ctto517725021-BAROQUE-CITY-PLANNING.pptx

BHOOMIKA BHAGYASHRI
ROSHNI APARNA
SRIKUMARAN UMAPATHY
VENKATA AYYAPPA
VARSHA R

1. BHOOMIKA BHAGYASHRI ROSHNI APARNA SRIKUMARAN UMAPATHY VENKATA AYYAPPA VARSHA R BAROQUE CITY PLANNING.

2.   INTRO TO BAROQUE: Barocco(Portuguese ) meaning an irregularly shaped pearl. This period of architecture was called baroque because it was considered very odd. • evolved out of Renaissance architecture in Italy and lasting in some regions, notably Germany and colonial South America, until the 18th century, often to express the triumph of the Catholic Church . •It was characterized by new explorations of form, light and shadow, and dramatic intensity. • This period was one of the most exciting times for European architecture. • During this period, European architecture exploded in novel directions. Rather than designing a single building, an architect might be responsible for re-imagining a complex of buildings, or even planning an entire city. With this shift, the capital of art and architecture moved from Rome to Paris.

3.  Originated in Italy & Paris • Germany • Malta •Spain • Romania • Portugal • Poland • Ukraine • UK • Austria • Moreover this style also developed in the Turkey.

4. Western Europe hegemony: The rise of Dutch and English cities . The development of Atlantic trading . A widespread urban decline in many other areas: natural disasters, disease, warfare . Antwerp and Amsterdam as leading cities. Banking, commerce, cultural life. A new urban modernity emerged. Social life Mortality and immigration: the outbreaks of bubonic plague . The women’s movement to the big city . Discipline function of neighbourhood. Centralized relief agencies . The flourishment of capital cities. New urban life styles. Economic transformations Manufacturing , trading and State control . The importance of Atlantic ports . Growing fiscal levies on the city . The role of luxury and fashionable consumer goods.Printing industry . The development of service sector. RISE OF BAROQUE TOWN PLANNING:

5. Baroque landscape Baroque ideas on geometrical planning were only haphazardly implemented within existing towns . The example of Noto in Sicily . Ruralization of urban landscape and urbanization of surrounding areas . The ‘petrification’ of town dwellings.

6. Urban culture The fondness of citizens for possessions. New consumer patterns . Diversification in domestic spaces . The metropolitan context gained wider moral and social acceptance . The changed notion of time. Example:Amsterdam The canal district of Amsterdam as a project for a new port city . A middle-class environment: the city’s enrichment through maritime trade and the development of a humanist and tolerant culture . The majority of the houses erected in the 17th and 18th centuries are still present . A reference urban model.

7. BAROQUE URBAN PLANNING: Baroque urban planning was first manifested in spaces between groups of buildings, such as Michelangelo´s Piazza del Campidoglio in Rome ,started in 1536 and the space between the two parallel wings of Uffizzi in Florence by Vasari, built with advice from Michelangelo, between 1560-1574.

8. Baroque Townplanning concepts: Pope Sixtus Vth certainly did what he could to unify Rome He was seeking not so much a visual, architectural unity as an ecclesiastical coherence of the city H e achieved this by tracing the new streets, connecting the most important Christian architectural monuments of Rome and also Egyptian obelisks and Roman monuments (Saint Peter´s Piazza (fig. 15), S. Maria Maggiore, Piazza del Popolo, S. Croce, Quirinal, S. Giovanni in Laterano)  Rome – Saint Peter´s Piazza (1656-1667)   Saint Peter´s Piazza, Vaticano

9. Baroque Townplanning concepts: Sixtus also started building of his new town – Borgo Nuovo between S. Peter´s and the Castel Baroque town-planning concepts implemented in Rome were many times repeated later (Champs Elysées in Paris – 1664, Amalienburg in Copenhagen – 1749, the Mall in Washington DC by L´Enfant and so on.) Naarden-fortress(17 th century)

10. Baroque Replanning of Rome, DOMENICO FONTANA, Baroque, ROME, 1585 AD History of Rome’s urban planning: The geography of the city of Rome is known for two major characteristics, the Tiber River and a city of hills. Two thousand years ago the Romans built predominantly in the valleys between the hills of Rome. Most Roman developments were within proximity to the Tiber and grew towards the east. As the city expanded and was defined as the center of the Christian world, a new urban organization was designed in the sixteenth century. Domenica Fontana is given main credit as the designer, though Pope Sixtus V also takes credit for the Baroque Roman Replanning. The redevelopment efforts were completed over many years. Though the urban reorganization finished primarily during Sixtus V’s reign, there were many other papal figures leading the culmination of these efforts.

11. The earlier developments of the city were rather densely located in proximity to the Tiber River but extended to the Aurelian walls from Classical Roman times. Important in the Baroque replanning design was connecting a network of new churches expanding development to the east within the Aurelian walls, from Edmund Bacon’s Design of Cities. Major new figural voided radial axes  (yellow lines on image 1)  were carved out of the existing context of the city to highlight the development of the new Christian organization of the city within the Classical Roman walls. These developments were often located on or near the peaks such as Quirinale, Pincio and Esquiline hills. Plan of Baroque Replanning of Rome, yellow lines represent new axes carved through existing context of city connecting churches and urban sites

12. The political power in Rome at this time was held by the Christian church and the papacy. Therefore the reorganization featured new churches designed at the ends of the axes. At the northern end of the replanning efforts a trident of three axes were developed. The three axes are a reminder of the importance of the Trinity in the Christian faith. The axes started from the Piazza del Popolo, which was not designed in its current ovular shape until after 1750. The eastern most axis jogs from the Spanish Steps to Quirinale hill with a series of smaller churches including San Carlo alle Quattro Fontane and Sant’Andrea. The axis continues to Santa Maria Maggiore Basilica finalizing at two important religious sites near the Esquiline hill, Basilica of Santa Croce in Jerusalem and Santa Scala, both important sites on the pilgrimage route in Rome.

13. Obelisk: Obelisk are added in front of the churches along the main axes. They create an axis mundi acting as a vertical marker at the end of the figural voided axes connecting long distances in the city through elevation. The connections become explicitly clear of the next site in the urban sequence of which you’re encouraged to continue experiencing. A reminder, these obelisks were original to Egypt and moved to Rome marking important locations in the Classical Rome context of the city. The Baroque Roman replanning now becomes the third iteration of the original Egyptian obelisks, now reused to redefine a Christian organization of the city.

14. BAROQUE CITY PLANNING IN ROME: The city planning featured multiple Baroque characteristics. The sites were connected through the figural voided axes with an obelisk reinforcing a visual connection seen from long distances.   The experience creates drama and heightens the emotions by featuring the topography in the urban planning. Anticipation builds scaling the hills of the city to reach the next focal point. The Baroque also features ambiguity through a multiplicity of centers, present with the various radial axes in the plan. Yet through the multiple centers, a spatial continuity weaves through the connected axes Aerial view of Rome, showing axes from Baroque Roman replanning remaining in contemporary times

15. Perspective is exaggerated through the placement of buildings and obelisks at the tops of hills to reinforce to visual connection. Perspective was also exaggerated on streets such as Via del Corso  , which has a similar building heights, proportion of buildings and datum of windows reading the majority of the street. The figural voided axes were carved through the existing context of the Roman to Renaissance era city of the urban fabric. Defining and carving these axes through a city was quite powerful and monumental. It happened successfully in Rome because the Papacy holds significant political power and financial backing to facilitate the plan. View of Via del Corso looking south from Piazza del Popolo

16. Giambattista Nolli designed this well-known drawing and map in 1748, encapsulating the urban fabric of central Rome at this date. Rome is the center of the Christian world with many churches defined as public spaces. The map highlights the street organization from the  Baroque Replanning of Rome , featuring streets connecting religious buildings through the city.   The Nolli map further reinforces the religious fabric mapping the connections between many churches and courtyards as a network through the city. The shaded areas are reserved as private areas contrasting from and framing the public areas of the city. view of Nolli Map

17. SUCCESS OF BAROQUE REPLANNING: Though the plan is focused primarily on the eastern expansion of the city, though there are a number of axes on the western side of the city that were connecting major sites. The denser existing context allowed for shorter axes, and not as connected as the eastern sets of axes. The   NOLLI MAP of 1748 shows how the axes are carved and cut through the existing mostly private (shaded) context in this select portion of the map near the northern edge of the city. The Baroque replanning of Rome was incredible successful almost 450 years ago and still clearly defines the context of the contemporary city today. These urban planning efforts influence town plans not only in Europe but also in the US, most notably for  WASHINGTON D.C.  downtown planning.

18. BERLIN TOWN PLANNING:

19. The town plans of the 18th century reveal developments in urban cartography and reflect the new urban forms that were emerging. In Europe, increasingly powerful and centralised governments had the resources necessary to impress themselves physically on the design of the city. Berlin , for example, had been a major European capital since 1709, when the new suburbs of Dorotheenstadt and Friedrichstadt were joined up with the historic core of Berlin-Kölln. King Frederick William I of Prussia (1713–40) enlarged the army and made the city a major garrison, its great new squares and avenues serving as urban parade-grounds for a military establishment which by 1740 comprised almost one quarter of the 90,000 inhabitants. One map of the city was delineated by Matthäus Seutter in about 1720, a date suggested by the presence on the map of the newly built Quarre Market and Rondel Market. Seutter , pupil of Homann and geographer to the Holy Roman Emperor, produced numerous atlases, maps, globes as well as plans of over 90 towns and cities in northern and central Europe . All of them incorporated a prospect and an elaborate cartouche, which in the case of Berlin carried a portrait of Frederick William.

20. CITY OF KARLSRUHE:

21. Smaller in scale, but even more dramatic in concept, was the city of Karlsruhe, founded in 1715 by the Margrave Karl Wilhelm of Baden Durlach . Although Karlsruhe was originally intended only as a palace in the Harzwald, the Margrave’s ideal for a new Residenzstadt (capital) resulted in a perfect specimen of the formal and geometric town planning of the age. Blending contemporary principles of landscape gardening with the ideas of the Italian military engineers demonstrated by Braun & Hogenberg’s map-view of Palmanova, the palace acted as a focus for 32 radiating streets within a concentric boulevard . Nine of the streets, to the south of the palace, made up the area of the new town, with the major commercial artery, the Langestrasse, formed by another street tangential to the circle. The plan of 1737 was drawn by a military surveyor, Johann Jacob Baumeister, and published in Nuremberg by Homann’s Heirs, the printing firm that had after 1730 taken over the map and atlas business founded by Johann Baptist Homann in 1702.

22. Plan de la ville de St Petersburg

23. St Petersburg was another new city of the Baroque era, owing its creation to the grandiose vision and relentless energy of Tsar Peter the Great. In establishing a major fortress and naval base on the Baltic as a defence against Sweden, Peter’s ambitions were partly military. However , the formidable building project which began in 1703 on a group of marshy islands in the Neva River had a much wider political objective. This was no less than the creation of a new capital city which would act as a ‘window onto Europe’. From here, Peter hoped to turn the Russian empire away from its roots in the east towards the culturally and economically more sophisticated climate of Western Europe to which the Baltic gave access. The ‘Plan de la ville de St Petersbourg’ was commissioned in 1753 by the Geography Department of the Imperial Academy of Sciences to celebrate the city’s 50th anniversary.

24. TOWN OF SAVANAH:

25. In Asia and America, new urban forms, transplanted from Europe, determined the shape of the cities of the colonial empires . In the ‘View of the town of Savannah as it stood the 29th of March 1734’, the gridiron, or rectilinear street plan, can be clearly seen. This egalitarian and cost-effective style of urban planning, originating in the new squares of London and Berlin, was to become characteristic of the cities of North America. The view was executed by Peter Gordon, the first bailiff of the city, Conservator of the Peace, and one of the 120 colonists who had set sail from Deptford in October 1732. The majority of the colonists were convicts, personally selected and supervised by James Edward Oglethorpe (1696–1785), penal reformer and philanthropist and a leading figure of the Trustees for Establishing the Colony of Georgia in America. The view, designed to show the progress made in a remarkable experiment in social engineering, was, appropriately, dedicated to the trustees.

26. Plan de Paris:

27. Contemporary with the view of Savannah and the map-view of Manila is a bird’s-eye view of a much older city, also prepared as part of an official survey. The plan of Paris, drawn and surveyed in 1739 by Louis Bretez, demonstrated the importance to a surveyor of a wealthy and influential patron. His work was commissioned by Michel-Étienne Turgot, Prévôt de Marchands of Paris and effectively the city’s chief administrator, who hired Bretez in preference to L’Abbé de la Grive, the official city surveyor. Ordered to complete the task in two years, Bretez was paid the relatively large sum of 10,000 livres, receiving 200 livres a month and the balance when the project was finished . A permit issued by Turgot entitled Bretez to enter every building in the city for the purpose of producing the numerous individual sketches from which the plan was composed.