The City in the Image. On the Architecture of Urban Landscape

THE CITY IN THE IMAGEON THE ARCHITECTURE OF URBAN LANDSCAPE

28.10.2014 | DOMUS ACADEMY | MILAN

THE EVOLVING EYE

Rural Urban

Landscape means an area, as perceived by people, whose character is the result of the action and interaction of natural

and/or human factors.

European Landscape Convention, Florence, 20.X.2000, article 1: definitions.

Urban landscape means an urban area, as perceived by people, whose character is the result of the action and interaction

of natural and/or human factors.

GUSTAVE CAILLEBOTTE, Uomo alla finestra, 1875CASPAR DAVID FRIEDRICH, Il viandante sul mare di nebbia, 1818

Just as the landscape of our individual experience, in any moment and place, is necessarily limited by a

certain horizon, landscape in general is limited by the horizon of a certain vision of the world, which is

characteristic of a certain context, of a certain culture and of a certain epoch.

AUGUSTIN BERQUE, Come parlare di paesaggio?, 2009

JOACHIM PATINIR, Passaggio agli inferi, 1514-20

JAKOB VAN RUISDAEL, View of Haarlem, 1670

CIMABUE, Ytalia, 1280-90

GIOTTO, Rinuncia ai beni, 1299

ANONIMO, Citt ideale di Urbino, 1480-90

ANONIMO, Citt ideale di Baltimora, 1480-90

ANONIMO, Citt ideale di Berlino, 1480-90

SEBASTIANO SERLIO, Scena tragica, 1545

JAN VAN DER HEYDEN, Il Oudezijds Voorbugwal con la Oude Kerk, 1660-70

GASPAR VAN WITTEL, Il Molo, la Piazzetta e Palazzo Ducale, 1697

CANALETTO, Il bacino di San Marco verso est, 1740

FRANCESCO GUARDI, Gondola sulla laguna, 1780

GIOVANNI BATTISTA PIRANESI, Veduta dell'Arco di Tito, 1756

ROBERT ASTON BARKER, Panorama di Londra, 1792

THOMAS HORNOR, Panorama di Londra, 1828

LOUIS DAGUERRE, Boulevard du Temple, 1838

NADAR, Paris, 1858

ADOLPHE BRAUN, Il Ponte delle Arti, 1867

CLAUDE MONET, Carnevale nel Boulevard des Capucines, 1873

GUSTAVE CAILLEBOTTE, Il Ponte dEuropa, 1876-77

Church, tower, and cottages composed a charming picture, as quaintly effective, as full of

colour, and as delightful to look upon, as though the scene were designed by an artist. [...]

Why will not painters give us glimpses of some of the quaint

townscapes (to invent another word) of our romantic, unspoilt English towns, instead of everlastingly rushing off

to the Continent for such subjects?.

JAMES JOHN HISSEY, A Tour in a Phaeton Through the Eastern Countries, 1889

ROBERT DELAUNAY, Campo di Marte, 1911

PAUL CITROEN, Metropolis, 1923

NIKOLAUS PEVSNER, Map for walking tour of Queen's Lane, Oxford, 1950s

GORDON CULLEN, Townscape, 1961

GORDON CULLEN, Serial Vision (Townscape), 1961

GORDON CULLEN, Place (Townscape), 1961

GORDON CULLEN, Content (Townscape), 1961

IVOR DE WOLFE, KENNETH BROWNE, Civilia, 1971

KING VIDOR, The Crowd, 1928

JACQUES TATI, Play Time, 1967

WIM WENDERS, Wings of desire, 1987

ALEJANDRO AMENBAR, Abre los ojos, 1997

JON RAFMAN, The nine eyes of Google Street View, 2009

MISHKA HENNER, Dutch Landscapes, 2011

Google Glasses, 2013

MIGRATIONS

MVRDV, BLANCA LLE, Mirador, 2005

BALDASSARRE LANCI, Prospettiva teatrale, 1569

VIVIANO CODAZZI, Prospetto della Basilica di San Pietro, 1630

ANTONIO LOPEZ, Madrid desde Torres Blancas, 1976-82

JAMES TURRELL, Meeting, 1980

Paradox though it may seem [...] life imitates art far more than Art imitates life. []

Where, if not from the Impressionists, do we get those wonderful brown fogs that come creeping down our streets, blurring the gas-lamps and changing the houses into monstrous shadows?

Things are because we see them, and what we see, and how we see it, depends on the Arts that have influenced us. To look at a thing

is very different from seeing a thing. One does not see anything until one sees its beauty. Then, and then only, does it come into existence.

At present, people see fogs, not because there are fogs, but because poets and painters have taught them the mysterious loveliness of such effects. There may have been fogs for centuries in London.

I dare say there were. But no one saw them, and so we do not know anything about them. They did not exist till

Art had invented them.

OSCAR WILDE, The Decay of Lying, 1891

WOODY ALLEN, Midnight in Paris, 2011

CASPAR VAN WITTEL, la Piazzetta e il Palazzo Ducale, 1697

WILLIAM TURNER, Stamford, 1828

Driving into Stamford, a place we had never visited before, we were struck by the familiarity of the townscape presented to us; it seemed to greet us like an old friend, whose face we

had often seen.

JAMES JOHN HISSEY, Over Fen and Wold, 1898

EDWARD HOPPER, Gas, 1940

WIM WENDERS, Pina, 2011

Our eye, even when we think of it as poor, is rich and saturated of an abundance of latent models, rooted and therefore beyond

suspicion coming from painting, literature, cinema, television, commercials, etc. - which act unconsciously in

order shape our experience, perceptive or not. they

ALAIN ROGER, Short Treaty on Landscape, 1997

ERIC ROHMER, Il segno del leone, 1962EUGENE ATGET, Un coin du quai de la Tournelle, 1911

EDWARD HOPPER, Nighthawks, 1942HERBERT ROSS, Pennies from Heaven, 1981

LUCIE AND SIMON, Times Square, 2011ALEJANDRO AMENBAR, Abre los ojos, 1997

SAUL STEINBERG, The New Yorker, 1976 BOLLES+WILSON, Landscaping Hotel New York, 2006

GIOVANNI BATTISTA PIRANESI, Prospettiva delle rovine dell'acquedotto, 1756

DAVID ROBERTS, Acquedotto di Segovia, 1837

LUDWIG HILBERSEIMER, Citt Verticale, 1924

LE CORBUSIER, Plan Obus, 1933

Muro di Berlino, 1961

ARCHIZOOM, Parallel districts in Berlin, 1969

SUPERSTUDIO, Monumento Continuo, 1969

REM KOOLHAAS, ELIA ZENGHELIS, Exodus, 1971

DANIEL LIBESKIND, Potsdamer Platz, 1991

DOGMA, Field of wllas, 2012

BENIAMINO SERVINO, Agganciandosi alle utopie degli altri C+S Architetti, Casa della Giustizia di Venezia, 2012

GESTALTUNG (construction)

configuration of matter already present in the external environment, in virtue of

a human intervention.

VORSTELLUNG (imagination)

internal representation or idea we form when we perceive a selected part of

the Earth surface.

DARSTELLUNG (representation)

artistic representation that crystalizes the scenery of imagination in reference to a selected part of the Earth surface.

THE THIRD CITY

The materiality of an inhabited center isn't just the manifestation of a congregation of individuals, more

or less linked by family bonds or intentions, but physically represents the conscious collective will to

build a political subject. []

The fact that the civitas and the urbs are united just as the palm and the back of a hend, changes the very

nature of the visible city.

MARCO ROMANO, L'estetica della citt europea. Forme e immagini, 2005

AMBROGIO LORENZETTI, Effetti del Buon Governo in Citt, 1340

URBS

CIVITAS

IMAGO

URBS

CIVITAS

IMAGO(images)

URBS(form)

CIVITAS(structure)

AES Group, Islamic Project, 1996-2003

Brooklin Greenpoint Landing, 2013

RENZO PIANO BUILDING WORKSHOP, Intesa San Paolo tower, 2007

NEGOZIO BLU ARCHITETTI ASSOCIATI, Edificio residenziale in via Riberi, Torino, 2011

Hudson Yards development (New York)

Wangjing SOHO and Galaxy SOHO developments (Pechino)

Trump Towers development (Rio de Janeiro)

Freemont Street (Las Vegas)

Main Street (Disneyland)

Qianmen Street (Pechno)

Sky City (Hanghzou)

Huis Ten Bosch (Nagasaki)

IMAGO(images)

URBS(form)

CIVITAS(structure)

IMAGO(images)

URBS(form)

CIVITAS(structure)

INTENSITY

Sanchinarro (Madrid)

IMAGO(images)

URBS(form)

CIVITAS(structure)

INTENSITY DENSITY

San Blas (Madrid)

IMAGO(images)

URBS(form)

CIVITAS(structure)

INTENSITY DENSITY

DIVERSITY

Sesea (Madrid)

SIMONA ROTA, Placelessness, 2012

SIMONA ROTA, Instant Village I: Tenerife, 2011

SIMONA ROTA, Instant Village II: Fuerteventura, 2011

JULIA SCHULZ-DORNBURG, Ruinas Modernas, 2012

Bubblescapes, 2014

FRANCESCO JODICE, San Paolo, 2006

Every urban landscape is the spatial image of a specific society in a specific historical period.

To design the urban landscape means to make possible the existence of a certain kind of society by constructing the

network of social, physical and visual fragments of the city it occupies.

In synthesis, the project of the urban landscape is the project of the city itself.

[email protected]

Pagina 1Pagina 2Pagina 3Pagina 4Pagina 5Pagina 6Pagina 7Pagina 8Pagina 9Pagina 10Pagina 11Pagina 12Pagina 13Pagina 14Pagina 15Pagina 16Pagina 17Pagina 18Pagina 19Pagina 20Pagina 21Pagina 22Pagina 23Pagina 24Pagina 25Pagina 26Pagina 27Pagina 28Pagina 29Pagina 30Pagina 31Pagina 32Pagina 33Pagina 34Pagina 35Pagina 36Pagina 37Pagina 38Pagina 39Pagina 40Pagina 41Pagina 42Pagina 43Pagina 44Pagina 45Pagina 46Pagina 47Pagina 48Pagina 49Pagina 50Pagina 51Pagina 52Pagina 53Pagina 54Pagina 55Pagina 56Pagina 57Pagina 58Pagina 59Pagina 60Pagina 61Pagina 62Pagina 63Pagina 64Pagina 65Pagina 66Pagina 67Pagina 68Pagina 69Pagina 70Pagina 71Pagina 72Pagina 73Pagina 74Pagina 75Pagina 76Pagina 77Pagina 78Pagina 79Pagina 80Pagina 81Pagina 82Pagina 83Pagina 84Pagina 85Pagina 86Pagina 87Pagina 88Pagina 89Pagina 90Pagina 91Pagina 92Pagina 93Pagina 94Pagina 95Pagina 96Pagina 97Pagina 98Pagina 99Pagina 100Pagina 101Pagina 102Pagina 103Pagina 104Pagina 105Pagina 106Pagina 107Pagina 108Pagina 109Pagina 110Pagina 111Pagina 112Pagina 113Pagina 114Pagina 115Pagina 116Pagina 117Pagina 118Pagina 119Pagina 120Pagina 121Pagina 122Pagina 123Pagina 124Pagina 125Pagina 126Pagina 127Pagina 128Pagina 129Pagina 130Pagina 131Pagina 132

The City in the Image. On the Architecture of Urban Landscape

Design

Transcript of The City in the Image. On the Architecture of Urban Landscape