ROMAN NEIGHBORHOODS:THE SAN LORENZO DERIVÉJOEL RICHROSS PAPAMATT DOLNIKGEORGINA CHAPLINIAT392
GRUPPO CINQUE’S RESEARCHSAN LORENZO’S QUANTITATIVE ANALYSISLast year, CINQUE identified the San Lorenzo neighbourhood’s physicalpatterns and illustrated the flow of people’s movements and theirspatial usage. They developed a way of understanding the people’slifestyles and how it is part of the identity of San Lorenzo.From their research, we recognize San Lorenzo as “‘hotbed’ of Rome”where their “Graffiti art is world class.”This year, we entered San Lorenzo and were able to relate to theirfindings. However, after engaging with the neighbourhood ourselves, webelieve that it is an incomplete portrait of San Lorenzo’s identity.
ARGUMENT It is incomplete because it can potentially take away the human from the situation, which is one of the concerns of the situationists from the 1950s whenGRUPPO SEI’s REFLECTION they looked at architecture and urbanism they were afraid that cities were losing their humanity. So we used their tactics and developed their “drifts” in hoping to create a new method to see a social situa- tion, city, neighbourhood, country, more holistically . SCIENTIFIC IDENTITY ARTFULNESS SCIENTIFIC ARTFULNESS
VIEW OF THE SITUATIONIST “The Situationists set out to devise ‘situations’, or experimental practices aimed at raising awareness vis-à-vis the general conditions that prevail in a place or society.” Guy Debord
PSYCHOGEOGRAPHYPsychogeography is the study ofoverlapping and layered experiences andmemories that make up a key part ofunderstanding a neighborhood’s identity.It looks at how we understand the spacebetween “person” and “place”.
PLASTIC According to the Situationists, People and their envi- ronments (built or not) are plastic; bendable but with clear boundaries and definitions. When put over heat, they melt, mix and become each other. The person and their environment take on aspects of each other or become a new entity altogether. Example: San Lorenzo took on the personality, revolutionary spirit and humor of its residences through the graffiti. But, in doing so it also became something of an art gallery.
Thus, what is it to be CONTEXTUAL? - Physical geography - Architecture (patterns) - Urban planning - Industries - People’s needs
Thus, what is it to be CONTEXTUAL? - Physical geography - Architecture (patterns) - Urban planning - Industries - People’s needs - Personalities - Narratives - Identities
THESISCan drift/physcogeography be a viable research methodthat can lead to a more human-centric, experiencedriven, socially sustainable approach to urban design?
DERIVE/DRIFTDrift is way of moving through a space propelled by moments of interest thus creating a natural flow through an urban environment.
COGNITIVE MAPSOur experiences with the different ambiences of the city.Our drifts in a SITUATIONISTS’ MINDSET/LENS?Compile findings compare with perceptions
RAPID ETHNOGRAPHYBeing in a space for as long as possible to understand the demographic more clearly.
INTERVIEWS FLAVIO RISCIATELLI Fondazione Pastifici Cerere, San Lorenzo NICOLAS PENNESTRI Pastifici Cerere, San Lorenzo Photographer + Film-maker GRAZIA MASCI Pastifici Cerere, San Lorenzo Scuola Romana di Fotografia
INTERVIEWS FLAVIO RISCIATELLI Fondazione Pastifici Cerere, San Lorenzo “The old artists live here now NICOLASthey can afford it... because PENNESTRI Pastifici are stars now” they Cerere,Film-maker San Lorenzo Photographer + GRAZIA MASCI Pastifici Cerere, San Lorenzo Scuola Romana di Fotografia
INTERVIEWS FLAVIO RISCIATELLI Fondazione Pastifici Cerere, San Lorenzo “The old artists live here now NICOLASthey can afford it... because PENNESTRI Pastifici are stars now” they Cerere,Film-maker San Lorenzo Photographer + “It’s too expensive now... GRAZIA MASCI PastificiLorenzo goes to a San Cerere, San Lorenzo new area now” Scuola Romana di Fotografia
INTERVIEWS FLAVIO RISCIATELLI Fondazione Pastifici Cerere, San Lorenzo NICOLAS PENNESTRI Pastifici Cerere, San Lorenzo Photographer + Film-maker GRAZIA MASCI here...you can go to “It’s good to live the bar and just talk about your Pastifici Cerere, San Lorenzo Scuola Romana di Fotografia projects and collaborate...”
INTERVIEW GRAZIA MASCI Pastifici, San Lorenzo Scuola Romana di Fotografia > born + raised, works + lives in San Lorenzo
THE NEIGHBORHOOD TODAY GRAZIA MASCI For me now, it [S.Lorenzo] does not feel good anymore. It hasn’t gotten better. There’s graffiti but it’s degrading—messy, and dirty. I don’t see the beautiful things. The Trastevere neighborhood is better because it is Old Rome. There are people and administration who take care of the place but in S.Lorenzo it is just left abandoned, nobody cares, everything falls apart.
THE PEOPLE TODAYGRAZIA MASCISlowly, some people like me will want to go away. The people that remain stay hereare not necessarily the best people.University: many students are keeping the area alive, however, some students arenot so good because they don’t think –they want everything now with their freedom.They are not knowledged and not thinking about the future.Most of the students that come here in S.Lorenzo aren’t coming from Rome. Theyare coming outside because they have the money. These kinds of students are nothelping. They just do what they want and leave things there—they don’t care.
THE PEOPLE + ARTISTRYGRAZIA MASCIIt’s [San Lorenzo] just fashion now. I don’t think They like to stay with the simple people andthat a place does anything for the artist. An artist feel like an artist.is an artist wherever. don’t need to work, they just play to be anIt was most creative here in Pasitifico and only artist. But an artist a real artist is a personhere because S.Lorenzo 10 years ago, was a looking something in life to say, to express.neighbourhood with simple people, no Something inside to put out. This is an artistrich/intellectuals, just poor people. Pastificio was the rest are just aesthetics, somethinga place that was abandoned and then the artists nice—this is not an artist.came here because of the low-costs with thelarge spaces allowing artists to work. This is whythey came. There was nothing but walls. No lightThe place is just like a dress. I don’t think theplace is the most stimulant. In the past 5 years,the Pasitfici has changed because that’s whenreal artists with not so much money came herewith real fire (passion).In the past. there were real artists where in theatmosphere/the area, you feel the people andcreativity but now not anymore. It’s all businessnow. I don’t feel this sensation anymore within thefactory and with the artists and creativity.Slowly, the place became a fashionable placewhere “artists” with money coming in are notartists but rich people who want to be artists,that’s different.
GRAZIA’S SAN LORENZOGRAZIA MASCIWhere I stay now (within Pastifici), there are too many pubs, bars and young people with noheads; not nice. I would go near the cemetery because it is quiet and clean.I will probably go away from S.Lorenzo I don’t like it especially for my child. It’s nicebecause it is the centre of Rome.I would like to live here because I work here but I cannot because the price is too much forwhat is S. Lorenzo is giving me.I don’t really go anywhere now. For my child, I’m not sure where to go—the park is dirtyand there are many bad people that are violent. If I do want to go somewhere else, I’ll takethe scooter and go elsewhere.
Ethnographic research may not be considered into urban design but refining this isimportant in rediscovering another layer of contextuality adding a human narrativeon top of the aesthetic coherence and scientific observations of a neighborhood.
REFLECTIONThere needs to be a give and take betweenpeople and their environment. If there isn’t,communities won’t be able to sustain them-selves. This can be a foundational conceptfor the idea as well as some first steps in de-signing with Social Sustainability in mind.
CONCLUSIONSan Lorenzo has become a party/art gallery. An artisticparty but it is too ‘hip,’ too much about being cool ...It’snot about needing to give something but going to getsomething. You want it because it’s fashionable becauseit’s fun but is it really that ‘crunchy’?
REFERENCESNovakov, A. (2003). EDUCATIVE ACTIONS: The Application of Situationist International Urban Terminology and Practicesto the Teaching of Contemporary ArtDebord, G. (1958). Theory of the DerivePederson, C et al. (2006). Taming the Situationist BeastMcDouough, T. (1996). The Derive and Situationist Paris