Steve - Campo dei Fiori

Campo dei Fiori is a hub of commerce, as the marketplace caters to the foodstuff needs of the locals. The movement within the site is largely pedestrian circulation, with little to no vehicular traffic. It is located directly south of Piazza Navona. The busy bus stop of Largo Argentina is located somewhat nearby, allowing access for a majority of the city. Along the outer boundaries of Campo dei Fiori, restaurants and their canopies sit with their tables forming a fairly clear boundary for public space. These boundaries create two distinct districts, one for the market in the center, and the restaurant district along the edge. The main pathway of the piazza runs directly through it where pedestrian traffic from the southwest where Piazza Farnese is located, and moves northeast leading more towards Piazza Navona. This central pathway sees a great deal of both pedestrian and vehicular traffic. The tourists generally use this pathway and interesting relationships are formed where this path collides with that of the marketplace, where the locals usually venture. Aside from the path directly through the piazza, there is a lot of pedestrian movement through the marketplace, which generally exists as a grid pattern.

The two major landmarks in Campo Dei Fiori are the statue of Bruno and the Terrina Fountain. Locals use these places as meeting places, as well as places to sit and people watch. These landmarks also act as nodes, as activity is usually drawn to them. The other nodes are the two drinking fountains in the piazza, where one could catch a drink, or the merchant use them to fill up buckets so they can water their fruits and vegetables. Most of the activity however exists along the pathways that are created in the marketplace, where people constantly run and bump into each other, or simply pass the time waiting for someone or something to happen.

PIAZZA SAN PIETRO_ FINAL ANALYSIS

If there is one thing that struck me upon coming to Rome, it was how much Romans INTERACT in their piazzas. The word INTERACT is capitalized for emphasis. Before coming to Rome, when I used the term “public interaction” while describing my architecture projects it was to describe a gray, listless world in which imagined crowds of faceless people came to

gether on chipboard models. There was a big open space, and people would fill that space, and the world would somehow be a better place because group A would meet group B.

I understood the public as an IT, not as groups of people, big and small, and individuals, who interacted or not, who each used the space differently, at different times, who came for different reasons, and who appreciated different things. The spaces I designed “generated human interaction”, or so I claimed. Since coming here I have learned that people do not go through this world yearning to meet new people in every public space they enter. Sure, it is great to meet new people, and providing humanity a space for this to occur is admirable, but what people really need are places to delight in being alive.

This delight comes from the program that occurs in a space. That may be a place to enjoy a beautiful view or an interesting event, a place to relax, a place to watch others, a place to eat, etc. To a certain extent, it is possible to design for these things, but by attempting to design these experiences we decrease the scope of opportunities that could occur in the space. By designing an amphitheater to capture a view we create a hierarchy which often directs people downward to the bottom of the geometry. But creating a flat piazza leaves a space non-hierarchical and deters crowds from being able to enjoy the same spectacle. The best answer is often somewhere in between the two possibilities.

Everyone’s opinion of what is delightful is different, so our goal should be to allow for as many delightful experiences as possible to occur in a space. Our job as designers is to create spaces which embrace the pragmatic needs of the human, of thermal, visual, audible, and tactile comfort, and allow the delightful experiences to occur and engage as freely as possible.

In the above paragraph I listed visual delight as one of the pragmatic needs of the human. And it is true that a space must be visually pleasing, but not at the expense of tactile, audible, and thermal comfort. A fountain is not something to just look at but provides a cooling breeze in the summer, and a pleasant audible backdrop, a set of steps provides seats to rest weary legs, and colonnades provide shade.

Piazza San Pietro makes use of these three elements decisively to create a space that is at once delightful and functional. Programmatically, Saint Peters is designed for a massive group of people to great god on the doorstep of heaven. Functionally, it is designed in order to accommodate the maximum number of people to hear the pope give his blessing. It is so successful because it humbly creates a space for delight to occur while maximizing human comfort and following a prescribed program.

I originally believed that a specific program would hurt a public space. That by defining a specific use the space would suddenly become unusable for other functions. But after coming to Rome I believe that specificity is absolutely indispensible to an active, exciting piazza. Out of specificity comes a sense of purpose. That purpose is the core of the space, and the other functions fill in around it, like fruit growing around a seed in order to protect it.

My current studio project shows strong influences from the things I have learned in Rome. It incorporates three different piazzas, each designed for a different program and user. There is a public piazza which drastically changes elevation and provides a number of places for tired shoppers of the Porta Portese market to rest, as well as a direct entrance to the cafeteria which serves Temple University’s new Rome campus. Its focus on the river draws the public out and promotes individual reflection rather than public interaction. The semi-public piazza acts as a place for educated individuals to enjoy the exhibits in the main building, as well as for students to move between the studios and classrooms. There is little hierarchy or directionality in order to allow for flexible patterns of movement and for groups and individuals to navigate the space even when it is full, and to interact or not depending on their mission. This piazza is designed to allow students and gallery viewers a place to decompress from their individual pursuits. The private piazza designed just for the students is completely flat, and designed for the students to lounge on in private. The space is non-hierarchical and focuses on the users rather than the surrounding or spaces within it.

The outdoor spaces were designed first, each with their own feel, user group, program, and design scheme. The architecture was then allowed to fill in around these spaces, framing and protecting them. For the first time I see public space as more than just an important part of designing, but in many ways the foundation of design, with architecture coming afterwards.

Final Assignment

When I first arrived in Rome I was struck by the initial awe of being in a foreign city, especially one as beautiful as Rome. Living in Trastevere became somewhat of a fantasy. Once the initial excitement had worn off, I realized that I was an outsider in a foreign city and I needed adapt. Navigation became a major concern, how streets are organized, how people travel throughout the city, and which ways were most comfortable for me.

I quickly realized that Rome is a city that is thousands of years old and was built in a time where the pedestrian ruled and the same thing holds true today. Living in Trastevere, I was able to witness Italians and foreigners alike walking through the small and narrow cobblestone street. Mostly everything one could need is within walking distance. Also, not only do locals walk nearly everywhere they also inhabit public outdoor space much more frequently than in familiar U.S. cities like Philadelphia.

The Italian piazza is a well known and frequently used space in every local town, village, city, and area. Rome is littered with these piazzas. In a predominantly pedestrian city Piazzas are prevalent, easily accessible, and shared by everyone. I had specifically taken an interest in one particular piazza in Rome, Piazza Santa Maria in Trastevere. This piazza is located only a few hundred meters from my front door. I started to use this piazza during my everyday activities, just like the Romans. It would not be out of the ordinary to go to the piazza, sit at the base of its beautiful fountain and have lunch as the sun shined brightly down into the piazza. The liveliness of the piazza made it a great place to complete drawing assignments. More than once I was able to locate a nice spot, sit down, and draw the fountain within the piazza. The brilliant light and abundance of people also made it a great place to tackle photography assignments.

However, my most intimate experiences with the piazza came when rehearsing for the Temple Rome talent show. I was going to juggle in the show and had nowhere to practice. My room was too cluttered and small and the streets outside my apartment accommodated too much traffic. Piazza Santa Maria became a welcoming space in which I was free to practice my skills. All the while I would be watched and even approached by many of the people in the piazza who were interested in my juggling. Particular pair of young sisters sticks out in my mind. They stood very close to me and did not move for what seemed like about twenty minutes. Even though we did not speak the same language I was still able to kneel down and start to teach them some basic juggling skills as they giggled while their parents watched from the fountain. By the night of the show I had spent countless hours in the piazza and I was able to observe how people interacted with one another, how people interacted with me directly and indirectly, how people moved around in the site. I began to notice which people frequent the piazza. I even began to recognize stray dogs. I really began to understand how a space like a piazza works and its importance and it started to find its way in some of my design work in Rome.

I had discovered through my time juggling in Piazza Santa Maria that one great way to animate a space to design an accessible piazza at a pedestrian scale. In my first studio assignment I was asked to design a kindergarten. I immediately became concerned with not only creating a fun and safe place for children to go to school but also with allowing the space to be an asset to the community while school was not in session. My solution became to create piazzas using the building as a boundary and also designing piazza like spaces through roof access to the building via landscapes in the site. The final design that was presented to the jury was successful in creating public community spaces where interactions can happen and in having safe play areas for the children.

In the second assignment I was faced with the task of designing a new Temple Rome campus. One thing I had noticed about the current Temple Rome is that there are not many opportunities for students to interact with one another outside of an academic setting on campus. Allowing campus to become a place that is not always about learning in a classroom would allow the students to be more comfortable and also allow for more interaction with professors. In true Roman fashion I also decided to incorporate a type of piazza. I ultimately decided to plug the classroom program within the steep wall face overlooking the river while the spaces above, at street level, became about interaction and student life. These spaces became composed of different types of piazzas, each one contributing something different. One type is green space, another type is for large group gatherings, and a final type caters smaller, more intimate groups of students and or professors with seating which creates tiny individual piazzas.

During my time here in Rome I have become more and more interested in the idea of how to design spaces in which people will naturally feel inclined to interact with one another. The Roman style piazza has become a clear inspiration to me and is clearly successful. I have been trying to design different ways of incorporating spaces like these into my designs. This inspiration is something I am sure will follow me in my future and I look forward to discovering new and unique ways to achieve to goals of the Roman piazza.

Delight in Piazza Santa Maria

Delight is a term defined differently by many people. However, when evaluating delight many people are faced with the same criteria. Piazza Santa Maria in Trastevere may feel different to many people but to me it is a place of great comfort as it has become a common place in my life in Rome.

The piazza’s proximity to local attractions and buys roads is very small; this makes for high traffic flow in the area. There are people in the piazza at nearly any time of day. Having a constant population of people is very comforting because we crave interaction as humans. Also, where there are many people the chances of serious crimes being committed diminish.

There is repetition present in the piazza; however, it is mostly programmatic. There are many coffee bars and restaurants in and around the piazza. The establishments rest in the confines of the surrounding buildings enclosing the piazza. The organization of the outdoor seating becomes repetitive and fills the piazza with buzzing voices of friends coming together.

In the center of the piazza is its famous fountain. The fountain is essentially the largest figure in that it is the central focus to the piazza. As the central focus it is also one of the simplest elements in the piazza. There are fountains all over Rome and most are very similar. There is something simple and attractive to people about a fountain. It has seating surrounding the entire circumference and is magnetic to people looking to sit and enjoy a beautiful day.

The figure ground relationship in the piazza is rather simple. There are five arteries leading into the piazza with the fountain occupying the very center. The church, Santa Maria, is open to the public at nearly any time of day and traffic is easily able to move in and out of the church and through the piazza.

Proportionally there is nothing in the piazza that is overly large or intrusive. The only thing that could be considered slightly dominating is the tower that is part of the church. It looks over the whole piazza and stands alone.

All of the buildings in the piazza are at a similar scale and are meant to be engaged at a pedestrian level. Any point of the piazza is easily accessible for pedestrians.

The rhythm of the site is dictated mostly by the pedestrian traffic in the piazza. People move straight through the site, sit and enjoy the day, take photos, or entertain others. However, the rhythm is visibly disrupted when vehicles are forced to move through the space. The piazza is primarily meant for pedestrian traffic but there are some vehicles that must move through in order to make deliveries, drop off passengers, or deal with emergencies. When these vehicles move through the piazza people must be aware, stop moving, or move faster in order to accommodate the dominating vehicles in the narrow streets around the piazza.

Piazza Santa Maria, as well as much of Rome, has a unique texture in its cobble stone street. The streets are hundreds of years old and the surfaces are uneven. This texture is also perceived at different scales. One can feel them while walking, or experience the bumpy ride in a taxi.

The piazza is full of warm colored buildings. These buildings are sitting on the cool colored cobble stone streets as well as next to the cold feeling of the stone fountain and church. The light in the piazza operates in the same way. At different times of day there are brightly lit, warm spots in the piazza while others are cold and shaded.

The Piazza is ornamented via the fountain and the abundance of statues on and in the church. The statues are at such a scale that they can be read in any point in the piazza. At a distance they are strong figures and up close it is easy to see the remarkable detail in each of them. The fountain operates in much the same way. The sculptures on the fountain are not as large as the statues on the church; however they are at eye level and are close enough to be touched and can also be read from across the piazza.

Church of the Gesu Reflection

Julie Hagopian
14 April 2011
Engaging Places
Bridgette Knowles

When in Rome, Stay as the Romans Do

The first time I came to Rome two years ago, I remember paying fifteen Euros to see the Sistine Chapel, fighting the crowds of tourists at the Spanish Steps and Trevi Fountain, and I had my picture taken with one of those fake gladiators outside the Colosseum. And yet, even after seeing all of these ancient wonders, I still felt that Rome had somehow escaped me. To me, it was one of the most beautiful and wonderful places in the world, but it was elusive. I was the typical tourist and nothing more; I was there for a moment, and then I was gone. And I had this feeling that I would never truly experience the Eternal City the way Romans do. However, that all changed after my semester of studying abroad in Rome.
I enjoy traveling, and I enjoy seeing all of the main attractions that every city around the world has to offer. Nevertheless, there is always a stronger feeling of accomplishment or sensation of assimilation when one finds a “secret” place of delight in whatever city they are exploring. When I say secret place, I am simply referring to a public place that is in no way hidden or private, but rather is a place of delight that is overlooked by the average tourist. These places are everywhere in Rome and they come in all shapes and sizes; a local bar lost in the crowds of Trastevere that has (in my opinion) the best cappuccino around, a typical restaurant that sells whole pizza’s twice the size of my head for only five euros, or a small church in Palazzo Altieri that has the most beautiful and intricate interior. This church in particular, the Church of the Gesu, was what I chose for my Delight in Architecture subject because it is what I believe to be one of Rome’s hidden gems that someone got lost in the appeal of all of Rome’s major attractions.
The Church of the Gesu, located in Palazzo Altieri between the Pantheon and Piazza Venezia, is one of the most delightful places I have been in Rome. From the very first moment one enters the Church, they are greeted with its simplest and largest figure: the mirror. This long and rectangular mirror is angled on a low angle and 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 and exploit’s the beautiful intricacies of the paintings. Despite the few people waiting in line to view this mirror, the Church is barely crowded until 5:30 pm: when the light show begins. The light show consisted of a man telling a story in Italian, and as he spoke different sculptures and painting would light us. Then at the end of the story, the picture on the left alter slides down to reveal a hidden gold sculpture behind it. After that, the whole church lit up so that all the beautiful murals, paintings, and sculptures were in full view.
For whatever reason, this Church found a special place in my heart from the very first time I stepped inside of it. It was such a nice retreat from all the hustle and bustle and noise of everyday life in a city, and I found myself some days just sitting in there for hours on end contemplating whatever was on my mind. And every time I went, I would light a candle for all my friends and family at home that I missed; my time spent in this church was time that I spent thinking about all the things I was grateful for, and all the things I was regretful for. It gave me my very own retreat in the heart of Rome, and I think it would be a great place to experience for all those who are visiting Rome for only a few days. I find it ironic how such a small Church like this had the greatest impact on me than any other piece of art, architecture, or landscape in Rome, and I would love to share its impact with everyone around me. But then again, I would also be a bit saddened if this Church became a major tourist attraction, and there were lines and crowds of people pushing through its wooden doors. So I think it best if I just share this church with a few of my close friends, and leave it here in Rome as I found it: my little secret.
And rather than little, my semester studying in Rome has actually helped me to think big and look at architecture on a bigger scale. All of the projects we have done in studio at Temple University in Philadelphia have all been rather small infill projects, with the exception of one urban scale project. However, with the two studio projects that I have completed in Rome, I feel like I have finally grasped the concept of site and how to make my architecture site specific. I have started using the natural landscape more often than usual, and I find that this method can also be used to find simple solutions to complicated problems. And I find that I enjoy using the landscape as a main design tool because it helps me better understand my projects as urban scale projects and makes me aware of how my architecture will affect its surroundings. I am very excited to now take all these new things I have learned and hopefully apply them to my next and final studio semester.

DELIGHT IN SAN PIETRO

Piazza San Pietro is a delightful piazza in many respects. It responds to the human compulsion to compare and relate the known to the new in a number of ways.

Proximity: The Piazza San Pietro is just down the Via della Conciliazione from the Castel San Angelo. It is immediately viewable from a long way off. It works from a long distance, slowly approaching it and noticing new things as one moves closer. It also works as one approaches from the North off Via Ottaviano, almost stumbling across it as you move along the old imposing Vatican walls.

Repetition: The Piazza San Pietro is founded on the principal of repetition. It is almost perfectly symmetrical. It is so symmetrical that when the renovation of one of the capstone pediments of the colonnade fell behind, they covered the opposite pediment in a false scaffold in order to make it symmetrical, opting to maintain the symmetrical repetition of the space rather than allow it to be broken.

Simplest + Largest Figures: The piazza is comprised almost completely of simple figures, the most obvious being the obelisk in the middle, and the squared basilica with its semicircular dome on top. The largest figure is debatably the ovular plan of the piazza, it is simultaneously the least obvious.

Figure + Ground Relationship: The slope of the site appears at first glance to be flat, but in reality is sloped a great deal towards Saint Peters. This subtle shift upwards makes Saint Peters even more imposing, as the base of it sits well above eye level of the viewer in the piazza, playing up the tension of the figure and ground relationship.

Proportion: The design of the Piazza San Pietro was governed a great deal by the historically existing structures on the site. The Vatican apartments and service buildings had to be maintained to the North, as well as the obelisk and a fountain by Maderno. Bernini unified these elements, made them symmetrical, and used massive columns of a giant order in order to make the colonnade enclose them without feeling weak or timid in their attempt to contain.

Scale/ Rhythm: The rhythm of the space is constant. Bernini used the same Doric column to wrap a colonnade around the perimeter of the space, creating a constant pattern. The fountains are symmetrical, as well as the lighting, and the brickwork and geometric layout is Cartesian.

Texture: Almost completely travertine marble for the structures. Which create a flat, dull finish background for the shiny cobblestones and brass light posts. The contrast is beautiful both when the sun strikes the piazza during the day and when the light illuminates the piazza in the evening.

Ornament: Is used to create a sense of tension. The Doric columns wrapping the piazza are bare and monolithic, while the detailed statues on top are lovingly sculpted. The obelisk is smooth and mostly unadorned while the brass lights are baroque and dripping with ornamentation. Saint Peters finds a happy middle ground between the two with its classical renaissance façade and dome.

Final Piazza del Popolo

Five months to be away, four of them in Rome. This has become a point of certain distinction within the way I both perceive the world and the places within it. My ideas on making architecture were shaped through learning in Philadelphia. It is interesting that where you learn architecture actually affects the way you work. Now, being in Rome, I enjoy that my understanding of it has grown with a different outlook.

Upon investigating Piazza del Popolo for the past few weeks I have learned to see a space that is very foreign in Philadelphia, a large open space that is actually used. This place of congregation is for the public and it’s a great place to

people watch. To see Romans and watch interactions between people brought perspective to everyday life in a new place. The painstaking symmetry in Piazza del Popolo becomes an unnoticed backdrop to everyone else passing by, but to me it became a place to better understand why spaces like this work. The large obelisk to act as a landmark near and far, the colliding arterial streets of Via del Corso, Bambuino, Ripetta, and even Cola de Rienzo to the West become expansive boulevards that the obelisk can be viewed from at miles away. Being at Piazza Venezia or Piazza Risorgimento you can look up the street and Piazza del Popolo still gives off its presence. A presence from afar also begins to show through in my second studio project along the Tiber. The idea to make a taller element within the site to create opportunities to view out and away in Rome but for the city to also back to a space develops due to this.

Seeing what ideas work in reality is a good way to test and compare your own notions on architecture. At our age this can also be very humbling. I was reminded of this upon visiting Peter Zumthor’s Thermal Baths at Vals this semester. Architecturally, this was my most influential visit outside of Rome. The ingeniously designed play between materials, light, and water made me appreciate that I still have much to learn from the long history of great architects in our profession. While floating in the heated pools watching thick steam float off the water and into the stars of the frigid night sky, aside from simply relaxing and letting my mind drift, I enjoyed the fact that even though we develop our own thoughts on designing, we will always be moved and sometimes heavily influenced by another architect’s compelling work. By seeing this place I have thoroughly pushed my perceptions on thinking about and building space.

Studying in Rome has also reminded me that you must be mindful of not just what’s new, but also to learn from the ideas of the architects of the past, not just the recent past, but far back. From seeing Bernini’s Fountain of the Four Rivers or Bramante’s Tempietto in person I believe I can better understand the differences between drawing in theory and building in actuality. I can see how later architects like Scarpa and Horta learned from Roman architecture to push their own ideas. This long tradition of building and primarily learning from the past will be Rome’s lasting impression on me.

A prime example of this change occurs during our second project. The earlier iterations are pieces of programs each designed specifically for itself with all of these components floating around the edges of the site. Although I prefer edge conditions to contort the periphery of my designs upon thinking more critically

about The Tempietto and The Therme I began to create a more simple and inward looking scheme that creates its own context and will become the context to newer projects around it. At the same time it still relates to the context without formally doing so. It becomes more about what the edge conditions can do instead of how they are shaped.

This idea of travel, not where we travel, but why has kept reminding me to stop and assess what I am doing. I realize I have come to enjoy the energy of seeing places up close and for long enough to actually get into its essence. You can only do this in person because pictures and writings never give the full atmosphere and they are always run through the filter of another person before you get your chance to assess it. Seeing places in the flesh changes us and this is very intriguing. Being somewhere else for this long allows us enough time to see places at different times, seasons, and moods. Also there is no better feeling than to stop and say, “im in Rome, for the next four months” or “I’ve lived in Rome for over three months now” Stopping to say things like these have reminding to get out and see as much as I can for as long as I can.

Without this much time in Rome I would not have noticed details that actually have really helped me to see more objectively. For example only after seeing St. Peter’s Square for months can you realize how big that space really is. When seeing the square only once it feels small due to the fact that the scale of the church and the colonnades are exaggerated. The doors to St. Peter’s seem small from the square, but once you actually get up there and walk through them you can see just how immense they are. Upon two, three, and twenty visits, from walking across it end to end, from being there on Palm Sunday and seeing just how many people can fit in that square you understand. The fact that on Palm Sunday they do not fill the square with bouquets of palms, but entire palm and olive trees gives you a sense of the huge volume this space holds. In an hour long visit one may quickly see that the columns are taller than normal or that the doors are too, but after months of visits you notice the clocks are as well, and so are the lampposts. Even the gates, the steps, and the cobblestones are all bigger to keep the whole composition in proportion. This way of looking, really looking and not assuming I learned in both my own personal Roman experiences but also through Rome Sketchbook as seen in the ink wash drawings of my special place.

I look forward to the next month of continued travel to further develop my thoughts on the way to perceive and partake in culture.