a vicentinan intervention: one duomo square · europe) a large and luxurious country house in its...

Ishwar D. Ramnarine

University of Florida

School of Architecture

March 2019

A Vicentinan Intervention:

One Duomo Square

A Vicentinan Intervention: One Duomo Square Ramnarine 2

Table of Contents

Table of Figures .............................................................................................................................. 3

Introduction: A Dialogue with the Divine through Time and Space of Dwelling .......................... 4

An Overview ................................................................................................................................... 6

The Context ..................................................................................................................................... 9

Design Philosophy ........................................................................................................................ 11

The Design Details ........................................................................................................................ 14

Vertical Aqueduct ......................................................................................................................... 19

Spatial Itinerary ............................................................................................................................. 20

Traffic Circulation ........................................................................................................................ 21

Conclusion .................................................................................................................................... 22

Bibliography ................................................................................................................................. 24


Table of Figures

Figure 1: The drawing depicts the ground floor plan of the project in context, in relation to the

existing fountain and buildings, 2018. ............................................................................................ 7

Figure 2: A photo showing the prospective site with existing water fountain and sculpture. ........ 8

Figure 3: A sketch examining the skyline of Vicenza, highlighting the major structures, 2018. ... 9

Figure 4: A rendering depicting the design in context, 2018. ....................................................... 10

Figure 5: An internal rendering expressing the sacred quality of the interior through the influence

of light, shadow, and form, 2018. ................................................................................................. 12

Figure 6: The second, third, and fourth floor plans of the proposed design project, respectively,

showing the organization of itineraries, 2018. .............................................................................. 13

Figure 7: A front rendered elevation expressing the ruinous nature of the façade, 2018. ............ 15

Figure 8: Perspective render depicting the roof garden and the large overhang of the water tray,

2018............................................................................................................................................... 16

Figure 9: A sketch, at the Basilica Palladiana, studying the importance of the arch, including the

framing quality and suggestive itinerary, 2018............................................................................. 17

Figure 10: North elevation articulating the shifting in the floor slabs and room organizations,

2018............................................................................................................................................... 18

Figure 11: Section Perspective seen from the front, depicting the water aperture on each floor

beginning with the roof water tray, 2018. ..................................................................................... 19

Figure 12: A section cut through the building displaying the various itineraries, 2018. .............. 20

Figure 13: An interior render exhibiting the transition from compression to expansion in the

living to dining area, 2018. ........................................................................................................... 21

Figure 14: Rear render, displaying the circulation of the building, 2018. .................................... 22


Introduction: A Dialogue with the Divine through Time and Space of Dwelling

Man, or more neutrally humanity, finds itself at risk, exposed to the forces of nature. It

discovers a cave, calling it shelter. But there is more to life than just hiding in the cave. The need

for food leads to the make-shift hut, that can be constructed just about anywhere, assisting in the

foraging for food. The need for reproduction leads to another issue, a place to keep a family, and

the self becomes marginalized. A dwelling, that humanity will eventually call home, is now

needed, for collective human life to survive. Sentiments arise and the idea of religion,

humankind needs a place called home, a home for the divine to be contacted. This is a spiritual

space that allows for a subconscious dialogue with the divine, which will later evolve into a

temple, and many of its qualities must be reborn in the home, as they were lost and exclusive to

the temple as history progressed. It is not just at a temple that an individual should have a

spiritual experience but primarily in the familial home, as well as extending to other aspects of

life. Humanity is now prosperous, and the expression of wealth is seen in our palaces and castles.

Humankind then sees the rise of villas, palazzos, mansions, and the like. In modern ages,

technology has driven us to high-rise glass towers as an urban place to live.

However, there is more to a dwelling than just a place called home. A dwelling can be

any delineated space in which we conduct a life activity. The dwelling can pose as a multi-

purpose space, addressing our natural needs, as well as our cultural needs, all exposing the

individual to a spiritual experience. The home attempts to accentuate the sacred, metaphysical

experience through physical form.

But if we step back, and reflect upon European architectural history, more specifically

Italy, we see the extensive impact that the villa and palazzo has throughout the country and

continent, though the names of house types may vary. The villa is “(especially in continental


Europe) a large and luxurious country house in its own grounds, a large country house of Roman

times, having an estate and consisting of farm and residential buildings arranged around a

courtyard.”1 The palazzo is an “Italian ‘palace,’ a palatial building, especially in Italy.”2 The

house types of villa and palazzo each pose a set of challenges that must be addressed such as the

expansive rural landscape of a villa and the tight urban constraints of a palazzo. The palazzo has

transformed through the centuries to even being wedged between other building types. Though

these are two common residential building models seen throughout Italy and Europe, there is

another more common residential building model, which is a mixed-use development and, “is

characterized as pedestrian-friendly development that blends two or more residential,

commercial, cultural, institutional, and/or industrial uses.”3 This mixed building model has

become frequent all over Europe and the world.

Reflecting on housing history, I previously proposed a design project entitled “One

Duomo Square.” The project is located at the Piazza delle Poste in Vicenza, Italy, which attempts

to transform a deteriorating section of a Vicentinan piazza, or more precisely a piazzetta, a

smaller piazza, to a more useful and experiential space. A piazza is “a public square or

marketplace, especially in an Italian town.”4 In addition to enhancing the piazzetta, One Duomo

Square attempts to address the concepts of home and the sacred. Considering these issues, the

proposed design attempts to generate a space in which a dialogue with the divine is encouraged,

1 "Villa | Definition of Villa in English by Oxford Dictionaries." Online Oxford Dictionaries | English. Accessed

March 16, 2019 at https://en.oxforddictionaries.com/definition/villa.

2 "Palazzo | Definition of Palazzo in English by Oxford Dictionaries." Online Oxford Dictionaries | English.

Accessed March 16, 2019 at https://en.oxforddictionaries.com/definition/palazzo.

3 "What Is Mixed-Use Development?" Planning for Complete Communities in Delaware. Accessed March 16, 2019

at https://www.completecommunitiesde.org/planning/landuse/what-is-mixed-use-development/.

4 "Piazza | Definition of Piazza in English by Oxford Dictionaries." Online Oxford Dictionaries | English. Accessed

March 16, 2019 at https://en.oxforddictionaries.com/definition/piazza.


creating a harmonious balance between four unique itineraries, while simultaneously accounting

for the context, culture, and history of the prospective construction site. To assist in formulating

a cohesive design in light of all these components, ideas from various key individuals have been

considered, including Carlo Scarpa’s designs in Venice, Italy, and Emile Durkheim’s theory of

religion, as well as Karsten Harries’s, Kenneth Frampton’s, and Adolf Loos’s perception of

architecture.

An Overview

It is important to understand the parameters of the project before proceeding to the

details; therefore, we will explore those parameters, examining the geography, history, and

purpose. The site is at the intersection of five streets, including Contra Frasche del Gambero to

the northwest; Contra Muschieria to the northeast, which leads to the Basilica Palladiana and the

main piazza of Vicenza; Contra Pescherie Vecchie to the east; Contrada Oratorio De Proti to the

southeast; and Contra Giuseppe Garibaldi to the west, leading to the Duomo of Vicenza, the

Cattedrale di Santa Maria Annunciata. The location is currently occupied by the Fontana dell’

Altalena.

Figure 1: The drawing depicts the ground floor plan of the project in context, in relation to the existing fountain and

buildings, 2018.


The Fontana dell’ Altalena is a water fountain consisting of very geometrically intricate

marble gestures at the base and a metal sculpture to the rear right. The life size metal sculpture

depicts a boy seated on the right lowered end of a see-saw like structure and a girl at the left

raised end of the structure in an effort to keep balance while standing. This sculpture is often

referred to as Nereo Quagliato’s Swing, which is named in honor of the Vicentinan artist and

sculptor who designed it.5

Figure 2: A photo showing the prospective site with existing water fountain and sculpture.6

5 "Contrà Garibaldi, La Fontana Di Quagliato è Tornata a Zampillare." Comune Di Vicenza. Accessed March 16,

2019 at https://www.comune.vicenza.it/albo/notizie.php/66845.

6 Google Maps. Accessed March 21, 2019 at

https://www.google.com/maps/@45.5463262,11.5453006,3a,75y,25.5h,90t/data=!3m7!1e1!3m5!1snvi4DPb7krooo

xG29SIN_w!2e0!6s//geo1.ggpht.com/cbk?panoid=nvi4DPb7kroooxG29SIN_w&output=thumbnail&cb_client=map

s_sv.tactile.gps&thumb=2&w=203&h=100&yaw=18.468998&pitch=0&thumbfov=100!7i13312!8i6656.


The pipes that provided water to the fountain had long been sealed due to having water

leakages under the foundation of the fountain and adjacent building.7 There are still efforts being

made to repair the fountain though there does not seem to be major changes any time soon.

In an attempt to understand how One Duomo Square addresses the issues of home and

the sacred, to create a dialogue with the divine, the context will first be detailed. The philosophy

that is the underlying mechanism behind the design will then be examined, followed by the

design intentions. Then specific components of the design will be studied, including the water

feature, the itinerary, and then the circulation through the building.

The Context

When designing a modern building in any setting, it is integral to consider the context,

especially in the historical Italian setting. Italian culture and the material relationship the building

has with the surrounding buildings and environment must be considered to allow for a genuine

experience that does not conflict with the surrounding area. As philosopher Karsten Harries

suggest, “part of such an experience is indifference to the existence—the reality—of a particular

object. An aura of unreality is inseparable from beauty so understood…”8 therefore, the building

must blend in just enough so that the direct impact on the mind is not realized but a certain

attraction for it is ignited within the individual.

7 "Contrà Garibaldi, La Fontana Di Quagliato è Tornata a Zampillare." Comune Di Vicenza. Accessed March 16,

2019 at https://www.comune.vicenza.it/albo/notizie.php/66845.

8 Harries, Karsten. The Ethical Function of Architecture. (Cambridge, MA: MIT Press, 2000), 245.


Figure 3: A sketch examining the skyline of Vicenza, highlighting the major structures, 2018.

In the modern, globalized world it can be difficult to produce a wholly regional identity,

for “regional or national cultures must today, more than ever, be ultimately constituted as locally

inflected manifestations of ‘world culture’.”9 Therefore, one must personally experience the

context, so after living in Vicenza, Italy for a few months, I was able to gain a greater

understanding about its people, architecture and culture. Bearing this in mind, the design

emerges from a combination of marble and concrete, which will be used for the majority of the

building. The introduction of curtain wall systems will act as a modernizing component. The

marble is reminiscent of classical Italian construction and the concrete is an exposed version of

plaster that is frequently used throughout Italy. The use of brick acts as a third solid material

incorporating a transitional historical material into the design.

9 Frampton, Kenneth. Modern Architecture: A Critical History. London: Thames & Hudson, 2016, 314.


Figure 4: A rendering depicting the design in context, 2018.

The proposed construction will interact with the existing building through circulation.

Rather than depriving the residents of the adjacent building of natural lighting, they will keep

their windows and receive reduced lighting. The stairs maneuver in such a way to prevent direct

hand contact with the resident windows of the other building.

Design Philosophy

Understanding sociologist Emile Durkheim’s definition of religion, the need for

interacting with the divine arises, acting as a type of social glue, assisting to keep society

together and functional.10 The piazza is a sacred space; it must be in contact with the most sacred

of objects such as a cathedral, palace, or some social building. In this case, with the café being on

10 Pals, Daniel L. Nine Theories of Religion. New York: Oxford University Press, 2015, 81-111.


the ground level of One Duomo Square, it adds to the sacredness of the Piazza delle Poste. There

lays in close vicinity the Duomo of Vicenza, where the design derives its name from and the

most sacred of building types. Therefore, neighboring building types must be sacred in nature as

well, while profane, as Durkheim calls those not sacred, type buildings must be in the distance,

not close enough to pollute the sacred.11 These profane building types are those that produce

large amounts of waste and are not kept in order such as a meat market, funeral home, pub,

factory, or gas station. To have the profane contaminate the sacred would result in great

consequences, including being punished by the society.

Figure 5: An internal rendering expressing the sacred quality of the interior through the influence of light, shadow,

and form, 2018.

Further examining Durkheim’s philosophy aside from the relationship of the sacred, the

component of ritual is integral to society.12 The notion of socializing in a café has a long history

in Italian culture and has become, in itself, a type of ritual, therefore, providing the ideal

11 Ibid., 81-111.

12 Ibid., 81-111.


conditions, the closest that ideal can be attained, which allows the society to operate at its

maximum level, enjoying the building rather than loathing it. At this strategic location, the café

protruding into the piazza, invites individuals to partake in this daily ritual in a quasi-modern

establishment that promotes the ritual of coffee drinking and pastry eating.

In relation to ritual, Durkheim’s notion of belief arises.13 For the inhabitants of Vicenza

to be inclined to take part in the ritual, there needs to be some attraction for them, something they

find worth believing in. In the case of the design of One Duomo Square, there is an attraction

established through the form of the building, in addition to the water feature that flows through

the construct. By providing an entertaining and enjoyable ambiance, the people of the city will

have an internal desire to participate in the ritual and continue to participate in it because they

believe that it has some positive impact on their life, which will also enhance the operation of the

employees in the office segment of the building.

Figure 6: The second, third, and fourth floor plans of the proposed design project, respectively, showing the

organization of itineraries, 2018.

13 Ibid., 81-111.


With the ideas of ritual, belief, and the sacred, there must be a church, as Durkheim calls

it, or temple in which these processes and ideals are carried out.14 The church can be interpreted

to mean the broader society, it is not just a specific building, with specific activities, it is a

combination of minds, that interact with the sacred, through rituals and beliefs. Another way to

think about the church is as a site of cumulative traditions; in which case, the church moves as

we, humanity moves, both temporally and physically, and such qualities of the sacred are

embodied in the micro-society of One Duomo Square.

The Design Details

Similar to the buildings in the area, the floors have been highlighted with a vertical

expression of the floor slab itself. However, unlike the surrounding buildings the floors shift in

various directions to create a sense of sculpting and to create a tectonic system rather than a

monolithic block of material. The design is a tectonic sculpture, carved pieces that have been

assembled, appearing monolithic from afar. It is “not the comforts of enclosed and domesticated

space but masses that appear on the verge of ‘sliding out into space,’ returning us to the

mysterious presencing of things, in which the experiencing self is always copresent,”15 which is

what the design attempts to embody. This aids the design in being presented as a type of modern

ruin. There are many Roman ruins throughout Italy, and the design is a modern rendition that

reflects some of the history associated with these ruins.

14 Ibid., 81-111.

15 Harries, The Ethical Function, 247.


Figure 7: A front rendered elevation expressing the ruinous nature of the façade, 2018.

The roof top garden, along with the ruinous style of the building, are two components

that relieve man of the modern technological jungle, “the two belong together, both express a

desire to rediscover in organic nature lost divinity and humanity’s true home. Artificial ruins

speak of a desire to return to nature, to become part of it, not to master it.”16 This design style,

accompanied by the modern interior, delivers a building that caters to the subconscious yearning

for a superconscious state of being, while simultaneously addressing modern expectations.

16 Ibid., 243.


Figure 8: Perspective render depicting the roof garden and the large overhang of the water tray, 2018.

The arches used around the façade of the building resembles those used in Roman and

Italian religious architecture. By employing the arches, as well as false arches to perpetuate the

ruinous fashion, it commences a dialogue with the divine, slowly quenching the thirst of the

subconscious and introduces another level of fluidity. The importance of the arch, not only as a

form, but as a framing mechanism was understood through the exploration of the arches on the

Basilica Palladiana in Vicenza, Italy. Each arch, when viewed from within, looking outward,

frames a specific building, or street, suggesting a unique itinerary from each segment of the

building.


Figure 9: A sketch, at the Basilica Palladiana, studying the importance of the arch, including the framing quality and

suggestive itinerary, 2018.

The various shifts in the room assemblies of each floor and ceiling refract and reflect

both natural and artificial lighting, contributing to the spatial experience of the various rooms.

Examining some of architect Carlo Scarpa’s projects, including Brion Tomb and Sanctuary,

Fondazione Querini Stampalia, Castel Vecchio Museum, and Ingresso della Facolta di

Architettura have greatly influenced the form and materiality of the design. The subtle details

that are present throughout many of his projects finds a place in the proposed design of One

Duomo Square, as well as the naturally integrated ruinous nature of his projects. The varying

angles of the ceiling also enhance the acoustical quality of the spaces within the building,

especially when water is flowing through.


Figure 10: North elevation articulating the shifting in the floor slabs and room organizations, 2018.

Double height spaces are also used, not only to encourage the dispersion of light but to

introduce a second, larger scale, alleviating the spatial tension that is presented by a restrictive

site size. The compact base level expands as the building rises, creating a vertical transition to

expansion and relaxation from compression and activeness.


Vertical Aqueduct

In homage to the existing fountain that will be replaced, there will be the concept of

water integrated, both figuratively and literally, into the building. The water flows through the

building using apertures in the floors, with fiber optic cables in the orifices, assisting with water

flow, creating a tranquil and inviting atmosphere. When water is not flowing though the

building, due to rain, the fiber optic cables will create a different type of ambiance.

Figure 11: Section Perspective seen from the front, depicting the water aperture on each floor beginning with the

roof water tray, 2018.

To have the rain water flow through the building, a large roof tray is used to collect

water, distributing some throughout the building and the excess over the front edge on a small

fountain in front of the building. Below the fountain is a reservoir that stores water for the café to

use in their genuine beverages. The reservoir’s water can also be used to have water pumped

through the system if needed.


The symbolism that is implied by the flowing of water through the building is that of

purification. The ablution of an object, or even the self, is an act of cleansing, both physical and

spiritual. Therefore, by having the water flow through the building, a spatial cleansing occurs,

purifying the experience that an individual has with the construction. The sacredness of the

building is reprodueced each time water flows through it and by spatial contact people who

interact with the building become sacred themselves, as if infected by sacredness.

Spatial Itinerary

One Duomo Square integrates a modern café and two-stories of offices with a residence

and a public garden roof top. A type of fluidity is introduced when public spaces are present

throughout a construction, and the public roof garden accomplishes this. The garden also

introduces another aspect of sacredness, bringing the humankind back to nature, to a state of

purity.

Figure 12: A section cut through the building displaying the various itineraries, 2018.


At the base the café presents a balance between a classical routine and a modern style.

The café protruding into the piazza helps to create an inviting mood. The café is an important

component of Italian society, so by introducing it into the ground level of the design it assists in

increasing the livelihood of the piazza. Going to the café is a type of cultural ritual and creating

the right space for a ritual is integral to supporting the sacredness of the proposed project.

Figure 13: An interior render exhibiting the transition from compression to expansion in the living to dining area,

2018.

Traffic Circulation

The external circulation allows individuals to have a constant interaction between the

interior and exterior of the building. This in turn alleviates the commotion within the design to

allow for a more tranquil atmosphere, since there would be no disturbance of noise and

distractions. This constant transition is also a reminder of the two types of sacredness, one which

is natural, and one which is artificial, causing people to experience both types of sacredness as

they interact with the building. The circulation at the rear of the building also allows for safe


evacuation in the case of a fire. The external circulation also influences the mood of the

piazzetta, allowing for observation of motion by those down below.

Figure 14: Rear render, displaying the circulation of the building, 2018.

Conclusion

The building becomes a type of society within itself that creates a conversation between

the mortal and immortal worlds, a portal to another dimension. As the individual transitions

through the building they experience a detachment from the world but maintains a healthy

consciousness. The movement from external to internal and external again, the flow of tranquil

water through the space, the line between public and private blurred, and the form of embodied

nature, all create a living, functioning, organism that humanity depends on for spiritual and

physical well-being. One Duomo Square exhibits all these qualities, at varying degrees, in an

effort to reintroduce the concept of sacredness, that has been exclusive to the temple in modern

times, to the place called home. The proposed design, through the consideration of context,


culture, history, ritual, belief, and environment, in conglomeration with form, light, circulation,

itinerary, materiality, and spatial organization, addresses the issues of time, space, and

modernity, increasing the precision of humanity’s sentiments, as Adolf Loos suggests:

“Architecture arouses sentiments in man. The architect’s task, therefore, is to make those

sentiments more precise.”17 Thus, the dialogue with the divine is achieved.

17 "Adolf Loos Quotes." BrainyQuote. Accessed March 21, 2019 at

https://www.brainyquote.com/authors/adolf_loos.


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"Città Di Vicenza." Comune Di Vicenza. Accessed March 16, 2019 at

https://www.comune.vicenza.it/.

"English Dictionary, Thesaurus, & Grammar Help | Online Oxford Dictionaries." Oxford

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"Famous Quotes at BrainyQuote." BrainyQuote. Accessed March 21, 2019 at

https://www.brainyquote.com/.

Frampton, Kenneth. 2016. Modern Architecture: A Critical History. London: Thames & Hudson.

Google Maps. Accessed March 21, 2019 at https://maps.google.com/.

Harries, Karsten. 2000. The Ethical Function of Architecture. Cambridge, MA: MIT Press.

Pals, Daniel L. 2015. Nine Theories of Religion. New York: Oxford University Press.

Planning for Complete Communities in Delaware. Accessed March 16, 2019 at

https://www.completecommunitiesde.org/.

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