Urban Form Determinants Natural World Determinants: - Topography - Climate - Construction Materials and Technology

•URBAN FORM DETERMINANTS
Natural World determinants
•Topography
•Climate
• Construction materials and technology

EVOLUTION OF URBANITY
Man made determinants-
•Economic,
•Political,
•Religious,
•Pre urban cadastre,
•Defence,
•Aggrandizement,
•The grid iron,
•Urban Mobility,
• Aesthetic,
•Legislation,
•Urban infrastructure,
•Socail,religious and ethnic grouping,
•leisure
Locational Determinant-
•Organic growth settlements
•Planned urban settlements

DISCUSSION OF CITIES BASIS
•Abstract Schema and World view
•Urban block linkage principle
•Spatial linkages
•Institutional type, role and typology

•Dwelling type
•Combinative principles
•ANCIENT RIVER VALLEY CITIES(Mohenjodaro, Ur,Arkansas, Manas etc.)
•ROMAN CITIES (Pompeii, Herculaneum, Ostia etc.)
•MEDIEVAL GREEK CITIES (Athens, Pteleum, Delphi etc.)
•RENAISSANCE CITIES (Turin, St. Petersburg, Milan, Florence , Cologne etc.)
•BAROQUE CITIES (Letchworth, Paris,Rome , Moscow etc.)
•INDUSTRIAL CITIES (Jamshedpur, Rourkela, Bhillai etc..)
•POST INDUSTRIAL/GLOBAL (London, Bangalore, Gurgaon, Cyberabad, Los Angeles etc.)
•COLONIAL CITIES (New York , Boston, New Delhi, Calcuttta, Bombay, Karachi, Caunpur, Madras,etc.)
•POST INDEPENDENCE CITIES/NEW TOWNS (Chandigarh, Bhubhaneshwar,
Gandhinagar, Naya Raipur etc.)
•RELIGIOUS/HOLY CITIES (Jeruselem,Mecca, Madurai, Benaras, Haridwar etc..)

•Hill towns(Simla,Mussurie, Dhalhousie etc..)
URBAN FORM AND SPACE
•CHOWK
•MAIDAAN
•MARKET STREET
•PLAZAS ,PIAZZAS AND SQUARES(2)
•STRAIGHT STREET/GRAND AXIS , BOULEVARDS
•CANAL STREET/RIVER EDGES/ BRIDGES/ GHATS
•PROMENADE
•MONUMENTS/GATEWAYS
•,GREEN /PEDESTRIAN SPACES

Renaissance Town Planning
PRINCIPLES OF URBAN DEVELOPMENT
1. CITY FROM THE SIXTEENTH CENTURY ONWARDS BECAME A

SYMBOL OF A DEFINITE SOCIAL AND GOVERNMENTAL ORDER.
UTOPIAS WERE COMBINED WITH PRATICAL SUGGESTIONS.
2. EMPHASIS LAID ON CITY PLANNING AND TOWN AS A WHOLE.
3. PRINCIPLES OF CITY PLANNING WERE GOVERNED BY

PRINCIPLES OF RATIONALISM AND DESIRE FOR DISCIPLINE
AND ORDER.
4. INTEGRATION OF STRUCTURE AND FUNCTION , EMPHASIS

LAID ON SPATIAL RELATIONS BECAME BASIS OF TOWN
PLANNNING.
IDEAL TOWN PLAN
LAID OUT ON A FORTIFIED REGULAR
POLYGON WITH STREETS RADIATING OUT
FROM A CENTRAL SQUARE. THIS WAS IN
COMBINATION WITH GRIDIRON PATTERN
WITH SYMMETRICAL DISTRIBUTION OF
SEPARATE SMALLER SQUARES, STREETS AND
SUBORDINATE ELEMENTS. IN THE CENTRE
OF THIS SQUARE AN ISOLATED TOWER WAS
ERECTED CREATING A NUCLEAR SQUARE.
THE MAIN BUILDINGS OF THE TOWN ,
CATHEDRAL AND THE PALACE FORMED THE
PARTS OF THE SQUARE’S PERIPHERY.

CONSIDERATION OF MILITARY NEEDS
EXPLAINS THIS KIND OF ORGANIZATION
WHICH MADE IT POSSIBLE THAT ALL
SECTIONS OF THE CITY COULD BE REACHED
AND CONTROLLED FROM THE CENTRAL
SQUARE.
PRIME COMPONENTS OF URBAN DEVELOPMENT IN ITALY
1. DESIRE FOR SPATIAL UNITY, TO WHICH ALL OTHER ELEMENTS ARE SUBORDINATED – UNLIKE THE MEDIEVAL
PERIOD WHERE THE CHURCH WAS STRONGLY EMPHASIZED, THE DOMINANT ROLE OF THE MAIN STRUCTURE
WAS REDUCED EVEN IN CASE OF PARVIS.
2. FREQUENT USE OF ARCADES AS CONNECTING ARCHITECTURAL ELEMENT TO INCREASE UNITY OF FACADES

SURROUNDING THE SQUARE. IDENTICAL ARCADES FOR ALL THE HOUSES REPEATED ONE MOTIF UNLIKE THE
MEDIEVAL PERIOD WHERE EACH HOUSE HAD ITS INDIVIDUAL ARCADES.
3. THE USE OF MONUMENTS, FOUNTAINS, FLAGPOLES ETC FOR ORGANIZING THE SPACE OF THE SQUARE.
LANDSCAPE ELEMENTS AND NATURAL FEATURES WERE INCORPORATED INTO DESIGN. IN MEDIEVAL PERIOD
SUCH ELEMENTS ARE TREATED AS FREESTANDING STRUCTURES WITHOUT ANY RELATION TO THE SQUARE AS
A WHOLE.
TYPES OF URBAN SPACES IN ITALY
1. PRIMARY STRAIGHT STREET – IT PROVIDED APPROACH TO BUILDINGS, ESTABLISHED DIRECT CONNECTIONS
WITH REGIONAL ROUTES. MAIN FUNCTION WAS TO FACILITATE MOVEMENT BY CARRIAGE BETWEEN PARTS
OF THE CITY.
2. THE GRIDIRON – THREE MAIN USES:

• RESIDENTIAL DISTRICTS ADDED TO EXISTING URBAN AREAS
• LAYOUT OF A NEW TOWN
• IN COMBINATION WITH THE PRIMARY STREET SYSTEM FOR LAYOUT OF NEW URBAN AREAS
GRIDIRON SCHEMES CONFORMED TO THE RENAISSANCE IDEAL OF AESTHETIC UNIFORMITY.
3. ENCLOSED SPACE – SQUARE OR PIAZZAS

BASED ON THEIR MOBILITY FUNCTONS, RENAISSANCE URBAN SPACES CAN BE GROUPED AS:
• TRAFFIC SPACE USED BY BOTH PEDESTRAINS AND HORSEDRAWN VEHICLES
• RESIDENTIAL ACCESS FOR LOCAL ACCESS TRAFFIC, PREDOMINANTLY RECREATIONAL PURPOSE MEANT FOR
PREVILEGED SOCIAL CLASS
• PEDESTRAIN SPACE WHICH EXCLUDED WHEELED TRAFFIC SERVING AS FORECOURTS OR PUBLIC ASSEMBLY
AREAS INFRONT OF IMPORTANT CIVIC, RELIGIOUS AND ROYAL BUILDINGS.
THE PRIMARY STRAIGHT STREET
Approach to building plot and connection to regional
route
To facilitate movement by carriage between cities
As generative element determining growth of city
Aesthetic concept of the street as an architectural
whole
Sense of perspective by incorporating terminal
features of architectural and sculptural features
[statues, fountains, obelisks]
Versailles, France
Common axis passing through the palace
THE GRIDIRON
As the basis of residential districts added to existing urban
areas
The entire layout of a limited number of new towns
In combination with a primary street system for new
existing urban areas
Allowed an equality of land subdivision
Renaissance ideal of aesthetic uniformity
Piazza del Popolo, Rome

ENCLOSED SPACE
‘Square’ in Britain and European countries
‘Piazza’ and ‘place’ in Italy and France
Traffic Space- Forming part of the main urban route system
and used by pedestrian and horsedrawn vehicles
Residential Space- For local access traffic and
predominantly pedestrian recreational purpose
Pedestrian space- From which wheeled traffic excluded
Spatial enclosure was effected with religious, commercial
and residential types of buildings
Defining space by use of architectural, landscape elements –
Piazza del Popolo, Rome colonnades, screens, terraces, etc.
‘The square should be twice as long as it is broad, and the

surrounding buildings should be between a third and a sixth

as high as the square’s width to achieve the pleasing
harmony of proportion, surrounded by porticoes’ -Vitruvius
Baroque Town Planning
CHARACTERITCS OF BAROQUE URBAN DESIGN
1. BAROQUE PERIOD IS A DEPICTION OF EXUBERANT GRAND SPACIOUS ENSEMBLE

BASED ON CERTAIN POINTS OF DESIGN ACTING AS NODES DISPERSED INTO THE
ENTIRE CITY STRUCTURE.
2. THESE NODES ACTED AS FOCAL POINTS IN RELATION TO TOPOGRAPHY,

PRIMARY SYSTEM OF COMMUNICATION AND URBAN PRINCIPLE OF
GEOMETRIC ORDER.
3. MOVEMENT SYSTEMS BECAME THE MAIN DETERMINANT OF THE OVERALL FORM.
4. INTERACTION BETWEEN THE STRUCTURE AND THE SETTING WAS EMPHASIZED.

5. SPATIAL COMPOSITON HAD A DEFINITE SENSE OF DIRECTION WITH A POINT IN

SPACE AS AN ORGANIZING FORCE.
6. NOTION OF VISTAS AND PERSPECTIVE THEORY.
7. PUBLIC SPACES FORMING SETTINGS FOR MONUMENTS.
8. USE OF SPATIAL MARKERS LIKE OBELISKS, WATERFALLS, FOUNTAIN ETC.

CHARACTERISTICS
End of 17th Century
Support of political and economical
transformations
Abstract mathematical and methodical approach
Need of avenue and open square for military
movement
Movement of traffic and transport
Rigorous street plans, formal city layouts
Geometrically ordered gardens & landscape
design
Painting and sculpture
Dominance of palace
Applied rules of proportion governing plans,

three dimensional massing, detailed elevational
design of buildings extended to form urban space
A definite sense of direction
Infinite perspective and grand scale
URBAN COMPONENTS
THE STRAIGHT STREET
Promotes public order as well as functioning military
purpose
As connection and speed up the communication
BAROQUE DIAGONAL
An accidental diagonals while accommodating a road
in the existing place or coming together of two
disparate sections of urban layout
TRIVIUM AND POLYVIUM

Trivium- A meeting of three radial streets at, or their
divergence from piazza
Polyvium- The fanning out of radials in groups larger

than three
Versailles, France
View of the palace and meeting of streets
URBAN COMPONENTS
THE GRAND MANNER
Perceived as expansive pattern of sweeping vistas
Represents a powerful , centrist state with extravagant
urban vision of straight avenues, vast uniformly
bordered squares, monumental public buildings-
ceremony, processional intensions and regimented
public life
The grand axis
Spaces, markers and monument- squares, landmarks
and features as urban focus
Vistas- framing of a distant view,

seen through a composed
BOULEVARDS AND AVENUES
foreground and is fixed at the Started as a boundary between city and country
opposite end by a marker
Landscaped ramparts to conceal the edge of the city

from the enemy
Served as a recreational zone outside the city
AVENUES as lined with tall trees to distinguish them
from the surrounding landscape
Grand Axis of Arc de Triomphe,

Paris
RENAISSANCE URBANISM BAROQUE URBANISM
Spatial organization maintains a Definite sense of direction.

balanced composition.
Architecture posed permanence and Its impact is immediate and

repose. It’s impact is enduring. overwhelming.
Limited space at rest. Illusion of infinite space.

ROME DURING EARLY TIMES
ROME POSSESSED A DOUBLE SPATIAL STRUCTURE:
• THE VERNACULAR CLUSTER OF SETTLEMENTS
• ABSTRACT AXIS FORMTION
BAROQUE ROME DURING THE REIGN OF SIXTUS V

1. OVERALL DESIGN STRUCTURE BASED ON STRAIGHT
CONNECTING STREETS WITH THE IDEA OF THE
MOVEMENT SYSTEM AS DESIGN ORIENTING ELEMENT.
2. ESTABLISHMENT OF POINTS IN SPACE. THESE POINTS IN

SPACE MARKED BY OBELISKS BECAME IMPORTANT
NODES AND DETERMINED THE PHYSICAL STRUCTURE OF

THE CITY. SPIRITUAL ASSOCIATION WAS ATTACHED
WITH THESE PREEXISITNG STRUCTURES.
3. CONCEPT OF A SYSTEM OF FUNCTIONAL

INTERRELATIONSHIPS AND AESTHETIC DESIGN ENTITY OBELISKS AS POINTS IN
MOVEMENT SYSTEM
BECAME MANIFESTATIONS OF THE UNDERLYING ORDER
PREVALENT IN ROME.
BAROQUE ROME DURING THE REIGN OF SIXTUS V
Santa Croce
San Giovanni
Santa Maria
Maggiore Strada Felice
Dioscuri
Strada Pia
Porta Pia
San Trinita Del
Monti
Porta Di Ripetta
Porta Del Popolo

DESIGN OF BAROQUE ROME UNDER SIXTUS V
EXTENDING FROM THE PORTA DEL POPOLO IN THE NORTHERN WALL OF THE CITY (A) IN THE FOREGROUND ARE THREE CONVERGING STREETS, THE RIGHT
HAND ONE LEADING TO PORTO DI RIPETTA AT THE TIBER RIVER.
TO THESE STREETS SIXTUS ADDED A FOURTH ONE, STRADA FELICE, EXTENDING DIRECTLY TO SANTA MARIA MAGGIORE.
THIS CONNECTS THE DIOSURI WITH MICHAELANGELO’S PORTA PIA.
FROM SANTA MARIA MAGGIORE ONE NEW ROAD BRANCHED OFF TO SANTA CROCE AND ANOTHER TO SAN GIOVANNI.
IMPACT OF SIXTUS V’S IDEAS
THE BUILDINGS INDICATED IN RED ARE THE ONES WHICH
EXISTED BEFORE SIXTUS V AND WERE INFLUENTIAL IN
THE DEVELOPMENT OF HIS DESIGN IDEAS. THE YELLOWS
LINES REPRESENT THE PRINCIPLE MOVEMENT SYSTEMS
THAT CONSTITUTED THE SYSTEM OF SIXTUS V.
SIXTUS MADE HIS INFLUENCE FELT BY ESTABLISHING A

VISUAL CONNECTIVITY BETWEEN DIOSCURI AND PORTA
PIA THE TWO TERMINI OF THE PRE-EXISTING STRADA
PIA.
FROM SANTA MARIA MAGGIORE, THE SIXTUS MOVEMENT

SYSTEM EXTENDED INTO TWO BRANCHES LEADING TO
SANTA CROCE AND THE OTHER ONE TERMINATED IN THE
OBELISK BEFORE SAN GIOVANNI WHICH THEN GETS
CONNECTED TO THE COLOSSEUM. THE STRUCTURES

SHOWN HERE IN BLACK ARE THE ONES BUILT BY SIXTUS V
DURING HIS REIGN.
CONTEMPORARY ROME: TRANSFORMATIONS
• PIAZZA DEL POPOLO BECAME SURROUNDED BY STRUCTURES
DEFINING ITS LOCATION WITH THE OBELISK AS AN IMPORTANT
FORCE .
• EVENTUALLY A CROSS MOVEMENT CONNECTING THE TIBER

RIVER WITH THE GARDEN’S OF PINCIO HELPED DEFINE IT
FURTHER.
• THE SPANISH STEPS SERVED AS A SUBSTITUTE FOR THE

PROJECTED EXTENSION OF STRADA FELICE. THEY RECEIVE THE
NORTHERN THRUST OF THE SPACE OF STRADA FELICE, DIRECT IT
DOWNWARD TO THE LOWER PLANE OF VIA DEL BABUINO
WHICH IN TURN CONDUCTS IT TO PIAZZA DEL POPOLO.
• THE PALAZZO BARBERINI WAS INFLUENCED IN ITS POSITION

AND DESIGN BY STRADA FELICE. THE PIAZZA IS A RHYTHMIC
ELEMENT IN THE PROGRESSION TO THE FOUR FOUNTAINS OF
THE STRADA PIA CROSSING.
• THE FORMALIZATION OF PIAZZA QUIRNALE AND THE RESETING

OF DIOSCURI ON EACH SIDE OF THE OBELISK FURTHER ENRICH
OLD STRADA PIA.
• THE REBUILDING OF SANTA MARIA MAGGIORE IS ANOTHER

CHANGE DIRECTLY INFLUENCED BY THE SIXTUS PLAN.
THE PAINTING SHOWS THE PLAN OF SIXTUS V FOR REGULARIZING THE MOVEMENT
BAROQUE ROME
INFERENCES:
• INTEGRATED GEOMETRICAL STRUCTURE
• PLAN BASED ON FUNCTION IN RESPONSE TO SPECIFIC

NEEDS.
• FLOW OF DESIGN FROM STRUCTURING OF MOVEMENT

SYSTEM, FORM AND ARCHITECTURAL EXPRESSION.
THE PAINTING SHOWS A PROCESSION OF PILGRIMS TO SANTA MARIA MAGGIORE

PIAZZA DEL POPOLO
MOVEMENT IN ONE DIRECTION WAS THE PRINCIPAL

MOTIF OF THE PIAZZA DEL POPOLO IN ROME AND THUS
MARKED THE BEGINNING OF THE BAROQUE SPACE
CONCEPT. THE MOVEMENT WAS DIRECTED TO INSTILL
CERTAIN SUSPENSE AND SURPRISE WITHIN THE VISITOR
KEEPING HIM ARRESTED WITHIN THE SPACE. THE
PIAZZA IMMEDIATELY INSIDE THE GATEWAY WAS
THE MAIN ENTRANCE TO THE CITY.
LOCATION
THE PIAZZA IS SITUATED ON THE NORTHERN SIDE OF
THE CITY BETWEEN RIVER TIBER ON THE WEST AND THE
STEEP SLOPE OF MONTE PINCIO ON THE EAST.
ORIGIN
IT WAS LAID OUT IN 1589 UNDER POPE SIXTUS V WHO

DETERMINED THE WHOLE ORGANIZATION BY CREATING
A FOCAL POINT WITH RADIATING STREETS. THE THREE
CONVERGING STREETS EXISTED IN ANTIQUITY WITHIN
THE WHOLE QUARTER BETWEEN THE PINCIAN HILL AND
THE TIBER RIVER.
Piazza Del Popolo
Spanish Steps
Santa Maria Santa Maria

Monte Miracoli Piazza Di Spagna
Piazza Di Spagna
Spanish Steps
Four Fountains
NATURE AND POSITION OF INSTITUTIONS

1. Church:
• Twin churches closing the vista of the Strada Felice.
• Santa Maria Maggiore -This was an important node of the
city and is connected to Piazza Del Popolo through Via Del
Babuino. Santa Maria Maggiore
2. Piazza Di Spagna: Spanish Steps

PIAZZA DEL POPOLO
PHYSICAL FORM
THE PIAZZA WAS ORIGINALLY TRAPEZOIDAL IN SHAPE
STRETCHING FROM PORTA DEL POPOLO TOWARDS THE TWO
SYMMETRICALLY LOCATED DOMED CHURCHES OF SANTA MARIA
PIAZZA DEL POPOLO
PHYSICAL FORM
IN 1794, VALADIER PROPOSED THE
PIAZZA TO BE TRANSFORMED INTO AN
EXPANSIVE OVAL FRAMED BY BUILDINGS
CREATING VISTAS. LOW SEMICIRCULAR
WALLS WERE BUILD ON EACH SIDE.
PIAZZA DEL POPOLO
PHYSICAL FORM
TO THE EAST THE MONASTERY GARDEN WAS
DEVELOPED AS A PUBLIC PARK WITH A RAMP
LEADING UP THE STEEP SLOPE IN THE PINCIO
GARDENS- A VANTAGE POINT TO SURVEY THE
PIAZZA AND THE CITY.
TO THE WEST A NEW STREET LEAD TO THE TIBER.
BAROQUE URBAN FORM AND SPACE

PIAZZA DEL POPOLO
PHYSICAL FORM
THE FACADES OF THE CHURCHES ARE CURVED

TOWARDS THE INSIDE TO DRAW THE TRAVELER TO
THE MAIN AVENUE. TO BALANCE THE TWIN
CHURCHES RUSTICATED PAVILIONS WITH CUPOLAS
WERE DESIGNED ON EACH SIDE OF THE GATE.
Urban Space Elements
1. Entrance Gate: Porta de Popolo
2. The Obelisk in the Center
3. Continuous Curved Walls on both sides of the Piazza
4. Twin Churches of Santa Maria creating Vista
5. Grand Steps with ramp leading to the Monastery Garden on
the east
ACTIVITIES
IT WAS THE MAIN ENTRANCE TO ROME FROM THE
NORTH. THE SPACE INSIDE THE GATE SERVED AS A
MARKET AND GATHERING PLACE. CARS HAVE BEEN

BARRED FROM ENTERING INTO THE PIAZZA GIVING
THE PEDESTRAIN THE PLEASURE OF THE VAST
EXPANSE OFSPACE.
PIAZZA DEL POPOLO

1. Colonnades & 140 Statues
2. The Passetto
3. Alexander VII Coat of Arms
4. The Fountains
5. The Obelisk
6. Centro del Colonnato
7. Sundial Markers
8. Papal Water Fountain
9. John Paul II Shot Here
10. Bronze Doors
11. Entrance to Charlemagne Wing
12. Restrooms
13. Apostolic Palace
14. Papal Apartment
15. Statue of St. Peter
16. Statue of St. Paul
17. Information & Post Office
18. Vatican Book Store

19. Mater Ecclesiae
20. Paul VI Hall
21. Arch of the Bells Entrance
22. Bag Check
23. The Façade
24. Loggia of the Blessings
25. The Clocks
26. Obelisk Marker
27. Statues on the Facade
EVOLUTION OF URBANITY INSIDE OUTSIDE RELATIONSHIPS.
THE DESIGN VITALITY BEGAN TO SPILL OUT OF THE BUILDING INTO THE STREETS
OF THE CITY AROUND IT.
The Obelisk. (25.31m high)
The Obelisk from Egypt was brought to Rome by Emperor
Caligula in 37 AD. It originally stood in his circus on a spot
to the south of the basilica, close to the present Sacristy.
Sixtus V had Domenico Fontana move it in 1586 to the

center of St. Peter's Square
4. The Fountains (8m high)

The fountain on the right is the work of
Carlo Maderno (1613). Bernini, who
designed the square, had it erected
where it now stands, and for purposes

of symmetry built the fountain on the
left (1675).
MODIFICATION OF FORM .
MODIFICATION OF FORM .
EVOLUTION OF URBANITY REPOSITION OF OBLISIK TO FORM ORDER.
DEVELOPMENT STAGES OF ST PETERS PLAZZA.

REPOSITION OF OBLISIK TO FORM ORDER.
Basilica of St. Peter portrayed by Viviano Codazzi in a 1630 painting.

Note the two bell towers, later removed.
REPOSITION OF OBLISIK TO FORM ORDER.
EVOLUTION OF URBANITY REPOSITION OF OBLISIK TO FORM ORDER.
Venice City
•Venice city is located NW corner of the

Adriatic sea and is formed by the
sedimentation by three ancient rivers
and dates back to 421 A.D.
•Various Refuges, pirates and merchants
came and settled in scattered private
colonies on group of islands on lagoon .
Parish churches were built by them
forming a parish neighborhood consisting
of church, a marketplace and a bell
tower. later , individual islands coalesced
,joined by bridges ,carriageways and foot
paths.
•Islands coalesce into a tight-knit group,
traversed by labyrinthine canal system.
•Venice has its origin by Byzantine and

medieval ages and particularly lots
medieval principles determine the city.
•Venice was physically and intellectually
wide open to the outside world and
thoughts
EVOLUTION OF URBANITY Venice City
Organization of Public spaces
•Citizen
••Venice
Very well
is
clearly
divided
knit identifies
system
into 6ofancient
the
subdaily
center
districts,
lifeand
experience
primary
each self
centering
centre
contained
, where
around
with
a citizen
local
local civic
square
feels
piazza.
the
with
pride
church,
of belonging
café, wellhead
at a and
local level and
monuments ,wherein
total civic
he life
identifies
of the it
city.
to be an intimate square where his children play in their own community
•Major circulation system -waterways consisting of Grand canal On the line of ancient river Alto.
on the contrary to the concept of common life of the city as a whole.
•The principle of dominant center and dispersed sub centers was expressed in the organization of the city
Venice has many spires and campaniles , each one in civic district but Campanile of
St. Mark’s. is dominant and highest marking the city’s significance and importance.
St. mark’s piazza also marks the entrance to the city from sea side.
Evolution
•Napoleon took a conscious measure and shifted the patriarch to St. Mark.
•Venice being a commercial city was constantly concerned with the improvement of its administration
system.
•Constantly special councils were added each dealing with different issues such as financial, shipping
etc.
•There was clear division of nobles , middle class merchants and manual labors.
•Continuity and republican’s effort for reforms and expansion shows the construction of palazzo San
Marco.
•Each and every building illustrates its political function in its structure . Improvement and extension of
existing complexes by means of additions, reconstruction and new construction by the forces of
increased city functions and changing political styles.
•The inner logic of evolving buildings was experienced as a part of their aesthetic perfection.
•St. Mark’s is the guarantee of well being of the state –treasury and the Palatinate chapel.
•The evolution of San Marco was a self-conscious process and result of a long series of ‘agonizing decisions
‘constantly aiming at perfecting the square.
•It shows the degree to which public action was geared to purely aesthetic ends.
EVOLUTION OF URBANITY Evolution
Structures abutting
a.Pallazo Ducale
b.Basilical Di San Marco
a
c.Chiesa L. basso
b d.Torre dell’ Orologia
c
e.Procuratic Vecchie
f.Procuratic Nouve
d i g.Regia Zecca
k
h.Campanile di S. Marco
h g i.Loggia
j.Ingressi alleProcuratic Nouve
k. Librera Artica
j
e
f
Spatial enclosure
175m(avg)
Basilica of S.Marco
•Started in 828,976 and presently five dome ,
centralized form,1063-73.
•Ancestors as Byzantium churches and specially the
church of apostles .
•Elaborately carved ogival pediments surmount each
bay of the façade, turrets and the onion domes gives
an exotic flavor .
2.5 h
Campanile
•The original campanile was built in 888-912,rebuit

in 1511-14 and rebuilt again after the collapse in
1902.It is 323 ft. and its height is accentuated by
buttresses surmounted by a square stone bell –
chamber and that in its turn by a pyramid cal spire.
•Acts as a focal point unifying the piazza, piazzeta
and the disparate forms of the buildings which
surround them.
Procuratie
•procuratie buildings ,i.e houses for the procurators to fabric to San marco.
•Northern side-procurator is oldest and reconstructed in 1512.
•Southern side –Procuratie Vecchie formed by three superimposed renaissance arcades of which
the lowest (open) has 50 arches whilst the upper has 100 containing windows.
•At the western side is the San Geminiano church
Doge’s palace
•Doge’s palace started in 814,rebuit in 976,1105 and
remodeled to cater to procurators in 1309 and 1404.
•the palace presents Renaissance and Rococo to the
external world –including the Piazza and the piazzetta-
unique form of gothic , massive arcade of 36 columns
with pointed arches at ground level.. First floor has a
delicate loggia of 71 columns, pointed arches ,quatrefoil
openings and blank façade of white and pink marble
laid in diagonal pattern
Entrance plazza
Monolithic columns
•Two monolithic columns brought from Levant at

erected at canal side end ,bearing a sculpted lion .
•Hints a screen which frames marvelous view of S.
Giorgio
•prevents the leaking of space into the canal
system.
•Two finest renaissance buildings- libraria di san marco(1536) forming the western side of the
piazzeta – meeting p[lace for patrician nobih
•The Loggeta ,only hlaf the size of libraria , consisting of three triumphal arches side by
sidewith piers at wethr side.It is known as the finest jewel of all.

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•URBAN FORM DETERMINANTS

Natural World determinants

• Construction materials and technology

•Organic growth settlements

•Planned urban settlements

•Abstract Schema and World view

•Urban block linkage principle

•Institutional type, role and typology

•RELIGIOUS/HOLY CITIES (Jeruselem,Mecca, Madurai, Benaras, Haridwar etc..)

•,GREEN /PEDESTRIAN SPACES

PRINCIPLES OF URBAN DEVELOPMENT

1. CITY FROM THE SIXTEENTH CENTURY ONWARDS BECAME A

2. EMPHASIS LAID ON CITY PLANNING AND TOWN AS A WHOLE.

3. PRINCIPLES OF CITY PLANNING WERE GOVERNED BY

4. INTEGRATION OF STRUCTURE AND FUNCTION , EMPHASIS

PARTS OF THE SQUARE’S PERIPHERY.

2. FREQUENT USE OF ARCADES AS CONNECTING ARCHITECTURAL ELEMENT TO INCREASE UNITY OF FACADES

2. THE GRIDIRON – THREE MAIN USES:

3. ENCLOSED SPACE – SQUARE OR PIAZZAS

Piazza del Popolo, Rome

‘The square should be twice as long as it is broad, and the

surrounding buildings should be between a third and a sixth

1. BAROQUE PERIOD IS A DEPICTION OF EXUBERANT GRAND SPACIOUS ENSEMBLE

2. THESE NODES ACTED AS FOCAL POINTS IN RELATION TO TOPOGRAPHY,

3. MOVEMENT SYSTEMS BECAME THE MAIN DETERMINANT OF THE OVERALL FORM.

4. INTERACTION BETWEEN THE STRUCTURE AND THE SETTING WAS EMPHASIZED.

5. SPATIAL COMPOSITON HAD A DEFINITE SENSE OF DIRECTION WITH A POINT IN

6. NOTION OF VISTAS AND PERSPECTIVE THEORY.

7. PUBLIC SPACES FORMING SETTINGS FOR MONUMENTS.

8. USE OF SPATIAL MARKERS LIKE OBELISKS, WATERFALLS, FOUNTAIN ETC.

Applied rules of proportion governing plans,

TRIVIUM AND POLYVIUM

Polyvium- The fanning out of radials in groups larger

Vistas- framing of a distant view,

Landscaped ramparts to conceal the edge of the city

Grand Axis of Arc de Triomphe,

Spatial organization maintains a Definite sense of direction.

Architecture posed permanence and Its impact is immediate and

Limited space at rest. Illusion of infinite space.

ROME POSSESSED A DOUBLE SPATIAL STRUCTURE:

• THE VERNACULAR CLUSTER OF SETTLEMENTS

• ABSTRACT AXIS FORMTION

BAROQUE ROME DURING THE REIGN OF SIXTUS V

2. ESTABLISHMENT OF POINTS IN SPACE. THESE POINTS IN

NODES AND DETERMINED THE PHYSICAL STRUCTURE OF

3. CONCEPT OF A SYSTEM OF FUNCTIONAL

Porta Del Popolo

DESIGN OF BAROQUE ROME UNDER SIXTUS V

THIS CONNECTS THE DIOSURI WITH MICHAELANGELO’S PORTA PIA.

SIXTUS MADE HIS INFLUENCE FELT BY ESTABLISHING A

FROM SANTA MARIA MAGGIORE, THE SIXTUS MOVEMENT

CONNECTED TO THE COLOSSEUM. THE STRUCTURES

• EVENTUALLY A CROSS MOVEMENT CONNECTING THE TIBER

• THE SPANISH STEPS SERVED AS A SUBSTITUTE FOR THE

• THE PALAZZO BARBERINI WAS INFLUENCED IN ITS POSITION

• THE FORMALIZATION OF PIAZZA QUIRNALE AND THE RESETING

• THE REBUILDING OF SANTA MARIA MAGGIORE IS ANOTHER

• INTEGRATED GEOMETRICAL STRUCTURE

• PLAN BASED ON FUNCTION IN RESPONSE TO SPECIFIC

• FLOW OF DESIGN FROM STRUCTURING OF MOVEMENT

THE PAINTING SHOWS A PROCESSION OF PILGRIMS TO SANTA MARIA MAGGIORE

MOVEMENT IN ONE DIRECTION WAS THE PRINCIPAL

IT WAS LAID OUT IN 1589 UNDER POPE SIXTUS V WHO