Savoia bridge, today

Thanks to this experimentation it was possible understand such interesting elements that can be the subject studied in different ways. So I decided to respect the mightiness of muraglioni on the river side and on the street, the irregularity of the existent buildings.

Alternative scenery | 163

Street front with mirror facade

Street front with Borneo Sporenburg, Amsterdam

Street front with Friedrichswerder Townhouses, Berlin

164 | Alternative scenery

River front with Borneo Sporenburg, Amsterdam

River front with Adelphi Terraces, London

River front with Student’s residences, Chieti

Alternative scenery | 165

7.3 Concept

Actual situation Lungara street is in a lower level respect to Gianicolense Lungotevere. It has a width of 5 metres and on a sides it has a massive walls and the other side historical buildings.

I Step Lungotevere Gianicolense is lowered below the former street level.

166 | Alternative scenery

II Step The street comes back to be an urban internal space with two built fronts

III Step The street has again a direct view on the river. The horizontal elements with the colonnade provide a regular subdivision of the facade.

Alternative scenery | 167

Space and pedestrian path

Via della Lungara Public Private

Actual situation with flood

Analyzing the paths and the public and private spaces of the actual situation we can see that when the Tiber flood (very frequent thing now during autumn and winter) the only pedestrian path is unstable. To solve this problem we propose a double space to public and private paths . In that way there are two pedestrian paths, and one of this paths would be always usable because it is higher than the other.

Proposal with flood

168 | Alternative scenery

We can imagine a Lungara street with a colonnade terrace and with the two sides built.

Alternative scenery | 169

170 | Alternative scenery

0

10 10m

Alternative scenery | 171

Maquette 1:1000

172 | Alternative scenery

Maquette 1:1000

Alternative scenery | 173

10 10m

0

174 | Alternative scenery

7.4 Fronts

The streetfront

The riverfront

Alternative scenery | 175

7.4.1 The Streetfront

Tools Facade Common elements

marcapiano

grid

basement

Various elements

0.8 0.4

1m

176 | Alternative scenery

Panels The fiber cement panels that characterize the faรงade on the street have a different format in each module: - module A : are arranged according to the subtraction and addition of volumes - module B : vertical arrangement by alternating frames that have the same size - module C : horizontal arrangement, frame the windows .

Each module can then be customized, by placing differently panels and window frames but in the orientation and size of the panel.

7.4.2 The Riverfront

00 m

5m 10

Common elements

grid

0.4

5.2

0.8m

Grid of bricks window

The facade on the river does not differentiate between each three modules, thus giving the idea of a united front that belongs to only built block.

The grid of bricks enclosing the ranges plastered alternating windows (also regular). The only differences that characterize the river 3 modules are: - module A: different height - module B: no lodge except for the top floor - module C: face only lodges.

Alternative scenery | 177

Maquette 1:100

178 | Alternative scenery

Maquette 1:100

Alternative scenery | 179

Maquette 1:100

180 | Alternative scenery

Maquette 1:100

Alternative scenery | 181

Maquette 1:100

182 | Alternative scenery

Maquette 1:100

Alternative scenery | 183

7.5 Modules

Module A Module B Module C

Studying Roman houses especially the typology in Lungara street and watching the European townhouse, I chose three modules which summarized principal characteristics. The minimal width chosen is 6 metres taken from the Gothic house. Every module is a multiple of six.

In that way we can analyze the one family typology and more family typology with the two characteristics distribution: the orthogonal one and the parallel one. On the ground floor , both modules have shops.

184 | Alternative scenery

Module A 6 x 14 x 16.80 Single-family Orthogonal staircase 1 apartment on 3 level

Module B 12 x 14 x 20.40 Multi-family Parallel staircase 3 Simplex (60 m2) 2 Duplex (140 m2)

Module C 18 x 14 x 20.40 Multi-family Orthogonal staircase 4 Simplex (75 m2) 2 Duplex (130 m2)

Alternative scenery | 185

7.65 m

²

3

18 m²

+ 6.85 m

6

4 m²

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

5

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

186 | Alternative scenery

4

5

2m

0

+ 10.45 m

1

7.5.1 Module A

Street front elevation

River front elevation

Ground floor plan

Mezzanine floor plan

Via della Lungara

+ 6.85 m

+ 10.45 m

Fist floor plan

Second floor plan

+ 14.05 m

Third floor plan

0

2m

Alternative scenery | 187

Mezzanine floor plan

188 | Alternative scenery

Fist floor plan

Second floor plan

Third floor plan

0

2m

Alternative scenery | 189

3

18 m²

+ 10.45 m

+ 6.85 m

1

6

4 m²

4

5

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

5

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

190 | Alternative scenery

Mezzanine floor plan Via della Lungara

7.65 m

²

7.5.2 Module B

Ground floor plan

+ 6.85 m

Fist floor plan

+ 10.45 m

Second floor plan

+ 14.05 m

0

2m

Alternative scenery | 191

Third floor plan

Fourth floor plan

192 | Alternative scenery

+ 6.85 m

+ 10.45 m

Street front elevation

River front elevation

+ 14.05 m

0

2m

Alternative scenery | 193

Simplex 60 m2

0

194 | Alternative scenery

2m

Duplex 140 m2

Alternative scenery | 195

3

18 m²

6

4 m²

4 5

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

5

4

5

13 m²

8 m²

9 m²

10 m²

+ 14.05 m

5

196 | Alternative scenery

+ 10.45 m

+ 6.85 m

1

Via della Lungara

7.65 m

²

7.5.3 Module C

Ground floor plan

Mezzanine floor plan

Fist floor plan

+ 6.85 m

+ 10.45 m

Second floor plan

+ 14.05 m

0

2m

Alternative scenery | 197

Third floor plan

Fourth floor plan

198 | Alternative scenery

Street front elevation

+ 6.85 m

+ 10.45 m

River front elevation

+ 14.05 m

0

2m

Alternative scenery | 199

Simplex 75 m2

0

200 | Alternative scenery

2m

Duplex 130 m2

Alternative scenery | 201

7.6 Scenery

202 | Alternative scenery

204 | Alternative scenery

206 | Alternative scenery

Alternative scenery | 207

208 | Alternative scenery

Alternative scenery | 209

7.7 Structure

The technological aspect is composite of various structure walling – reinforced concrete. Realizing this structure with different material help us to use the propriety of both materials: seismic resistance, flexibility in the distribution of the space. This kind of structure are used for medium and little constructions for the economics profit and freedom external expression.

Structural organisms have a reinforced concrete frame and supporting walls. In B and C (respectively 12mt and 18mt) modules stairwell is in reinforced concrete. In this way it is possible to confer greater rigidity to the horizontal actions.

210 | Alternative scenery

Concrete Wall Staircase

Alternative scenery | 211

0

1

2

3

4

5

6

7

Vertical element 1 Plaster 2 Blockwork 3 Thermal insulation 4 Fibre-cement panel 5 Shutter 6 Window sill 7 Window 8 Reinforced concrete pillar 9 Thermal insulation

212 | Alternative scenery

0,5 m

8

9

0

0,5 m

8 9

1 2 3 4 5 6 7

12345678

Vertical element

Horizontal element

1 Railing 2 Window 3 Window sill 4 Plaster 5 Thermal insulation 6 Blockwork 7 Skirting board 8 Bricks - coating 9 Cement

1 Skirting board 2 Tile 3 Self-leveling screed 4 Soundproofing 5 Plant screed 6 Thermal insulation 7 Concrete floor 16+4 8 Counter-top

Alternative scenery | 213

7.8 Conclusion

In this path I have tried to give an answer to the research question rise during December while we analyzed Lungara street. After searching the milestones on the evolution of the road and on the influence of water routes in the urban - architectural, it tried to analyze more closely the particular condition of Rome and the way the protagonist of this thesis.

I decided to give to the street a built side and a slope to Lungotevere for disable people too. (Nowadays disabled access is absent in Rome). The differential and contradictory treatment of the two fronts, was instead the result of a longer process of composition. I have tried to propose a valid solution to the internal disposition of flats, for the structure and the stratigraphy.

The central river side are in an analogue situation of Lungara street. This scenery can be use to them and we can imagine a Rome similar to a Dutch city that returns to dialogue with the flow of water to which owes its origins.

Alternative scenery | 215

Bibliography S. STÜBBEN, Der Städtebau, Edition Vieweg, Köln, 1890 A.CACCIA, Costruzione, trasformazione e ampliamento della città, sulla traccia della Städtebau di Stübben, Edition Ulrico Hoepli, Milano, 1915 G. CANIGGIA, Strutture dello spazio antropico, Florence, Edition Uniedit, 1976 A. ROSSI, L’architettura della città, Città studi edizioni, Milano, maggio 1978 Roma Interrotta, Incontri internazionali d’arte officina edizioni, Roma, maggio 1978 C. ROWE, F. KOETTER, Collage City, il Saggiatore, Milano, maggio 1981 G. CANIGGIA, G.L. MAFFEI, Il progetto nell’edilizia di base, Venice, Edition Marsilio, 1984 I. CERDÀ, (a cura di A. Lopez de Aberasturi),Teoria generale dell’urbanizzazione, Jaca Book, Milano, febbraio 1985 C. MOUGHTIN, Urban design, Street and square, Edition Elsevier, Oxford, 2004 (First published 1992) A. BREEN, D. RIGBY, Waterfronts : cities reclaim their edge, Mcgraw-Hill, 1993 G. STRAPPA, Unità dell’organismo architettonico, Ed. Dedalo, Bari, 1995 M.G. CORSINI, Tipi e tessuti del centro storico di Roma, Rome, Edition Kappa, 1998 G. BASTA, A. CANEPONE, G. DOTI, G. MARRUCCI, Il Tevere e Roma, un progetto per il lungofiume, Ed kappa, Roma 1998 S. KOSTOF, The city assembled : the elements of urban form through history, Thames & Hudson, 1999

216

L. BASCIà, P. CARLOTTI, G.L. MAFFEI, La casa romana, Florence, Edition Alinea, 2000 C. MOUGHTIN, Urban design, Street and square, Edition Elsevier, Oxford, 2004 (First published 1992) M. MOCCHI, La strada: da architettura a infrastruttura, in Rivista Il Territorio, vv. 29-30, 2004 M. M. SEGARRA LAGUNES, Il Tevere a Roma: storia di una simbiosi, Gangemi Editore, Roma, 2004 S. KOSTOF, The city shaped : urban patterns and meanings through history, Bulfinch Press, 2004 (First published 1993) K. DOVEY, Fluid City, Transforming Melbourne’s Urban Waterfront, Edition Routledge, Sidney, 2005 S. A. GREGORY, Flood of the Tiber in ancient Rome, The johns Hopkins University Press, 2006 AA.VV. , Rivertown, rethinking urban rivers, Edition by Paul Stanton Kibel, London, 2007.

M. CAJA, S. MALCOVATI, Berlino 1990-2010 : la ricerca sull’isolato e sul quartiere, Libraccio, Milano, 2009 H. STIMMANN, Construction and design manual Townhouses, DOM Publishers, 2011 M. CAPERNA, La Lungara, storia e vicende edilizie dell’area tra il Gianicolo e il Tevere, Rome, Edition Quasar, 2013

217

Ringraziamenti

Scrivere dei ringraziamenti è sicuramente per me una delle parti più difficili. Sono davvero tante le persone incontrate in questi 5 anni e ognuna di loro a suo modo ha contribuito a rendere migliore e più piacevole questo percorso che sta per concludersi.

Primo giorno di università, ringrazio la mia dolce Camilla per avermi chiesto dove fosse l’aula e per non avermi più perso di vista. Grazie a Ila e a tutta la tua stupenda famiglia, dal “villaggio” di Sommariva del Bosco mi avete sempre regalato momenti (e pranzi!) davvero speciali. Grazie a Ricca e Giulio per aver reso decisamente più divertenti questi anni! Un ringraziamento speciale a Vi e Chris, compagne di estenuanti Atelier e di nottate infinite.

Grazie alla Professoressa Silvia Malcovati, per la possibilità di affrontare la tesi in un contesto internazionale, permettendoci così di confrontarci con idee e ragionamenti per la prima volta estranei a quelli del Politecnico.

Grazie al team di lavoro, alle ragazze romane e in particolare a Mari, Marta, Elisa e Carlotta.

Grazie alle mie amiche di Grosseto, che anche lontano da casa sono sempre state presenti in questo percorso. Grazie alle tante Ila, a Giuly e a Fra.

Grazie alla mia famiglia torinese, che mi ha fatto respirare aria di casa anche lontano dal mare. Grazie alla mia Zia Giusy e alle sue cene del Venerdi, grazie a Luca, Marta, Lidia e Marco. Grazie al mio piccolo Loris, cresciuto con me in questi cinque anni.

Grazie a Torino, alla tartare di fassone, al Bonèt e al Bicerin.

Grazie a Jacopo, che con immensa pazienza mi ha supportato (e sopportato) in tutti questi 5 anni, ascoltando instancabilmente da ingegnere tutti i disagi e le insoddisfazioni che angosciano noi futuri architetti.

Grazie a Filippo, a Ely e al mio Leonardo. A mia sorella devo un ringraziamento particolare per aver colmato le mie grandi mancanze linguistiche e avermi aiutato nella traduzione di questa tesi. Grazie anche a Dominique per la preziosa correzione e revisione dei testi.

Infine grazie a Mamma e Babbo, che hanno accettato la mia costante distanza e la mia voglia di andar sempre piÚ lontano, senza però mancare di farmi sentire ogni volta accolta e coccolata al mio rientro.