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Space and Movement in High Baroque City Planning
Author(s): Paul Zucker
Source: Journal of the Society of Architectural Historians, Vol. 14, No. 1 (Mar., 1955), pp. 8-13
Published by: on behalf of the University of California Press Society of Architectural
Historians
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SPACE AND MOVEMENT IN
HIGH BAROQUE CITY PLANNING
PAUL ZUCKER
DRAMATIZATION and the suggestion of movement have been
generally accepted as characteristics of the Baroque style
since the publication of Heinrich W6lfflin's Renaissance
and Baroque half a century ago. Numerous authors have
developed this concept further and applied it to painting,
sculpture, and architecture as against the more static con-
cinnitas of the Renaissance.
The space concept of Baroque city planning as it appears
in the shape of Baroque squares, for example, may be com-
pared but not identified with the concept of space in a
painting by Rubens, in a sculpture group by Bernini, or
in the interior of a Baroque church.
The specific spatial elements which characterize Baroque
city planning have hardly been analyzed. Some authors 1
have touched these problems, but even Lavedan in his
comprehensive History of City Planning is as little inter-
ested in them as were Sitte and Unwin.2 This lack of inter-
est might be explained by the impress left by the great
French classicist tradition of the places royales as the
epitome of city planning all over Europe in the 17th and
18th centuries. Hence the other expression of the Baroque
style, the Berninesque trend, receded in the writers' con-
ception of the 17th and 18th centuries.
The meaning of the term Baroque is twofold. H ...
The Grand Manner and Paris under Haussmannization .docxcherry686017
The Grand Manner
and Paris under Haussmannization
Gustave Caillebotte, Paris Street, Rainy Day” (1877)
This lecture will:
• Provide an overview of Baroque urban design, also known as “The Grand Manner”
• Explore the transformation of nineteenth century Paris under the influence of
Emperor Napoleon III and Georges Haussmann.
• Set the stage for understanding subsequent planning approaches that borrowed
from Haussmann’s restructuring of Paris.
Note: Much of the content of this lecture come from the work of Spiro Kostof’s The City Shaped
David Pinkney’s and Napoleon III and the Rebuilding of Paris.
This week we will be narrowing our focus on the city of Paris in the 19th century.
Paris is perhaps the most striking modern example of urban restructuring aimed
at alleviating congestion and disorder. But in order to fully appreciate the vast
physical changes that the city experienced over the course of just a few decades,
we should first familiarize ourselves with some basic urban design elements that
had been employed since antiquity, but which by the 1700s had become,
according to architectural historian Spiro Kostof, “a rational system of urban
design.” This system came to be called “Baroque Urban Design,” or “The Grand
Manner” of planning. Consisting of a handful (10 to be exact) of clearly
identifiable physical elements, the Grand Manner was most often an expression
or a “staging” of political power.
1. The Straight Street
An essential element of Baroque urban design was the that of the straight street. We
have discussed the use of the grid before, but here we are talking about the carving
out of a singular straight street in contrast to the surrounding irregularities of winding
pathways. In Europe, Renaissance Florence was instrumental in the development of
the straight street as an artistically conceived space – an urban space with its own
integrity rather than the space left over between buildings.
The design advantages of straight streets
included:
1. …increased control over public order.
By avoiding or eliminating winding,
labyrinthine streets, the ability or
temptation to obstruct passages
through barricades during times of
riots was significantly weakened.
2. …promotion of circulation of people,
goods, transportation and military
troops and artillery. As the industrial
revolution placed pressure on cities
through significant population
increase, intense congestion in the city
center followed. Carving straight
streets through the center proved to
be a common modern planning tactic.
Right:
Nevsky
Prospekt
in
St.
Petersburg,
1703.
The
massive
propor?ons
of
this
street
were
intended
to
reflect
the
poli?cal
power
of
Russia
under
Peter
the
Great
and
his
efforts
to
modernize
his
empire.
2. The Baroque Diagonal
A more ...
Urban planning and urban design are two closely related fields that aim to shape and improve the built environment in cities and urban areas. Urban planning involves the development and implementation of policies and strategies to guide the growth and development of cities, while urban design focuses on the physical and aesthetic aspects of the built environment, including the design of buildings, public spaces, and transportation systems. Together, these disciplines seek to create livable, sustainable, and inclusive urban environments that meet the needs of diverse communities.
The Grand Manner and Paris under Haussmannization .docxcherry686017
The Grand Manner
and Paris under Haussmannization
Gustave Caillebotte, Paris Street, Rainy Day” (1877)
This lecture will:
• Provide an overview of Baroque urban design, also known as “The Grand Manner”
• Explore the transformation of nineteenth century Paris under the influence of
Emperor Napoleon III and Georges Haussmann.
• Set the stage for understanding subsequent planning approaches that borrowed
from Haussmann’s restructuring of Paris.
Note: Much of the content of this lecture come from the work of Spiro Kostof’s The City Shaped
David Pinkney’s and Napoleon III and the Rebuilding of Paris.
This week we will be narrowing our focus on the city of Paris in the 19th century.
Paris is perhaps the most striking modern example of urban restructuring aimed
at alleviating congestion and disorder. But in order to fully appreciate the vast
physical changes that the city experienced over the course of just a few decades,
we should first familiarize ourselves with some basic urban design elements that
had been employed since antiquity, but which by the 1700s had become,
according to architectural historian Spiro Kostof, “a rational system of urban
design.” This system came to be called “Baroque Urban Design,” or “The Grand
Manner” of planning. Consisting of a handful (10 to be exact) of clearly
identifiable physical elements, the Grand Manner was most often an expression
or a “staging” of political power.
1. The Straight Street
An essential element of Baroque urban design was the that of the straight street. We
have discussed the use of the grid before, but here we are talking about the carving
out of a singular straight street in contrast to the surrounding irregularities of winding
pathways. In Europe, Renaissance Florence was instrumental in the development of
the straight street as an artistically conceived space – an urban space with its own
integrity rather than the space left over between buildings.
The design advantages of straight streets
included:
1. …increased control over public order.
By avoiding or eliminating winding,
labyrinthine streets, the ability or
temptation to obstruct passages
through barricades during times of
riots was significantly weakened.
2. …promotion of circulation of people,
goods, transportation and military
troops and artillery. As the industrial
revolution placed pressure on cities
through significant population
increase, intense congestion in the city
center followed. Carving straight
streets through the center proved to
be a common modern planning tactic.
Right:
Nevsky
Prospekt
in
St.
Petersburg,
1703.
The
massive
propor?ons
of
this
street
were
intended
to
reflect
the
poli?cal
power
of
Russia
under
Peter
the
Great
and
his
efforts
to
modernize
his
empire.
2. The Baroque Diagonal
A more ...
Urban planning and urban design are two closely related fields that aim to shape and improve the built environment in cities and urban areas. Urban planning involves the development and implementation of policies and strategies to guide the growth and development of cities, while urban design focuses on the physical and aesthetic aspects of the built environment, including the design of buildings, public spaces, and transportation systems. Together, these disciplines seek to create livable, sustainable, and inclusive urban environments that meet the needs of diverse communities.
-I am unable to accept emailed exams or late exams. No exception.docxgertrudebellgrove
-I am unable to accept emailed exams or late exams. No exceptions.
-For technical issues you would need to go through tech support.
-Turn in work early to avoid technical issues. Technical issues are not a valid reason for failing to submit work.
-Make sure to research the exam drop box and where to find it a week or more ahead.
-Make sure to read all announcements and most importantly around exam times.
-The Professor has 2-3 days to grade the exam and once graded you need to check your grade book. I do not release exam grades via email.
-For any directions only contact your Professor, DO NOT use “all student” email to email other students because this only confuses them and points will be deducted as well as violations of the course policies
--Most exams you are given a FULL WEEK to complete. I also indicate day one of the course what the exam will cover and include. Do not email me the last minute to turn in work or ask any questions. I may not be available the hour before an exam so it is important to plan ahead.
- Review the sample exam to gain an A. Follow the length, and structured, apply APA format and go in depth. It is not too rough but points are deducted for failing to following the samples.
-Please do BOTH (1) copy and paste your work into the dropbox comment are or area provided, PLUS (2) attach the file. PLEASE DO BOTH. For attachments it must be in word. If it is any other format, or I am unable to open the file (such as word perfect) a 0 (zero) will be granted and no re-submissions will be allowed)
-See your course due dates for any dates as well as announcements. These are set and well planned week 1.
-Do not use work you previously submitted this term or a past one, do not work with anyone and do not plagiarize. This will result in a 0/F and I want you to gain an A!
-1 page each question, APA format.
-Keep an eye on your gradebook for grades. I am unable to respond to “confirm” if it is submitted or not, you can do so with tech support if needed.
NOTE +++IF YOUR TEXT DOES NOT HAVE END OF CHAPTER QUESTIONS, YOU MAY SUMMARIZE EACH CHAPTER IN DEPTH, THAT MEANS ALL CHAPTERS 7,8,9,10,11,12
EXAM worth 25 points.
READ ALL OF THE DIRECTIONS OR POINTS WILL BE DEDUCTED.
Grades will be final and I will not discuss the grade or
change a grade under any circumstances.
Work alone.
IMPORTANT NOTES:
Feel free to attach and/or copy and paste the work into the provided drop box.
No emailed papers will count.
IF YOUR CLASS HAS A DROPBOX THAT IS THE MAIN AREA TO SUBMIT THE EXAM
If I cannot open it I will not GRADE IT.
I will not accept ANY late work for exams.
FOLLOW THE DATES IN THE SYLLABUS ONLY!
YOU HAVE till the date listed on the syllabus to email it back to me. Good luck!
USE APA FORMAT
Please email me with any questions. DO NOT WORK WITH ANYONE! Put time into it and go IN DEPTH!
Please apply Primary sources, journals, articles, etc.
The Midterm is essay/short answer. Use the readings, the discussion .
-delineate characteristics, prevalence of exceptionality-evalua.docxgertrudebellgrove
-delineate characteristics, prevalence of exceptionality
-evaluate causes and concerns of each exceptionality
-critique and analyses component of the IEP
-identify and analyze instructional assessment and strategies to the individual with the exceptional needs
Follow the rubs. 4 DOUBLE SPACE with running head
.
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-I am unable to accept emailed exams or late exams. No exception.docxgertrudebellgrove
-I am unable to accept emailed exams or late exams. No exceptions.
-For technical issues you would need to go through tech support.
-Turn in work early to avoid technical issues. Technical issues are not a valid reason for failing to submit work.
-Make sure to research the exam drop box and where to find it a week or more ahead.
-Make sure to read all announcements and most importantly around exam times.
-The Professor has 2-3 days to grade the exam and once graded you need to check your grade book. I do not release exam grades via email.
-For any directions only contact your Professor, DO NOT use “all student” email to email other students because this only confuses them and points will be deducted as well as violations of the course policies
--Most exams you are given a FULL WEEK to complete. I also indicate day one of the course what the exam will cover and include. Do not email me the last minute to turn in work or ask any questions. I may not be available the hour before an exam so it is important to plan ahead.
- Review the sample exam to gain an A. Follow the length, and structured, apply APA format and go in depth. It is not too rough but points are deducted for failing to following the samples.
-Please do BOTH (1) copy and paste your work into the dropbox comment are or area provided, PLUS (2) attach the file. PLEASE DO BOTH. For attachments it must be in word. If it is any other format, or I am unable to open the file (such as word perfect) a 0 (zero) will be granted and no re-submissions will be allowed)
-See your course due dates for any dates as well as announcements. These are set and well planned week 1.
-Do not use work you previously submitted this term or a past one, do not work with anyone and do not plagiarize. This will result in a 0/F and I want you to gain an A!
-1 page each question, APA format.
-Keep an eye on your gradebook for grades. I am unable to respond to “confirm” if it is submitted or not, you can do so with tech support if needed.
NOTE +++IF YOUR TEXT DOES NOT HAVE END OF CHAPTER QUESTIONS, YOU MAY SUMMARIZE EACH CHAPTER IN DEPTH, THAT MEANS ALL CHAPTERS 7,8,9,10,11,12
EXAM worth 25 points.
READ ALL OF THE DIRECTIONS OR POINTS WILL BE DEDUCTED.
Grades will be final and I will not discuss the grade or
change a grade under any circumstances.
Work alone.
IMPORTANT NOTES:
Feel free to attach and/or copy and paste the work into the provided drop box.
No emailed papers will count.
IF YOUR CLASS HAS A DROPBOX THAT IS THE MAIN AREA TO SUBMIT THE EXAM
If I cannot open it I will not GRADE IT.
I will not accept ANY late work for exams.
FOLLOW THE DATES IN THE SYLLABUS ONLY!
YOU HAVE till the date listed on the syllabus to email it back to me. Good luck!
USE APA FORMAT
Please email me with any questions. DO NOT WORK WITH ANYONE! Put time into it and go IN DEPTH!
Please apply Primary sources, journals, articles, etc.
The Midterm is essay/short answer. Use the readings, the discussion .
-delineate characteristics, prevalence of exceptionality-evalua.docxgertrudebellgrove
-delineate characteristics, prevalence of exceptionality
-evaluate causes and concerns of each exceptionality
-critique and analyses component of the IEP
-identify and analyze instructional assessment and strategies to the individual with the exceptional needs
Follow the rubs. 4 DOUBLE SPACE with running head
.
-1st play name is READY STEADY YETI GO-2nd play name is INTO .docxgertrudebellgrove
-1st play name is "READY STEADY YETI GO"
-2nd play name is "INTO THE WOODS "
REVIEW PAPER GUIDELINES (3 pages,
Essay format) Introduction
Plot
What happens?
E.g., “Mother Courage follows the misadventures of Courage and her children over a ten year period during the 100 Years War...”
How does it happen?
E.g., “The play is built in a series of episodes, alternating personal struggles against a backdrop of the larger social/political struggles.”
What does it mean?
A one-two sentence that captures the essence of the action. In the case of Epic Theatre, this statement is primarily about the intended “lesson” of the play. E.g., “MC is about how capitalism inevitably leads to the corruption then destruction of society—from nations to families.”
Rhythm
Flow of the plots?
Character
Main character Description
E.g., “Courage is a middle-aged mother of three who will stop at nothing to exploit the financial opportunities she encounters. Her role in the play is ‘survivor.’ Her character is the ‘anti-mom’—a woman who sees her children (and other human beings) as a collection of debits and credits.”
Second Character Description
Thought—what are the ideas in the play
e.g., Mother Courage looks at the intersection of war and commerce and how one feeds off the other, to the destruction of land, civilization, and families. The ideas arise out of the work of Karl Marx. Summarize--
Historical (Where and When) Philosophical (What & Why)
Diction--
Summarize the language the playwright uses. How do the characters speak?
E.g., prose, poetry, cliché, long speeches, short, etc.?
7 of 8
Music—
is more than song, but the SOUND of the play. Describe the aural environment created and executed in the production.
Spectacle
—describe the visual environment of light and scenery created for the production, and their execution and relevance (e.g., it could look great but mean nothing, or it could look terrible but somehow it works!)
Conclusion
A paragraph about your particular feelings about the play—did it engage you? Were you changed, even a little? Goethe asked three questions—What was it trying to do? How well was it done? Was it worth doing? Answer these questions.
.
-6th-Edition-Template-without-Abstract.dotWhat are Heuristics .docxgertrudebellgrove
-6th-Edition-Template-without-Abstract.dot
What are Heuristics and can it lead to bias?
Why is Maslow's Hierarchy a basic psychological stable? (Watch the video for better understanding and cite it)
How does FEAR keep you alive? (See emotions and feelings video)
Please write 300 or more words and APA to address the above concepts for week four.
.
- write one 5-7 page paper about All forms of Euthanasia are moral..docxgertrudebellgrove
- write one 5-7 page paper about All forms of Euthanasia are moral.
- Argumentative/Persuasive paper structure
- Include an introduction and conclusion. The main points of your paper should be identified in
the introduction.
- include at least three arguments to support the position
- Include at least one opposing argument against your topic
- times new roman font
- double spaced
- 12 point font size
- work cited page
.
-1st Play name is BERNHARDTHAMLET -2nd Play name is READY ST.docxgertrudebellgrove
-1st Play name is "BERNHARDT/HAMLET "
-2nd Play name is "READY STEADY YETI GO"
PREVIEW PAPER GUIDELINES
1. Title of Show
2. Playwright (and, if musical, Composer, Librettist)
3. Creative Team: Lead actors, Director, Designers (if musical, Choreographer and Music Director)
4. Venue: Broadway, Off-Broadway, College, etc. (incl. # of seats, cost of a regular ticket
5. Audience: (that is, what demographic is the production trying to attract?) Whom do you think would come and enjoy the performance?
Substantiate this claim by citing advertising evidence--type of ad, where it is advertised (e.g., NY Times, TimeOut New York, Internet, radio)
6. In one sentence, what's the story about?
7. In three sentences, what is your expectation? E.g., Deliriously excited? Modestly intrigued? Morbidly curious? Apathetic? Anxiously anticipating? Horrifically terrified? Dolefully dreading? And why?
.
. 1. Rutter and Sroufe identified _____________ as one of three impo.docxgertrudebellgrove
. 1. Rutter and Sroufe identified _____________ as one of three important areas of focus in the future of developmental psychopathology.
A. How cause and effect underlie childhood disorders
B. The role of the media in the life of the modern child.
C. Creating a stricter definition of normal behavior.
D. Fetal development’s influence on childhood behavior
2. Which of the following questions is not appropriate on a mental status exam?
A. What’s four times five?
B. Who’s the current president of the United States?
C. What day of the week is it today?
D. Who wrote the Harry Potter books?
3. State laws can influence decision making in all the following ways, except
A. who can legally provide consent for the child.
B. beneficence and maleficence
C. timelines for reporting suspected child abuse
D. custodial versus noncustodial parental rights
4. The transactional model was developed to
A. illustrate how even very disabled children are able to adapt to their environments.
B. analyze exactly which characteristics are passed from a caregiver to a child.
C. predict the future of a child’s development by analyzing past events and behaviors.
D. show how a child adapts to an environment and how the environment changes as a result.
5. All of the following are true concerning the APA 10 ethical standards except
A. the standards were useful in past decades but are no longer useful.
B. the standards address appropriate advertising and displays of public information.
C. the standards address matters pertaining to research and publication.
D. the standards assist professionals to resolve ethical issues.
6. Which of the following is true regarding the age of majority?
A. It’s 18 in 34 of the U.S. States.
B. It’s 19 years in all Canadian provinces.
C. It’s 18 years of age in every USA State
D. It’s not an important consideration for psychologists working with children.
7. In the context of Sue’s 2006 article on cultural competent treatment, gift giving refers to
A. giving a token gift to the client
B. rules about barbering
C. accepting a gift from the client
D. gifts of therapy, such as reduced tension
8. Which of the following is one of the guiding principle of the American Psychological Association (APA).
A. Generosity
B. Duplicity
C. Felicity
D. Integrity
9. Mash and Wolfe (2002) suggest three goals of assessment . Which of the following is not one of the goals?
A. Diagnosis
B. Treatment planning
C. Prognosis
D. Research
10. Using the K-3 Paradigm involves knowledge of
A. brain chemistry
B. the Diagnostic and Statistical Manual of Mental Disorders
C. a child’s family medical history
D. developmental expectations
12. Which of the following is true regarding a functional behavioral assessment?
A. An FBA assesses the degree to which a behavior exists.
B. An FBA is norms-based.
C. The FBA was developed to analyzed why a behavior exists.
D. The use of FBA has been discouraged by the American Psycholo.
-Prior to the Civil War, how did the (dominant) discourse over the U.docxgertrudebellgrove
-Prior to the Civil War, how did the (dominant) discourse over the United States’ future reach a crisis point? What were the arguments regarding the Constitutionality of slavery and notions of citizenship? How did relative definitions of liberty/freedom/equality become irreconcilable?
.
- Using the definition Awareness of sensation and perception to ex.docxgertrudebellgrove
- Using
the definition Awareness of sensation and perception to explain why or why not dolphins have consciousness
!
-
two to three paragraph explanation
-
Specify the definition you are using.
Then demonstrate appropriate application of that definition.
- You should describe the creature you are exploring and its behavior for those unfamiliar with it.
- Stick to behaviors that are relevant to whether the creature has consciousness or not under your chosen definition.
- The behavior must be observable! You declaring that a creature "looks fearful/happy/sad" is not on observation, it's an opinion.
- Present arguments that illustrates your position.
* For example, "Research has shown (citation if available can help) that Orangutans can recognize themselves in the mirror and realize the image they see is a reflection of themselves. This suggests they have awareness of their themselves as separate from the environment and others."
.
- should include an introduction to the environmental issue and its .docxgertrudebellgrove
- should include an introduction to the environmental issue and its location
- next portion should be about the opposing views (atleast 3 cons. and 3 possible solutions to the cons) The cons needs to be focused on the environmental impact of the problem, not just how it's affecting humans. What is it doing to the ecosystems?
- must be 4 pages double-spaced not including references and include in-text citation
-not opinion based!!
.
- FIRST EXAM SPRING 20201. Describe how the view of operations.docxgertrudebellgrove
- FIRST EXAM SPRING 2020
1. Describe how the view of operations as a process can be applied to the following:
a. Acquisition of another company
b. Marketing Research for a New Product
c. Design of an Information System
2. An operations manager was heard complaining
“My boss never listens to me ----- all the boss wants from me is to avoid making waves. I rarely get any capital to improve operations. Also, we do not have weekly, biweekly or even monthly meetings with our product managers, supply chain department, customer service or the sales department. We only meet with the accounting and finance departments when there are issues with the monthly budgets. Furthermore, our department has interacted with information service department about four times in past fiscal year”
Please assess the following:
a. Whether this business has a business strategy ?
b. Does it have an operations strategy?
c. What would you recommend?
3. Firm A has recorded the following costs in 2018:
Incoming materials and inspection $20,000
Training of Personnel $40,000
Warranty $45,000
Process Planning $15,000
Scrap $13,000
Quality Laboratory $30,000
Rework $25,000
Allowances $10,000
Complaints $14,000
a. What are the Prevention, Appraisal, Internal Failure and External Failure costs?
b. What inferences can you draw on Quality Measures taken by Firm A?
c. What would you recommend to improve quality programs in Firm A?
d. What initiatives should Firm A implement for 2019 and 2020?
4. Please explain the House of Quality (QFD) as discussed in class.
5. A certain process is under statistical control and has a mean value of 130 and a standard deviation of 8. The specifications for the process are:
a. USL (upper specification limit) = 150
b. LSL(lower specification limit) =100
a. Calculate the cp and cpk
b. Which of these indices is a better measure of process capability and why?
c. Assuminng a normal distribution what percentage of output is expected to fall ourside the specification. Why is it important to know this?
d. What would you recommend?
2
Chapter 7
Government Ethics
and the Law
William A. Myers, Ph.D.
Learning Objectives (1 of 2)
• Describe some of the reasons why there has
been a loss of trust in government.
• Explain the purpose of various government
committees on ethics.
• Discuss how public policy protects the rights of
citizens.
Learning Objectives (2 of 2)
• Describe federal laws designed to protect each
individual’s rights.
• Explain the concept of political malpractice.
• Understand the importance of ethics in public
service.
Let every American, every lover of liberty, every
well wisher to his posterity, swear by the blood
of the Revolution, never to violate in the least
particular, the laws of the country; and never to
tolerate their violation by others.
—Abraham Lincoln
Executive Branch:
U.S. Office of Government Ethics
• Exercises leadership .
- Considering the concepts, examples and learning from the v.docxgertrudebellgrove
- Considering the concepts, examples and learning from the various modules you have attended this year, summarise and reflect on in a critical way what you think are the key elements (both internal and external to businesses) that organisations should consider to develop and grow responsibly and effectively in today’s economy.
.
- Discuss why a computer incident response team (CIRT) plan is neede.docxgertrudebellgrove
- Discuss why a computer incident response team (CIRT) plan is needed, and its purpose.
- Why are the roles and responsibilities important to be listed and kept updated for a CIRT plan.
- Connect the dots: Discuss your understanding of the CIRT incident handling procedures, the role policies play, and the importance of communication escalation procedures.
- What are some best practices for implementing a CIRT plan? Do some personal research to answer this questions.
.
- Discuss why a computer incident response team (CIRT) plan is n.docxgertrudebellgrove
- Discuss why a computer incident response team (CIRT) plan is needed, and its purpose.
- Why are the roles and responsibilities important to be listed and kept updated for a CIRT plan.
- Connect the dots: Discuss your understanding of the CIRT incident handling procedures, the role policies play, and the importance of communication escalation procedures.
- What are some best practices for implementing a CIRT plan? Do some personal research to answer this questions.
.
- 2 -Section CPlease write your essay in the blue book.docxgertrudebellgrove
- 2 -
Section C
Please write your essay in the blue book.
Write an informal narrative about "some" composing process of yours. Essentially, you will write a Reflective Self-Evaluation of yourself as a college writer. What exactly does that mean? It requires you to:
a. look back over a recently completed process
b. think reflectively about that process
c. critically evaluate what went well, what didn’t go well, or what you might have done differently
As the aforementioned examples suggest, reflective writing is writing that describes, explains, interprets, and evaluates any past performance, action, belief, feeling, or experience. To reflect is to turn or look back, to reconsider something in the past from the perspective of the present. So, in your final essay, you will reflect and make an evaluation of your experience in this course.
Remember, reflection involves multiple angles of vision. Just as light waves are thrown or bent back from the surface of a mirror, so, too, reflective writing throws our experience, action, or performance back to us, allowing us to see differently. We view the past from the angle of the present, what was from the angle of what could have been or what might be. Multiplying your angle of vision through reflection often yields new insights and more complicated (complex) understanding of the issue on which you are reflecting.
Professors generally look for four kinds of knowledge in reflective self-evaluation essays: self-knowledge, content knowledge, rhetorical knowledge, and critical knowledge (aka judgment). Following are ideas for each of these types of knowledge, which may be used to generate ideas for your essay. Choose only a few of the questions to respond to, questions that allow you to explain and demonstrate your most important learning for the course.
You may write about your composing process for academic papers or creative genres or a combination of both. Reflect as thoroughly as possible upon your writing process and explain it. Your narrative should include whatever you DO when you write, as well as whatever you DO when you compose. Composing should be understood in the broad sense, i.e. composing goes on in your mind when you are cleaning your refrigerator, mowing your grass, etc. It also occurs when you are researching, taking notes, or procrastinating. In essence you are NEVER NOT composing something. So the key to your reflections is to include everything you do that makes a difference in your writing, from having to use a certain pen, to listening to music or sitting in the library. Both your formal and informal processes impact the way you produce a written work, if you use a formal method of note taking or outlining, if you compose on the computer or with pen and paper explore any and all of these activities that are helpful to you in your process. Explore all possible aspects that apply. This is a useful exercise for now and for you to revisit and revise in the future .
- Confidence intervals for a population mean, standard deviation kno.docxgertrudebellgrove
- Confidence intervals for a population mean, standard deviation known
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-Confidence intervals for population proportion
- Confidence intervals for a standard deviation
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) Create a new thread. As indicated above, select two tools describ.docxgertrudebellgrove
) Create a new thread. As indicated above, select two tools described in chapter 7 from different categories, and describe how these tools could be used to develop a policy for optimizing bus and local train schedules to minimize energy use and passenger wait times in a SmartCity environment.
tools
•Visualization
•Argumentation
•eParticipation
•Opinion mining
•Simulation
•Serious games
•Tools specifically designed for policy makers
•Persuasive
•Social network analysis (SNA)
•Big data analytics
•Semantics and linked data
.
(Write 3 to 4 sentences per question) 1. Describe one way y.docxgertrudebellgrove
(Write 3 to 4 sentences per question)
1.
Describe one way you can leverage any strengths you have in research and information literacy to promote your success.
Consider successes, lessons learned, or skills you have gained as a result of your past academic, personal, or professional experiences.
2.
1.
Why do you think it is important to use source materials to support your viewpoints?
Why is it important that the sources you use in your coursework be scholarly sources?
.
( America and Venezuela) this is a ppt. groups assignment. Below is .docxgertrudebellgrove
( America and Venezuela) this is a ppt. groups assignment. Below is my part.
Explain how an American would apply the knowledge of verbal and nonverbal communication to foster effective cross-cultural communication within the selected country.
Lastly, summarize how cultural differences affect cross-cultural communications.
.
++ 2 PAGES++Topic Make a bill to legalize all felon has the rig.docxgertrudebellgrove
++ 2 PAGES++
Topic: Make a bill to legalize all felon has the right to vote with no condition (become a green state) https://www.aclu.org/issues/voting-rights/voter-restoration/felony-disenfranchisement-laws-map
Guideline: **only do part 2 (3-55)** follow guideline on this website: https://leg.wa.gov/CodeReviser/Documents/2019BillDraftingGuide.pdf
additional websites (or you can search more info beside the websites i provide):
https://www.sos.wa.gov/elections/voters/felons-and-voting-rights.aspxhttps://www.sos.wa.gov/elections/voter-eligibility.aspx
.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Palestine last event orientationfvgnh .pptxRaedMohamed3
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Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
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Space and Movement in High Baroque City Planning
Author(s): Paul Zucker
Source: Journal of the Society of Architectural Historians,
Vol. 14, No. 1 (Mar., 1955), pp. 8-13
Published by: on behalf of the University of California Press
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SPACE AND MOVEMENT IN
HIGH BAROQUE CITY PLANNING
PAUL ZUCKER
DRAMATIZATION and the suggestion of movement have been
generally accepted as characteristics of the Baroque style
since the publication of Heinrich W6lfflin's Renaissance
and Baroque half a century ago. Numerous authors have
developed this concept further and applied it to painting,
sculpture, and architecture as against the more static con-
cinnitas of the Renaissance.
The space concept of Baroque city planning as it appears
in the shape of Baroque squares, for example, may be com-
pared but not identified with the concept of space in a
painting by Rubens, in a sculpture group by Bernini, or
in the interior of a Baroque church.
The specific spatial elements which characterize Baroque
city planning have hardly been analyzed. Some authors 1
have touched these problems, but even Lavedan in his
3. comprehensive History of City Planning is as little inter-
ested in them as were Sitte and Unwin.2 This lack of inter-
est might be explained by the impress left by the great
French classicist tradition of the places royales as the
epitome of city planning all over Europe in the 17th and
18th centuries. Hence the other expression of the Baroque
style, the Berninesque trend, receded in the writers' con-
ception of the 17th and 18th centuries.
The meaning of the term Baroque is twofold. Histori-
cally, the Baroque era stretches from about Michelangelo's
death in 1564 to the middle of the 18th century, when the
period called either Neo-Classicism or Classical Revival
sets in. However, the aesthetic development does not coin-
cide with the historical evolution. What is historically
called Baroque divides aesthetically into two tendencies.
On the one hand it is the Baroque derived from Michel-
angelo, exaggerating and contorting the more placid forms
of the High Renaissance, accentuating individual parts
within a whole, dramatizing and emphasizing volumes and
masses. On the other hand, during the same centuries there
exists the classicist approach, based on Palladio and the
Vitruvian Academy, leaning heavily on ancient examples,
regular, reticent in expression, sometimes of a certain dry-
ness, which often leads to the reproach of "academicism."
This latter trend prevailed in France, but in Italy the
Baroque dramatized the more formal schemes of the
Renaissance, thus relinquishing the basic idea of concin-
nitas. This ideal, which implied organized regularity as
the governing factor, faded and there developed an un-
limited variety of freer solutions on a larger scale.
As the handling of light in German, Spanish, or Mexican
churches of this period expresses the climax of Baroque
interiors, so "arrested movement" represents the climax
4. of Baroque ideas in city planning. In both of these "super-
Baroque" developments it is the new relationship and in-
tegration of mass and volume, a new employment of light
and shadow which adds a new element to those form-
shaping factors which had defined the earlier Baroque.
To define the meaning of "arrested movement," one
does best to compare works of the late 16th century, the
early Baroque-e.g., Michelangelo's Campidoglio and the
original Piazza del Popolo in Rome-with creations of the
17th century.
The Campidoglio (Fig. 1), the square before the Capitol
in Rome, is not an entirely free and spontaneous creation
of Michelangelo. He was bound by two already existing
structures on top of the Capitoline Hill: the ancient Capitol
(Palazzo dei Senatori), reconstructed 1389 under Pope
Boniface IX as a kind of mediaeval town hall, and the
Palazzo dei Conservatori, built under Pope Nicholas V in
1450.3
Commissioned by Pope Paul III in 1538, Michelangelo
first leveled the irregular top of the Capitoline and brought
from the Lateran the famous equestrian statue of Marcus
Aurelius. He envisioned the future piazza as a trapezoid
because the two existing buildings there were placed at an
oblique angle to each other. Thus he planned a third
palazzo, the present Capitoline Museum, facing the Palazzo
dei Conservatori, and at the same angle to the Capitol.
Although the difference in width between the Capitol build-
ing and the smaller entrance side of the trapezoid is about
14 yards, the spectator becomes hardly aware of it. None-
theless its perspective helps to monumentalize the Palazzo
dei Senatori. This stage effect already suggests a movement
towards the background, a typically Baroque trait. The
strongly emphasized horizontals of the two lateral palaces
5. PAUL ZUCKER of the Cooper Union Art School and New
School for
Social Research gives us a preview of part of his forthcoming
book,
TOWN AND SQUARE-from the Agora to the Village Green.
8 Journal of the Society of Architectural Historians, XIV, 1
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are set lower than the corresponding horizontals of the
facade of the Palazzo dei Senatori. Thus the height of the
latter-8 yards above the eaves of the lateral structures-
is visually increased. It is still more accentuated through
the vertical of the tower behind. The verticals of the Co-
rinthian columns tie together all three structures as do the
lateral arcades which face each other, accelerating the
movement towards the background structure. The shorter
entrance side is closed by a balustrade adorned by the
ancient Dioscuri statues and it functions as an imaginary
fourth wall. The access from the ramp of the so-called
Cordonata (built by Giacomo della Porta) prepares for
the movement into depth. The pavement whose oval pat-
tern centers around Marcus Aurelius's statue, climbs
slightly towards the pedestal and increases further the
spatial sensation. If this square looms much larger in our
visual memory than it is actually, it bespeaks the power of
6. its scenic organization. Michelangelo employed all artistic
means to suggest movement and to dramatize the backdrop
-both typically Baroque devices. Yet, this movement
which is forced upon the spectator is still in a straight line
and not arrested.
Movement in one direction is also the principal motif of
the Piazza del Popolo in Rome in its original form, prior
to Valadier's alterations of 1816 (Fig. 2). This first com-
prehensive Baroque town-planning project was not con-
fined to a single square but comprised a whole section of
the Eternal City.4 The Piazza del Popolo with radiating
streets became the ancestor of all such fan-shaped combi-
nations of squares and streets in Europe. It was laid out
under Pope Sixtus V who defined the whole organization
in 1589 by setting up an obelisk as the hub of the radiating
streets. The basic system (the converging Via Ripetta,
Corso, and Via Babuino) had already existed in antiquity,
::
d•::
4iJI
:L.... .
--
FIG. 1. Rome. Campidoglio, plan.
(Letarouilly, Edifices de Rome moderne, 1840)
e::9MRL
. . . . .. . . .
FIG. 2. Rome. Piazza del Popolo.
7. (G. A. Vasi. Raccolta delle piu belle vedute
antiche e moderne di Roma, 1803)
though in a less regular form, determining the whole quar-
ter between the Pincian Hill and the Tiber River.
In its original trapezoid shape, stretching from the
Porta del Popolo towards the two symmetrically located
domed churches of Santa Maria in Monte Santo and Santa
Maria dei Miracoli, the square showed its force most
clearly. The stream of incoming travellers was split in
three different directions and dispersed all over the city
and the two churches served as a triumphal entrance arch.
This current is visualized as moving uninterrupted in one
direction, as on the Campidoglio, directed by the gradual
broadening of the trapezoid-no barrier, no arrests.
All this was to change fundamentally in the later 17th
century. Then suspense and surprise were to become the
ultimate ends of architectural organization based on the
concept of arrested movement.
Six Roman squares express best what seemed the ideal
relationship between space and movement to the artists of
the late Baroque: the Piazza di San Pietro, the Piazza
Navona, the Piazza di Spagna, and-on a smaller scale-
the squares in front of Santa Maria della Pace, San Ignazio
and the Trevi Fountain.
The story of the Piazza di San Pietro (Fig. 3) is too well
known to be repeated here." The scale of the colossal
columns of the church's facade became the point of ref-
erence for the proportions of Lorenzo Bernini's St. Peter's
8. Square. In competition with Francesco Rainaldi and other
leading contemporary architects, Bernini developed a series
of projects rather wide in range. One ground plan, for in-
stance, emulated the figure of the Crucified with the con-
tortions of the arms as the pincers of the colonnades, the
head outlining the basilica proper, etc.; in another sketch,
with two-storied colonnades, buildings to the left of the
church corresponded exactly to the Vatican on the right.
The final plan commissioned by Pope Alexander VII was
executed by Bernini between 1656 and 1667.
Space and Movement in High Baroque City Planning 9
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Bernini 6 had to take in consideration the location of the
gigantic obelisk erected by Domenico Fontana in 1586 and
the fountain on the right-hand side (by Maderna, 1613-
its counterpart was finished only after the completion of
the square). Bernini conceived of the square as subdivided
into three units: the piazza retta, immediately before the
church facade; the piazza obliqua, appearing as an ellip-
soid through the pattern of the pavement, but actually
constructed as two half-circles and a rectangle in between;
and the third, the Piazza Rusticucci, never brought into a
definite artistic shape and today part of Mussolini's avenue
linking St. Peter's with the Tiber River.
The Piazza Rusticucci collected and directed approach-
ing visitors toward the piazza obliqua. Surprisingly, the
9. long (main) axis of the piazza obliqua does not lead to-
wards the church but runs north and south, parallel to
St. Peter's main facade. This change in direction aston-
ished the contemporaries most and aroused their criticism.7
Actually this very arrangement arrests the movement to-
wards the church, thus creating the spatial tension so de-
sirable from the viewpoint of the late Baroque. Bernini
laid the piazza obliqua at right angles to the main spatial
thrust because he wanted to achieve a kind of brake in the
movement towards the facade-not because of the existing
structures.8 He emphasized the longer north-south axis
through the arrangement of fountain-obelisk-fountain in
one line, and especially through the sloping of the piazza
towards its center. The pattern of the pavement with its
spikes radiating from the obelisk is not only of two-dimen-
sional importance, it also ties together the colonnades and
the verticals of obelisk and fountains and makes the floor
appear as a flat shell. The open colonnades around the
piazza obliqua consist of four concentric rows of columns.
Where these open pincer-like colonnades of the piazza
obliqua meet with the closed corridors framing the piazza
retta there is a kind of narrows; a second visual barrier or
imaginary stop is created.
The piazza retta then rises towards the church and this
difference in level is accelerated through the steps which
protrude more than eighty yards into the piazza. Most
decisive is the oblique direction of both side-wings, diverg-
ing in the direction of the church-a device similar to that
employed by Michelangelo in the Campidoglio. Since any-
one approaching naturally supposes that the framing wings
meet the faqade at right angles, Maderna's much too broad
10. front (width to height, 2.7:1) is perceived automatically
as narrower than it actually is. This concentrating effect
is further increased through the compactness of the closed
lateral corridors, whose height decreases slightly towards
the facade.9
The spatial effect of the whole sequence-street-Piazza
Rusticucci - piazza obliqua - piazza retta-amounts to a
change from limited expansion to release arrested by the
row of fountain-obelisk-fountain. Gradual concentration
through the narrowing wings leads to a second visual bar-
rier and beyond to final concentration on the facade.
One of the most beautiful squares of the world, the
Piazza Navona (Fig. 4), was created by Bernini out of an
ancient circus whose contours were marked by surround-
ing houses. To appreciate fully the originality of Bernini's
transformation one has only to compare this square with
the Piazza dell'Anfiteatro Romano in Lucca (Anfiteatro
Mercato) which also occupies the site of an ancient circus
and follows its form. Baroque artists discovered in the 17th
century the eminent fitness of the area of Domitian's an-
cient circus for an impressive square, today the Piazza
Navona. Girolamo and Carlo Rainaldi in collaboration with
Francesco Borromini o? built the Church of Sant'Agnese
FIG. 3. Rome. Piazza di San Pietro, aerial view. (Belvedere)
FIG. 4. Rome. Piazza Navona, aerial view. (Alinari)
10 Journal of the Society of Architectural Historians, XIV, 1
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11. o~s~o
~j~ji
GII.~ I I I I ~~I 1 I I -P I I t IY~I I I L ?jonL
FIG. 5. Rome. Square, Santa Maria della Pace, plan.
(1652-77) whose facade became an essential element for
the Piazza. The expansion of the church facade in broad
horizontals and especially the location of its cupola, rising
immediately behind the facade in contrast to all other
Baroque churches, show that the architects were fully
aware of the narrow width of the square. They counted on
oblique perspectives obtainable from various spots on the
Piazza rather than on the usual central perspective. Con-
nected with the church on either side were small palazzi
whose architecture was integrated with that of the church.
But it is the ornamenting of the Piazza Navona by Bernini
that actually defines its spatial form. Bernini placed the
Fountain of the Rivers (1647-51) crowned by the ancient
obelisk of Domitian on the longitudinal axis of the square,
but off the central axis of Sant'Agnese. The southerly
Fontana del Moro already existed at the end of the 16th
century and Bernini remodeled it only with his sculptures;
the Fountain of Neptune on the north side with its sculp-
tures was also projected by Bernini but was executed from
his models only in the 19th century. Through this arrange-
ment of the three fountains Bernini turned the passers-by
towards the facade of the church, in this way changing the
direction of movement from a mere passing along an
12. avenue.
The singularly festive character of the Piazza Navona
has been always apparent; it is based on the contrast be-
tween the dynamic sculptural volumes of the three foun-
tains with their display of cascading waters and the rela-
tively quiet and neutral frame of the surrounding houses,
hardly interrupted by incoming streets. Only the facade
of Sant'Agnese takes up the colorful orchestration of the
three focal points on the square. Small wonder that in the
18th century during the Roman carnival this exceptionally
festive piazza was often flooded, with gondolas replacing
a .-A:
::'::::an
.-:::X.-
;..;? .... .. . . W? :.:
FIG. 6. Rome. Square, Santa Maria della Pace.
(G. A. Vasi, Raccolta ... , 1803)
the carriages of nobility to create a naval spectacle. After
all, during the 18th century no sharply defined border-
lines existed between city planning and architecture, be-
tween architecture and decoration, between decoration and
stage design, between stage design and landscape architec-
ture.
This interplay between the concepts of city planner and
stage designer unfolds still more clearly in the squares of
Santa Maria della Pace, of San Ignazio and the Piazza di
Spagna. It is more than a chronological coincidence that
13. Andrea Pozzo (1642-1709), Ferdinando Bibiena (1657-
1743) and Francesco Bibiena (1659-1739) worked to-
gether with the then leading architects and doubtlessly in-
fluenced each other strongly. Even one generation later
Piranesi in his engravings created visions of public squares
and monumental perspectives which elaborated on the ideas
of these preceding architects and stage designers."
Much as the period indulged in the employment and dis-
play of large masses and vast expanses, its characteristic
tendencies expressed themselves just as originally in some
solutions of a smaller scale. The little squares in front of
the churches of Santa Maria della Pace and San Ignazio
are actually parvis dominated by church facades and in-
separably tied to them. Here also, within smaller areas we
experience the same arrested movement, the spatial stac-
cato, which distinguished the organization of the larger
squares. In both instances people entering the squares from
the neighboring streets are not led directly to the church
entrance, but their movement is diverted and broken by
the fluctuating frame of the surrounding houses.
Opposite Santa Maria della Pace (originally built 1480,
remodeled together with the piazza by Pietro di Cortona,
1657) the principal street runs into the piazza at an
oblique angle and two smaller streets unobtrusively cut in
close to the facade (Figs. 5 and 6). Out of these given,
rather chaotic conditions only a Baroque architect could
create a unified spatial shape. The two stories of the church
facade form contrasting curves, the upper part bent back-
14. Space and Movement in High Baroque City Planning 11
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wards, while the lower one with its semi-circular porch
protrudes into the square. This mutual penetration of
volumes is mirrored in the ground plan of the square. The
symmetry of the wings extending from the church facade
is entirely unfunctional, the right wing framing the en-
trance to a street, the left pasted before a closed wall. In
this way the unification of the area and the correspondence
of its individual architectural elements are achieved-only
to be broken up again and almost negated by the protrud-
ing porch and the staggering forms and angles of the
piazza's confines.
Very similar is the stage-like effect of the small piazza
before the Jesuit church of San Ignazio (begun 1626 by
Orazio Grassi, facade by Algardi, 1649, completed after
Grassi's design, 1686) (Fig. 7). The architectural elements
of the surrounding houses are dictated by the overwhelm-
ing facade of the church. The triangular building opposite
the church functioning as its counterpart represents little
more than a stage wing, although it actually contains
small apartments. Niches created by the curved walls of
the houses opposite conceal the incoming streets so that
the facades seem to be uninterrupted. Again, as with the
square before Santa Maria della Pace, the symmetry is kept
up by fake openings. Because of the size of the church front
15. with its stairs, the by-passing street becomes visually neg-
ligible, which makes the square appear completely closed.
If ever the idea of Baroque space with its fluid limits over-
flowing into each other is realized, it is here on this civic
stage-just as inside the church.
The Piazza and Scala di Spagna (by Alessandro Specchi
and Francesco de' Santis, 1721-25) represent the climax
of stage effects in Roman city planning on a larger scale
(Figs. 8 and 9). The triangular area of the Piazza, into
which five streets run, serves as the starting point for the
stairs which lead to the church of S. Trinitt dei Monte
(built 1459, facade by Domenico Fontana 1595, rebuilt
1816). Lorenzo Bernini's father, Pietro, had built a foun-
tain, the so-called Barcaccia (1627-29) in the shape of a
boat, repeating an ancient motif, and sunk it into the pave-
ment of the Piazza. From this fountain the stairs climb
straight up the hill continuing the direction of the incoming
Via Condotti. They are stopped by the obelisk at the top
and run into the center of the church facade at an oblique
angle. The slight deviation from the axis of the church is
not perceptible in three-dimensional reality but can be
seen only on the ground plan. The unique spatial and visual
experience is the integration of staircase and piazza. The
Scala di Spagna is the only example in the history of city
planning where a staircase does not merely lead to a monu-
mental structure (e. g., the Campidoglio) but where the
stairs themselves become the visual and spatial center. The
free-flowing stairs are framed at both sides by houses of
average height and articulated through landings which in-
terrupt the successive steps. After the initial four sections
of curved steps a larger landing provides a major stop
around which the stairs divide. A platform extending over
16. the whole width collects the movement to split it again into
two ramps which end on the upper street level in front
of the church.
The three-dimensional organization of the stair-piazza
with its curved subdivisions, clearly marked by banks and
balustrades, each time insert a fermata in movement which
shifts the direction of the advancing visitor and his vista
continuously. This organization represents the last stage of
the High Baroque: the introduction of a forceful bilateral
counter-movement, more than a mere arrest, against the
earlier unilateral movement which was the ideal of the 17th
century.12
The piazza in front of the Fontana Trevi (by Niccolo
Salvi and the sculptor Pietro Bracci after an earlier project
FIG. 7. Rome. Square, San Ignazio, plan.
FIG. 8. Rome. Piazza and Scala di Spagna, plan.
MINOR PillH
I HU7AM
12 Journal of the Society of Architectural Historians, XIV, 1
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by Bernini), an overwhelming interplay of architecture
17. (static), sculpture (semistatic), and water (fluid), melting
into one brilliantly orchestrated three-dimensional com-
position, represents a last echo and condensation of these
three-dimensional concepts of the High Baroque (Fig. 10).
The gable wall of the Palazzo Poli, more than 50 yards
broad, offers the background for an illusory facade whose
columns and niches, architraves and aedicula are genuine
but whose window openings are faked, partially painted,
partially in relief. From this fagade's gigantic central niche
Neptune descends in his chariot, drawn by prancing horses
and lead by Tritons. The fagade with its severe architec-
tural order rises from seemingly natural rock which at
the same time serves as the playground for the dramatic
and lively performance of the sculptured figures and ani-
mals-all enveloped into the movement of the falling water.
The piazza proper, small as its two-levelled space is, must
be perceived as a kind of secular parvis for the fountain.
It is subdivided into an area opposite the fountain, actually
not much more than a broadened street, and a level, ten
steps below, framing the quiet surface of the basin which
arrests the thundering whirl of sculptures, rocks, and
water. Since none of the small incoming streets prepares
for the sudden grandiose stage effect, here the element of
visual surprise is most effectively employed.
COOPER UNION
1. Corrado Ricci, Baroque Architecture and Sculpture in Italy,
New York, 1912.
FIG. 9. Rome. Scala di Spagna. (EPC, Rome)
Richard Norton, Bernini and other Studies in the History of
Art, New York, 1914.
18. A. E. Brinckmann, Baukunst des 17., und 18. Jahrhunderts in
den Romanischen Liindern (Handbuch der Kunstwis-
senschaft), Berlin-Neubabelsberg, 1919.
Stadtbaukunst (Handbuch der Kunstwissen-
schaft), Berlin-Neubabelsberg, 1920.
, Plastik und Raum als Grundformen kiinstle-
rischer Gestaltung, Berlin, 1924.
Hans Rose, Spiitbarock, Munich, 1922.
H. Willich and Paul Zucker, Baukunst der Renaissance in
Italien (Handbuch der Kunstwissenschaft), Berlin-
Neubabelsberg, 1927.
T. H. Fokker, Roman Baroque Art, London, 1938.
Nikolaus Pevsner, An Outline of European Architecture, New
York, 1948.
2. Pierre Lavedan, Histoire de l'urbanisme, Renaissance et
temps modernes, Paris, 1941.
Camillo Sitte, The Art of Building Cities, New York, 1945.
Raymond Unwin, Town Planning in Practice, New York, 1932.
3. Thomas Ashby, "The Capitol, Rome. Its History and
Develop-
ment," The Town Planning Review, Vol. XII, No. 3, 1927.
4. Thomas Ashby and S. Rowland Pierce, "The Piazza del
Popolo. Its History and Development," The Town Planning
Review,
Vol. XI, No. 2, 1924.
19. Guglielmo Matthiae, Piazza del Popolo, Rome, n.d.
5. Heinrich de Geymiiller, Les projets primitifs pour la basil-
ique de Saint-Pierre de Rome par Bramante, Raphael Sanzio,
Fra-
Giocondo, Les Sangallo, etc., Paris, 1875-80. (Basic.)
Paul Marie Letarouilly, Le Vatican, Paris, 1882.
Andrea Busiri-Vici, La piazza di San Pietro in Vaticano,
Rome, 1893.
6. Stanislao Fraschetti, Il Bernini, la sua vita. .. Milan, 1900.
Richard Norton, op. cit.
Heinrich Brauer and Rudolf Wittkower, Die Zeichnungen des
Gian Lorenzo Bernini, Berlin, 1931.
7. Carlo Fontana, Il Tempio Vaticano e la sua origine, Rome,
1694.
8. A. E. Brinckmann, Platz und Monument, Berlin, 1923. (Of
opposite opinion.)
9. Hans Rose, op. cit.
10. Eberhard Hempel, Franscesco Borromini, Vienna, 1924.
Hans Sedlmayr, Die Architektur Borrominis, Berlin, 1930.
11. Paul Zucker, Die Theaterdekoration des Barock, Berlin,
1925.
Corrado Ricci, La Scenografia Italiana, Milan, 1930.
A. Hyatt Mayor, The Bibiena Family, New York, 1945.
12. T. H. Fokker, op. cit.
FIG. 10. Rome. Trevi Fountain. (G. B. Piranesi)
20. Space and Movement in High Baroque City Planning 13
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Contentsp. 8p. 9p. 10p. 11p. 12p. 13Issue Table of ContentsThe
Journal of the Society of Architectural Historians, Vol. 14, No.
1 (Mar., 1955), pp. 1-32Front Matter [pp. 1-2]Marcevol and Ste.
Eulalie [pp. 3-7]Space and Movement in High Baroque City
Planning [pp. 8-13]Tazewell Hall: A Report on Its Eighteenth-
Century Appearance [pp. 14-17]Detlef Lienau, an Architect of
the Brown Decades [pp. 18-25]American NotesBaltimore
Mansion, 1801-03 [pp. 26-28]The West Indies [pp. 28-30]Notes
on Natchez [pp. 30-31]SAH News [pp. 31-32]BooksReview:
untitled [p. 32]Books Received [p. 32]