This document contains a table of contents for a book or report about Castiglion Fiorentino and other Italian towns and gardens. It includes chapters on walkscapes in Castiglion Fiorentino and Villa d'Este, gardens and the larger landscape around Castiglion Fiorentino, the influence of history and Catholicism in Pienza, defining Castiglion Fiorentino's unique identity, grafting edelweiss in the Boboli Gardens, and maintaining a town's cultural identity over time. Short passages provide more context for some of the chapter topics.

1. c l a i r e m o r r i s

2. f a l l 2 0 1 6
walkscapes & castiglion fiorentino
grafting edelweiss & castiglion fiorentino
defining urban sites & castiglion fiorentino
walkscapes & vila d’este
grafting edelweiss & boboli gardens
defining urban sites & verona
gardens and the larger landscape & castiglion fiorentino
use of history in la nostalgia & castiglion fiorentino
defining the organistic project & castiglion fiorentino
gardens and the larger landscape & pienza
use of history in la nostalgia & villa borghese gardens
defining the organistic project & rome
CONTENTS
ONE
TWO
THREE
FOUR
FIVE
SIX
SEVEN
EIGHT
NINE
TEN
ELEVEN
TWELVE

3. Whether the individual
chooses walking as a
journey or as a destination,
he or she must allow some room
for awareness, or else he or she will
become lost in a town of continuous
hills, Italian-speaking residents, and a weary
confidence of how to get back to where one
started.
The individual has the
option to roam the town,
free of mind, and eventually
find his or her way, if needed. This
wandering allows the individual to see
spaces in new ways, for each turn leads
to a new experience in his or her eyes. On
the contrary, that same individual also has the
option to use walking in the form of destination,
not journey. In this sense, many things will
go unnoticed—people, shop windows,
cars, various views, and more. The
more determined one is to get from
point a to point b in Castiglion
Fiorentino, the less details
one will observe.
Built upon a series of elevation changes,
the hill town settlement of Castiglion
Fiorentino is a place that relies heavily on
walking as the main means of travel. With
various changes of slope at every corner, as well
as different view sheds, the individual must
be fully assertive to his or her location
at all times, or else it is easy to get
lost in similar cobblestone streets,
colored doorways, and local
monuments.
CHAPTERONE
walkscapes

4. Built in the 16th century, Villa d’Este
is known for its terraced Renaissance
garden and series of extraordinary
fountains. Located in Tivoli, the villa
was constructed for the Este family, and
includes a multitude of terraces of grottos,
niches, stairways, fountains, and other
various elements. In later years, additions
were made to the villa; lower gardens extended
the grounds, trees were planted to provide shade,
and the use of water grew in a variety of ways.
Walking through the villa, one is able to wander from
one point to another with the ability to get lost, yet be
comfortable with the idea. The gardens and fountains
form a series of axis, all of which are visible from many
locations in the villa. Due to the variety of directions
an individual can travel in this space, it is arguably
paralleled to Castiglion Fiorentino. In both places,
the individual is able to wander and get lost.
However, while the individual in Castiglion can
walk with a purpose and get to a specific
destination, Villa d’Este discourages the
concept of walking with a purpose and
persuades the individual to stroll
through the villa in order to get the full
experience of the space. By doing so,
every design detail is discovered
and emphasized by the user.
Every turn the individual takes
is a new experience, with a
new scale and a new set of
design detail.
CHAPTERTWO

5. The town of Castiglion Fiorentino brings various types of landscapes together and forms one
landscape of multiple characteristics. Each of these landscapes contains a different type of
distance and density in order to establish a cultural continuity from the top of the hill town to
the extension of the Val di Chio.
In regards to Gardens and the Larger Landscape, Castiglion Fiorentino represents both
vertical and horizontal distance. In the hill town layout, buildings contain roof top terraces
and gardens. Vertical separation is present, which gives a larger sense of distance and
landscape in terms of perspective. As one moves outside of the town and into the valley, the
experiential qualities of the town change. The patterns in the valley’s landscape create one
great topography.
Moving from the town’s higher elevation and down into it’s vast, rolling landscape of the valley,
one’s experience of distance and density changes greatly. While the hill town is extremely
dense, with a series of steep hills, narrow streets, and loud noise, the valley of the town is
quite the opposite, with spread out homes, wide streets, and fairly flat land. The hillsides on
each side of the town create a valley of no end, thus creating new types of environments and
lifestyles. These different types of distances, when formed together, create a coherent world.
CHAPTER THREEgardens and the larger landscape

6. There is a reoccurrence
in Italian history of
towns being influenced
by the Catholic faith.
For instance, the town
of Pienza, located
on the edge of a hill,
which overlooks the Val
d’Orcia, in the region
of Siena, has a strong
Catholic influence, as
it is the birthplace of
Pope Pius II. In the late
15th century, the Pope
had the town of Pienza
redesigned by architect
Bernardo Rossellino.
Pienza represents one of
the first applications of
humanisturbanplanning
concepts intended as a
retreat from Rome. Such
concepts then spread
out and were adopted
by other Italian cities, as
well as across Europe.
In regards to Castiglion
Fiorentino, the town
of Pienza is extremely
similar in its sense of
scale. However, in terms
of density and distance,
Pienza utilizes vertical
distance more than any
other type. The pathways
are extremely narrow,
with the only way to look
is up. The spaces created
by the tight layout of
the town perceive a very
enclosed sense of space,
forcing one direction
of the individual. The
buildings consist of
three or more stories,
the ground level being a
storefront, the second a
balcony of a residence,
and the third the
remainder of a residence.
While the tunnels and
walkways are narrow, the
piazzas these paths lead
to are at a highly sensible
scale. In this sense, the
vertical distance works
cohesively with the rest
of the town’s design.
Pienza consists of three
main palazzos, enclosing
a trapezoidal piazza. The
first palazzo, Palazzo
Piccolomini, is the
principal residence on
the west side, consisting
of three stories each,
with a series of pilasters
and cross windows. The
second palazzo is Palazzo
Vescovile, which rests
on the third side of the
piazza, and was built to
house the bishops who
would travel to Pienza to
attend the pope. Palazzo
Comunale—the third
palazzo—was created to
be a freestanding civic
mediator between the
religious space before
the cathedral and secular
market square to its rear.
The Duomo stands at the
center of the piazza, with
a bell tower whose scale
is the same width as it is
height.
CHAPTERFOUR

7. Each town in Italy may look
similar to the next, but what
segregates them from each
other is the unique identity
of each individual town.
Castiglion Fiorentino is unique
in itself and takes pride in
showcasing its beauty through
different types of landforms,
densities, and even climates.
The layout of the town portrays
a strong sense of community,
with homes and shops in the
center, the school nearby,
gardens and parks aligning
the outskirts, and a main road
running through the town and
out into the Val di Chio. The
Val di Chio is more spread out,
with a few roads connecting
homes on hillsides, working
with the land for agricultural
uses. This layout gives the
town and its people control
over its form and function, and
demonstrates how organized
they are in terms of how far
the town and the people have
come.
With business in
the Val di Chio as
well as in the hill
town, the people
are able to spread
out in different
densities and
still prove to be
successful. The
strong sense of
community alludes
to the town’s
strong sense of
place, drafting a
unique identity
that doesn’t seem
to change. The
people in the town
have an idea of
what Castiglion
Fiorentino should
look like and how
it should function,
so if too much is
altered over time,
there will no longer
be a strong sense
of place.
CHAPTERFIVE
graftingedelweiss

8. Seated in the heart of Florence, the Boboli Gardens portray some of the first and
most formal garden styles in Italian culture. The concept consists of long axis,
gravel pathways, various statues and fountains, and an immense amount of detail
throughout. The garden itself overlooks all of Florence, with a vast amount of open,
public space. The Boboli Gardens vary in density of space, each creating its own
microclimates within the spaces. While the gardens once were completely private
spaces, over time, the gardens grew to become open to the public, and have since
maintained the original structure of static, shared paths, intellectual gardens, and
elevation changes.
The gardens are laid out to show a sense of control over nature, therefore creating
the perfect structure, portraying high organizational skills. Like Castiglion Fiorentino,
the Boboli Gardens create a unique identity for itself. Just as Castiglion Fiorentino
follows the idea of strong structural influences being located in the center of town,
with the remainder of itself reaching out into the Val di Chio, the Boboli Gardens
follow the same concept, with the main villa overlooking the gardens and the city
of Florence, with the remainder of its gardens, art pieces, and smaller buildings
stretching out beyond the main villa’s limits. This structure exemplifies a confident
and strong identity to such place. The more man can control nature, the more perfect
a structure will be, and the more unique such an identity will deem.
CHAPTER SIX

9. It’s one thing to create a town and continue to expand it, but it’s
another thing to give that town a strong sense of cultural identity
and to maintain this cultural identity through a multitude of ways.
Architecture, gardens, parks, piazzas, and so much more all are
based on some design precedent, mimicking certain elements
from the past and bringing them back to life for present and
future use. Each of these elements, then, builds up a specific
identity of that place or object as a whole.
While design details shall stay the same as the original, the
manner in which new construction is built must be safe. This
has brought a good deal of conflict with the people and the
designs of the past. Castiglion Fiorentino is able to achieve both
design detail and safety in construction, following architectural
nostalgia.
Castiglion Fiorentino is one of many Italian towns that takes pride
in designing and maintaining a traditional façade, following the
same level of detail, with the use of the same types of material
that were previously used in original construction. The entire
town is built by cobblestone streets, brick and stone buildings,
and a consistent architectural style. To construct something new
or renovate something existing in Castiglion with a different
set of materials and a separate architectural style would bring
conflict to the people who dwell in the town. The use of different
styles would destroy the cultural identity of the town, leaving it
unnoticeable and not important to its residents and visitors.
CHAPTER SEVENuse of history in la nostalgia

10. CHAPTER EIGHT
Known in the simpler form as the “villa of delights,” the
Villa Borghese Gardens have transformed throughout
centuries to become a focal point of the city of Rome, a
privateparkforthearistocracy,andultimatelyaplayground
for the people. Built in 1605 as a private vineyard for
Cardinal Scipione Borghese, nephew of Pope Paul V, the
Villa Borghese Gardens have since been reformed as the
third largest public park in Rome, Italy, housing museums,
theaters, gardens, picturesque landscapes, and a constant
for the people of Rome.
In comparison to Castiglion Fiorentino, Villa Borghese
is filled with layers of history. The site has changed
periodically throughout time; however, not much has
really been replaced since its original construction. The
villa’s gardens are extremely picturesque in every point
of view. The park is split into sections, each consisting of
art, museums, and recreational spaces for the public. The
spaces of the park have been retrofitted through time in
a way that captures the site’s historical origins, but at the
same time, emphasize the surrounding city’s beauty and
past. The Villa Borghese gardens were designed to mimic
those of ancient Roman gardens, created for the wealthy
and privileged. These gardens portrayed a higher class
and standard of living.
In time, the gardens never seemed to change, but the
gardens transformed from strictly private to open to the
public for everyday use. While the site is over 400 years
old, little change has taken place, hiding the obvious of
the villa’s age. In this sense, the villa is continuously being
designed through nostalgia and maintained by the people
who use it.

11. An urban site is defined by a specific representation through careful analysis and linkages
beyond certain boundaries of a site. Each aspect of a site is affected by another aspect, of
which are always ever changing. During the design phase of a project, it is imperative to take
into consideration the dynamics of the site; a site cannot be self-sustaining on its own—a site
works hand in hand with parallel and opposing forces.
Each aspect of a site works cohesively with the rest of the site. In Castiglion Fiorentino, for
example, the hill town and the Val di Chio work together to create both unity and diversity
among the land to deem successful. While the hill town is more localized and at a smaller
scale, its entities would not work properly if the rest of the town’s boundaries did not extend
out into the valley, where cohesiveness continues to work hand in hand.
Piazza Garibaldi, for example, serves many purposes for all who live in Castiglion. Most of the
time, it serves as a parking lot. However, it is also used to hold large events and celebrations.
Every Friday there is a large market set up, where the local community buys and sells
homegrown and homemade items to each other. The structure of the town may seem divided
at first, but when looking at a specific space, it is up to the individual on how to perceive
that area. It can be whatever the individual wants it to be. As each sector of town seems tiny
as a whole, when working all together, these facets have limitless affects. Due to this, the
valley and the hill town create a unity, and dissolve any visible boundaries between, creating
unlimited interactions of the urban site and the community.
CHAPTER NINEdefining urban sites

12. A cityscape does not simply build character and complexity overnight;
the urban site overlays a variety of facets in order to create one
cohesive unit. The city of Verona is a great example of a personalized
city, for it has been growing and rebuilding for over 2,000 years.
Through destruction from wars, floods, plagues, and so on comes an
opportunity to link the old and the new of the cityscape and create
one unionized place.
Dating back to the Roman
period, and continuing through
the Romanesque, Middle Ages,
Renaissance, up into the 19th
century, Verona has gone
through a lot of destruction
and reconstruction, and, yet,
shows exceptional coherence,
along with a large degree of
homogeneity. Its grid system is
still the main aspect of design,
along with the river acting as
anotherforceonthecity.Anurban
town such as this is remarkable
for progressively developing over
such a long period of time, and
has since continued to embrace
and enhance its artistic values.
Like Castiglion Fiorentino,
Verona uses all of its
aspects cohesively,
therefore diminishing
an obvious boundary of
the city, and allowing the
city as a whole to work
together. Piazza delle
Erbe in Verona is much
like Piazza Garibaldi,
where local markets are
held weekly, bringing
the town together as
one. Piazzas create
communities within
the entire community,
opening up the land for
all.
CHAPTER
TEN

13. new
old
The influence that urbanism has on a town deems ideal for the success of that town and for
the people who live there. When a town needs an intervention to help, transform, and revitalize
it, it’s important to follow traditional views; things don’t need to seem new or modern, and the
design can be brought back to previous designs and architectural styles.
Castiglion Fiorentino is a great example of urban retrofitting. Many of the buildings are the
original structures, with the original exterior façade, and renovated interiors to coincide with
the ever-changing needs of the people living and working in these buildings. Santa Chiara
Study Center is a great example of urban retrofitting; built in the 1500s, the school was
originally a church and a convent for nuns. Since then, the building has been renovated, and
almost 500 years later, is used as an American university.
Castiglion Fiorentino’s bell tower still stands, overlooking the Val di Chio. When looking at
the field of grass where the tower rests, it seems to be a vacant spot in town, left untouched.
However, walking through the nearby library leads you under that grass area, and inside
a mass of roman ruins and original foundation. The town, over time, transformed itself by
building new buildings on top of existing foundation. These ruins are unseen by the eye, but
are a major facet in the town’s history, architecture, and design.
CHAPTER
ELEVENdefining the organistic project

14. With time comes destruction, revitalization,
transformation, and new interpretation of a place at
multiple scales. For many Italian cities, renovation of
a town is not always apparent, but much of the time, it
is present. However, for these cities to be successful in
hiding their interventions, they must renovate through
a succession of time and allow evolution of the new
intertwine with the old. Architectural styles typically
stay the same, which is one facet that allows Italy to
cover up its revitalizations so easily.
One of the most apparent cities in Italy does an
excellent job at hiding the intervention, but at the same
time, exemplifies the history of the past, whether it
be in ruins or not. Rome has been revitalizing its city
for centuries—even millenniums—and has continued
to showcase its beauty and capability time and time
again. When a building’s finished floor elevation is
much lower than the current state, the city retrofits the
piazzas around these buildings to be functional, and
make the difference in elevation almost unnoticeable.
Castiglion Fiorentino, a town highly influenced by the
Romans, with Roman ruins even lying underneath
part of the town, is retrofitted much like Rome itself.
The two places both start at the core, and continue to
spread outward as time progresses. Buildings are built
on top of old ones, roads and greenways are elevated
above spaces dating back to ancient Roman times,
and so forth. Much of modern day Rome is built on top
of ancient Rome, and just like Castiglion, this city will
continue to do so through retrofitting and intervention
to meet the needs of the users.
CHAPTERTWELVE