process cartography - Professur Vogt ETH Zürich

Transcription

Professur Günther Vogt
Entwurf Wintersemester 2010
WORKBOOK
PROCESS CARTOGRAPHY
% F O 5J C F S V N T D I M J F T T F O
Semesterdaten
Mo 20.9 12-13h
Organisation Workshop Rom
Di 21-Sa 25.9
Workshop Rom: Reise Zürich-Rom
Di 21.9
18-19h
Intro, Vorlesung: Collage City – Istituto Svizzero Roma
Mi 29.9
9-14h
Zwischenkritik 1: Wahrnehmung – NSL Foyer
Di 5.10
10-11h
Vorlesung: Urban scale and tools – NSL Foyer
Mi 6.10 14-18h
Tischkritiken – Green Box
Mi 13.10
Zwischenkritik 2: Konzept und Analyse – NSL Plaza
9-16h
Di 19.10 10-12h
Workshop Modellbau und Storyboard - Büro Vogt Landschaft
Mi 20.10 14-17h
Mi 20.10 17-18h
Einführung Seminarreise Rom
Mo 25 - So 31.10
Seminarreise Rom
Di 2.11
Workshop Visualisierung und Plangraphik -
10-12h
Büro Vogt Landschaft
Mi 10.11 9-18h
Mi 17.11 9-16h
Zwischenkritik 3: Gestaltung – NSL Plaza
Di 23.11 10-18h
Tischkritiken – Lehrstuhl Vogt
Di 7.12 10-18h
Di 14.12 10-18h
Schlusskritik – NSL Foyer
Professur Günther Vogt
Entwurf Landschaftsarchitektur Wintersemester 2010
Workbook
Process Cartography
Den Tiber umschliessen
Prof. Günther Vogt
Sebastiano Brandolini, Assistent, brandolini@arch.ethz.ch
Dominique Ghiggi, Assistentin, ghiggi@arch.ethz.ch
Institut für Landschaftsarchitektur, HIL H 45.2
Wolfgang-Pauli-Str. 15, 8093 Zürich
Tel +41 44 633 26 88
E-Mail ghiggi@arch.ethz.ch
www.vogt.ethz.ch
Process Cartography
Den Tiber umschliessen
Inhalt
Aufgabe S. 6
Programm S.12
Methode S. 18
Leistungen S. 23
Workshop S. 25
Seminarwoche S. 35
Ausgewählte Texte S. 49
Günther Vogt Mimikry des Birkenspanners S.50
Antonio Cederna I Vandali in casa S. 54
Richard Ingersoll From the Center of the World to the Edge of the City S. 60
Sigmund Freud Das Unbehagen in der Kultur S. 70
Informationen zum Ort S. 81
Römische Villenkultur S. 82
Historische Bilder S. 104
Luftaufnahmen S. 112
Panorama S. 116
Karten S. 120
Referenzen S. 138
Bibliographie S. 152
Aufgabe
Das Entwurfsgebiet befindet sich in Rom, auf zwei Arealen entlang der brachliegenden Ufern
des Tibers. Die Aufgabe besteht in der Umgestaltung des Arbeitsperimeters in metropolitane,
öffentliche Räume. Dabei gilt es den suburbanen Stadtcharakter genauer zu untersuchen und
gestalterisch umzuformen. Die Verdichtung des Raums durch bauliche und gestalterische
Interventionen, die Festlegung von Nutzungen und der konzeptionelle Umgang mit den
Gestaltungselementen sind wichtige Anforderungen an den Entwurf. Das Ziel besteht darin,
herauszufinden, wodurch sich metropolitane, öffentliche Räume kennzeichnen.
Rome, Tiber, Open Spaces
The Tiber river will be the subject of the Fall 2010 ETH Landschaftarchitektur course, headed
by Gunther Vogt, with Sebastiano Brandolini as Gastprofessur, and Domique Ghiggi as assistant. One area is more central (North Area), the other is more suburban (South Area); each
of the two areas comprise both the East and West shores of the Tiber, in Rome.
Rome is the single major Italian city; its shape still conserves a strong centrality, with the
ancient radial roads maintaing. The river Tiber, as many rivers of European capitals, historically acted as a landscape catalyst when the city was founded almost 3000 years ago, but then
gradually lost its public role as a place of representation: becoming a transport infrastructure,
a sewer and a monumental backdrop; today the Tiber is seldom used by Romans, and is barely
a tourist attraction. Environmentally, the Tiber, in spite of being a small river, can still be
rather threatening, when there are heavy concentrated rainfalls to the north. In spite of being
canalized and heavily trafficked, the Tiber still belongs to the classical mythology of the city.
Among the major European towns, only Paris and Berlin, seem to have really turned their
rivers into public spaces.
Rome is a dense town, with a high ratio of green space per inhabitant. The centre is dominated
by the Archeological Park, a complex puzzle of monuments, open spaces, hills and abandoned
sites, which can require days to explore. In section Rome is a stratified and faceted excavation
site of different epochs, styles and ideas, which gradually over time grew onto and into itself
(this fascinated Sigmund Freud). Then, there are important public parks originating from the
estates of major renaissance aristocratic families, such as the ones surrounding Villa Borghese,
Villa Ada, Villa Torlonia; their walls no longer represent unsurmountable boundaries. The
Vatican Gardens belong to this family of historical parks, but are not open to the public.
Rome was originally built on seven volcanic hills. Some of these are no longer legible having been flattened and digested inside the urban fabric, while others can be still identified
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Aufgabe
(Palatino, Gianicolo, Celio, Pincio). The hills, together with the river have determined – over
the centuries – a strong relationship between the districts of Rome and the landscape; and
this is also explains the beauty of the city. The centre of Rome, as it is now, is really a 19th
century. Now the hills on which Rome sits are hundreds. Even in the Borgate (which are the
extensive post-worldwar II expansion districts of Rome in the countryside), one senses this
vital and ancient relationship: gently winding roads, never flat but always going up and down
(very few bicycles, as a result …), streams, bridges, distant views, natural amphitheatres and
ridges, compensate for the frequently poor architecture quality. The vegetation is luxurious
and exuberant, and seems to self-regulate itself, without need to be accurately designed and
planned. Over the centuries this self-made anarchic garden enchanted the travellers from the
north.
The Tiber seems to possess four different natures, along its extended urban pathway. 1. In the
original and ancient centre of Rome – where there is the Isola Tiberina – the river originally
offered an easy military ford, and this can be still visualized. 2. To the north and to the south
of the centre the river is now a canal; the embankments were built in the late nineteenth
century, with a triple function: contain the river from flooding, create a north-south road
infrastructure, and accomodate the primary sewers; before, the Tiber had been allowed to
breathe and vary over the seasons; once a year it flooded the centre and the lowlands, to
bring away foul bacteria, dirt and the rubbish; there are photos of piazza Navona and of the
Ostiense area under water. 3. Further south and north, the Tiber still possesses a natural look,
with irregular shores, acquatic plants, canes, etc; this can be seen in the North Area to the
South of the centre between the Ostiense and Magliana districts and the E.U.R. (Esposizione
Universale Romana, a monumental Fascist project with political and business scopes built
between the late ‘30s and the early ’50), and to the north of the centre near the Ponte Milvio
and the Farnesina Ministero of Foreign Affairs. 4. Further upstream and downstream, the wide
bed of the Tiber valley has become the ideal site for where to locate railway and motorway
infrastructures, northbound towards Umbria and Tuscany and to southbound towards the Sea
and Fiumicino Airport. So, the Tiber has four natures, from the centre outward: 1. military, 2.
canalized, 3. natural, 4. infrastructure.
In the manifold recesses of its sprawling urban fabric, Rome still displays: large buildings,
panoramic open spaces, long roads, complex infrastructures and rhetorical monuments.
Originating from nature: the Tiber, the seven hills. Surviving from ancient structures: the
Archeological Park, the Aurealian walls, the via Appia. From the last 500 years: the road
network linking the different Basiliche, the aristocratic parks, the piazzas and fountains. From
the 20th century: the Corte di Cassazione (il Palazzaccio), the Corviale and other borgate residential settlements, the train station of Termini, the Parco dell’Appia Antica, the Vatican axis,
Aufgabe
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the G.R.A. orbital motorway (Grande Raccordo Anulare), the E.U.R. So, in contemporary
Rome there is still space to consider large-scale strategies and projects.
The Tiber is a powerful infrastructural line linking different features and zones of the city;
it is frequently invisibile and unreachable, except from the Lungoteveres and the bridges.
Its interior space provides opportunities for distant views, for long walks, for isolation and
contemplation, for sport and leisure, for small navigation. But there is more to it: along the
Tiber Rome has today the opportunity to elaborate a new pact with its own landscape. Some
of the underlying questions might therefore be:
1. what can the open spaces of the contemporary city be?
2. what can the open spaces of the contemporary city be for?
3. can the river Tiber be considered ein Raum, rather than a limit?
4. can urban Rome – between the Aurelian walls and the E.U.R. – invent a novel relationship
with its water, its topography, its recent history, and its landscape?
The North Area
The North Area comprises two sub-areas. The East Sub-area comprises the large Italgas industrial site bordered by via Ostiense, via del Commercio, via del Porto Fluviale and largo
Puccioni; on the opposite side of via Ostiense, the Mercati Generali area will be transformed
by OMA/Rem Koolhaas, and this project should be considered as built. The West Sub-area,
slightly smaller, is an abandoned industrial area (Mira Lanza), stretching from Lungotevere
Papareschi practically all the way to viale Marconi.
Historically, and still today, these industrial areas formed closed-off precincts. The Gasometers
and other industrial structures stand out as symbolic monuments for the southern districts
of Rome and can be seen from far away, and are now part of an unwritten collective urban
memory. The Mattatoio (Slaughterhouse), just north of via del Porto Fluviale, is an interesting
example of a renovated industrial complex.
The Tiber is at this point channeled; on the east shoreline there is neither a road nor a pedestrian pathway; on the west shoreline is both a road and at a lower level a pedestrian pathway,
the latter continuing north and south. The northern edge of the site is the Ponte dell’Industria
(a bridge built around 1880, when Rome enjoyed a period of building boom, following the
Italian unification); the bridge is to be considered an important part of the site.
Via Ostiense and viale Marconi are important entry roads from the south, and at present
have no relationship – visual or functional – with the river. There is a lot of real estate activity
along these two axes, including offices, university departments and commercial facilities; on
via Ostiense there is a museum of ancient Roman sculpture. A pedestrian bridge has been
designed linking the East and West Sub-areas.
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Aufgabe
The two sub-areas should be planned and designed together, as if they made up a single site.
Students might want to extend the project site beyond the limits of two industrial areas; the
East Sub-area can be extended north towards the Mattatoio, and south along the Lungotevere
San Paolo; the West Sub-area can be extended north towards the Lungotevere Portuense and
south along the Lungotevere Pietra Papa.
The South Area
The South Area differs from the North Area in its shape, “grade of naturality”, relationship to
the surrounding urban fabric and future prospects. The two areas share the fact of bridging
across the river, creating a sort of mirror situation overlooking the Tiber. The South Area
flanks a panoramic river meander which is not canalized, about 1 km in diameter.
The West Sub-area is a strip of terrain-vague, that is of undefined land, whose width varies roughly between 100 and 200 meters, between the Tiber on one side and Lungotevere
Magliana, via della Magliana and Lungotevere degli Inventori to the east. Presently one can
find sport facilities, petrol stations, horse-riding schools, car-repair works, open-air restaurants
and promenades: all semi-illegal activities whose hybrid identity between being and not-being
real or lasting architecture make them anyway politically acceptable to the local community.
If the river floods, all these light structures would disappear.
The East Sub-area , being the inner side of the meander, is shorter. Between Lungotevere
Dante and the waterline, we find similar provisional activities as on the West Sub-area. The
strip of land is generally wider than the the West Sub-area. The half-moon of land behind via
Dante is occupied by a chaotic mix of individual buildings of very poor quality; there are a
dog-racing track, University departments, some housing, and a swimming-pool built for the
2009 World Swimming Championships, which got caught in the middle of a major corruption scandal. The quality of the soil is poor and the land has never been properly reclaimed.
Albeit imprecisely, the Tiber frontage continues inland all the way to via vasca Navale and via
Salvatore Pincherle. The city and the river do not reciprocate in any clear way.
The northern limit of the South Area is the Ponte Marconi; the southern limit – less precise
– is the end of Lungotevere Dante and its west-side counterpart.
Aufgabe
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Rom
Aufgabe
rot: Entwurfsgebiet
Aufgabe
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12
Projektperimeter: Nordareal
Aufgabe
Projektperimeter: Südareal
Aufgabe
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Lungotevere, Nordareal
Italgas, Nordareal
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Aufgabe
Ponte Marconi, Südareal
Richtung EUR, Südareal
Aufgabe
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16
Aus dem Film ‚Salto nel vuoto‘ von Marco Bellocchio, 1980
Programm
Programm
Hauptfragen
1. Was sind öffentliche Räume in der Stadt?
2. Wie bilden sich öffentliche Räume und wie gestaltet man sie?
Baufläche
In jedem der zwei Areale (Nord oder Süd) wird auf max. 15% der Fläche gebaut. Die
Studierende definieren wo, wofür und wie dicht gebaut werden soll.
Nutzungen
In jedem Areal sind folgende Nutzungen möglich: Wohnen, Gewerbe, Kultur, öffentlicher
Raum, privater Raum, Transport, Sport, Freizeit. Die Studierende definieren die Nutzungen.
Gestaltungselemente
Es sollen folgende Grundelemente berücksichtigt werden: Grenzen, Eingänge, Wasser, Boden,
Vegetation und Infrastruktur. Die Studierende definieren und gestalten die Grundelemente.
Die Studierende bearbeiten in zweier Gruppen die zwei Entwurfsareale (Nord und Süd). Eine
Person überarbeitet den Norden und die andere den Süden individuell. Übergeordnete Themen
wie Grenzen, Eingänge, Parkplätze, Wege und Strassen werden in der Gruppe diskutiert.
Programm
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Methode
Es gibt viele Herangehensweisen um sich dem landschaftsarchitektonischen Entwurf
anzunähern. Zwischen der Formulierung des Programms und der Kommunikation eines
Entwurfskonzepts liegen unzählige Denkbewegungen, die sich in Handzeichnungen
und Plänen, in Modellen, Filmen oder 3D-Visualisierungen widerspiegeln. Ziel des
Entwurfssemester ist, den individuellen Prozess bewusst zu machen und zu optimieren, sowie
der Imagination im kritischen Umgang mit den eigenen Gestaltungswerkzeugen Tür und
Tor zu öffnen. Das Entwurfssemester «Process Cartography» befasst sich vorrangig mit dem
Gestaltungsprozess an sich; dies unter Einbeziehung der komplexen Fragestellungen, die für
das Gestalten von Freiräumen städtebaulichen Ausmasses wichtig sind.
«Process Cartography» handelt von den Übersetzungsschritten, von der Ortsanalyse über das
Entwurfskonzept zum Entwurf und seiner Kommunikation, die jedem Entwurfsprozess eigen
sind. Das Verständnis von Kartographie bezieht sich damit nicht mehr allein auf die 2-dimensionale Darstellung von Topographien und messbaren Räumen, sondern auf die Übersetzung
von Erfahrungen oder Phänomenen in jeweils andere Medien. Wenn man mit Bezug zur
Landschaftsgestaltung beispielsweise an atmosphärische Qualitäten oder sinnliche Eindrücke
denkt, die einen Entwurf ausmachen sollen, an die Repräsentation von Licht und Schatten,
Farbe und Textur, von akustischen Phänomenen, Trockenheit und Feuchtigkeit, von mineralischen und vegetativen Materialien, gerät man schnell an die Grenzen der konventionellen
Karten mit dem Anspruch an eine weitgehend objektive Darstellung. Es macht deshalb Sinn,
die Definition dessen, was eine „Karte“ ist, zu weiten. Wird die Kartographierung als eine spezifische Notationsweise eines ausgewählten Phänomens verstanden, kann dementsprechend
auch ein Film eine Karte sein, ebenso eine Zeichnung, oder eine Skulptur. Was diesbezüglich
interessant ist, ist die Übersetzung ausgewählter Informationen zu einem Phänomen in ein
Kommunikationssystem und damit die Darstellungskriterien, die für die jeweilige Karte spezifisch sind und nicht zuletzt ihre Tauglichkeit im neuen, kommunikativen Kontext, in den sie
gestellt wird. Während des Semesters wird «Process Cartography» anhand von Besichtigungen,
Workshops und Vorträgen erprobt und diskutiert. Dabei werden der Kontext, um den ein
Übersetzungsschritt jeweils geschieht, und die Werkzeuge, mit denen gearbeitet werden kann,
erörtert. Die Studenten werden angeregt, auf diese Weise Fragestellungen anzugehen und die
Entscheidungen, die einem Übersetzungsprozess zugrunde liegen, zu reflektieren.
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Process Cartography
Methode
Die in «Process Cartography» zu gestaltenden Entwurfsgebiete haben dezidiert städtebauliche
Ausmasse. Der Massstabssprung, den Architekturstudenten demzufolge vollziehen müssen,
macht das für das Fach Landschaftsarchitektur notwendige transdisziplinäre Denken und
Arbeiten offensichtlich: für den Entwurfsprozess ist das sich aus den Fachgebieten Geologie,
Hydrologie, Vegetation, Infrastruktur, Städtebau, Soziologie, Kulturgeschichte rekrutierende Fragenrepertoire in seiner ganzen Bandbreite relevant. Neben der Erarbeitung und der
Diskussion der Ortsanalyse wird eine subjektive Herangehensweise betont, die die Perspektive
des Fussgängers bewusst in den Vordergrund stellt. Diese steht im Gegensatz zu der in der
Architektur generell verwendeten panoptischen Perspektive. Sie ist aber auch Mittel zum
Zweck, um neue, räumliche Szenarien auf ihre horizontalperspektivische Tauglichkeit zu
überprüfen.
Process Cartography
Methode
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Werkzeuge
Werkzeug Gehen
Bewegungen und Handlungen sind raumgenerierend und können gestalterisch genutzt
werden. Bewegungen, die beim Gehen auf dem zu entwerfenden Terrain stattfinden sind
unweigerlich Bestandteil der Konzeption: man überquert das Gaswerkareal oder umgeht es,
geht gezielt oder schlendert umher. So gesehen können wir über Choreographien reden, die
einem Gebiet eine Gestaltung einzuschreiben vermögen.
Werkzeug Typologie
Park, Platz, Garten, Promenade, Hof, Friedhof. Die Auseinandersetzung mit den Typen
ist produktiv: Sie sind eine Orientierung im Entwurfsprozess. Als Strukturmodelle für
Problemlösungen verlangen sie nach ortsspezifischen Aktualisierungen. Die typologische
Herangehensweise präzisiert nicht nur den Charakter eines Entwurfs, sie verleiht ihm auch
Selbstverständlichkeit. Die Typen machten zudem Qualitäten hybrider Räume überhaupt erst
wahrnehmbar.
Werkzeug Bilder
Gesammelte Beobachtungen, Fundstücke und Erinnerungen sind ein Fundus für das
Entwerfen. Je grösser die Distanz der Bilder zur eigenen Disziplin oder zur eigenen Zeit, desto
grösser der Raum für individuelle Aneignungen. Der kritische Umgang mit den eigenen und
mit den vorgefundenen Bildern ist in der heutigen Bilderflut wichtiger denn je. Werden Bilder
spezifisch eingesetzt, ergänzen sie die anderen Medien, und konkurrieren nicht mit ihnen.
Werkzeug Nolli-Plan
Der in Como 1701 geborene Architekt und Landvermesser Giambattista Nolli erarbeitete
zwischen 1736 und 1748 die erste präzise Stadtkarte von Rom, La Pianta Grande di Roma,
heute allbekannt als der Nolli-Plan. Der Plan besteht aus zwölf eingravierten Kupfertafeln, die
insgesamt 176x208 cm messen. Seine Besonderheit ist, dass der öffentliche Raum (weiss) vom
privaten Raum (schwarz) differenziert ist. Zum ersten Mal wurden beispielsweise Innenräume
von Kirchen und Innenhöfen in einem Grundrissplan als öffentliche Räume aufgenommen.
Somit gelingt es Nolli die stadtbaulichen Räume Roms als Konglomerat geschlossener und
geöffneter Räume und die Stadt als Zusammenspiel privater und halbprivater, halböffentlicher und öffentlicher Zonen darzustellen. Damit gibt das Werk Hinweise auf die sozialen,
kulturellen und politischen Lebenslinien, auf die Muster des täglichen Lebens und des Rituals
in dieser Stadt.
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Process Cartography
Methode
Werkzeug Plan
Sowohl in der Architektur als auch in der Landschaftsgestaltung werden Entwürfe vor allem
mittels Plänen kommuniziert. Das Verständnis dessen, was ein Plan ist, hat sich jedoch mit dem
Übergang von handgezeichneten zu am Computer gezeichneten Plänen drastisch geändert.
Weitaus mehr kreative Möglichkeiten sind nun zur Hand. Und doch werden digital erstellte
Pläne oft in einem unterentwickelten Stadium akzeptiert, dem das eigentlich erforderliche
Mass an Zeit, Konzentration und ästhetischen Überlegungen, die notwendigerweise bei
einem handgezeichneten Original gefordert waren, fehlen. Die Plandarstellung wird als reines
Kommunikationsmedium verstanden. Dies bedingt eine vertiefte Auseinandersetzung bezüglich der Absicht und den Entscheidungsprozessen, die dem Plan als Kommunikationsmedium
unterliegen.
Werkzeug Modell
Das Arbeitsmodell als Entwurfsinstrument hat eine sinnliche und intellektuelle Dimension.
Es ermöglicht, Konzepte zu konkretisieren und zu überprüfen. Das Modell ist nicht nur eine
Projektion des neu entworfenen Objekts, vielmehr vermittelt es bereits eine unmittelbare
Erfahrung damit. Für die Herstellung eignet sich das Verfahren der ‚Bricolage’, wie es Claude
Lévy-Strauss beschreibt. Ursprünglich habe das Verb ‚bricoler’ Tätigkeiten wie Ballspiel, Jagd
und Reiten bezeichnet, alles nicht vorgezeichnete Bewegungen. Der Bastler arbeitet mit
Bestehendem und erzielt mit begrenzten, heterogenen Mitteln unerwartete Lösungen. „Der
Bastler legt, ohne sein Projekt jemals auszufüllen, immer etwas von sich hinein“.
Werkzeug Text
Eine Geschichte über das Projekt formulieren heisst, Eindrücke, Aufgabenstellungen,
Analysen und gestalterische Massnahmen zu verarbeiten und als Vorhaben in einen präzisen,
verbindlichen Text zu bannen. Jeder Akt der Verschriftlichung hat etwas Normatives. Das
ist ein Grund, warum wir uns damit oft so schwer tun. Umso interessanter ist es, diesen
Übersetzungsschritt - vom Sammeln und Analysieren zur Entwicklung eines Projekts - von
jedem einzelnen Studierenden abzufragen und individuell zu begutachten.
Process Cartography
Methode
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Nolli Plan (1736-1748), Giambattista Nolli
Leistungen
Leistungen
Der Entwurfsprozess wird anhand Skizzen, Collagen, Bilder, Modelle, Pläne und Texte
erörtert. Die Aufbereitung von Material in einem projektspezifischen Medium erfolgt
anlässlich der hier unten aufgelisteten Ereignisse.
A. Wahrnehmung (Zwischenkritik 1 - 29.9.10)
Aufgabe: Erarbeiten eines persönlichen Konzepts der Stadt, das in Bezug auf das
Entwurfsgebiet steht. Auswahl Entwurfsareal (Nord oder Süd).
Werkzeuge: Collage, Text, Titel (Format: A1)
B. Konzept und Analyse (Zwischenkritik 2 - 13.10.10)
Aufgabe:, Erarbeiten eines räumlichen Konzepts mit Berücksichtigung der
Programmvorgaben (10% Wohnen, 10% Gewerbe, 10% Kultur, 70% öffentliche Räume)
und soziologischer Aussagen zum Entwurfsgebiet. Auswahl eines spezifischen Ortes für den
detaillierten Entwurf.
Werkzeuge: Collage, sw Planskizzen (A1 oder freier Massstab, zu begründen), Nolli-Plan
(Format: A1), Bildserie
C. Gestaltung (Zwischenkritik 3 - 17.11.10)
Gastkritiker: Prof. Christian Schmid
Aufgabe: Räumliche Umsetzung des Konzepts am Modell mit Aussagen zu Materialsierung
und Bepflanzung. Entwicklung eines persönlichen Storyboards.
Werkzeuge: Modell Details+Schnitte (1:200), Modell Situation (1:1000), digitale Pläne
(1:200 und 1:1000), Modellphotos, Storyboard, Beamerpräsentation. Grösse und Anzahl
der Präsentationspläne muss genau definiert und begründet werden.
D. Präsentation (Schlusskritik - 14.12.10)
Gastkritiker: Prof. Harry Gugger
Aufgabe: Präsentation des gesamten Entwurfsprozesses am Beamer und anhand
Präsentationspläne.
Leistungen
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nach Tivoli
von Caracalla
nach San Paolo
von San Paolo
nach E.U.R.
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Programm
Workshop Rom
Workshop Rom
I.
Transfer Rom S. 27
Dienstag 21. September 2010, 9-23h
II.
Tivoli S. 29
Mittwoch 22. September 2010, 9-20h
III.
Von Caracalla nach San Paolo S. 31
Donnerstag 23. September 2010, 9-20h
IV.
Von San Paolo nach E.U.R. S.33
18. September 2009, 9-22h
V.
Transfer Zürich S. 33
Freitag 24. September 2010, 13-21h
Für alle Besichtigungen sind wasserfeste Schuhe und Kleidung, Schirm, Skizzenbuch, Stifte
und eine Karte von Mailand erforderlich. Das Wetter ist heiss und schwül, regnerisch, möglicherweise windig und stürmisch.
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Imperial Rome aus ‚Collage City‘
Workshop Rom
Transfer Rom
Dienstag 21. September 2010
7.09h
Hinreise mit dem Zug ab Zürich HB, via Milano Centrale
10.50h Ab Milano Centrale-Roma Termini
14.45h Ankunft Roma Termini. Check-in Hostel “Il Sogno”
18h
Intro Aufgabe, Vorlesung “Collage-City”
20h
Spaziergang entlang des Tibers im Stadtzentrum
21h
Gemeinsames Abendessen in Trastevere
Sebastiano Brandolini Natel: +39 335 710 48 36
Dominique Ghiggi Natel: +41 76 427 02 11
Vorlesungen und Unterkunft Prof. Günther Vogt und Assistenten
IS- Istituto Svizzero Roma, via Ludovisi 48, tel 06.420421, Metro SPAGNA (10 minutes)
Unterkunft Studierende
Hostel “Il Sogno”, Casa Piazza Asti, Piazza Asti, 25 Metro RE DI ROMA
Metro SPAGNA und Metro RE DI ROMA befinden sich auf der LINEA A, 7 Haltestellen
(30 Minuten). Umsteigen von LINEA A nach LINEA B bei Metro TERMINI.
Workshop Rom
27
28
oben: Tivoli, unten: der Garten der Villa d‘Este
Workshop Rom
Tivoli
Mittwoch 22. September 2010
Besichtigung Tivoli
9h
Zug (FR2) von Rom nach Tivoli.
Abfahrt von der Station Tiburtina (Metro STAZIONE TIBURTINA, LINEA B).
12h
Pick-Nick (selbstständig)
16h
Zug (FR2) zurück von Tivoli nach Rom
18h
Vorlesung Carlo Gasparrini (IS): “Der Tiber als öffentlicher Raum”
Carlo Gasparrini, Natel 335.6793553, cgasparrini@libero.it
20h
Abendessen (selbstständig)
Workshop Rom
29
30
oben: Italgas, unten: San Paolo
Workshop Rom
Von Caracalla nach San Paolo
Donnerstag 23. September 2010
Besichtigung: Entwurfsgebiet 1, von den Thermen von Caracalla nach San Paolo
ausserhalb der Mura.
9h
Treffpunkt Metro OSTIENSE, LINEA B
10h
Italgas, Daniele Bosi, tel. 06.57396010, 335.6320621,
Daniele.bosi@snamretegas. it, via del Commercio 9/11
12h
16.30h Zurück mit Metro BASILICA S. PAOLO, LINEA B
18h
Vorlesung Giorgio Ciucci (IS): “Der öffentliche Raum im E.U.R.”,
tel. 06.32120169, ciucci@uniroma3.it
20h
Workshop Rom
31
32
oben: Südareal Entwurfsgebiet, unten: Sicht zum E.U.R.
Workshop Rom
Von San Paolo nach E.U.R.
Freitag 24. September 2010
Besichtigung: Entwurfsgebiet 2, von San Paolo ausserhalb der Mura nach E.U.R.
9h
Treffpunkt Metro BASILICA S.PAOLO, LINEA B
12h
17h
Zurück mit Metro EUR PALASPORT, LINEA B
18.30h Vorlesung Sebastiano Brandolini (IS): “Zeitgenössische Architektur”
20h
Gemeinsames Abendessen
Transfer Zürich
Samstag 25. September 2010
13.15h Rückreise mit dem Zug ab Roma Termini, via Milano Centrale
17.10h Ab Milano Centrale-Zürich HB
20.51h Ankunft Zürich HB
Workshop Rom
33
Veji
Aristokratische Villen
Museen und Innenräume
Barockes Dreieck
Borgata
Park Appia Antica
Borgata
34
Programm
Seminarwoche Rom
Seminarwoche Rom
Fragmente in der römischen Landschaft
Felsen, Ruinen, Pärke, Häuser
I.
Transfer Rom - Barockes Dreieck S. 37
Montag 25. Oktober 2010, 9-22h
II.
Appia Antica S. 39
Dienstag 26. Oktober 2010, 9-20h
III.
Aristokratische Pärke S. 41
Mittwoch 27. Oktober 2010, 9-22h
IV.
Borgate S.43
Donnerstag 28. Oktober 2010, 8-20h
V.
Stadtzentrum S. 45
Freitag 29. Oktober 2010, 9-20h
VI.
Etruskische Siedlungen S. 47
Samstag 30. Oktober 2010, 8-22h
VII.
Transfer Zürich S. 47
Sonntag 31. Oktober 2010, 13-21h
35
2
3
1
36
oben: Postkarte Stazione Roma Termini, unten: Barockes Dreieck
Seminarwoche Rom
Transfer Rom - Barockes Dreieck
Montag 25. Oktober 2010
7.09h
Hinreise mit dem Zug ab Zürich HB, via Milano Centrale
10.50h Ab Milano Centrale-Roma Termini
14.45h Ankunft Roma Termini. Check-in Hostel “Il Sogno”
16.30h Treffpunkt vor San Giovanni in Laterano.
Besichtigung des Barocken Dreiecks: San Giovanni in Laterano (1),
Santa Maria Maggiore (2), Santa Croce in Gerusalemme (3).
20h
Sebastiano Brandolini Natel: +39 335 710 48 36
Dominique Ghiggi Natel: +41 76 427 02 11
Unterkunft Prof. Günther Vogt und Assistenten
Domus Sessoriana, Via di Santa Croce in Gerusalemme, 10, 06 706151
Vorlesungen
Ecosfera, via Casilina 98, Francesco Nissardi, tel. +39.349.3008289
Unterkunft Studierende
Hostel “Il Sogno”, Casa Piazza Asti, Piazza Asti, 25 Metro RE DI ROMA
Metro SPAGNA und Metro RE DI ROMA befinden sich auf der LINEA A, 7 Haltestellen
(30 Minuten). Umsteigen von LINEA A nach LINEA B bei Metro TERMINI.
Seminarwoche Rom
37
38
Parco dell‘Appia antica, 2005
Seminarwoche Rom
Appia Antica
Dienstag 26. Oktober 2010
Besichtigung: Park der Appia Antica.
10h
Treffpunkt am Haupteingang des Monument der Fosse Ardeatine
Anfahrt: Bus 218 von Piazza San Giovanni in Laterano Richtung Süden
zum Monument der Fosse Ardeatine.
Das Monument steht an der Stelle an welcher SS-Soldaten 300 Italienische
Zivilisten ermordet haben und gilt als eines der besten Beispiele italienischer
nachkriegs Architektur.
12h
16.30h Rückfahrt vom Monument der Fosse Ardeatine. Bus 218 zur
Piazza S. Giovanni in Laterano, umsteigen in die Metro LINEA A
nach Metro SPAGNA.
18h
Vorlesung Pietro Bertelli: “Der Park der Appia Antica und der Parco Archeologico”
via Augusto Dulceri 77/a, 00176 Roma, pbertelli@ecosfera.it
20h
Seminarwoche Rom
39
40
oben: Garten der Villa Borghese, unten: Auditorium
Seminarwoche Rom
Aristokratische Pärke
Mittwoch 27. Oktober 2010
Besichtigung: aristokratische Pärke im Herz von Rom:
Villa Borghese, Villa Ada, Villa Glori (eventuell besichtigung der Mosche von Paolo Portoghesi
und dem Auditorium von Renzo Piano). Frauen sollen ein Tuch mitbringen.
9h
Treffpunkt Metro FLAMINIO, LINEA A
12h
16.30h Rückfahrt warscheinlich vom Auditorium
18h
Vorlesung Andrea Papini: “Italienischer Neorealismus in Rom und Storyboard
(Rossellini, Pasolini, Fellini, Moretti)”, Natel 335.6948137, a.papini1@alice.it
20h
Seminarwoche Rom
41
42
Corviale
Seminarwoche Rom
Borgate
Donnerstag 28. Oktober 2010
Besichtigung: Corviale, Spinaceto und andere Borgate (mit Francesco Careri / Stalker)
8h
Abfahrt mit Reisebus ab Piazza Re die Roma nach Borgata Roma Sud
12h
18h
Vorlesung Francesco Careri / Stalker: “Urbanes Trekking entlang des Tibers”
Natel 347.4142500, careri@uniroma3.it
20h
Seminarwoche Rom
43
oben: Villa Doria, unten: Santa Croce di Gerusalemme
44
Seminarwoche Rom
Stadtzentrum
Freitag 29. Oktober 2010
Besichtigung: Privates Museum und Innenräume im Stadtzentrum.
9h
Archäologische Sammlung in Santa Croce di Gerusalemme
11h
Fontana della Barcaccia, Piazza di Spagna
12h
Casa Mario Praz, via Zanardelli 1 (piazza Navona), museopraz@museopraz.191.it
12h
Gruppe 1 - Besichtigung Casa Mario Praz
Gruppe 2 - Pick-Nick (selbstständig)
13h
Gruppe 2 - Besichtigung Casa Mario Praz
Gruppe 1 - Pick-Nick (selbstständig)
15h
Museo Doria, piazza Grazioli 5, 06.6797323 arti.rm@doriapamphilj.it
Markt Campo dei Fiori
18h
Vorlesung Maria Immacolata Macioti, “Der Agro Romano und die Borgate,
gestern und heute”. Dip. di Sociologia e Comunicaziuone, Sapienza Università
di Roma, Via Salaria 113, 00198 Roma. Privato: Corso Vittorio Emanuele II 24,
00198 Roma; Natel 339.8143937.
20h
Seminarwoche Rom
45
Veji
46
Seminarwoche Rom
Etruskische Siedlungen
Samstag 30. Oktober 2010
Besichtigung: Etruskische Siedlungen im Norden Roms, Civita Castellana.
8h
Abfahrt mit Reisebus ab Piazza Re di Roma nach Civita Castellana
12h
16.30h Rückfahrt vom Museo Archeologico Etrusco
20h
Transfer Zürich
Sonntag 31. Oktober 2010
13.15h Rückreise mit dem Zug ab Roma Termini, via Milano Centrale
17.10h Ab Milano Centrale-Zürich HB
20.51h Ankunft Zürich HB
Seminarwoche Rom
47
Tiber in der Nähe von Orte
48
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Günther Vogt S. 50
Mimikry des Birkenspanners
Antonio Cederna S. 54
I Vandali in casa
Richard Ingersoll S. 60
From the Center of the World to the Edge of the City
Sigmund Freud S. 70
Das Unbehagen in der Kultur
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50
Günther Vogt - Mimikry des Birkenspanners
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Antonio Cederna - I Vandali in casa
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56
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Rome: From the Center of the World to the Edge of the City (1995)
Richard Ingersoll
Rome, celebrated in antiquity as caput mundi, still thrives on the myth of itself as
the center of the world. During the past 40 years, however, after a mixture of planned and
informal urbanizations of its surrounding territory, the center city has become even more
distinct as a „head,“ not for the rest of the world but for the vague megalopolitan body that
extends in radial tendrils as distant as 30 kilometers. From a compact city of interpenetrating
social and historical layers, Rome has in the span of two generations become a diffuse, starshaped city of discrete striations set within a 1500 square kilometer metropolitan district.
On the surface the transition from a comprehensible city of marvels to an incomprehensible sprawling conurbation is not immediately apparent and visitors continue to delight
in the center city‘s sensual ambiance of winding medieval streets, festive baroque piazzas, and
melancholy ancient ruins without much awareness that there is a contemporary city outside
the Aurelian walls that is both ten times as large in population and 100 times greater in area.
The conceptual segregation of this other Rome from the city‘s center is what on the one hand
conforms to a more general trend in urban development in which edges have grown while
centers decline, but on the other hand is what makes Rome unique, since it is not just any
city that is being turned inside out, but the most historically resonant city in the West and
probably in the world.
Lacking the historic components of a strong industrial base and an enterprising managerial class, the forces of modernization have been mostly external to Rome‘s development,
more appropriated than appropiate to the city‘s languorous character. The historic center has
never satisfactorily adjusted to modernizing imperatives, in particular mass transportation,
due to the topographic irregularities of its famous hills and winding river, the unbreachable
density of its historic fabric, and the bureaucratic snarls in implementing infrastructural
support, such as subway extensions and district garages. There have been plans for over 30
years to build 19 public garages at the entry points to the historic city, and more recently the
municipality approved a plan for 300 garages, but to date only two have been finished, one at
Villa Borghese, the other near Castel Sant‘Angelo (Seronde Babonaux, 1983). Although the
second line of the subway system was opened in 1973, and the track extension has grown from
11 kilometers to 27, the destinations are still limited to linear routes and serve only a small
portion of daily commuters. The plan to add a third subway line in time for the Jubilee in the
year 2000, running four kilometers from the Colosseum through Piazza Colonna to a stop
near the Vatican, proved to be exceedingly expensive, as it would have required digging 25 to
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30 meters below the city in order to both avoid interrupting activities on the surface while
bypassing the archaeological strata that had posed such setbacks to the first campaigns of the
subway‘s construction.
The most recent addition to Rome‘s transportation infrastructure, the now abandoned Air Terminal near the Ostiense train station at Porta San Paolo, is as Francesco Perego
puts it, „emblematic of the incapacity to think and manage the renewal of the city.“ (Perego,
1993) Proposed as part of the package of improvements funded through Italia ‚90, the 1990
World Cup Soccer Championships, the project was intended to create an efficient terminal
for public transportation to the airport at Fiumicino, about 20 kilometers to the west. The
costly new Air Terminal, built on abandoned state railway property, failed to attract users
because it was as poorly connected to automobile circulation and bus access as it was to
subway connections, requiring a 760 meter (15 minute) walk from the subway stop, served
by escalators and people movers that were regularly out of service. The train to the airport
has currently been rerouted to the Termini station, and the empty Air Terminal awaits some
future use, perhaps as the place for package tours and pilgrim groups to enter the city.
Of the recent planning initiatives, it seems that only the efforts to eliminate modern
aspects of city life seem to succeed in Rome. Automobile traffic increased to crisis levels with
the development of Rome‘s edges, and by 1991 only 33% of the 600,000 daily commuters
were using public transportation compared to 58% in 1981 (Pazienti, 1995). The 1995 program to limit automobile circulation in the historic center, which builds on the first pedestrian
zones begun at Via dei Condotti in 1965, expanded in the 1970s as the „zona blu,“ and
now amplified to include about 65% of the area inside the Aurelian walls as the „fascia blu“
(blue strip), from Piazza del Popolo to Via Cavour, has noticeably alleviated the perpetual
traffic jams on the major center city thoroughfares such as Via del Corso and Corso Vittorio
Emanuelle II. Only buses, taxis, cars with disabled occupants, and vehicles that pay an annual
fee (about $500) are permitted to drive through the „fascia blu“ during business hours. Such
a measure, while it has helped to relieve the chaotic traffic in the historic center, has not
been bolstered by improvements to other forms of transportation and effectively exacerbates
Rome‘s stubborn inability to modernize. Although the increase in traffic was initially boosted
by the developing of the suburbs, the subsequent limit on automobile traffic contributes to
the expulsion of modern life from the center making it increasingly inert and exclusive.
Rome‘s fundamental incompatibility with modernity, combined with the ineluctable
onslaught of mass automobility, post-industrial forms of employment, and the general desire
for space, economy, and hygienic efficiency on the part of the contemporary dweller, have
coerced much of the real life of the city to its edges. Government assisted housing projects
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initiated since the approval of the P.R.G. (Piano Regolatore Generale) plan of 1962 (revised
in 1964 and 1967) are still being built during the 1990s on the city‘s outskirts and range
from new town scale, such as the 30,000 unit Tor Bella Monaca, to single buildings like the
infamous Corviale project for 4000 residents, which became a symbol of the Italian ghettoization of poverty. In the areas between these planned sites an estimated 800,000 illegal units,
housing about one third of the city‘s population, have been constructed during the past 30
years (Lenci, 1992). The urbanizing potential of „abusivismo,“ this unplanned but by now
conventional method of treating the city‘s suburban in-fill, occurred under the auspices of an
elaborate kick-back system („tangenti“) whereby officials and professionals would be bribed
handsomely to ignore the constraints of the city‘s master plan.
The pervasive practice of corruption explains to a great extent why most planning
initiatives in Rome have been doomed to create the reverse of their aspirations. Whenever a
plan is put into law, it is almost certain that there will be both cumbersome disagreements
between competing local and state bureaucracies that hold up the implementation of the plan,
and that illegal development will be attracted to the area surrounding the plan. In the mean
time, after decades of suburban settlement, Rome‘s planned and unplanned neighborhoods
have adjusted to modern life and have reached a modicum of urban normalization. The once
vilified periferia, scene of the desperate shanty landscapes in the Neo-realist films of Pasolini
and Fellini in the early 1960s, is no longer peripheral but rather has been absorbed into
the mass of a greater polinucleated urban region. Still these outer districts remain bleak and
inhospitable, completely lacking in public spaces, parks, and amenities. Emulating the success
of Barcelona‘s suburban program to create neighborhood identity through public spaces, the
municipality initiated the „Cento piazzi“ program directed by Francesco Ghio in late 1995.
Construction began on the first piazza in 1995, and 19 competitions followed in the attempt
to create new focii of urban identity. Ultimately, considering the sorry fate of the housing
initiatives, the success of the Cento Piazze program will depend on the degree to which the
authority to implement the designs can be concentrated into a single, rather than multiple,
source of authority.
Like so many of the world‘s cities, Rome has undergone a major structural shift since
the end of World War II: the center has been vacated to become a repository of symbols, and
a fairly dysfunctional reminder of a momentous legacy of urban values. The overwhelming
majority of Rome‘s current population lives outside the walls of the historic city, and increasingly the center with its outstanding collection of famous buildings and historic spaces is
stiffening into an abstraction, distant from daily life. Of its current municipal population of
about 2.7 million (the metropolitan population is about 3.8 million) only an estimated 12%
live inside the core area of the city, which includes the historic rioni inside the walls and the
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adjacent 19th century extensions. The actual decline in residents in the historic center went
from a maximum concentration in 1936 of 436,000 to the 1981 low of 137,000--the greatest
outflow occurring from 1955 to 1980. (Pazienti, 1995; Perego, 1986)
Some of the population drain came with the enlarging of apartments, or in many
cases the speculator‘s ploy of keeping units empty to increase the demand (there are currently
an estimated 187,000 units kept off the market). As in many metropolitan situations the
demand for premium office space close to the center encouraged the transformation of domestic properties into commercial ones, despite restrictive planning legislation. About 40%
of the city‘s jobs are concentrated in the center and 47,5% of these are in the public sector.
Rome is the site of city, provincial, and national governments, as well as the international
headquarters of the United Nation‘s FAO, and the bureaucracies and related services of each
of these administrations has put a steady demand on the available spaces of the center. The
area between the Quirinal, the Pantheon, and the Capitoline has been mostly commandeered
by government or associated functions. While this transition has guaranteed vitality in the
center during business hours, it has led to an atmosphere that is conspicuously vacant after
8:00 P.M.
To be sure, the historic center has not been physically abandoned, as it has in many
American contexts. In fact, Rome, which was probably the filthiest, worst maintained, and
most overcrowded capital city of Europe in the early 1950s, is now impressively restored,
hygienically well served, and by comparison immaculate. But contingent to the careful preservation of historic buildings, and the subsequent concentration of government and tertiary
functions in its spaces, class diversity and daily life have been forced to emigrate outside the
walls. The great urban scenes, such as the Pantheon, Piazza Navona, and the Spanish Steps,
once the focus of diversified communities, have congealed into rarified cultural attractions, as
much for the residents of the city as for the tourists.
This civic schism, in which urban life has been displaced from urban form, was
partly planned through the implementation of new infrastructure and the subsidizing of
housing construction, but also partly planned against in the attempts to legislate through rent
control and restrictive use clauses for the preservation of community in the historic center.
Luigi Petroselli, mayor during the late 1970s when „progetto fori,“ the plan to expand the
archaeological area of the Imperial Fora was put into effect, expressed the official desire to
maintain Rome‘s social fabric: „We don‘t want the historic center of Rome to be either a
museum or a privileged place for luxury dwelling. The historic center has to live, and its
life should be the element that unifies the entire city around new values.“ (Ciccone, 1993)
Despite such good intentions, the failure of modern planning to coordinate infrastructure,
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urban design, and community formation is perhaps nowhere more evident and lamentable
than in postwar Rome, where the warmed-over architectural models of utopian Modernism
designated for the city‘s outskirts were dragged into the fathomless labyrinths of local and state
bureaucracies, while undisciplined speculation took control of the center.
The center‘s eventual conversion from a diverse social fabric into a sparsely inhabited
series of exquisite postcard settings--what is beginning to appear like a four square kilometer
museum, or theme park--was not only predictable, but, considering Rome‘s long-standing
dependence on tourism, inarrestible. The historic factors for the center‘s apotheosis into the
realm of „museality“ are as compelling as the economic and social circumstances that stimulated the urban mitosis between center and edge. While Rome still prevails as the undisputed
seat of Roman Catholicism with its captive Vatican state, and it rules as the capital of the ever
more precarious union of the Italian state, it also languishes as the greatest city of the past,
the fulcrum of Western history, a legacy that has kept it on the world stage as a symbol of
the center. The authority, grandeur, and melancholy of the physical remains of Rome have
offered palpable models for architects, urbanists, artists, and poets since the Renaissance as the
locus of the idea of the city. The city‘s loaded historic fabric continues to attract intellectuals
and popular classes alike as one of the key narratives in the search for cultural origins. The
exponential growth of international tourism since World War II became a factor beyond the
city‘s control, contributing greatly to its recently split character.
With the fortuitous convergence of the twin ritual obligations of religion and high
culture, Rome, some time in the 15th century invented modern tourism, which currently on
the world scale has become the premier consumer enterprise. The first tourists came as dutiful
pilgrims participating in the medieval economy of salvation, whereby visits to churches and
relics would score indulgences toward personal redemption. Their yearly numbers were in the
tens of thousands and by the end of the 16th century, when the hospice institutions started
keeping records, a fairly accurate figure of 400,000 can be tallied for the Jubilee year of 1575.
By the mid-16th century the influx of visitors, attracted by the artistic and historic patrimony
as much as by the granting of religious indulgences, generated a significant part of the city‘s
income in the form of consumer services. There were more hotels per capita (estimated at one
per 233 inhabitants in the 1526 census) than in any other city in premodern Europe, and
with these came restaurants, crafted goods, guidebooks, prints, entertainments, and pleasures
of the flesh.(Delumeau, 1957) Much like Venice, Rome would come to rely on the tourist demand to sustain its local production. As Rome began to lose its importance as the diplomatic
center of Europe during the second half of the 16th century, its principal product of exchange
increasingly became the experience of the city itself.
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That Rome should currently appear as one immense museum is thus not accidental.
It was in the Humanist atmosphere of 16th century Rome, in fact, that the idea of the museum took hold, starting with the collections of ancient sculptures at the Capitoline and at the
Vatican‘s Belvedere, and extending to the palaces of the local patritiate, such as the Della Valle,
Farnese, and Borghese, whose courtyards, gardens, and specially built art galleries were stocked
with art works and freely visited by the elite tourists of their times, serving as models for 19th
century public museums. The museal spirit was projected to the exterior of buildings and
public spaces as well. The Renaissance practice of encrusting facades with ancient and pseudoantique spoglia, the installation of Egyptian obelisks as the termini of Sixtus V‘s boulevards,
the addition of spectacular fountains by Bernini and others--culminating with the great water
theater of the Trevi fountain and the cascading steps of Trinità dei Monti--all contributed to
the notion that the city itself was a single great collection of visitable works. It should not be
shocking then to interpret today‘s center of Rome as a theme park, when for at least 400 years
it has been conceived that way. The significant difference of course is that the reproduction of
everyday life that had once evolved in these settings, a life that occasionally included political
or social events that were not in the script of papal Rome, gave them a dimension of reality
that is currently in danger of being lost.
Since the end of World War II, despite the increased maintenance of the city‘s
historic patrimony, there has been very little creative cultivation of Rome‘s museal tradition.
If the center can be thought of as a theme park, it is an antiquated one. The meager attempts
to renovate the museum experience, such as Constantino Dardi‘s retrofitting of the late 19th
century Galleria d‘Arte Moderna on Via Nazionale opened in the mid-1980s, or the more
recent installation of the Municipal Museum of Modern Art in a small convent near Via
Tritone, are extremely timid efforts to provide spaces suitable for the modern art experience.
It is as if the weight of the past, combined with the strict laws against changing anything
classified as historic patrimony have kept these institutions doggedly unmodern. When one
compares analogous interventions such as the Reina Sofia in Madrid, the Santa Monica convent in Barcelona, or the Musée Picasso in Paris, the lack of will, talent, and administrative
fortitude becomes apparent. The chance to develop modern attractions outside of the center,
in particular the film studios of Cinecittà, which could have become a European version of
Universal Studios in Hollywood, has not been acted upon and now the area is most famous
for its nearby, privately developed shopping mall, Cinecittà 2.
The key to a new museal strategy for the center during the past two decades has
been progetto fori, the decision put forward by the architect Carlo Aymonino in 1978 to
expand the archaeological zone of the Imperial Fora, transforming it into a new kind of park,
allowing public access to the ongoing archaeological activity, while uprooting one of the most
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prominent reminders of Mussolini‘s heavy hand, the Via dei Fori Imperiali. Site of the major
sventramento of the Fascist regime, for which 5,500 units were demolished and the residents
displaced 15 kilometers out of city as part of a forced decentralization program. Having torn
down an entire historic district, only 25% of the ancient ruins were actually left visible when
the paving of the broad highway of Via del Impero (now Via dei Fori Imeriali), conceived
for military processions from the Colosseum to the famous balcony on Piazza Venezia, and
now an essential traffic artery. (Kostof, 1973) The proposal to eliminate the road was initiated
in the 1960s by Leonardo Benevolo in his astute reading of the city, recognizing that Rome
had the unique potential of a several kilometer long finger of parkland extending from the
Capitoline to Via Appia Antica. (Benevolo, 1971) The left wing municipal administrations
between 1975-85 began a program to better exploit this feature with progetto fori, giving
independent authority to a commission led by the archaeologist Eugenio La Rocca. If fifteen
years later the only changes have been to close off to traffic the strip between the Colosseum
and the Arch of Constantine and open a 200 square meter dig on the side of the road, the
delay stems not from the lack of a plan but from the difficulty of building a consensus around
this prominent urban site.
Progetto fori was not the only initiative taken as a means of reversing or contradicting the results of Fascist planning. In the highly ideological atmosphere of postwar Rome,
in which the reigning Christian Democrats were ridiculed for maintaining Mussolini‘s 1931
P.R.G. plan and completing many of its bombastic projects, such as the Via della Conciliazione
leading from Castel Sant‘Angelo to St. Peter‘s and the new district of E.U.R. (the site of the
aborted World‘s Fair, Esposizione Universale Romana, planned for 1942) that had been added
as a variant to the city‘s plan in 1937. In reaction to this attempt to induce the city‘s growth
on a western axis to the seaport of Ostia, anti-Fascist planners in the late 1950s proposed
to create four kilometers to the east an „asse attrezzato,“ a new business and governmental
axis, somewhat on the scale of La Defense in Paris. Re-christened in the new master plan as
S.D.O. (sistema direzionale orientale), it was meant to link up efficiently with E.U.R. and the
new freeways and is perhaps the most unfortunate example of how Roman postwar planning
usually achieves the opposite of its objectives. Development has occurred everywhere except
on Via Togliatti where the S.D.O. was supposed to be generated, and the necessary infrastructural features have never been properly connected and will now cost many times more than
their initial budget. Since its inception the S.D.O. has been revived and abandoned in cycles
to the point that it has become a colossal urban phantom.
The latest cycle of revival for the S.D.O. came with a special law known as „Roma
Capitale“ passed by the Italian parliament in 1990, hoping to give new governmental authority to planning projects on the model of the planning of Paris. The S.D.O. finally would be
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launched by the transfer of seventeen public ministries, including Health, Finance, and Postal.
(Ciccone, 1993) But six years later there are yet to be any indications that the ministries will
be moved. One new factor that may change the sluggish development of the S.D.O. has come
with the privatization of the railways. It now seems possible that the major station of Rome
will be transferred from Termini in the center to Tiburtina, not far from the S.D.O., a move
that would greatly improve the plan‘s chances to become a business center and help decongest
the center.
The planning circumstances of a strictly regulated historic center, embroiled bureaucracies controlling the official sites of development on the edge, and abusivismo everywhere
else has not been auspicious for architecture. Compared to other European capitals, Rome
has little of merit to show, despite the prosperity of the postwar period. Of the 83 public
housing projects built in this period, the results range from Expressionistic excrescences to
nostalgic neo-traditional typologies, and they universally lack quality in details, construction,
and infrastructural concept. One of the only works of monumental scale and architectural
quality to appear has been for an institution that competes with Rome‘s spiritual hegemony--a
grand mosque, by Paolo Portoghesi, Vittorio Gigliotti, and Sami Mousawi, opened officially
in 1995. Planned in 1974, during the years of the oil embargo, the project was intended to
flatter Arab interests, but now, since the arrival of thousands of African immigrants during the
past 20 years, the Mosque has assumed a real mission as a religious center. The site overlooks
the nature preserve of Monte Antenna on the northern edge of Parioli, Rome‘s wealthy 19th
century suburb. The mosque‘s lead covered dome cuts a memorable figure on the skyline,
while the elevations, rendered with the tiny bricks used in 17th century baroque works, adds
a material richness to the project that is absent from most new buildings. Of the 450 projects
proposed in the „Roma capitale“ law of 1990, the only significant project to be undertaken is
the new scarab-shaped Auditorium designed by Renzo Piano for a site quite distant from the
S.D.O. near the Olympic Village. This program has been planned for several different sites
since the 1930s when the Auditorium was removed from the Mausoleum of Augustus during
the demolitions surrounding that site, and the current site on the Via Flaminia will prove
difficult to access from the more populated southern reaches of the city.
It is not only because of the shift from center to edge that the mood of the historic
center of Rome has definitively changed. The mid 1970s were particularly bleak years after
the exuberance of the „Dolce Vita“ 1960s. Drug traffic invaded some of the most cherished
public spaces, and discarded syringes were a common site in the glorious baroque fountains.
Terrorist attacks on public figures, kneecappings, kidnappings, and car bombing had become
a common occurrence, culminating with the clamorous kidnapping of Premier Aldo Moro
and his subsequent assassination. The police repression of terrorism during this period was
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as uncomfortable as the threat itself. It was at this point that most Romans elected to stay at
home, moving to the edge and abandoning the center. Restaurants were empty and public
spaces desolate.
One of the most creative responses to these „anni di piombo“ („years of lead“),
as they are now called, was put forward by the architect Renato Nicolini, the city‘s cultural
assessor during the years of the leftwing municipal administrations, 1975-85. His program for
„L‘Estate Romana“ (the Roman Summer), sited in the archaeological sites of the future progetto fori, transformed empty urban space into lively fairgrounds. For the first edition in 1978
a huge cinema screen was installed inside of the shell of the Basilica of Maxentius, and for the
months of July and August a cycle of films, ranging from classics to new commercial films to
independent cinema, were shown. Almost overnight „Massenzio,“ as it was popularly dubbed,
became the pretext for the return from the edge to the center, where people could experience
the mingling of classes in a new ritual. This strategy to reunify through spectacle was very
self-consciously referred to as „l‘effimero,“ the ephemeral, and evolved into a post-modern
revival of Rome‘s legacy of urban theater. L‘Estate romana led to a collective rediscovery of
space, a popular occupation of the great ruins that ordinarily the citizens rarely visit. The event
informally engaged hundreds of side activities, including restauranteurs, actors, musicians,
artists, and artisans who set up temporary stands that often served to spawn new businesses in
the crafts and restaurant line. One year L‘Estate romana was sited in the Colosseum, another
year it used the restoration scaffolding on the Arch of Constantine to hold up the film screen,
for several years it was sited in the great empty drome of the Circus Maximus. Compared
to the way that opera had been using the ruins of the Baths of Caracalla for its summer
shows, L‘Estate romana was more transgressive, since it involved all walks of life in a more
participatory way, taking back part of the privileged city and establishing the sort of casual
mix one used to find in the piazza.
L‘Estate romana was revived in 1992 and has had even greater attendance than during Nicolini‘s time, but like all good things that are repeated, it has lost some of its spontaneity,
having lapsed into an institution. It nonetheless provides a positive lesson to the city: one of
Rome‘s greatest resources has always been the ephemeral, and this, more than expensive built
projects that do not work or horribly tied up plans that yield their opposite, may be the best
vehicle for reappropriating the city. In self-consciously guiding the citizens to be tourists of
their own city, and thereby teaching the city about itself, such events make use of the only
thing that has ever worked in Rome. While it will not solve the transportation crisis, or dissolve the planning stalemates, or eliminate corruption, the artful use of the ephemeral restores a
strong sense of urban identity and citizenship, which had always been the psychological effect
of living in the city center.
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The research for this essay benefitted immensely from conversations with Francesco Perego,
correspondant to Corriere della Sera on Rome‘s urbanism; Maristella Casciato, architectural
historian and editor of the series Romacentro (1986); and Silvana Sari, administrative director
for the municipal Department of Mobility and Transport.
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Franca Bossalino & Alessandro Cotti, eds., Roma anni novanta, L‘edilizia residenziale „pubblica e la nuvo forma della città“, Sapere
2000, Roma, 1991.
Antonio Cederna, Mussolini Urbanista, Lo Sventramento di Roma negli anni di consenso, Laterza, Bari, 1979.
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Tiberplan von Piranesi
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Tiber nördlich vom Zentrum
Tiber im Zentrum, Sebastiano Muester 1550
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105
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Porto di Ripetta, 1860
Historische Bilder
Piazza Navona geflutet, 1860
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107
Hinter dem Palazzo Farnese
108
Historische Bilder
Östliches Ufer, 1870 (vor der Konstruktion der Flutsicherung)
Baden im Tiber, 1939
Historische Bilder
109
Panorama vom Pincio, 1880
110
Via Appia und Aquedukt
Historische Bilder
Flut im Gebiet von San Paolo
Fiat Fabrik und E.U.R., 1959
Historische Bilder
111
112
Entwurfsgebiet, 1943
Luftaufnahmen
Entwurfsgebiet, 1988
Luftaufnahmen
113
114
EUR, 1941
Luftaufnahmen
Entwurfsgebiet, google 2010
Luftaufnahmen
115
in der Nähe von Ponte Marconi
hinter den Sportflächen Lungotevere di Pietro Papa
Parkplatz Sport Club Marconi
116
Panorama
Panorama
117
Kleinindustrie Via di Santa Passera
Ponte della Magliana (rechts E.U.R.)
hinter dem Damm - Nova Magliana - Riva Pian Due Torri
118
Panorama
Panorama
119
120
Topographie 1:100‘000, 1909
Karten
Karten
121
http://www.abtevere.it/website/pai_fasce/viewer.htm
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GIS Online Daten
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http://www.urbanisticaecasa.regione.lazio.it/cartanet/
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1930
1960
1990
2010
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Pisani Jan und Zhang Fan, Studio Basel FS 2010
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127
128
Bodenverhältnisse
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Karten
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130
Vegetation
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Karten
131
Flächennutzungsplan
Karten
132
133
Strategischer Tiber Plan: Ziele - Zone Innenstadt
Karten
Strategischer Tiber Plan: Ressourcen - Zone Innenstadt
Karten
134
135
Gebäudetypologien: Zone Innenstadt
Karten
Monumente und archäologische Fundstellen
Karten
136
137
aktuelle Plangrundlage (DWG)
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138
Tivoli
Referenzen
Tivoli
Referenzen
139
140
Pietro Porcinai (1910-1986)
Referenzen
Passeggio del Prato, Arezzo
Referenzen
141
142
Referenzen
Villa Lante, Bagniana
Referenzen
143
Belvedere del Palazzo Pontificio, Vaticano
Giardino Quirinale
144
Referenzen
Gestaltungsmittel
Referenzen
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Transformationsvorschlag im Zentrum Roms
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