Articoli di riviste sul tema "Promenade architecturale"

<p>Durante su corta pero brillante carrera profesional, Terragni realizó algunos ejercicios residenciales, entre los que destaca la Villa Bianca en Seveso. A través de los dibujos del arquitecto racionalista, comprenderemos que verdaderamente la forma es el resultado de la función, que la envolvente responde a la resolución de las necesidades del hombre. Se analiza el estado inicial de la villa a través de la planimetría original, donde encontraremos las claves de esta villa, su evolución en el tiempo a través de la documentación gráfica inédita del arquitecto que la restauró y su estado actual mediante la experiencia de la visita in situ. Mediante el análisis comparativo de las planimetrías de las distintas épocas descubriremos cuál es su estado de conservación como patrimonio arquitectónico del Movimiento Moderno.</p>

AbstractThe architecture of Spain of the 1920s and 1930s remains a little studied aspect of the emergence of the modern movement. In 1926 –1931 the architects Carlos Arniches and Martín Domínguez, both prominent members of the so called ›Generación del 25‹, constructed a country estate near Córdoba for the Marqués de Murrieta. The remains of the now lost villa and garden have recently been investigated by the German Archaeological Institute, as part of a comprehensive study of the 10th century Islamic palace on which the estate had been built. The singular design of the building attests to the search for a new style of architecture based on the ›honest‹ rural architecture of Andalusia, as called for by Fernando García Mercadal and others. The design of a promenade architecturale moreover hints at the innovative potential of the architects and their contribution to the modern movement in Spain.

“Ei! Tem alguém aí?”, do autor norueguês Jostein Gaarder, dá origem a adaptação para um curta-metragem de mesmo nome. Na história, Joaquim é um menino de oito anos que está prestes a ganhar um irmãozinho. Na noite da chegada do bebê, ele fica sozinho em casa e recebe uma visita inesperada do pequeno extraterrestre Mika, que cai dos céus, direto no seu jardim. Aqui, a casa representa em sua composição formal uma expressão desse olhar, e desenvolvê-lo é o ponto chave desse projeto. Para criar a casa do Joaquim, foram necessárias algumas etapas de estudo. Primeiramente uma investigação sobre a relação arquitetura/cinema, com foco no percurso e na relação entre essas duas linguagens artísticas, estudando a montagem de Sergei Eisenstein e a promenade architecturale de Le Corbusier. Casas dentro e fora das telas também serviram de inspiração. E, finalmente, tudo foi alinhavado sob a perspectiva da criança e a relação do desenho bidimensional como uma forma de expressão que muito se relaciona com a do cinema e seu conceito de montagem. O cenário é resultado final do trabalho, e surge a partir do roteiro como programa de necessidades para a ambiência da casa, e da relação de Joaquim com o mundo.

This study investigates implementation of the conceptual and textual techniques associated with poststructuralism (such as the poststructuralist concepts of writing, text, intertext, discoursive practices) in Rem Koolhaas's project the Jussieu Library (1992) planned within the Sorbonne University complex in Paris. The main hypothesis of the study is that Koolhaas produces in the project for the Jussieu Library transgression of language of modernistic architecture conceiving the concept of architectural promenade as a scene of writing. In other words, from the understanding of the concept of architectural promenade as a self-reflexive, abstract and autonomous concept, we move to the understanding of the architectural promenade as culturally dependent, but also for culture and society determinant concept. How does Koolhaas embody operative ideological practices of post-structuralism in the case of the Jussieu Library? How can we understand the concept of architectural promenade as a scene of writing? In other words, how can we understand the architectural promenade as a field of lines of deterritorialization and reterritorialization of different narratives, discourses, ideologies, contexts? What role could this concept of the architecture have in a society? In a theoretical context the study draws on the investigations of: Jacques Derrida, Michael Foucault, Joseph Beuys, Gilles Deleuze and F?lix Guattari.

The term ‘architectural promenade’ has become a part of the language of modern architecture, yet it has been little discussed or investigated. We find it insufficient as a generic term to express a concern with the experience of moving through a building, for the promenade can mean different things to different people. To illustrate this point we make a comparison of the promenade in the Villa Savoye by Le Corbusier – perhaps the promenade par excellence – and that of the almost contemporary Schminke House by Hans Scharoun. We have found many distinct differences. The emphasis in this essay is on the meaning and manipulation of space, something of deep concern to both architects and a topic that each of us has explored separately elsewhere.

Ideas about movement were fundamental for Modernist architecture of the early twentieth century and are ubiquitous in contemporary theory and practice. The shifting theoretical terrain in which bodily movement is made sense of has continuously produced different understandings of architectural possibilities. For example, where in much early Modernism, and in present conventional practice, movement is often articulated in terms of technical, functional circulation and narrativised aesthetic experience (the architectural promenade), other recent practices adopt more ambivalent approaches. The emphasis in these later practices is on the relationality of programmatic elements, articulated in terms of dynamic coexistence, continual variation and fluid, interconnected space. In this way, they connect to a pervasive concern with mobility in the late twentieth, and early twenty-first century: culture is increasingly seen as dynamic and hybrid, societies are defined through complex webs of interconnection, and social theory is focused on the nomadic. In this context, examining changing conceptions and structuring of bodily movement within architecture provides a means for productively reengaging with modern architectural history.

The term “Porto School” designates an identity that relates the pedagogy of a teaching institution with the ideas and the architectural practice of its professors and/or former students, resulting of the transmission (and update) of a way of thinking connected to a way of doing: a concern with social responsibility (perceived through the notions of collaboration and relationship with the context), a timeless concept of modernity, an intentional appropriation and miscegenation of models (in a process that we can call critical eclecticism), the belief that architecture should be considered figurative art (perceived in the pace of a promenade thoroughly controlled in time and space), a Vitruvian understanding of the education of the architects, the practice of manual drawing as a primary method of conception and the requirement of accuracy in the processes of work and communication.

Interaction between the contents and the architecture lies at the heart of the Museum of Scotland's presentation of the story of the land and its people. The design accordingly raises questions concerning the relation between architecture, the viewer and the educational message. Space syntax techniques suggest that this relation is based on a configurational logic combining informality and a clear structure. This study also examines the curatorial interpretation of the collections and demonstrates that the building forms a coherent setting for objects and exhibition themes.

Discussions of promenade concerts, at least in the United Kingdom, tend to run along one of two lines: either the format is emblematic of attempts to popularize classical music or (in the famous case of the Last Night of the BBC Proms) it is symptomatic of a contested cultural nationalism. An alternative line of inquiry is to consider promenade concerts as part of the built environment. Until 2010 the fountain at the Royal Albert Hall was a mainstay of musical promenading; it had been so for over a century and a half. Such fountains, often accompanied by potted plants and Arcadian décor, were said to cool the concert hall and freshen the air, especially when their sprinkles were supplemented with blocks of imported ice. They occupied a prominent place in a concert architecture that encouraged mobility and informality, drawing on a long tradition of outdoor promenading that had gradually moved indoors. The history of concert hall suggests that the promenade phenomenon constituted not only a site of social and political negotiation (as it has typically been described), but also a staging post in the enclosure of hitherto open spaces and an example of the Victorian desire to control the climate of public assembly.

May 2013 saw Istanbul witness a massive public demonstration. The incident began on 28 May when a small group of environmental activists tried to save Gezi Park, one of the most iconic green spaces in the Taksim district of central Istanbul. The park dates back to the 1940s and is well-known as public promenade. The modest demonstration was triggered by a government decision to reconstruct a former Ottoman Artillery Barracks. Within a few days, it developed into a violent uprising on an unprecedented scale lasting almost an entire month. Crowds not only gathered in Istanbul but also in many other Turkish cities such as the capital, Ankara. International media broadcast the protests live from Taksim Square turning the Gezi Park protest into an international phenomenon. Today the Park has become a reference point in Turkish politics where almost every issue is linked to the ‘spirit of Gezi’. It made a modest protest over an inner city promenade into a vivid symbol of political opposition. This paper will analyse historically the Taksim Square project and the ideological conflicts it evoked in Turkish society.

After Herat had conquered by Timor his son ascended the throne in Khorasan. Herat was enclosed to AL-Krt square shape boundaries and was developed significantly to northern. North to south length streets were theme of gardens and architectural constructions.The aim of this article is to get to know more about these streets as a link factor for constructions, streams and gardens of streets beside their role identifying and rating alongside history to get their unique-unity sense in the boundaries. The approach of this article is historical, descriptive, analytical and data collection both library and field. The historical aspect of research is derived from the historical books and its descriptive is taken from historical-descriptive books in compare with left arts in Herat streets.It should be noted that Timor princes had high interest on art and culture beside their ambitions, fun and entertaining in which caused the mentioned streets to take the multi-purposes complexes and places as where to be a place of power display. Timor’s garden establishment in Herat specially in streets were made for general and special places of poem, entertainment and promenade. The opening of streets in north and western north of Herat transferred from a commuting place to an entertainment and promenade destination with proper weather for various celebrations and ceremonies for different occasions. Undoubtedly, existence of uncountable cemeteries and graves in this area made it as a spiritual symbolism for Herat.

<p>Public spaces should be places that support an intense civic life. They have been so throughout history, even if in each culture and historical period they have taken very different shapes and followed different design principles. Nevertheless, during the XX century, the Modern Movement faced some difficulties in dealing with public spaces. Too many times the zoning approach opposed the complexity, mix of uses and intensity required by lively public spaces, where social encounters and knowledge exchanges are made possible. In the XXI century, public spaces regained a major role in city projects and urban strategies all over the world. Their appearance was enriched by new forms. Besides the traditional squares, parks and promenades of compact cities, new metropolitan open spaces and collective places related to transport network nodes emerged. This paper focuses on the urban design of such contemporary collective places. Based on an overview of the historical evolution of public spaces, we identify some design principles (from the overlap of scales to acupuncture strategies, through to the complexity of relations between urban architectures) necessary to ensure that metropolitan nodes emerge as places full of urbanity rather than as deserted non places.</p>

The aim of the article is to show the elements of cooperation that foster the connection of border cities, with particular emphasis on infrastructure, means of transport and tourism, using the example of coastal cities. An example of such a place is the island of Uznam and the coastal cities of Heringsdorf (Germany) and Świnoujście (Poland) separated by the state border. With the opening of the internal borders of the European Union, it became possible to organise the undeveloped spaces between the settlement units in the cross-border areas. This is aimed at both: managing the initial border and the related elements (which can lead to their visual disappearance – destruction, deliberate dismantling and so on – and to maintaining the visibility of these elements) and at symbolically connecting the space by blurring or symbolically highlighting the elements of the border or integration (such as lines, inscriptions, monuments).In the case of Świnoujście and Heringsdorf, the most important elements of the symbolic connection of the neighbouring countries were the creation of border crossings, the launch of ship cruises and bus connections. Moreover, the border has become a symbol of barriers and also of integration, that is, a connecting element. In 2011, the Cross-border Promenade Świnoujście-Heringsdorf was commissioned. It is one of the most interesting architectural projects showing the integration of the states. The promenade itself, as well as special monuments, plaques and border markings have a high symbolic value and therefore function as tourist attractions. At the same time, they contribute to the protection of heritage. The border is an element of modernisation and an impulse for economic growth. Thanks to the European Union’s policy, it is also a specific place for access to financial resources.

The Parisian Faubourg Saint Germain and perhaps the Rue de la Paix and the boulevards seemed the adequate measure of luxury to all of the snobs. The old colonial shell of the Latin American cities little approximated such scenery. The example of Baron de Haussmann and his destructive example strengthened the decision of the new bourgeoisies who wished to erase the past, and some cities began to transform their physiognomy: a sumptuous avenue, a park, a carriage promenade, a luxurious theater, modern architecture revealed that decision even when they were not always able to banish the ghost of the old city. But the bourgeoisies could nourish their illusions by facing one another in the sophisticated atmosphere of an exclusive club or a deluxe restaurant. There they anticipated the steps that would transmute “the great village” into a modern metropolis.—José Luis Romero

The analysis of historical development of the embankment, as technical construction which gains wide popularity during formation of coastal resorts of the English aristocracy of the XIX-XX centuries is carried out. Recreational development of the coast is defined as the major factor of transformation of natural landscapes. To give to the coast the correct form, strengthening, protection from washout, to increase city space embankments are under construction in a coastal zone. Again formed space is used for creation of promenades, esplanades, parks, piers, etc. The analysis shows that the embankment turns from an engineering construction in architectural and planning zones between the nature and the city which purpose is a creation of the optimal environment for all recreational types and forms. The obtained positive experience of city space increasing finds broad application by other countries. The conclusion is drawn, about what that in the course of historical development the embankment proved to be as a flexible architectural form, capable to develop, and its utilitarian functions was formed by its esthetic qualities.

The article deals with the specific urban and suburban spaces where landscape design and garden art were confronted with existing or later disappearing fortification system. It analyses structures related to the landscape architecture from the baroque and classical times to the era of the pseudohistorical style, from the end of the 17th century to the end of the 19th century, with special interest devoted to the less known historical forms of the 18th century and their development. Using detailed historical maps and plans, the research reveals elements of landscape architecture in smaller or larger scale of several types – gardens close to the city walls, tree plantings and gardens on the fortification bastions, gardens and promenade alleys under them on the glacis or private gardens on the surrounding grounds, that were still influenced by the existence of the fortification system.Two historically important Moravian cities were used here as an example – Brno and Olomouc, where main types of green spaces (near the walls on their both sides) and several possible ways of their development were followed and analysed, and specific types of compositional and spatial development were defined. These could be understood as basic ‘evolution types’ specific for central European cities in general, and can be found in variations in other cities and towns in this region.

<p class="Abstracttext-VITRUVIO">This paper aims to be a contribution to establish a position to the reuse of obsolete railway buildings in the field of circular construction. Recent discussions argue that considering that the circular economy is only related to the use of materials or waste is a misconception. The reuse of buildings is also an issue circular architecture. The European Union itself, since 2002, supports the Programme ESPON - European Territorial Cooperation Programme, which incisively inserts obsolete buildings in the "spirit of the circular economy", giving greater attention to industrial areas undergoing change and deindustrialisation. Considering that the concepts of circular construction and circular architecture originated in the circular economy, which emerged as a way to promote and ensure urban sustainability, this article addresses in a first moment the concept of circular construction from the first documents developed in the context of sustainable development to the latest policies proposed by ESPON. It also analyses the reuse of obsolete railway spaces based on the analysis of some emblematic examples of reuse, namely the <em>Musée d'Orsay</em> and the <em>Promenade Plantée</em> in Paris. These two examples represent different types of railway infrastructure and their fate will frame the reuse of railway buildings within the concept of circular construction.</p>

The article clarifies the typology issues of rural settlements with agri-recreational directions and the basic methods of their architectural and planning organization. As a result of the researches and generalizations the types of settlements with tourist and recreational functions were designed: "resort settlements" are the centers of amalgamated territorial communities with available natural healing resources and long-term recreation and treatment facilities as urban development basis; "recreational villages" are settlements, the main function is to ensure long-term rest of the population; "agrirecreational villages" - settlements that combine the functions of production of agriindustrial products and provision of recreation; "tourist settlements" - villages which, due to natural and immigration processes, have been left without population and are currently used for tourist accommodation; "tourist shelter" - separate residential groups that are used for short stays and have a minimum level of comfort. This proposed to classify the methods of architectural and planning organization of rural settlements according to the types of settlements with agro-recreational functions, based on the application of the principle of continuity and organic combination of planning structures of resort and recreational objects and complexes, residential and recreational objects on the one hand, and other structures. Specific techniques include: extrapolation (development with extension) of the planning structure of settlement development towards major landscapes, the formation of new streets in the territories, so-called garden paths, the formation of separate public spaces as service centers, embankments and promenades.

Playground of the Century: A Political and Design History of New York City’s Greatest Unbuilt Park presents a microhistory of one of the last substantial open spaces in metropolitan New York, the Gerritsen tidal marsh of Brooklyn. Spared from development on the recommendation of Daniel Burnham and Edward H. Bennett, the Gerritsen estuary was an ecological treasure that nonetheless became a “clean slate” upon which a succession of heroic plans was projected. The greatest of these was Charles Downing Lay’s 1,800-acre Marine Park, intended to be the largest urban playground in the world. A vast space for exercise and sport that won its designer a silver medal in the 1936 Olympics, Marine Park was the anti–Coney Island, an engine of moral fitness and self-improvement as focused on physical activity as Prospect Park was on promenade and contemplation. It remains a rare example of progressive park design in the conservative “Country Place” era of the 1920s. Designed in the neo-Renaissance idiom then popular for private estates, Marine Park was a vast formal garden for the people. In this article Thomas J. Campanella explores the ironic turn of events by which Robert Moses later dismissed the Lay plan in favor of a less invasive park scheme that preserved the salt marsh and enabled its recent ecological restoration as one of New York City’s Forever Wild nature preserves.

This article examines popular music practices in industrial cities during the time of economic downturn and crisis (the early 1980s). In particular it takes into account the birth of alternative DIY musical practices and their use of urban space at the imaginary and material level. The article will start with an introduction to music making and to the effects it has on space / place perception and use. I have examined case studies from industrial cities and compared the way different music scenes developed during times of crisis and achieved relevant cultural expressions. The main interest of this paper is to show how the economic downturn brought to a series of cultural innovations, which were not directly connected to technological advance and resulted out of re-use, recycle or innovative use of available technologies and practices.

The current study examined the status of major parks and green spaces of in Kabul from the user’s perspective between 2017-2018. The green areas under study included Tapeh Paghman Park, Qaraghah Promenade, Hesse Avale Khairkhana Park, Babur Garden and Dehbouri Park. This research was an analytical one in which, after reviewing the theoretical foundations and related libraries, questionnaires were designed and distributed to the visitors of the park to disseminate the desired data and then the results were statistically analyzed. SPSS software was used to analyze gathered data. The data collected on current status of these areas comparison of that data with similar countries and analyzation of those information resulted in principle approaches in relations to optimization, expansion and better usability of these green spaces. and According to the results, there was not a significant positive correlation between age of the visitors and green space areas, so that users feel more secure with higher age. Based on the results, on average, the green spaces users were satisfied with respect to plants, the compositions of the color and greenspace therapy. The users also believed that these green spaces have positive effects on natural beauty and beautification of Kabul city, and they believed that water springs and water pond in the parks and green spaces also a factor of adding beautiful views on these green spaces. Moreover, the users suggested that the architectural style, plant diversification and presence of water in these spaces are the historical characteristics that should be preserved. Another characteristic which is responsible for preserving the historical and natural values of these green spaces are the preservation of prominent old plants. The main problem of the green spaces according to the users, was less availability of sports areas and recreational spaces.

The subject of this research is tourist attractiveness of the walking rout of a section of a single street in Samara. The object of this research is such characteristics of the route as visual attractiveness, convenience and safety, atmosphere, and uniqueness. This article provides the analysis of urban space and environment on the example of a specific street in the city of Samara. The selected section directly connects the railway station, which is the place of daily arrival and transit tourists, and the Volga promenade – as one of the main symbols of the city and the center of attraction for locals and visitors. The goal of this research consists in the analysis of the existing conditions for the tourist route, which can be improved and extended for increasing the overall assessment of tourism infrastructure. The empirical framework of this research synthesizes the approaches towards interpretation of the psychogeography of the city and towards the analytics of individual experience in the urban environment. The field notes and information analysis allow examining the potential of a tourist route in this section, as well as making recommendations for increasing tourist attractiveness and development of tourism infrastructure of the city. Such pattern can be applied in the research of large and small cities for assessing the current situation and efficient planning of tourism infrastructure in the future. The author formulates the categories of tourist attractiveness that reflect physical, psychological and emotional characteristics of feasibility of urban environment for local tourism. The scientific novelty of this work consists in the development of categories for the analysis based on the key approaches of Paul Kidwell and Colin Ellard towards studying psychogeography of the city and architecture of the urban environment.

Historic allées and urban avenues reflect a far-sighted and forward-thinking design attitude. These compositions are the living witnesses of olden times, suggesting permanence. However, the 20th century’s urban development severely damaged the environment, therefore hundred-year-old mature trees are relatively rare among city avenues’ stands. Due to the deteriorated habitat conditions, replantation may be necessary from time to time. However, there are a large number of replanted allées and urban avenues considered historical monuments, according to the relevant international literature in urban and living heritage’s preservation. The renewal often results in planting a different, urban tolerant taxon, as seen in several examples reviewed. Nevertheless, the allée remains an essential urban structural element, though often with a changed character. The Budapest Andrássy Avenue, a city and nature connection defined in the late 19th century’s urban landscape planning, aimed to offer a splendid link between city core and nature in Városliget Public Park. The 19–20th century’s history and urban development are well documented in Hungarian and several English publications, though current tree stock stand and linear urban green infrastructure as part of the urban landscape need a detailed survey. The site analyses ran in 2020–early 2021 created a basis for assessing the allées and the whole avenue as an urban ecosystem and a valuable case study of contemporary heritage protection problems. Andrassy Avenue, the unique urban fabric, architecture, and promenades have been a world heritage monument of cultural value since 2002. The allées became endangered despite reconstruction type maintenance efforts. The presented survey analyses the living heritage’s former renewal programs and underlines the necessity of new reconstruction concepts in urban heritage protection. We hypothesize that urban green infrastructure development, the main issue in the 21st century to improve the urban ecological system and human liveability, may support heritage protection. The Budapest World Heritage Site is worthwhile for a complex renewal where the urban green ecosystem supply and liveable, pedestrian-friendly urban open space system are at the forefront to recall the once glorious, socially and aesthetically attractive avenue.

L’article fait suite au séminaire "Architecture & Art", qui invitait des étudiants en danse et en architecture à représenter, par le corps et par le mouvement, une promenade architecturale effectuée préalablement au sein d’édifices iconiques. Le propos consiste ici à interroger les processus de création des deux disciplines, en utilisant notamment l’écriture comme trait d’union.
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Abstract This article investigates the visibility of public edifices at Lepcis Magna (Lebdah, Libya) and how people in antiquity approached, lived, and experienced them. It engages with the buildings’ layout, architectural and sculptural ornamentation, and epigraphic apparatuses, looking at the transformations of the cityscape from Augustus to the Antonine era. The analysis highlights the importance of private and public patronage and how social status was showcased through the monumentality and visibility of new constructions in an evolving urban environment. Buildings and their ornament drew upon a range of architectural and decorative models: influences from the centre of Empire and the Mediterranean world, long-lasting Hellenistic traditions, as well as North African and locally created, or reinterpreted, motifs that contributed to shaping the Lepcitanian architectural taste.

L’émergence de l’installation au milieu du xxe siècle se fait de manière concomitante avec l’art de la performance et de la vidéo. Les artistes de l’installation se sont donc emparés de l’image en mouvement et ont développé des dispositifs au caractère performatif vis-à-vis du visiteur. Dans les années 1970, Dan Graham révèle la visibilité et la perception d’un « invu », à savoir le temps comme matière et l’espace comme vecteur proprioceptif dans ses installations vidéographiques reposant sur l’effet de time delay. Face à l’enregistrement et à la retransmission en décalé de sa propre image, le visiteur prend conscience de son existence et de son rapport aux autres. Plus récemment, les installations « post-cinématographiques » ont permis de renouveler ces questionnements. L’exposition Servitudes de Jesper Just témoigne de ce dialogue entre installation audiovisuelle, espace architectural et perception du visiteur. Projeté sur des écrans, disséminé dans les sous-sols du Palais de Tokyo, le film de Just n’est visible que par fragments, le visiteur devenant le « monteur » d’une narration ambiguë et hétérodoxe, et devant pour cela se déplacer à travers les enchevêtrements de rampes métalliques, créant une « architecture spectatorielle de l’installation ».

L’émergence de l’installation au milieu du xxe siècle se fait de manière concomitante avec l’art de la performance et de la vidéo. Les artistes de l’installation se sont donc emparés de l’image en mouvement et ont développé des dispositifs au caractère performatif vis-à-vis du visiteur. Dans les années 1970, Dan Graham révèle la visibilité et la perception d’un « invu », à savoir le temps comme matière et l’espace comme vecteur proprioceptif dans ses installations vidéographiques reposant sur l’effet de time delay. Face à l’enregistrement et à la retransmission en décalé de sa propre image, le visiteur prend conscience de son existence et de son rapport aux autres. Plus récemment, les installations « post-cinématographiques » ont permis de renouveler ces questionnements. L’exposition Servitudes de Jesper Just témoigne de ce dialogue entre installation audiovisuelle, espace architectural et perception du visiteur. Projeté sur des écrans, disséminé dans les sous-sols du Palais de Tokyo, le film de Just n’est visible que par fragments, le visiteur devenant le « monteur » d’une narration ambiguë et hétérodoxe, et devant pour cela se déplacer à travers les enchevêtrements de rampes métalliques, créant une « architecture spectatorielle de l’installation ».

Una visión actual del desarrollo sostenible costero puede articularse mediante tres aspectos destacados: el paisaje entendido como paisaje ecológico; la introducción de las políticas del Manejo Integrado Costero (MCI) y la proyectación del paisaje a través de un enfoque interdisciplinar e interescalar. Temas principales que definen el enfoque de algunos concursos de ideas para frentes y paseos marítimos y franjas costeras, localizados en el sur de Italia. A través de la participación en tres concursos internacionales para tres distintos ámbitos, podemos verificar la voluntad de las adminstraciones de articular estrategias territoriales y urbanísticas, con soluciones arquitectónicas y de ingeniería naturalistica y ambiental. Una búsqueda de resultados concretos, a partir de una revisión del concepto de paisaje y del planeamiento, en la que la formulación de criterios y soluciones propuestas, son una oportunidad para verificar formas de repensar el paisaje costero de manera integrada y unitaria. Para ejemplificar y valorar esta aproximación mostramos: un proyecto de paseo marítimo en Arzachena (Cerdeña), un proyecto de valorización paisajística en Ugento (Puglia) y un proyecto de frente marítimo de Alguero (Cerdeña). Tres casos que representan maneras de afrontar el proyecto de las franjas costeras, entendidas como espacios de interfaz territorial, urbana y arquitectónica entre la tierra y el mar.Palabras clave Paisajes y franjas costeras; Recualificación costera; Costa Italiana; Desarrollo Sostenible; Manejo Costero Integrado (MCI)A current vision of coastal sustainable development can be articulated through three main aspects: the landscape understood as ecological landscape; The introduction of Integrated Coastal Management (MCI) policies and landscape planning through an interdisciplinary and intersectoral approach. Main topics that define the approach of some ideas contests for fronts and promenades and coastal strips, located in the south of Italy. Through participation in three international competitions for three different areas, we can verify the willingness of the administrations to articulate territorial and urban strategies, with architectural solutions and naturalistic and environmental engineering. A search for concrete results, based on a review of the concept of landscape and planning, in which the formulation of proposed criteria and solutions are an opportunity to verify ways to rethink the coastal landscape in an integrated and unitary way. To illustrate and evaluate this approximation we show: a promenade project in Arzachena (Sardinia), a landscaping project in Ugento (Puglia) and a project on the sea front of Algero (Sardinia). Three cases that represent ways to confront the project of the coastal strips, understood as spaces of territorial, urban and architectural interface between land and sea. Keywords: Landscapes and coastal strips; Coastal requalification; Italian Riviera; Sustainable development; Integrated Coastal Management (MCI)

IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. The National Trust, 2011.Hays, David. “Carmontelle's Design for the Jardin de Monceau: A Freemasonic Garden in Late-Eighteenth-Century France.” Eighteenth-Century Studies 32.4 (1999): 447–62.Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper and Row, 1977.Hunt, John Dixon. Gardens and the Picturesque: Studies in the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992.———. The Picturesque Garden in Europe. London: Thames and Hudson, 2002.Marshall, David. The Frame of Art. Fictions of Aesthetic Experience, 1750–1815. Baltimore: Johns Hopkins UP, 2005.Martin, Meredith S. Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette. Harvard: Harvard UP, 2011.McGillivray, Glen. "The Picturesque World Stage." Performance Research 13.4 (2008): 127–39.Pope, Alexander. “Epistle IV. To Richard Boyle, Earl of Burlington.” Epistles to Several Persons. London, 1744. 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