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W E L C O M E ..T O ..U R B A N .L O V E R S ..W O R L D |
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| "Urban
Lovers" NEWS-LETTER by A Vision of Europe in collaboration with CIVICARCH - University of Ferrara |
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2005
/ II
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THE
PROJECT OF THE MONTH
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QUARTIER AM TACHELES Masterplan: Duany & Plater Zyberk with Duane Phillips Architecture: Porphyrios Associates, Piotr
Choynowsky, Tagliaventi & Associates with Lunetto & Fischer,
Cenicacelaya & Salona, Hammond, Beeby, Rupert, Ainge, Robert
A.M. Stern Architects, Calvin TsAO For more informations see A&C Documents 3 and "The Ecological Alternative to Sub-Urbanization", edited by G.Tagliaventi, Alinea 2004 |
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| THE MONSTER OF THE MONTH | |||||||||||
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| H
E L P PARIS' CITIZENS FIGHTING FOR A FRIENDLY
URBAN ENVIRONMENT AGAINST ALIEN MODERNIST OBJECTS ! ! ! |
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| THE CONFERENCE OF THE MONTH | |||||||||||
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INTERNATIONAL CONGRESS OF THE COUNCIL
FOR EUROPEAN URBANISM
30 YEARS: THE EUROPEAN CITY - REVIEW AND PROSPECTS September 8-10, 2005 - Berlin, Germany |
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The Congress "30 Years: The European City" will throw open the topic of Urban Development into the centre of debate. This topic influences politics and economics, as well the general public. Urban Development reflects the structural transition in society, but must also meet head-on the problems of sprawl and demands for sustainability. The Congress will debate the following subjects: -What are the traditions and perspectives of European
Urbanism? The Congress "30 Years: The European City" will examine these issues in two parts. The first part uses Berlin as an example of structural change in Urban Development; what has happened in the past and how it is adapting for the future. During the second part, projects will be presented which show what is happening internationally. The exchange of ideas and information is more important than ever, not only within but especially beyond European borders. For more information: berlin2005CEU.html or www.ceunet.de/events |
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| THE EXHIBITION OF THE MONTH | |||||||||||
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LEON BATTISTA ALBERTI:ARCHITECTS, HUMANISTS AND ARTISTS DESCOVERING THE ANTIQUE IN THE XVth CENTURY CITY LEON BATTISTA ALBERTI: ARCHITETTI,
UMANISTI E ARTISTI ALLA SCOPERTA at Musei Capitolini, Palazzo
Caffarelli, Roma, Italy |
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Centoventitre opere
per celebrare il VI centenario della nascita di Leon Battista Alberti.
La mostra, che intende dimostrare il tentativo intrapreso dagli architetti
e artisti del quattrocento di conoscere e riprodurre la monumentalità
dell'antico attraverso l'astrazione del disegno, riunisce opere di
enorme pregio e delicatezza provenienti da alcune delle istituzioni
culturali più prestigiose d'Europa e America.
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INFO: tel 06 39967800 - www.museicapitolini.org
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| THE BOOK OF THE MONTH | |||||||||||
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"High Rise" Technology and madness wildly together. |
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Hardcover: 204 pages
Original Publisher: Cape, 1975 Language: English ISBN: 0224011685 Product Dimensions: 21 cm |
/ Italian Publication: Il condominio
di J. G. Ballard traduzione di Paolo Lagorio Milano, Feltrinelli, 2003, 189 p. ISBN - 88-078-1755-1 |
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| THE MOVIE OF THE MONTH | |||||||||||
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"Notting Hill"
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| MASTERPIECES OF 20th CENTURY ARCHITECTURE |
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The Architecture
of the Greatest Classical City of the XXth century - Washington D.C.
1990-1999
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"Here I am, Madam, gazing whole hours at
the Maison Carrée, like a lover at his mistress... From Lyon
to Nimes I have been nourished with the remains of Roman grandeur...
I am immersed in antiquities from morning to night. For me the city
of Rome is actually existing in all the splendor of its empire.
I am filled with alarms for the event of the irruptions daily making
on us by the Goths, the Visigoths, Ostrogoths, and Vandals, lest
they should reconquer us to our original barbarism." |
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The simultaneous creation of a new
town and the founding of a university during the most critical moment
of an independent state: its constitution as a juridical entity and
as a civil community, as well as the reference to the ideal of a great
past, assure the supremacy of reason and affirm the will to build,
with difficulty but firmly, a new community and at the same time carry
on the development of a millenary history.
Facing the chaos of a war for independence which had just been won at a very high price, because of internal wounds and heavy destruction, a young nation, still insecure about almost everything except for its loyalty to the values of freedom and welfare, chooses to entrust stones and the construction of a new city with the task of indicating the democratic path towards goodwill and success. The classical heredity of shapes from ancient Athens and Rome will be the guideline for the building of democratic power symbols: the Parthenon, the Pantheon, the large Baths, shall stand as a reference style for the new Halls of Justice and Parliament of the recent federal states, as well as for new churches. The task of representing the steadiness and sturdiness of the new state is entrusted to the yellow stone of Greek temples and to the red Roman bricks: everlasting materials for people yearning to leave behind them a bright heredity lasting through time, remembered for their respectability. Two hundred years have passed since Jefferson's letter and, in the meanwhile, the new capital city of the United States has grown according to the original city planning scheme of Pierre Charles l'Enfant. In the course of the twentieth century it was enriched with public buildings as envisaged in the MacMillan Commission Plan that gave it that unique classical character which immediately startles the tourist, surprised in finding, on the other side of the Ocean, thousands of miles away, a great classical city, which has drawn inspiration from the styles and the structures of ancient Rome, as a memento of the perennial vitality of western traditions in town planning schemes, with the capability of constant renewal to suit new functions and new empires. Indeed, one of the things that strikes the most, in examining the history of the construction of Washington D.C. is exactly the fact that this city was mainly built in the course of the twentieth century. |
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The city relief at the beginning of
the century, which can be seen inside the National Building Museum,
clearly shows a completely different situation from the sound image
of mature classical harmony of the present-day. Before the intervention
of the MacMillan Commission, the city showed the determinate aspect
of contradictions between the grandeur of Charles l'Enfant's city
planning scheme and the bucolic daily routine of terrace houses which
have grown, every which way, within the large green space nowadays
called the Mall. In such a framework which carries a strong picturesque
meaning, the city, far more than the capital of the world's most powerful
country, resembles one of the garden cities whose virtues Howard began
in those times to preach.
The great classical Capitol building, towers above a mass of two-three storey houses built with exposed red brickwork, in the then fashionable Neo-Gothic style, a lot of bow-windows and very high chimneys, inspired by the towers of mediaeval castles and merlons. The majestic baroque style of l'Enfant and the classical vision of Jefferson seem to have been lost amidst the turbulent events of a nation which, in the course of the nineteenth century, lives the tragic moment of a Civil War as well as a city context which soon becomes the zone behind the lines. It is extraordinary to recall how the main battles of the war between Americans dressed in grey and those dressed in blue took place at less than eighty miles from Washington D.C. From Manassas to Gettysburg, from Antietam to Fredericksburg, the destiny of such a young nation was fulfilled a few miles away from the Capitol dome. |
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The beginning of the twentieth century
sees the capital city hesitating between the great urban planning
scheme of the past and the present-day scheme made up of particularism
and narrow-minded prospects. It is only in 1901 that, thanks to the
impulse given by a commission created upon a proposal made by the
member of the Senate MacMillan, a new city plan is drawn up in order
to terminate the interrupted structure of the original idea by Charles
l'Enfant, while the classical architecture style becomes the operational
instrument for the execution of the modern capital city of the United
States.
Thanks to this Plan, the Washington D.C. architecture is today a unique cultural patrimony within which the classical language faces the great themes of mass society, typical of the twentieth century. Indeed a precise cultural choice did characterize the Plan choice drawn up by a Commission which was particularly effective: having taken office in June 1901, drawings, to be approved by the Senate, were presented already on January 15th 1902. In the spirit of such a tradition which, in order to determine the building of the capital, had set its choice on a European architect: Charles l'Enfant, thus underlining the persistent link of the American nation with the western culture, the MacMillan Commission had once again turned to the old continent in order to find appropriate paradigms for the completion of its mission. Daniel Burnham from Chicago, Charles McKim from New York, Frederick Law Olmsted Junior from Brooklyn and Augustus St. Gaudens from New York sailed on a trip which brought them to visit, among others, Paris, Versailles, Rome, Venice. Seven weeks to carry out building surveys and find architectural answers idiosyncratically compatible with the task that awaited them in their fatherland. |
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The result of the project turned out
to be in accordance to expectations; the designs of the McMillan Commission
entrusted the city, organically conceived by l'Enfant, with a new
life and enriched it by the addition of new interests. Having re-established
the trident with the two diagonal axis, Pennsylvania Avenue and Maryland
Avenue to converge on the Capitol, the central perspective finally
becomes the boulevard, rich in vegetation, envisaged by l'Enfant.
With the exception of the Neo-Gothic Smithsonian "Castle"
- already existing upon the Commission's intervention - a series of
public buildings are located in order to create an area tending symbolically
to stand as the continuity line with the European style - the trident
of Piazza del Popolo in Rome, as well as that of Versailles, of Karlsruhe,
Saint Petersburg - and at the same time the peculiarity of the new
continent: the natural landscape, the great horizons of the pioneers.
Lying perpendicularly to the Mall, a new axis configures a cross-shaped
scheme, connecting the White House with a monumental building dedicated
to Thomas Jefferson, on the opposite side of the Mall facing the Potomac
river waters. Trident, a cross-shaped structure and two large squares,
lying around the two symbolically most important buildings of the
new democracy: the seat of the Congress and the residence of the President.
On this grandiose city planning scheme, the process for the construction of the greatest classical city of the twentieth century is laid out. |
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The three seasons of the classical architecture
of Washington D.C. |
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Next to Union Station, stands the City
Post Office building, by Brunham and Graham, dated 1914. Further south,
we find the Congress Library, built in the late nineteenth century,
dedicated to Thomas Jefferson which stands as an outline of the large
square grounds, strengthened by the 1901 Plan, whose corners are framed
by the two symmetric buildings: the Cannon Office Building of the
House of Representatives and Senate Office Building, which were completed
in 1917. The railway station, the post office, the library, the offices
of the House and of the Senate: a new metropolis for a society of
masses is starting to be clearly outlined.
Along the Mall, the first public buildings appear, assigned by the MacMillan Commission to the definition of the monumental green area, symbol of the Nation. First of all, in 1910, the National Museum of Natural History, with its original architecture was built with a conventual structure on which towers a dome built on a four tympana structure, inspired by the Caracalla Baths in Rome. Moving towards the western side, having passed the crossing with the White House axis and the obelisk of the George Washington monument, we find the Pan American Union Building, a work by Albert Kelsely and Paul Cret, built between 1910 to 1912. Further down lies the building, seat of the national Academy of Sciences and of the National Research Council, built by Bertram Grosvernor Goodhue in 1924. Through the construction of two corners of the Lafayette Square, the seat of the United States Chamber of Commerce, built in 1925 and the Treasury Annex built in 1919, Cass Gilbert tries to give uniformity to the perimeter of the square, making a clear distinction between the character of each individual building employing Ionic and Corinthian styles for the gigantic columns rising up from their solid basement. The great Mall perspective finally comes to an end in 1922 with the building of the Lincoln Memorial, a work by Henry Bacon, where the example of a temple with Doric Colorado marble columns, is rotated by 90_ and the body of the cell, the naos, comes out of the frame in order to express its archetype function. Having reached the Potomac, the monumental architecture mixes with civil engineering in the bridge which was built during the 1926-29 period, by the McKim, Mead & White practice in order to connect the city and the Mall unit with the Arlington Cemetery. The second stage of the construction of the classical city envisaged by the 1901 Plan develops itself in the thirties and forties. It tallies to the policy undertaken by the United States administration to start new public works after the 1929 crisis. It is interesting to note that, despite the serious straits dictated by the altered economic and financial situation of the State, the characteristic architecture of this stage continues to develop with regards to the classical language of City Beautiful. It is an architecture which, through its different interpreters, from John Russel Pope to Cass Gilbert, from Delano and Aldrich to Bennet, Parsons and Frost, introduces a simplification of shapes and a rationalization of structures, undoubtedly sensitive to the influence of the Art Deco and Rationalism. |
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Coherent with the American construction
tradition of the Balloon Frame, the carrying structure of the buildings
is prevalently made of steel, while the external walls are lined with
marble or granite sheets. Contamination from the minimalist language
and the functional articulation of the layout, according to the principles
of the German school of the twenties, are manifest mainly in the composition
of the unit of the Department of Interior and in the series of buildings
assigned to the extension of the Congress Library. The result is a
classical architecture equipped with strong recognizable elements.
We could talk of Federal Style, by linking it to the series of public
buildings constructed all over the States: post offices, schools,
customs, justice halls, etc. In 1933, the unit of the House Office
Buildings of Washington D.C. is extended by the building along Independence
Avenue, on the corner between New Jersey Avenue and South Capitol
Street. Paul Cret and Alexandre Trowbridge built in 1932 the Folger
Shakespeare Library, in the block behind the main building of the
Congress Library. The square with the Capitol on its centre is enriched
with the building, seat of the United States Supreme Court, a work
by Cass Gilbert (1935), located in the corner block between Maryland
Avenue and 1st Street NE, developing the example already used by Leo
von Klenze for the M¸nchen Glyptothek on the Kˆnigsplatz.
The main building activity of the times sees the progressive completion
of the Pennsylvanian Avenue axis. Here, in the triangle including
in the green area of the Ellipse opening, facing the White House,
Constitution and Pennsylvanian Avenues, stands the great ministries
building unit, known as the Federal Triangle: the Ministry of Justice
by C.C. Zantzinger and A. Borie built in 1931-34, the Ministry of
Post and Communications by W.A. Delano and D.T. Aldrich in 1934 and
then the seat of the Ministry of Commerce and Ministry of Labour both
completed in 1938. The area of the Great Plaza envisaged in the original
project at the centre of the Federal Triangle will be outlined only
in 1998 with the construction of the Ronald Reagan Building. Coming
back along the Pennsylvania Avenue towards the Capitol, we find a
building destined to play a fundamental role in the whole area: the
National Archives, built by John Russel Pope in 1935.
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Located along the north-south axis
as determined by the National Portrait Gallery building, the solid
granite block, conceived by Pope with perfect adherence to the functioning
of archives, becomes the focal point of different urban perspectives
to which the architect dedicates two tympana fronts. On the diagonal,
the National Archives building establishes a direct connection with
the group of buildings in Judiciary Square, while on the south, facing,
the pronaos of the building, it becomes the focus of the open square
on the Mall, between the National Museum of Natural History and the
seat of the National Gallery built between 1939 and 1941.
Together with the triangular building of the Federal Trade Commission by the architects Bennet, Parsons, Frost, the National Gallery constitutes the access junction to Pennsylvania Avenue. And it is here that Pope carries out his major work: a subdued building, characterized by a skilled use of pink marble from Tennessee for walls, counterbalanced by a large dome that surprises the visitor by its area which is split up into different levels. The correspondence between the internal composition of the exhibition space and the impact of the building on the demands of the urban fabric - see the alignment of the building along the axis of the 6th Street NW - make of the National Gallery one of the best examples of classical architecture of the twentieth century, far from excessive decoration, yet adherent to a language in which elements - framework, base, arched roofing - are used thanks in keeping with their precise functions. Finally, between 1939 and 1943, the monument intended to complet the north-south axis running perpendicularly to the Mall is built. With the construction, on the banks of the Potomac, of the Jefferson Memorial, conceived by Pope as a development like the Roman Pantheon as a homage to the predilection of the president-architect for this sort of building, which had already been demonstrated with the library for the University of Virginia, another fundamental part of the MacMillan Commission Plan is completed. The Pentagon building, built in 1942 by George E. Bergstrom together with the U.S. Army Corps of Engineers, marks the passage, in the Capital City of the United States from the second stage of classical architecture to the International Style. Other buildings will be built continuing the classical tradition in the forties and even in the fifties, but we shall have to wait until 1980 to witness the renovation of the leap towards the accomplishment of a coherent classical city. |
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Another important urban project will mark this third Classical season: the plan for the Bicentenary elaborated by Leon Krier in 1985. From the considerations on the status of the city after forty years of halt in the process of urban construction created by l'Enfant, Burnham, McKim, Olmsted, a new stimulus to renew the classical language arises. The new architecture faces the theme of the completion of the city which had been interrupted, introducing residential, industrial services and commercial ideas, needed to create a mixed and bright urban fabric. The classical architecture renaissance in Washington D.C. receives another fundamental impulse from the refurbishing work of the Department of State when Allan Greenberg and John Blatteau are called, in the two years from 1985 to 1986, to carry out a system of areas appropriate to the dignity of the Federal Style, in order to welcome diplomats and visitors. On the drive of this renovated interest for the role of classical architecture as the characterization element for the city image, two important works are built to complete the structure of Pennsylvania Avenue. The first intervention, a work by Hartman & Cox, develops the theme of the square, introducing an exedra scheme, shops, offices and apartments in Market Square, facing the National Archives Building. The second, conceived by Inigo Freed for the Pei, Cobb, Freed & Partners Practice completes the Federal Triangle with the construction of the Ronald Reagan Building and the International Trade Center. Other buildings tending to a reappraisal of the classical language rise here and there in the city. In Georgetown a residential unit for students is carried out by Hugh Newel Jacobsen, adopting the idea of terrace houses in the Georgian tradition. Along the axis of the 6th Street NW, Khon, Pedersen & Fox, build between 1990 and 1992 the seat of the American Association of Retired Persons, characterizing it with a corner solution bearing a circular tower. Commercial, residential, industrial services buildings, but also the refurbishment by Caesar Pelli, in 1988, of Burnham's Union Station and, in 1998, the extension of the National Airport, conceived by Pelli himself, with the use of metal sail-like vaults, as a homage to the Beaux-Arts tradition of the Labrouste libraries. See also "The Other Modern" edited by G. Tagliaventi, Savona, Dogma 2000 |
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| GOOD NEWS AGENCY | |||||||||||
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Palermo:
an example of Sustainable Reconstruction for a historic City
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it started the social and building
renewal of 240 hectares that include in an intricate stratification
about 160 churches, 55 convents, over than 400 aulic palaces, 2 kilometres
waterfront, 7 theatres.
In 1993 became operative an Executive Plan (PPE) that pays special attention to the history and the environmental maintenance; it regulates in a coherent way almost all the old Centre according to the preservation criteria of the historical buildings. |
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The declared objective of the Executive
Plan is the maintenance of the existing architecture and the restoration
of the pre-modern town the way it was; it follows the tenet that the
whole historical centre, both the aulic architecture and the ordinary
buildings, is a monument in itself. This Plan does not allows any
demolition or replacement, not only in the monumental historical buildings
but also the ordinary ones A qualifying and
innovative element of the Plan is constituted by the norms that regulate
the new constructions in the urban voids: it is allowed to operate
by the reconstruction of what there was or there could be. A special
Office was constituted to attend to the realization of the Plan and
to the whole management of the town patrimony in the part corresponding
to the Sixteenth-century walled area. It became a real landmark with
respect to the old city buildings, in order to coordinate the ordinary
and extraordinary problems during the Plan realization.
For more information see Giovanni Fatta in A&C Documents N.4 |
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| SUGGESTED ARTICLES | |||||||||||
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"Comparison of City and
Suburban Living Costs" Plan Local d’Urbanisme -
Paris |
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"Il manifesto dell'Italia di qualità", La Repubblica, 25 Luglio 2005 (only italian language)
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Dall'inviato Antonio Cianciullo
- La Repubblica , 25 Luglio 2005, pag 23
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RAVELLO - Puntare su prodotti unici,
non imitabili. Investire in ricerca e innovazione. Collegare le industrie
avanzate alla rete dei parchi, del turismo sostenibile, delle qualità
territoriali. Sostenere il mondo del volontariato, del no-profit,
della solidarietà sociale. Sono i quattro punti della ricetta
anti-crisi emersa dai due giorni di dibattito sul tema "Coesione
e competizione" organizzati da Symbola, la Fondazione per le
qualità italiane creata da Ermete Realacci, deputato della
Margherita e presidente onorario di Legambiente, da Alessandro Profumo,
amministratore delegato di Unicredito e dal sociologo Domenico De
Masi.
La carta di Ravello, approvata alla fine dei lavori, insiste sulla qualità come missione dell'Italia e sulla costruzione di una rete di economia virtuosa capace di "scongiurare la rincorsa a modelli di sviluppo estranei e illusori basati sulla competizione al ribasso sul fronte dei diritti e dell'ambiente". Un progetto condiviso dal presidente della Repubblica Carlo Azeglio Ciampi, che ha inviato un telegramma esprimendo "apprezzamento" per l'iniziativa che punta a "sostenere l'evoluzione verso un modello produttivo eco-sostenibile centrato sulle risorse dell'economia della conoscenza". E' un progetto che sta guadagnando consensi. Arrivata al suo terzo appuntamento a Ravello, la "lobby della qualità" scopre di aver già incassato un discreto numero di adesioni. C'è il mondo dell'agricoltura legata alla tipicità con le reti delle 548 città del vino, le 44 città del castagno ,le 249città dell'olio, le 42 città del pane, i 149 prodotti Doc, Dop e Igp che assicurano all'Italia il primato europeo e garantiscono un fatturato di 9 miliardi di euro. C'è il circuito delle aree protette che, secondo il rapporto 2004 dalla Compagnia dei parchi curato da Sandro Folci, garantisce 118 milioni di presenze turistiche nei parchi italiani (con un ricavo di 5,5 miliardi di euro) e oltre 104 mila posti di lavoro. Ci sono le industrie che hanno scommesso sull'innovazione e sull'impegno sociale: da Alberto Piantoni, l'amministratore delegato della Bialetti che a Ravello ha raccontato la storia di un'industria arrivata a coprire oltre il 70 per cento del mercato mondiale delle macchine da caffè espresso in alluminio anche grazie alla capacità d'innovazione dei suoi tecnici motivati da accordi sindacali ben più generosi di quelli standard, fino alla Varnelli, giunta alla quarta generazione di imprenditori dell'anice puntando su un prodotto e un marketing fortemente legati al territorio, e a Josè Hallo, che ha fatto dei vini di Donnafugata un manifesto dell'amore per la Sicilia. "Il vento leghista aveva incanalato la ricerca di una coesione dal basso, in risposta ai problemi della marginalità del territorio, verso l'idea di una secessione dei benestanti", ha ricordato il sociologo Aldo Bonomi. "Adesso gli stessi temi vengono riproposti non in chiave di ribellione rancorosa ma di patriottismo dolce. E su questo progetto convergono interessi concreti. Lo prova il fatto che una multinazionale come la Ferrero produce i suoi cioccolatini ad Alba stando attenta a non inurbare i contadini - operai perché altrimenti non riuscirebbe a mantenere vivo il terri torio delle nocciole". E'un modello a cui guarda con interesse una parte consistente del mondo cattolico, rappresentata a Ravello da Luigi Bobba, presidente delle Acli, e da Raffaello Vignali, presidente della Compagnia delle Opere. Anche perché, come nota il segretario di Symbola, Fabio Renzi, quattro anni di deregulation hanno contribuito a incrinare la rete dei servizi sociali rendendo ancora più precaria la sopravvivenza nei piccoli centri di montagna e nelle campagne lontane dalle grandi rotte turistiche: "In queste condizioni di difficoltà crescente emerge l'utilità delle reti di solidarietà dal basso che si reggono in gran parte sul lavoro volontario". "La nostra non è una proposta valida solo in tempi tranquilli", precisa Realacci. "Anzi, proprio nel momento in cui le bombe mettono in discussione il confine tra la sicurezza e il diritto, è più che mai utile rilanciare un modello di produzione in cui la competitività coesiste con la solidarietà e la qualità della vita si caratterizza come un tratto forte dell'identità europea. L'Europa di cui abbiamo bisogno deve combattere il terrorismo e dare sicurezza senza indebolire i diritti e senza perdere la propria anima. E in questo scenario l'Italia ha le carte in regola per svolgere un ruolo in prima fila". |
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| ALL
THE CONTRIBUTIONS OR COLLABORATIONS ARE WELCOME mail to: avoenewsletter@yahoo.it |
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