Church of the Gesu: Delight in Architecture

1.) PROXIMITY
What I find so delightful about the Church of the Gesu is how it is actually in very close proximity to many busy areas and piazzas, and yet the first time I went looking for it I got lost. To me, it’s like a hidden gem that’s been buried by being in close proximity to such points as Piazza Venezia, Area Sacra Argentina, and the Pantheon. Other than major landmarks, I enjoy the area/piazza around this church because of the small shops and restaurants that are not too tourist-like.

2.) REPETITION
The delight of repetition in this space comes from the combination and contrast of the symmetrical and geometrical repetition of the pews on the ground and the free-flowing repetition of the designs from the canvas on the ceiling. The pews on the ground establish order- a symmetry which affects the flow of people as well as pa homage to the cross plan of the church.

3.) SIMPLEST AND LARGEST FIGURE
The simplest and largest figure in this church is the mirror at the front end of the church that is angled in such a way as to reflect the entire canvas of the ceiling so that the viewer is able to see the whole painting. It allows the viewer to interact with the large ceiling in a much more personal way.

4.) FIGURE/GROUND RELATIONSHIP
The figure-ground relationship is strictly horizontal and limited to one plane- there are no stairs or dramatic platforms that ever give on the sensation that they are on a higher level than anyone else. This allows for a close relationship between the individual and all the elements on the ground plane, but leaves little to no room for the individual to interact with the walls or ceiling.

5.) PROPORTION
What I find interesting about the proportions of most churches is that they seem so much higher than longer or wider. This is also the case for the Church of the Gesu; there is something very delightful and magnificent about feeling like your inside a small space with high walls. This feeling is also enhanced by the domes which make the ceilings look higher than they really are.

6.) SCALE
The scale of the church of the Gesu is a bit larger than what I would expect from a simple church, but this is most likely due to the fact that this church has numerous alters and landmarks to house. Even so, I enjoy the fact that I can get a bit of personal space in a place where I would usually feel suffocated. And even when the church is crowded for the light show at 5pm, it still feels quite spacious.

7.) RHYTHM
The rhythm of the movement of people is generated by the repetition of the pews and the symmetrical placements of the numerous alters. This allows for a rather ordered and predictable rhythm of movement, as does the single perspective pathway to the alter.

8.) TEXTURE
The layering of drawings and details on the ceiling and walls of the church and the dome gives it such a rich and delightful texture. In addition, the church is full of different materials that add different experiences and interactions with the objects: the alter tables are marble, the piers are wood, the candles are wax, and the floors are stone.

9.) LIGHT AND COLOR
What I find most delightful about this church is the fact that there is minimal light alongside such a wide range of colors. The light from the dome is the only natural light coming into the church, and it highlights the colors of the canvas on the ceiling. The colors are not too bright or intense though, the minimal light makes them look darker and blend into one another better.

10.) ORNAMENT
The intricate detail on seemingly ever aspect of the church creates a space filled with ornament. This is what I found most delightful about the church; everything is so delicate and makes the church feel as like it was built together with a bunch of tiny puzzle pieces.

Final Assignment

Final Assignment: Architecture 3146

The final assignment is a reflective composition that verbally and visually portrays your experiences in Rome and in particular your special place or places in Rome. The document should be well written and fully illustrated with sketches and analytically drawings. The composition should incorporate the work that you submitted on the blog throughout the semester.

As part of the assignment, please also discuss how the experience in Rome has influenced your design ideologies in the studio. Please be specific, incorporating visually, examples of your work.

Please be prepared to have an exhibit on the main campus of your studio work in Rome. In preparation for the exhibit, please document all your work in a digital format, portraying your process as well as final design conclusions. Format of presentation is at your discretion. 

Upon, your return to the main campus, please submit a disc of your work to Val Cleary, the departmental secretary.

Due Date: April 20. 2011

Recommended Length of document: 1000 words or so.

Delight in the Waterfront- Stephanie Belawicz

Below are Video Clips taken at the riverfront the day after it had rained. Rain persisted for three days, causing the river to overflow it's banks and dramatically change the essence of my site.

a. Proximity

It’s delight is owed to the fact that it is in close proximity to many commercial and residential institutions yet retains it’s privacy. It’s immediate surrounding include the school, the surrounding neighborhood, restaurants, shops and other commercial businesses. However, when at the waterfront, one loses visual connection with the urban landscape and ultimately loses all mental connections as well. The most enjoyable part of the riverfront is that one does not need to venture far to find natural tranquility that’s visually and experientially separated from the rest of the city.

b. Repetition

Structure ultimately provides the repetition of the waterfront. Bridges and concrete retaining walls moving along the waterfront seem to create an encapsulated form that encages the river. A visual repetition is further complimented by the movement of the river, allowing a consistent relationship between structure, river and landscape to compose a visual and experiential repetition.

c. Simplest and Largest Figure

The simplest and largest figure is undoubtedly the stairs cascading down from the street onto the river front. They not only serve as a figure notated in the landscape but also as a structure for activity. Groups of students, residents, etc. arrange themselves amongst the stairs and landings to create small points of activity moving with the shape of the stair down to the riverfront. This part of the sight is delightful to congregate about because the height differences amongst the groups offers privacy despite their actual close proximity to each other.

Although the river can be interpreted as the simplest and largest figure, it more closely relates to the horizontal landscape rather than a figure within it.

d. Figure/Ground Relationship

The river and walking paths serve as a unified ground plane while any vertical disruption becomes the figure. Essentially, in a completely horizontal landscape, any horizontal disruption becomes a clear figure in relationship to the ground. Thus, the boats and people become figurines. Even the bridges serve as landscape due to their own horizontal nature and the manner in which their shape completes the connection between the opposing sides of the river and riverbanks. It therefore serves as a connection point in the landscape rather than a figure within the landscape.

e. Proportion

The river itself is at an incomprehensible proportion to the human scale. In relationship to the surrounding neighborhoods, however, the river seems humbled. Large monumental buildings and walls of residential architecture tower above the river creating a strong contrast between horizontal movement and vertical structure. Vehicular movements becomes a small buzz between these two large geometries and pedestrian traffic becomes increasingly more inconsequential.

f. Scale g. Rhythm

The river has two rhythms which bring the incomprehensible scale of the Tiber into a personal scale with the human body. The first rhythm is the bridge system defined by vehicular traffic. This segregates the river at “x” many cross streets between the two opposing sides of the river. The second rhythm is defined by the vertical connection between walkways above and at the level of the riverfront, occurring at every “y” interval. Ultimately, these alternating rhythms create points for the person to relate their position amongst the city within context to the river. Therefore, an enormous landscape becomes proportioned to the human scale through the context of each segregated piece and the viewer’s familiar surroundings that are connected to the urban landscape.

h. Texture

The River itself has a texture that varies with weather, reflection, and vehicular movement. The waves move and define the texture of the river which is then altered and manipulated with the movement of boats and fishermen. The grass moving up the riverbanks adds to the natural texture of the river. These two surfaces are segregated by man-made walkways that have concrete and block textures and geometries. Essentially, two very natural and organic textures are defined and segregated by distinct geometries and textures that denote human interaction with a natural landscape.

I. Light and Color

Due to the reflective nature of water, the riverfront is always fairly bright and colorful. Although the water has become a grey-blue, the green grass and bright colors of boats docked along the shore add a lively spirit to the riverfront. On a sunny day, however, the light encompasses the entire site. The river becomes more segregated with the shadows from the bridge, adding another layer to the repetition of the structure.

Light serves as a physical element as well as an aesthetic one. Laying on the stairs, one can feel the heat from the sun coming from the sky, reflecting off the water and radiating off the concrete. The warm atmosphere afforded by the heat of the sun compliments the aesthetic benefits of it’s light.

j. Ornament

There is no ornament on the waterfront except for those afforded by nature. The most elaborate ornament would be the stairs, cascading down towards the river. At any water level, they create a strong connection between the upper street and the riverfront as well as providing a space for activity and entertainment. They have been beautifully molded to curve down towards the river forcing the user to turn in different directions for multiple views of the site while descending/ascending. Thus defining the visual experience the designer believed the user should have while approaching the site.

Delight in Piazza del Popolo

Proximity: Proximity to what? The piazza comes at a crossroads between the Villa Borghese, the ancient city within the walls, and the new city outside the walls. If it is proximity to nature and proximity to relief from the city then Piazza del Popolo’s Eastern edge is the tranquil Villa Borghese. This park also overlooks the square as well as the rest of the city. If it is proximity to the other objects within the square, then the gap created by the large fountain and retaining walls around the periphery create another setting of tranquility. This is successful by pushing the city’s hectic traffic and congestion to the piazza’s edges.

Repetition: The piazza, created by Guiseppe Valadier is a large ellipse that has seemingly symmetrical landmarks to balance the square’s edges. The “twin” churches the domes to the north, and the fountains to the east and west create a visual rhythm around the periphery.

Simplest and Largest Figures: The largest figures bring the eye up the sky. The obelisk and the eastern fountain, as well as the Northern Gate give one the opportunities to let their eyes wander around the square. Overall the landmarks are non ornamental. Local Travertine allows these landmarks to better blend into their contexts.

Figure/Ground Relationship: The objects within piazza del Popolo relate well to there surroundings as well to the context of the city. From St. Peter’s Dome or the top of Castel Sant’Angelo you can easily spot the small spires and domes that frame the large open space of piazza del Popolo. From afar these landmarks complement each other well, but from up close they sit within the site upon precarious alters. Each landmark has a series of levels that subtlety separates the landmark from the ground. So these landmarks tend to sit atop the ground. This creates a great place to sit and people watch.

Proportion: The surrounding landscape fits well into a human scale and this helps give the piazza a larger presence. Unlike the over scaled St. Peter’s which makes its vast piazza feel smaller, the proportionately scaled Popolo becomes more manageable to the eye.

Scale g. Rhythm: The rhythm of people passing by is the most delightful part of the piazza. People moving between the three large streets through the gate to Via Flaminia creates a constant white noise of men selling roses, couples arguing, couples kissing, and endless amounts of passers by. This rhythm is echoed is the main fountain in the center of the site with the two fountains flanking it. This paring of movement compared with the proportioning of the surrounding structures create a harmony of people and place.

Texture: Cobblestones, travertine, brick. These are the textures of Rome and these are also the textures of piazza del Popolo. The square becomes a fluid extension of the city.

Light and Color: The square and night is lit in a beautiful sepia due to the street lights. During the day the shadows created by the walls surrounding the square and the taller landmarks create high contrast shadows to either escape the harsh sun or to simply take nice touristy pictures.

Ornament: The piazza is mostly devoid of ornament. Aside from the landmarks within the piazza, the bordering buildings are pushed to the background. This not only allows the more detailed landmarks to stand out, but this also creates a better sense of foreground and background.

Piazza di Spagna

The spatial relationships within Piazza di Spagna allow it to not only function as a large public venue, but also situate itself within the context of the city of Rome in order to present a positive urban environment. The piazza, like so many similar public places, inspires one to sit and stay because of properly oriented and situated elements. These allows the said perceived environment to welcome one to sit, stay, and wholeheartedly experience a place once meant to pass through.

The piazza, as a part of the fabric of Rome, is sited as an endpoint to the Via del Bambuino, and is an important part of the three main avenues (Corso, Ripetta, and the aforementioned) established by Pope Alexander VII. It bears proximity to many important parts of Rome, as well as possessing ideas of spatial radiance or emineity within its surrounding area. The Spanish Steps themselves serve not only as a physical connection to the Pinician Hill, but also an important landmark, serving as the off-center focal point of the square. There is a well-placed fountain at the foot of the steps (Fontana della Barcaccia), which helps give more visual presence to the stairs, as well as helping to transition the space of the stairs onto the street.

These few off-center and space defining elements break the otherwise repetitive elements of the piazza. It is very much so part of the texture of the city, and the non-descript buildings of the piazza help to obviously introduce varying elements of the piazza easily, while making them discernable from the other landmarks of the city. There is certainly continuity within the city of Rome that allows repetitive elements like the surrounding buildings to make up the context of the piazza.

In addition, the presences of these simple elements do not overcrowd or overcomplicate the piazza. They offer significant views to surrounding elements, as well as bring the rest of the city into perspective quite literally. The piazza seems to be well balanced, in its triangular plan, with significant elements balanced against a large open space. It also brings to attention that these larger elements such as the steps and the stars are not overly complicated in their design, and offer to the piazza a complete relationship between both figure and ground.

As these larger elements work together, they offer the relationship between both figure and ground to make the space read more as a fluid partnership rather than a confusion of overly-scaled landmarks. Because no tall elements are present, and there is no real non-traversable path through the piazza, its open plan makes for the easiest access to the steps, and offers people the chance to have an intimate experience with their surroundings, whilst engrained in masses of people.

Consequently, the proportions of the piazza play well to the scale of the city as well as the scale of the human body. The Spanish steps are the widest set of stairs in Europe, and offer many people the availability to sit and take in the scenery and the goings on of others. Their width breaths a large vista of the Villa Medici, as well as the Trinità dei Monti, and the rise/run of the steps somehow always seems better suited for sitting than walking.

It is of much note that the piazza, through well-proportioned means is able to accommodate the human body, allow one to rest, as well as offering a broken rhythm of landings that allow the occasional tourist to stop and take pictures of the gorgeous surroundings. If we consider the steps to be an extension of the piazza, then it also begins to break the rhythm of the public squares of Rome, offering a large public seating area not associated with local business.

But beyond its functional availabilities, the piazza becomes delightful when considering the uses of ornament, light, and texture/color. Because travertine, as a local material, ties the steps materially to the context of the city, and of course offers the softness of stone unavailable in other materials. The cobblestones of the piazza allow it to blend with the other streets of the city, and the familiar smells of gypsy chestnuts and the sound of running water from the fountain give much presence to the piazza as a public space.

Often, people feel compelled to stop and sit on the hill. It is in man’s nature to want to sit, rest, and overlook from above the world he inhabits. The steps, facing the afternoon sun, make the piazza an enjoyable and very successful urban area – one that the Romans have been proud to cherish for as long as they have had it.

Villa Doria Pamphilj

Villa Doria Pamphilj is a dynamic space. The site while mostly natural, it still exhibits the same five principles that exist within man made environments. The pathways of the site direct pedestrian movement throughout the site. The majority this pedestrian activity occurs on weekends and nice afternoons. However, this space is always inhabited by one person or another. Joggers and bikers seem to be locked into the paths only straying from them to take a break from their exercise. People just out for an afternoon stroll with their dog or families often cut corners and stray from the paths into the open areas. The landmarks of the site help to orientate you while exploring. The villa is probably the most prominent landmark. It can be seen poking out of the tree tops from a distance or through the trees due to its brilliant white façade. The districts are defined by the translucent colored overlays. The purple one below the villa is the most active. There are often large groups of children playing and other people just relaxing. It is often a loud space that I personally prefer to avoid. The nodes in this area (black squares) are often occupied by parents caught up in conversation while their children play. The other active area is the open field noted with the red overlay. It is a large open fields where adults and older children can be see playing sports as well as individuals playing fetch with their dogs. The area tends to be empty during the week, however during the weekends many people inhabit the space. The grove of umbrella pines (blue overlay) is also a space that sees more action on the weekends. Many people find this to be a nice shady spot to take a break or read a book. The change in foliage from this area which is strictly umbrella pines to the other areas which are mixed creates both a visual and physical edge. Moving south from the pine grove leads you downhill into the open field. This area is my preferred region. It is quite, occupied by few people, and offers sunshine and a cool breeze. It is a great place to take a break from the hustle and bustle of the city. While all of the districts are encircled by an edge, I have highlighted a few (red dashed line) that are prominent. These edges are more physical and define the activities that occur. They segregate the spaces and keep the activities from crossing from one district to another.

Piazza Trilussa, Trastevere, Delight in Architecture

Piazza Trilussa is a well designed space as it is frequently used and pleasant to occupy. This special place exhibits successful elements outlined in “Delight in Architecture.”

Proximity:

Both proximity of objects within the site and the site in proximity to other landmarks/ significant spaces is relevant to Piazza Trilussa. This piazza is located directly to the west of the Tiber River, an important navigational landmark within Rome, separated only by a single road: Lungotevere della Farnesina. Piazza Santa Maria is the other piazza within Trastevere. The close proximity between these two piazzas allows travelers to easily access both spaces and to further understand the complex streets of Trastevere.

Proximity within Piazza Trilussa itself refers to the placement of objects within the space. Trilussa has a main monument located on a large set of stairs which open to the piazza. A smaller monument surrounded by grass and a set of stairs occupies the north side of the Piazza while shops and bars line the south. A few benches provide seating in the center of the piazza. Placement of the large monument allows cars and pedestrians to easily spot the piazza from the busy street and even the other side of the river, while the benches and shops draw people into the site.

Repetition:

Piazza Trilussa doesn’t seem to contain much repetition besides the stone pattern that makes up the piazza ground plane and the brick within the monument. The scale of this repetition seems to be appropriate for this small scale piazza.

Simplest and Largest Figures:

The fountain monument on site is the largest and simplest figure. It is the landmark of the site due to its size and form. The smaller statue/ monument on site compliments the larger one.

Figure/Ground Relationship:

I’ve observed that Piazza Trilussa acts as a stage activated by the people; they become the figures. Piazza Trilussa is known as a meeting place with a large set of stairs and benches to sit. The interactions between people are on display within this square.

Proportion:

Observing the grand fountain monument today, I notice the odd proportions of the monument; however, within the space it is at an appropriate scale. Behind the smaller statue a building is currently being renovated and thus covered by scaffolding and a large yellow and white advertisement. Unfortunately this advertisement overwhelms the site, but other than that, the surrounding buildings are proportional to the piazza as well as to each other.

Scale:

The scale of Piazza Trilussa is well suited for the small, congested neighborhood of Trastevere. Santa Maria and Piazza Trilussa provide breathing space at the perfect scale. The scale is also good for meeting up with people as it is currently used; it’s not too large, making it difficult to find people and not too small as to not provide the necessary space.

Rhythm:

Rhythm is generated on site by a number of factors. The stop and go of traffic along Lungotevere, the flow of people passing through the site, the people stopping on site, as well as the building facades surrounding the site contribute to the site’s character. Vehicular traffic and pedestrian traffic are closely related while the buildings themselves are completely independent.

Texture:

Rome itself has a wonderful texture as does Piazza Trilussa. The ground plane is rough and uneven stone, not great for walking. The monument is a blend of stone and brick while the surrounding buildings are also made of stone. The local news stand next to the monument adds a splash of color with magazines and papers. Surrounding parked cars also add an element of color and metal.

Light and Color:

Light pours into the site from the eastside which is open to the river. As mentioned, vibrant colors are generated from multiple elements including the newsstand, cars, and the large advertisement on the scaffolding. The ground plane and surrounding buildings are composed of more muted colors.

Ornament:

Ornament can be found all over Piazza Trilussa. Atop the southern buildings there are plants and small trees while the buildings are not overtly ornate. There is ornament on the monument which I believe may be the papal crest.

Piazza Trilussa has much to offer in terms of “delight in architecture.” I believe the scale/ proportion and location of the site contribute most to its successful use. The piazza is an important landmark of Trastevere and fits into the larger Roman Piazza system.

Piazza Risorgimento

Piazza Risorgimento is a hub for movement, both pedestrian and vehicular. It is located directly Northeast of Vatican City and Saint Peter's Square. The busy shopping street of Cola di Rienzo also terminates heres. Along with these two pedestrian oriented axes, the piazza is a hub for buses and trams, with tracks running through it. With all of this varying activity, multiple districts and pathways are formed. The main pathway of the piazza runs directly through it where pedestrian traffic from Saint Peter's moves north in search of restaurants and shopping. This same movement from Saint Peter's moves along the edge of the Vatican wall heading towards the Vatican Museum. This very touristy crowd often collides with the native crowds of Italian shoppers that have worked their way down Rienzo and ended here at the piazza. Aside from the path directly through the piazza, there is not alot of pedestrian movement through due to the tram tracks and buses parked within the piazza.

While alot of piazzas are pedestrian oriented gathering places, this piazza is more of an intersection of various modes of transit and people. It is broken down into multiple districtes that are created by the traffic movement around it, and transit movement within it which create hard edges and multiple island districts. There are a few nodes within the piazza where street vendors set up, or people come to wait for trams, or buy bus tickets, as well as sitting areas. Most of the activity though is happening at the intersections where pedestrians, vehicles, and transit meet.

Delight in Architecture

Delight in architecture is probably the most complex and diverse component of architecture to both create and understand for it involves how architecture engages our senses, how it shapes our perception and enjoyment of/ or discomfort within our built environment. This is partly true because it involves subjective responses, which differ from individual to individual. It has become even more complex, as Western architects from 1910 to 1960 preferred to believe that delight in architecture had no independent existence but came into existence automatically by merely maximizing functional utility and the exposure of structure. These advocates referred to as the International Modernists argued that function and structure equaled delight. As you look at the environment around, see how many buildings seem to follow that rule. However, since about 1965 or so, critics, architects and historians have suggested that there can be delight in architecture and that good architecture is indeed delightful as well as functional and structurally sound. Since whatever pleasure, we derive from architecture is based on visual and sensory perception, we must understand the psychology of vision and sensory stimulation. The most fundamental component is the understanding that the human mind is programmed to seek meaning and significance in all sensory information that the mind receives. The mind always interprets information; even random vision or aural phenomena are given a preliminary interpretation by the mind on what information has been stored. What we perceive is based on what we already know. How the mind interprets forms and patterns is referred to as the subject of “gestalt psychology” (from the German Gestalt, which means “form” or “shape”). The mind when faced with random or unknown visual information organizes this information with certain built-in preferences; these preferences are:

 a. Proximity

 b. Repetition

c.  Simplest and Largest Figures

d. Figure/Ground Relationship

e. Proportion 

f. Scale g. Rhythm

h. Texture

I. Light and Color

j. Ornament

Document, how your special places uses the elements above to create

“ Delight in architecture”.

Due: March 15^th on the Blog