Documente Academic
Documente Profesional
Documente Cultură
University of Waterloo
School of Architecture
2014
WALL
WORKS
ROMA XXXV
University of Waterloo
School of Architecture
2014
WALL
WORKS
CONTENTS
1 Intro
23 Sites
25 Typologies
© University of Waterloo
School of Architecture 27 Perpendicular
7 Melville Street South 59 Parallel
Cambridge, Ontario N1S 2H4 85 Underground
University of Waterloo 97 Vertical
Rome Program
Piazza S. Apollonia 3, 00153 129 Grafting House
Rome, Italy
The University of Waterloo Rome Programme aims to and corresponds to the dark Museum of the Walls (now closed.)
address the city of Rome as one of the most significant learning Some of the most monumental gates, such as the Porta Maggiore,
experiences in architecture and urbanism. Within the curriculum of are isolated within circuits of vehicular movement. Some places
the School of Architecture, The Rome Program is seen as a moment that are important within the history of Rome, such as the breach
to confront notions of urbanity in a highly significant physical and of Porta Pia, are left to themselves along the perimeter of the walls.
cultural context. Rome certainly presents lessons for architecture These sites lack any visual demarcation to relay their import in
and urbanism. It can illustrate and present, like an open text-book, Rome’s urban heritage, and remain potential sites for future urban
the relationship between urban morphology, architecture typology, development.
and the challenge of designing within a specific context. Thus the This project aims to give the Aurelian Walls the importance
term will be theoretically structured around the critical relationship that they should have for the city of Rome. It proposes a sustainable,
between design and context, as a paradigm for contemporary design. secure, and continuous pedestrian and cycle path- Wall Walk - that
In an attempt to avoid self-referential solutions or object buildings, would allow visitors to enjoy one of the biggest and most important
the work of the Studio will be consistently oriented towards the monuments of the city unique in its entirety.
search for a strong dialogue between the physical and metaphorical Moreover, there are many residual spaces along the
forma urbis of the city and the new architecture that it contains. Walls that could be re-generated and re-used as spaces of cultural
The theme of investigation of the 2014 Waterloo Rome significance. We have envisaged that some of these sites would
Programme is one of the most important in Rome, as represented by become new cultural hubs for the city, and could be places where the
the Aurelian Walls. An initiative called Wall Walk has been recently history of the city could be relayed through thematic references and
launched as a multidisciplinary project that interprets the Aurelian narratives.
Walls as a paradigm of the city of Rome. In fact, the Aurelian
Walls have always been a symbolic and historical permanence
through the long and complex history of the city. Many parts of the
urban landscape of Rome have been lost or transformed over the
centuries, but the enclosure of walls built by the emperor Aurelian
in just five years, from 270-275, have survived mostly intact to
this day. Originally a defensive element of the city, the walled
perimeter has now become a kind of linear tape that runs through
Rome: sometimes incorporated into the urban fabric, sometimes
accompanied by arteries of movement, and sometimes visible within
a natural landscape. Its character and visibility changes depending
on context, but the Aurelian Walls retain their charm, symbolic and
monumental integrity because of their highly recognizable character.
Today, it is almost impossible to walk continuously along
the entire length of the wall, which is almost 19 km long. There are
interruptions, obstacles, and tortuous paths that make full navigation
difficult. The interior walkway is accessible only for a short distance,
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3 4
The New Grand Tour
-Lorenzo Pignatti
The grand tour is a phenomenon and term originating in the 1970s. Most of the university programmes originated in North
the 18th century as a fundamental learning experience, and almost America, although more sporadic initiatives have been developed
represents a type of initiation. The tour – undertaken by artists, in Germany, Switzerland, the United Kingdom and the Middle East.
architects, sculptors and scholars of arts and letters – usually I believe this fascination with Rome emerged in the late 1960s
includes Italy. thanks to significant figures in the transatlantic architectural culture
The grand tour was not actually new at the time of its of those times: Robert Venturi and Collin Rowe. Following his stay
association. It goes way back to the 15th century, when its motivation at the American Academy in the mid-1950s and his subsequent
was a diverse number of interests. Individuals were inspired by the publication of Complexity and Contradiction in Architecture (1966),
birth of humanism, the invention of perspective, and a fascination which was extensively inspired by Rome, Venturi redirected the
with classicism. Since the Renaissance, many architects have visited focus of architectural thought back to history. Similarly, with
Rome to sketch the ruins and learn from antiquity. Palladio drew Collage City (1978), Collin Rowe advanced theories on urban-
the Roman baths and then referenced them in his principal church planning design based on a process of collages and accumulated
and villa designs. In the 18th century, Piranesi was obsessed with fragments, his ideal model of this paradigm being Hadrian’s Villa.
antiquity and poured amazing creativity into his portrayals of the North American culture subsequently discovered an interest in
world and architecture of Rome, making interpretations that were historical legacies and their fragmentary and unfinished nature. In
half reality and half fantasy. Le Corbusier saw his visits to Italy as the late 1980s, an important issue of Precis magazine, published
crucial moments in his professional development. In 1911, a grand by Columbia University, entitled The Culture of Fragments (1987)
tour took him first to the Balkans, then Greece and finally Italy. This spoke of a new cultural stance in which the unfinished and
allowed him to closely study classical architecture and visit locations seemingly structurally unstable fragments are presented as a new
such as Pompeii, Rome, and Hadrian’s Villa. reference for a post-structuralist vision of architecture. Plans of
The stereometric forms of Roman architecture, the linear archaeological sites are found in drawings by Franco Purini, in plans
silhouette of the Belvedere Courtyard overlooking the city, the by Daniel Libeskind and in the fragmentary nature of some of Rem
mighty arches, the terracing and the great walls, as well as his Koolhaas’s early designs.
famous drawing of the wall of the Pecile at Hadrian’s Villa are some North American architecture programmes make trips to
of the most forceful images published in his Carnets… Italy or cities such as Rome as an educational experience. Rome
In Toward an Architecture, which features Le Corbusier’s and Italy are the main destination for North American students
famous sketch based on Pirro Ligorio’s view of Rome, he noted: who place a critical and profound form of “academic tourism” at
“The Lesson of Rome is for the wise, for those who know and can the core of their education. More than ever before, today’s students
appreciate, for those who can resist, who can verify. [...]. To send need certainties and must cope with realities. They are enraptured
architecture students in Rome is to cripple them for life. The Prix de by personally touching ancient architecture and jotting down their
Rome and the Villa Medici are the cancer of French architecture.” impressions in Moleskine notebooks. They are fascinated when they
Rome is not for the superficial or semi-educated. Intensity and grasp the scale and monumentality of the historical buildings. They
critical depth are required to fully grasp the lesson of Rome. love the metaphorical references, narrations and interpretations, and
Today, the lesson of Rome is also re-examined and re- the innovation and technology in the architecture of times past.
interpreted in light of the growing number of universities that have
launched study programmes in Italy, particularly in Rome, since
5 6
At the 2014 Venice Biennale, even one of the leading
advocates of globalisation, Rem Koolhaas, recorded his interest
in the Renaissance (and Michelangelo’s Laurentian Library in
particular) on the floor of the Corderie. Not long ago, he revisited it
to study it in greater detail. He eventually declared that the lesson
of the Laurentian Library is like “a dish best eaten cold and in
small doses.” This leads us back to Le Corbusier, who considered
Rome (or history) the damnation of all those who are hurried and
superficial, who do not wish to know and verify, and those who do not
want to devote the required time to properly understanding.
According to the new Master Plan of Rome, the Aurelian and demolition. The city around them has grown by marking those
Walls are one of the city’s infrastructural signs that will be strongly morphological and functional differences, and the Walls in turn have
invested in during future processes of transformation. grown by becoming a terrain vague, a depleted land.
The Walls are recognised as a “primary urban structure” Up until now, the Walls are still a magnet for urban action.
that plays a central role in the rehabilitation of the historical city and The line of the Walls identifies with the City itself, with its rules and
its physical forms. They should be restored and maintained but their its intensity of urban conditions. The Walls are not only a formal
role should be also redefined, possibly with new meaning and new figure that display its intrinsic ability to represent dichotomies. More
purpose. Therefore, the Walls are considered here from two points than that, the Walls perform their builder’s role of focal points, and
of view: one which strictly regards the issue of preservation, and of centers where the city’s discontinuity arises.
another which promotes the use of the walls for the dynamic of urban Today, the Walls could not be read in the light of their
mutations. The latter is what we are looking at, creating a moment original program and could not be treated as archeological artifacts
when those historical archeological monuments could escape their separated by the process of urban production. The Walls should
life of preserved fragments, reduced to left over pieces that inhabited not be exclusive objects of conservation and restoration. Their real
residual spaces of marginality. potential should be released.
Almost 20 kilometers long, the walls of Rome are still Working on the Walls means to assume this artifact as
standing. This long line of preserved gates, bastion and towers, paradigm of the city itself, to recognize the multitude of situations
broken at the crossing of the consular roads, runs smoothly above that exist around them, to engrave on them and to acknowledge
diverse topographical conditions. It demonstrates a beautiful once more the fragmented nature of the city, and its archipelago
layered history, which includes additions, erasures and physical configuration.
transformation. The value of the following projects lies in the exploration of
More then a linear structure that cuts the city, the walls various modes of intervention on/in/around/near the walls with the
are a sequence of events; a string with knots that were kept finality of breaking this frozen moment in history and interrupting
together by the political act of closing off and defending the city. the process of embalming of the monument.
The whole character of the Walls corresponded to that single and The life of architectural objects depends on their incessant
straightforward purpose. With the disappearance of its original use: a ceaseless flow of re-use that could be both about spaces and/
symbolic value, the Walls miss their role and become purely or materials. It is necessary to overcome an idealized version of
sequence of varied urban situations. History, sterilized from everyday life and minor histories. The spaces
It could be said that the Walls lost their purity (in of the Walls should be re-invented giving new meaning and direction
intention and form) and that, today, they do not have an unitarian to the monumental artifact and to the zones of abandonment that
character. But since their origin, at least formally, that single surround it: the dismissed city and the dismissed archeology nourish
character was not there: they enclose others, tombs, amphitheaters, each other.
aqueducts; they appropriate parts of the city, built and un-built
areas. Afterwards, when they lost their defensive role, that inner
quality of accumulation and overlap rose to the point that the Walls
became a precinct ready for further fragmentation, construction
9 10
The Wall as Architecture, Symbol and Idea:
Rome and Campanella’s Poetic City of the Sun
-Tracey Eve Winton
In 1644, Pope Urban VIII augmented Rome’s Aurelian interior, the higher and lower walls of the city to be adorned with the
Wall, the city’s third-century defensive boundary, fortifying finest pictures, and to have all the sciences painted upon them in an
Trastevere and the Vatican with his Janiculum Wall. In Baroque admirable manner.”
culture, the wall became a key armature for displaying and His solar city resembles a classical labyrinth with its
embodying knowledge and order. How walls shift in meaning from seven circuits, the circle and the cross, a template of cosmic order.
defensive structure to heuristic and didactic is demonstrated in a Its configuration recalls the myth of biblical Jericho (“a city in the
book that Dominican monk Tommaso Campanella (1568-1639) wrote shape of the Moon”) and the fall of its famous labyrinthine walls.
during the 26 years he languished in lightless Inquisition prisons Copernicus’ new heliocentric world picture moved the locus of
charged with sedition and heresy. highest power to the centre of the universe, which the Sun —an
In 1602, Campanella wrote A Poetic City of the Sun. The established symbol for God — now held. Campanella saw the Sun as
Idea of a Philosophical Republic. His utopian vision, influenced the divine source of all life, and his scheme reflects and illuminates
by Plato’s Republic, demonstrated civic justice through permanent this modern hierarchy. His theurgic architecture is a giant magical
geometrical order registered in the architecture of the city, giving talisman that draws down heavenly powers to benefit its citizens
new dimensions to the ideal commonwealth genre. Situated on a through its geometrical figuration, enhanced by specific qualities of
hill, his ideal city unfolds radially from a spacious piazza at the top the objects and images which similarly act as amulets.
centred on a circular domed temple, cascading down the slope in The Emperor Aurelian also built a Temple of the Sun at
seven concentric rings of inhabitable walls constructed of palaces the heart of his walled city, refounding the city of Rome as a vast
and promenades. Each wall is named after one of the seven planets, solar symbol, the umbilicated circle carved on Roman funerary
so that the city is presented as a map of the solar system. On the monuments as a symbol for eternity. Following this figura sacra,
plain below, the outermost wall forms defensive bastions fortified Campanella’s urban walls, encyclopedically embellished recto and
with massive earthworks. Four radial streets lead from the centre verso to present all of Creation — mineral, vegetable, and animal
down to gates facing the cardinal directions. — as well as man’s historical achievements, are organized by
The city walls are ornamented, exterior and interior, with resemblance and difference into every division of human knowledge.
objects of knowledge. They resemble an early museum, or an inside- This forms his schematized memory city around the temple, whose
out anatomy theatre. The result is a memory theatre at the scale of architectural surfaces depict the stars. The building at the centre of
a city, surpassing the small edifice Giulio Camillo built to help the the universe is a synoptic artifact that is also the luminous source
King of France recollect the entire universe. Camillo had theorized of all around it. Inside the temple, seven hanging lamps of eternal
that one could pattern the human memory on the cosmos itself. Using flame model the solar system, and on its altar, under the oculus,
architecture to structure his edifice of knowledge, one could express stand two globes: the Heavens and the Earth.
by means of corporeal signs all invisible things that the human mind Like the Divine Creation, light from within creates
could conceive. On account of this corporeal viewing, he called form by radiating into the world of matter, demonstrating how
it a theatre. Whereas Camillo encoded universal knowledge in Renaissance perspective reveals the true lineaments of reality.
enigmatic memory images, Campanella directly presented the things Here the radiance is manifested in architecture: for Campanella,
themselves, cued by Renaissance naturalism and recent scientific along with metalworking, building was one of the two supreme arts.
pursuits towards uncovering the secrets of Nature. When this wasn’t Architecture was the paradigm for absolute knowledge, revealing the
possible, artistic naturalism and perspective offered introspection unity of knowledge and its proper divisions. Learning took place by
of a thing’s divine lineaments: “Wisdom … causes the exterior and inhabitation: dwelling, walking, looking, and cogitating.
11 12
shows trees and herbs, with a living specimen of each plant growing
Paleochristian and medieval builders had embedded into walls in earthenware vessels. On the exterior, species of fish are shown.
architectural spoils and fragments of classical buildings, construing The fourth wall depicts birds on the interior, while the exterior wall
this activity in terms of bodily resurrection. In the seventeenth features creeping animals, from dragons and serpents to insects and
century, in the emerging institution of the museum, representation worms. On its inner surface the fifth wall shows larger land animals,
operated at the collective scale, where a growing assembly of while the outer face depicts living creatures of immense magnitude.
finite objects continuously approximated the unknowable, infinite The sixth circuit shifts from natural history to human history: on
universe. Early collections (by Imperato, Besler, Worm, Kircher, the interior wall all the mechanical arts and their inventors are
Ashmole, Cospi, Calzolari, Olearius, etc.) displayed artifacts and illustrated, along with their instruments. The exterior commemorates
objects of natural history arrayed ornamentally over the architectural inventors in science, warfare, and law, and great men including
interior. Eventually, these objects integrate with, then deepen or Moses, Pythagoras, Solon, Christ and the Apostles, Mohammed,
‘fold,’ the mural surface. Ultimately objects react with each other — with other Greek and Roman gods and heroes. The seventh circuit
the early roots of Surrealist juxtaposition and montage. is simply a fortification holding back the prima materia of the
Baroque building shows this integration; Carlo Maderno’s unordered world.
courtyard at Palazzo Mattei in Rome is a masterpiece. Campanella In 1629 Urban VIII freed Campanella to become his
reinvented the city as a chambered world of wonders and marvels, personal astrologer. Together they made plans for a universal
arcana and exotica, mixing symbolic, iconic and indexical monarchy to be headed by the pope: Rome was to become the City
representation. His impossible project represents the infinite of the Sun on Earth. The utopia did not materialize in time, and to
universe by a finite number of things. Nicholas of Cusa’s model of escape the Inquisition, in 1634 Campanella fled in disguise to the
human knowledge figured a many-sided polygon inscribed in the court of France. There he surely influenced Rene Descartes, whose
circle of Divine knowledge, symbol of perfect unity: man’s figure 1637 Discourse on Method employs idealized architecture and
approaches the circle ever more closely but never can arrive at the geometrical urban form as a key metaphor for systems of knowledge.
goal. This city not only models the heavens but also the world of One year after the ascension of the Sun King in France, and shortly
human understanding, and its relation to the heavens. Campanella’s after Campanella’s death in exile, his friend Urban VIII constructed
circular walls are composed of palaces, of rectilinear stone blocks. that unreadable, fragmentary trace of his memory on Rome — the
But the objects still multiply in their myriad permutations and Janiculum Wall.
combinations.
The sequence of temple and mural circuits stages the
creation of the world in Genesis, beginning from the Word of God
that creates Light. The interior of the first circuit (facing the temple)
shows mathematical figures, while the exterior depicts the entire
earth seen in conspect, and every country’s alphabets, laws, and
customs. On the interior of the second wall are stones, minerals,
and metals; geological samples are inset. The exterior shows seas,
rivers, lakes, and streams, wines, oils and other fluids; built into the
wall are vessels of pharmacological liquids, while all the phenomena
of the air are carved into the stones. The interior of the third wall
13 14
Walls as Profanation and Remembrance:
Matta-Clark and Wang Shu
-Caterina Padoa Schioppa
In “The Wall and the Books” (2000) Jorge Luis Borges ennobling what society discards, Matta-Clark has anticipated a
depicts an odd and unprecedented portrait of the first Chinese theme – i.e. the architectonic re-use and recycling – later embraced
Emperor, Shih Huang Ti, who became universally famous for the by practitioners, philosophers, scientists, politicians.
construction of the Great Wall of China between 220 and 206 BC. Chinese architect Wang Shu in 2008 has followed this
He is also renowned for the burning of all the books before him: an them, using bricks stemming from a demolition work for the
annihilation of history and of the past. These two gigantic operations construction of the Ningbo Museum of History.
are somehow intertwined, as those who were found concealing books Shu, in fact, applied to a whole building – both as an ideal
were branded with a red-hot iron and condemned to build the wall and a practical response to the local economic constraints – the
until the day of their death.“ Perhaps the wall was a challenge and Chinese tradition of readapting bricks, tiles and stones left after
Shih Huang Ti thought: earthquakes or typhoons to repair damages. If, on the one hand, as
the architect explains, such practice “introduces a history in the
‘Men love the past and I can do nothing against this love, nor can construction, giving to the wall an ‘overdose of time’ without having
my executioners, but some time there will be a man who feels as I do, and he to wait for aging”; on the other hand, it condemns the demolition of
will destroy my wall, as I destroyed the books, and will erase my memory and historical districts to leave room for new developments in the new
will be my shadow and my mirror and will not be aware of it’.” China.
Shu uses bricks as do Louis Kahn and Eladio Dieste,
With his poetic style, Borges introduces the ambivalent, let not as an “adversary that has to be overcome” but as poor, almost
alone paradoxical, meaning of walls. Walls segment physical, mental anthropomorphic partners to play with.
and even temporal space producing infinite couples of opposites: Ningbo walls create unpredictable and differentiated
inclusion / exclusion, safety / fear, public / private, beginning / end, surfaces, but foremost they structure an astonishing public space
memory / oblivion. Walls are incredible devices where contradictory where history is showed through a daring, transitional and nomadic
actions take place. Actions of constructing and destructing at the experience.
same time, actions of profanation and actions of remembrance. Beyond the stable demarcation bounds that walls may
The urban performances of Gordon Matta-Clark were define, this “in-between space” behaves indeed as a frontier, that
influenced by the 70s’ cutting-edge art in a deeply radical way. is as a dynamic entity, a no man’s land where most cross-cultural
Through perforations, incisions, cuts and removals, by opening mixing may occur. In this way, Shu builds a fortress, which is also a
“a breach through a state of closure”, Matta-Clark has actively powerful, imaginary bridge between past and future.
desecrated not only the wall as an artefact, but also the domestic
space which the wall was protecting and hiding. His surgical
operations on facades, roofs and floors show the guts of intimacy and,
at the same time, his cutting subverts the viewer’s mental frame and Short extract from Wall Stories. In G. Bertelli, M. Roda (eds.)
expectations, disorients and modifies the relationship between the Landscape in Sequence, Dwelling the Wall. Santarcangelo di
architectural inside and outside. With the aim of revitalizing spaces, Romagna, Maggioli, 2013.
it frees from decay and anonymity what can still be transformed
into living material for artistic performances, destructs conventional
urban behaviours and dogmatic semantic meanings. Indeed,
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Rock ‘n’ Wall:
Designing the Absence
-Francesco Mancini
How to question the role of the urban monument in the invasions. While the older Servian wall was physically erased, the
contemporary European city today? Challenging the generic concept Aurelian wall has survived over centuries after losing its defensive
of a city as a set of fundamental structures/infrastructures might function. It has become a linear tape that has registered many
lead to question urban identity beyond the evidence of stable historical events along its perimeter, events that are made visible
neighborhoods over time. by the historic process of transformations, repairs and adaptation to
contingent urban conditions of the city.
“The inferno of the living is not something that will be; if there is
one, it is what is already here, the inferno where we live every day, that we From the Metaphor of Absence to the Project of Absence
form by being together. There are two ways to escape suffering it. The first Despite its permanence over time, the wall with its
is easy for many: accept the inferno and become such a part of it that you transformations also speaks of a twofold history of the city of Rome,
can no longer see it. The second is risky and demands constant vigilance both physically and metaphorically: a history of Presence - what
and apprehension: seek and learn to recognize who and what, in the midst of stayed as permanence over time - and a history of Absence – what
inferno, are not inferno, then make them endure, give them space.” went lost or was never accomplished. This twofold history calls for
Italo Calvino1 further investigations, if one wants to propose an alternate identity
for the wall, complementary and not mutually exclusive with its
Museification vs. Social Condenser original one and with the identity of contemporary Rome.
The value of the historic city of Rome, still today, is often As a presence, the wall is undeniably there, but it is
identified with the historic and artistic value of its monuments in a certainly perceived more as an obstacle to the continuity of the city
very abstract sense, which sometimes represses the capacity of those than as a sign of that same continuity. As a sign of absence, the wall
monuments to act as social and urban condensers, as real artifacts can be considered from a different point of view: it embodies the
that embody their important past as a contemporary condition. visible trace of the unaccomplished development of Rome as the
A rigid interpretation of historic context suggests the capital of the modern Italian state, since it contains the persistence
historic city as a museum of itself, one in which the historic of a contradictory series of decisions that took place and, at the same
monument cannot be part of daily life or make a real contribution time, never happened. The most important one is wall demolition.
towards the identity of the current city. While Haussman in Vienna replaced the wall with the Ring, an
urban void to preserve power, in Rome, the void of real power
Which Wall? divides the center from the periphery, leaving the wall almost intact,
In this respect, the Walls of Rome – the Aurelian Wall but ignoring it at the same time. Paradoxically, as if the wall was not
of Rome, the Leonine Wall, the Vatican Wall and the Baroque longer there, in over the years it was cut, perforated, supported by
Wall offer a great opportunity to rethink the relationship between artificial clamps, kept in artificial life by parasitic interventions and,
monument and the city. Many parts of the urban landscape of Rome at the same time, murdered in its own essence. The wall segment
have been lost or substantially transformed over the centuries,
losing their original consistency and substance. Apparently this
did not occur to the most massive boundary wall of Rome, that was
initially built by the emperor Aurelian in five years (270-275 BCE)
as a 19km long ribbon of bricks to defend the city from barbarian
17 18
at Porta Salaria is the most destroyed and the most preserved. The
wall segment at Porta Metronia is the most preserved and the most
unknown. The wall segment along the Tiber and the Janiculum hill is
the most absent and perhaps the most regretted. The wall segment at
Villa Medici and Villa Borghese is the most exhibited and the most
subdued.
From this perspective, the walls lacks any clear destiny,
as does Rome itself: the most truly terrifying future that one might
imagine. This void of meaning is the condition to change towards a
consideration of the wall once more as a single urban infrastructure,
with as many identities as its fragmentary segments. Placed in
between the historic and the contemporary city, the wall has always
been capable of absorbing memories from the past, including even
its negation as a whole. For this reason, it is now time to allow the
wall to speak about its differences and complexities, standing as a
metaphor for the identity of the multicultural contemporary city in
which it is located. The aim of such a design could consequently
focus on giving breath to the wall voice, designing the space around
it. Designing the absence.
19 20
21 22
Sites
3
2
1 1.Testaccio
3. San
Giovanni
23 24
Typologies
Architecture design studios typically function according to a Projects which were less concerned with this urban
linear pedagogical method: a design problem is posed to the students, distinction between inside and outside the wall often chose the
accompanying material is taught, the students struggle with the massing strategy we call Parallel. Here, the project is characterized
problem, frequently receiving feedback until they formally present by running along a portion of the wall. They are often on one side of
their solution, which is critiqued, and graded. That is usually it. the wall, and do not break through the historic structure. Here we
However, if this process were to fold back on itself, we also have the see more veneration for the wall as a structure and piece of Rome’s
possibility of creating a feedback loop. With a class of approximately history. The linear massing of these designs means that most of
70 students all working on one design problem, the different the spaces are organized in relation to the Aurelian wall and often
variations of their solutions is a valuable document to understanding highlight its texture, colour, linearity and thickness.
the original question. We have the opportunity to think of this work as Both the Perpendicular and Parallel typologies are very
qualitative data set from which we can map patterns and extract new concerned with how the architecture relates to the Aurelian wall.
conclusions. The next two typologies - Vertical and Underground - are much more
The topic of the work done by the University of Waterloo focused on either the immediate or distant urban contexts.
School of Architecture Rome program was the Aurelian wall. The The Underground concepts, which were the most rare
projects were spread out over three different sites in Rome; however, type, were almost entirely found on the San Giovanni site. Here the
all sites had the wall cutting through them. This allowed for different environment already contained a beautiful park which students had to
environments of the wall condition to be examined. The resulting contend with. The design of these projects were so concerned with the
body of work offers insight into the specific problem of building near local urban context that in some way they tried to remove themselves
historic structures, the fringe conditions of a city, and generally the from it, and therefore built underground. The forms created here
very nature of walls. reference Rome’s history of building beneath the earth.
We observed that four distinct typologies emerged from the The contrast to the Underground strategy is the Vertical.
semester’s work. These were characterized by geometric relations These projects were concerned less with the immediate context, but
to the wall which differed by rotation in plan and elevation. They rather the larger far reaching condition of Rome. Therefore, they
are, in relation to the wall, Perpendicular, Parallel, Vertical and chose to go up in an effort to connect with it. The vertical typologies
Underground. Underlying these typologies are ideological positions work in two ways: as place to see the city, and as an object to be
towards the Aurelian wall’s history, form, the local urban condition, seen. Therefore, we see lots of observation towers, and a careful
and the extended site of Rome. orchestration of views. Then, as an object, there is an attempt to
The four projects shown in the Perpendicular strategy, are iconographically ground the building by nearby structures, like the
a sample of the works which chose to cut across the wall. In these gasometers and the Pyramid of Cestius.
projects, we largely see a concern with the distinction between inside By bringing these projects together in this way, we hope that
and outside the wall and the city. Often, this type is manifested in a new tension will develop between the designs revealing new ideas.
the creation of a new break and point of passage across the wall. To
highlight this rupture, a large piece of building program was placed at
the break, which created a new object within the wall similar to other
structures originally built into the wall, like the Pyramid of Cestius,
the Amphitheatrum Castrense, and the Castrum Praetorio.
25 26
Perpendicular
27 28
-Alex Robinson
29 Testaccio Testaccio 30
31 Testaccio Testaccio 32
33 Testaccio Testaccio 34
-Jack Lipson
Stephane Gaulin-Brown
35 Testaccio Testaccio 36
37 Testaccio Testaccio 38
39 Testaccio Testaccio 40
-Janice Woo
Rachel Kim
47 Testaccio Testaccio 48
49 Testaccio Testaccio 50
51 Testaccio Testaccio 52
eternal city
eternal wall
53 54
WALL THAT
ONLY KEPT OUT
ARCHITECTURE
– NOT the CARS,
TRAINS, BOATS
OR EVEN THE
BARBARIANS.
55 56
nature,
resident of
the wall, is
taking it down
piece by piece.
57 58
Parallel
59 60
-Monica Lalas
Sheelah Tolton
61 Testaccio Testaccio 62
63 Testaccio Testaccio 64
65 Testaccio Testaccio 66
-Ronald Tang
Tramira Garach
79 80
Be like a
Walk like
wall
a wall
Make love
like a wall
Make art
like a wall
Talk like
a wall
83 84
Underground
85 86
-Jennifer Yong
Emily Guo
-Slavoj Zizek
93 94
fence:
small or
impermanent
wall
95 96
Vertical
97 98
-Liwei Wang
Michelle Piotrowski
123 124
“I say; regard the
foundation terrace
and examine the
masonry: is it not
burnt brick and
good? The seven
sages laid the
foundations.”
- Epic of gilgamesh
125 126
Walls beget
more walls
127 128
The concept of grafting is certainly peculiar and
interesting, specifically within an architectural discourse.
Grafting indicates the insertion of something into something
else, a sort of new life that is given to an existing entity, both
animated or unanimated.
In a country like Italy and specifically in Rome,
there are so many layers of inhabitation, construction and uses
Grafting House that have been created over the centuries; the contemporary
architectural design is never an intervention within a tabula
rasa, but is rather the addition of another layer or the
consequence of an act of grafting into the existing.
Cino Zucchi, the curator of the Italian Pavilion at the
2014 Venice Biennale states:
The Italian Pavilion at the 2014 Venice Biennale is based on
a simple concept: the observation of a country in which each new project
has to come to terms with such an urbanised territory, such a stratified
use of the city, that is almost impossible to conceive a building as an
autonomous object. While the Functionalism of the last century sought a
“degree zero” and the security of an elementary lexicon in its anxiety to
re-invent a new order, contemporary thinking seeks new goals and values
through a metamorphosis of existing structures.
129 130
-Alex Willms
GLAZING
AXONOMETRIC
1:250 VERTICAL PLANES
HORIZONTAL PLANES
131 132
-Stephane Gaulin-Brown
Existing Condition
GR
J C PAR
Located i
project is
public and
In the sep
semipriva
Structure
wall’s corr
Varying Densities of Panels from 50% to 90% Alignment of Original and New Colonnade Existing Condition
public pro
walkway f
wrap arou
privacy. W
wall on th
hopes to
of the wal
travelers a
Varying Densities of Panels from 50% to 90% Alignment of Original and New Colonnade
135 136
-Jack Lipson
137 138
-Liwei Wang
One enters the house from the south
side off Viale di Porta Ardeatina. An
2F unassuming three-storey staircase leadss
to a pre--existing arch near the top of the
Sleeping Area
watchtower. Through the arch, with a
Sunken Terrace
gap on either side, is the main entrance
of the house.
PLANS [1:100]
CUBE HOUSE
HOUSE FOR A HOROLOGIST
On a
Aureli
to its
gate.
The c
ancie
Contained within the 5x5x5m cube is a void
space in the center (as shown by the grey cube
above). The void is 2.5x2.5x2.5m, or exactly half
of each dimension of the house. All the functions
of the house wrap around this void. Essentially,
the program around the void becomes a sort of
wall - a secondary enclosure. Thus, Horology
House, combined with the existing Aurelian
Walls, is conceived as a series of enclosures
nested within each other.
SOUTH ELEVATION [1:100]
Since all of the circulation and functions of the
house are pushed to an outer “wall”, the daily
path of the horologist is rendered in revolutions
around the central void. He moves in a fashion
similar to the hands of a clock. The interlocking
functions and the small size of the house can
also be likened to the intricate mechanisms of a
timepiece.
AXONOMETRIC EXTERIOR PERSPECTIVE SITE P
139 140
Alex Willms, Alexander Robinson,
Andjela Tatarovic, Andrew Lord,
Andrew Cole, Anne Sewell, Bryce
Clayton, Carly Kandrack, Charles
Ye, Christina Robev, Cynthia Eng,
Danielle Rosen, Danika Irvine,
Elizabeth Laing, Emily Guo, Evan
Borochovitz, Eveline Lam, Evelyn
In 1979 the University of Waterloo School of Architecture Hofmann, Galen Jones, Giles Hall,
inaugurated its Rome Program for fourth year students. The program
has provided over seven hundred Canadian architecture students with
Tony Shi, Haneen Dalla-Ali, Haylie
an opportunity to live and study in the eternal city, arguably the richest Chan, Jack Lipson, Jacqueline Janice
architectural environment on earth.
The profound influence of the Rome experience is reflected
Chow, Cam Parkin, Jamie Banks, Janice
in the work of all the past participants. Students and graduates have Woo, Jennifer Yong, Jeremy Jeong,
consistently referred to it as the most influential experience in their Jiyeon Kim, Joel Piecowye, Justin Lai,
educational careers. There is no place in the world that can bring alive
the essence and intensity of the past better than Rome.
Katherine Holbrook-Smith, Keturah
From the foundation of the Rome Program, the University of Breckon, Kristin Allison, Lea Koch,
Waterloo has played an architectural role in the Italian capital. The Liwei Wang, Lia Tramontini, Louis-
program has involved Italian academics and practitioners, created
links with Italian and foreign institutions and, widely exhibited and
Pierre Belec, Mario Arnone, Maryia
published the work of faculty and students. Sakharevich, Michelle Duong,
The work produced in the Design Studio has always Michelle Piotrowski, Mona Dai,
participated to the architectural and cultural debate within the city, by
trying to offer solutions and projects from a perspective that is distant Monica Lalas, Montgomery De Luna,
and yet attentive to the historical and archaeological nature of the city Natalie Karin Bellefleur, Paniz
of Rome. Moayeri, Patrick Verkley, Pavel
Tsolov, Ronald Tang, Emily Li, Safira
Lakhani, Sam Vickars, Samantha
Willman, Sheelah Tolton, Sheng
Wu, Shu Pui Lui, Sneha Sumanth,
Stephane Gaulin-Brown, Tamara
Paolatto, Trimira Garach, Tristan
Roberton, Victor Cocuz, Victor Poon,
Wade Brown, Yue Qiu, Yunyue Chen