Thinking Over Urban Landscapes

Interpretations and Courses of Action

Pier Carlo Palermo

1 Traces
Tim Richardson (2005a, b) tells us that in New York, where urban green is practically concentrated in a single large park, they are beginning to invent landscapes on the roofs of skyscrapers. Thus, on the roof of the MoMa, an articial landscape has recently been created, made of fragments of glass, marble and plastic (light, not very expensive materials, permitting reversible use). It is an articial garden that not only imitates nature, but also makes fun of gardens that are typical of the urban condition, being inaccessible and even out of sight, except from above like a decoration that has no other aim. An ironic exercise in landscape design. Simultaneously, in the city, a redevelopment project of the old High Line can also be seen, which, on the other hand, seems to want to preserve the ecological character spontaneously taken on by that long-abandoned man-made zone: with the creation, perhaps rather banal, of a sequence of green spaces that are as natural as possible and tend to reproduce a contingent state, without giving a real, critical, innovative contribution, either from the architectural point of view or from that of design. The apparent naturalness of this project might bring to mind, in contrast, the most problematic visions of the third landscape. Gilles Clment, as is known, introduced this notion to indicate all residual and indenite spaces, neither freely anthropised nor subjected to protection, which become a land of refuge for diversities and require particular care (Clment 2004). In these spheres, it is not a question of imposing new order (there will always be residual spaces that escape any will to control them), but of respecting and backing up the emerging possibilities. This is a way not only of defending quality but also of expressing an unusual ethical principle that Clment calls gardeners ethics. For in his opinion, it is not possible to apply the same rules to natural environments that guide social behaviour: laissez faire in the human society leads to lack of balance and taking advantage; in the third landscape it favours harmonisation of the components. In an urban garden, forecasts
P.C. Palermo Department of Architecture and Planning, Milan Polytechnic, Via Bonardi, 20133 Milano e-mail: [email protected] G. Maciocco (ed.), Urban Landscape Perspectives, 2741. C Springer Science+Business Media B.V. 2008 27

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may be respected generally speaking, but they are not usually faithful in detail. Continuous emergences should not be repressed, but supported, showing respect and a sense of responsibility towards the variety of tendencies and relations that often become manifest in unexpected forms. The same attitude should hold for the planetary garden in which we all live, where diversity and quality are increasingly at risk. The garden metaphor continues to attract great attention, also in forms that to me seem more traditional. This has for some time been a decisive category for Bernard Lassus interpretative and projectual work (Lassus 1998; Venturi Ferriolo 2006). It is true that his projects do not just come down to classical compositions, like unambiguous, well-ordered pictures, or limited and above all nite objects (according to some landscape architecture traditions). Nevertheless, his declared will to rediscover forms and meanings by delving into the memory of places, thanks to an in-depth movement, going backwards in time (a millefeuilles landscape), risks ending up being a self-referential process, in which the alleged spirit of places or perhaps the authors sensitivity play a decisive role. The plurality of traces and voices, any conict in interpretations remain at the edge. The involvement of inhabitants is reduced to secondary practices. Lassus studied at length the ways in which landscape inhabitants decorate some of their life spaces, for reasons not of practical use, but above all of symbolic expression (like landscape design microexperiences). Moreover, these are not the only ways, or the most important, in which inhabitants can contribute to transforming the urban landscape (sufce to think of self-construction processes or inhabitant participation in transformation projects). An intentionally partial vision seems also to emerge from the conception Lassus proposes of landscape reordering of infrastructure works. He hopes that a relationship will be re-established with places, thanks to the realisation of pause spaces, able to reveal local landscapes to those who pass through. The motorway should become a garden of discovery. Nevertheless, the places revealed are rst of all those suggested by natural features or by the dominant symbolic tradition. Usually, a real attempt to articulate with emerging meanings and transformations of local contexts, like the evolving social, economic and settlement systems, is lacking. These are some of the limits it could be observed of an inuential tendency of contemporary landscape thought. Other research and experimental trends emerge, however, that cross the elds of architecture. It would be misleading to identify nowadays the architecture of landscape with the traditional art of gardens (Maniglio Calcagno 1983). In Italy, Giancarlo De Carlo has strongly raised some quite radical questions (De Carlo 2005). A typical feature of the Mediterranean city is to live in symbiosis with nature and a multicultural environment. Where a unitary idea of space counts, that does not distinguish between full and empty, internal or external, and becomes a place when it is experienced, shared and transformed by the presence of men. The problem is how architecture can be practised in such a composite, plural environment. Crucial themes cannot be faced following inherited models and prejudices, but by attempts, from different points of view, often still unexplored, so that roots, relations and possibilities may emerge: without separating the single types or elements from the whole of landscapes. The purpose is not to draft single architecture projects, but

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to study the way in which each project can be inserted into the landscape. Which is not the background against which the objects of architecture stand out, but the place and matrix of complex relations in which both the inhabitant and the planner are involved. Even clearer are Pierluigi Nicolins conclusions (Nicolin 2003). The most traditional principles of modern architecture (order, hierarchy, duration and representation) must be questioned. The theme of comparison with forms of nature and the landscape is imposed. Architecture becomes landscape redesign, capable of making hidden forms become visible and making the landscape t the needs and meanings expressed by the emerging cultures. An architecture incapable of matching up to these themes is destined to lose sense and value, until it is reduced to pure landscape infrastructure. If this path is followed, new challenges for the work of the architect will arise. De Carlo shows the importance for the Mediterranean city of homeopathic action limited and specic, but able to produce widespread effects (e.g. actions aimed at collective space which lead to subsequent transformations of individual spaces). Andrea Branzi (2005) conceives architecture projects as enzymes, capable of leading to important territorial transformations, even if they are not conspicuous monuments or symbols: acting not only on forms but on ways of use and meanings. Worthy of note, I think, is the fact that even architects still tied to the modern tradition seem more open nowadays to these suggestions, though they are still convinced that the architecture project requires rigorous foundations. Vittorio Gregotti, for example, emphasises (Gregotti 2004) that landscape and architecture cannot be mixed, but excludes any conception of the landscape as a mere background to the architecture project: each one forms and transforms the other through a reciprocal dialogue. On the other hand, Gregotti himself had already introduced the enzymes of architecture metaphor in the 1960s, be it under conditions and requisites that were more demanding compared with some current tendencies, which express a more reversible, temporary, evolutive orientation (Boeri and Gregotti 2006). Thus, a space for experimenting seems to be opening up on the border between architecture and design, as long as this eld of practice is understood in a non-reductive sense. In this sense, landscape design may also become an original form of dialogue with the context, instead of being limited to simple ornamental games. Widening the eld of problems is not limited, though, to this border. In the face of the ecological crisis and that of quality of environment in urban life, it seems necessary to think again about the approach to urban planning and urbanistics. A new need for division between landscape and urbanism arises. Landscape and open space projects again become a strategic variable, to try to renew the visions shared by an urban community (or rather by the plurality of communities that have to cohabit the same place). This is basically a theme that has already been explored by modern town planning culture, but with hypotheses and solutions that no longer seem suitable today. Nicolin has clearly formulated the problem (Nicolin 2003): how the landscape can become a matrix for planning. Now the rst attempts to gather the most recent experiments and results in the form of new manuals are not lacking (like that recently edited by the London Architectural Association, Mostafavi and Najle 2004). With greater care it could be agreed that this is a crucial eld of advanced research, which still requires further experiences and reections.

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We are therefore faced with a large number of traces, suggestions and challenges which seem difcult to put in order following easy academic, disciplinary or professional schemes. The reference frame spreads from landscape design microexperiments to the most complex, uncertain attempts to rediscover a shared vision of landscape urbanism. The variety and perhaps hotchpotch of languages and reections is not surprising. I believe it is a mistake to accept this permanent ambiguity in an acritical, resigned way, but also to expect that a dominant paradigm be imposed in a short time in such a heterogeneous eld. Whereas a commitment to clarify the multiplicity of interests and points of view seems reasonable and appropriate. Only if partial positions become more evident and rigorous will the dialogue, or at least the dialectic encounter between the concurrent visions, become possible and useful. The variety of interpretations in this eld requires, it seems to me, some subjective position-taking: in respect of the paradigmatic reference frame and the idea of landscape, the most suitable techniques for regulation and transformation and the consequent implications for the disciplinary traditions of planning and architecture. To clarify the differences and perspectives, I think a critical and reective return to certain roots seems essential.

2 Uncertain Paradigms
As is known, the idea of landscape has always presented unyielding ambiguity. It can be referred to profoundly different paradigms that often seem to coexist, in reections or practices, without clear distinction. Furthermore, each one still reveals notable factors of uncertainty that assail its own internal structure. Landscape can be understood as the scrap of reality discernable from a particular point of view but also specic modes of representation. The latter, moreover, can be quite different: subjective up to the point of proving self-referential and ephemeral, mediated by the dominant culture, or concretely expressed according to the positive models of scientic investigation. The often banal popularisation of the romantic idea of landscape usually constitutes the most common documentation of the rst tendency. Scientic visions have been worked out, above all, by an important current of geographic thought and, more recently, by some ecologically oriented schools of planning. If the romantic vision risks always appearing contingent and arbitrary, the scientic one tends towards reductive simplications. The will to explain also what the eye cannot see, i.e. to pick out relations and causes that are not obvious but useful for the aims of control and transformation of the environment, also inspired in Italy, in particular between the 1950s and the 1970s, a vast trend of empirical research of positivist tradition (Zerbi 1993). Results do not seem to have been all that important for some time and expectations are not very promising: a notable repertory is available of quantitative descriptions and taxonomic classications founded on obvious features; less signicant have been the contributions of dynamic and in-depth analysis of relations between physical, biological and anthropological features; overall understanding of phenomena and their evolutive possibilities

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still seems to be limited. To nd a representation that is synoptic and as stable as possible, we end up separating the physical world from the world of human ideas and actions (Berque 1995) and tend to underestimate the point of view and role of subjects. Consequent representations risk having no roots, no intentionality, no interactive possibilities (Farinelli 2003). Between the two families of positions romantic or scientic a vast trend of cultural interpretations of the idea of landscapes arises, and in my opinion these constitute by far the most interesting references (perhaps the only ones today deserving new, deeper research). The idea of landscape is still culturally determined (Jackson 1984). Observation counts not only for eminent landscapes but for the whole territory, including its ordinary manifestations. With a move that was then rather unusual, Jackson invited us to look with interest and respect at any landscape created by human action, without judging it on the grounds of preconceptions, but trying to approach it just as it is, with the tolerance we owe to every expression of individual or collective life (Petruccioli 2006). More recently, in Italy, some photographic research currents (Galbiati et al. 1996) have developed a point of view in certain ways similar, directing a glance full of pietas at daily events, which does not mean supporting a thesis or expressing an opinion, but seeking to restore visibility to ordinary situations that risk being lost, since the capacity for seeing of the subjects seems weaker and weaker in the face of the knot of highly intricate signs to which they are constantly exposed. But this is not the only emerging position. Other authors tend to take responsibility for an interpretation of the signs of the landscape. They therefore inquire into the historic and cultural conditions that affect the way the subject sees (Cosgrove 1984). Or they explore the forms and processes of social signication and communication that can refer from one sign system to another, along an interpretative route perhaps without end (in Italy, Turri 1979). Yet others (e.g. Berque 1995; Roger 1997) appropriately insist on the circularity of these processes: interpretations of the environment and landscape as ways of seeing and representing depend on cultural factors that are the expression of social and territorial organisation, but they can contribute to modication of these factors (and therefore, perhaps, of the organisation itself). Roger, in particular, highlights how the subjects way of seeing depends on the arts that mostly inuence him: life imitates art much more than art imitates life, said Oscar Wilde. The artists creativity generates new visions of the world and he is able to show subjects the spectacle of which they are a part without seeing it, too taken up with conditions and commitments of daily life (on the idea of landscape as theatre, in Italy Turri (1998) can be consulted). The impossibility of nding a foundation for the interpretation and dynamic mediation of the cultural-historic context tends to exclude reverting to the traditional scientic paradigm. The picture appears enormously more complex: it is not enough to observe a state of nature from the outside; it is not enough to observe the world as a spatially settled society; the actual way of seeing and its evolution need to be questioned. Thus, in the different cases the idea of representation is changing appreciably and raising problems that are gradually more complex. For representations can not only give shape to a repertory of ideal models (like certain forms of parks or gardens

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created by the landscape discipline) but also highlight emerging changes in forms and meanings in contemporary urban landscapes. Such dynamic features, often contingent, can cause many traditional models to enter a crisis and require new architectural interpretations, both descriptive and projectual. The most radical difference, probably, is that arising between the (modern) conception of the landscape as a (critical) vision at a distance and the (classical) one of the landscape as a sphere of belonging in which the subject fulls lived experience. The rst presupposes not only a glance from some place, and the will and capacity for representation, but also the need for active distance-taking. The landscape should not be touched, not crossed, Simmel observed (Simmel 2006). The vision is always dynamic and relational, as a temporary outcome of the continuous tension between an unbridgeable gap (the landscape does not belong to the subject) and the will to move nearer, which is expressed by action (you cannot understand the landscape if you do not act). It presupposes a situation of uncertainty and surprise, which raises questions on the real and the possible, and therefore research and discovery underway: just as we begin to get oriented, then the landscape suddenly disappears, like the faade of a house when we enter it, noted Benjamin (Boella 1988). Whereas the second conception is founded on the presupposition that the landscape is not looked at, but lived (to use an expression from Goethe). It introduces an idea of landscape as an ethical reality, which expresses common belonging of the inhabitants of a place (Venturi Ferriolo 2002). The landscape is the place of identity to which the inhabitants belong, a complex creation of a community that expresses its vision of the world (assuming that notions of place and community in the strict sense are applicable for territorial contexts that present more and more atopical, multicultural features). It is a question of two contrasting positions that can take on an idealtypical value but perhaps should not be meant in their extreme forms. To imagine a close-knit territorial community anywhere would probably be careless in this phase. This does not mean expressing nostalgia for the apparent autonomy of the romantic subject and the possible arbitrary nature of his visions. Italo Calvino has claried this point well (Belpoliti 1996): the I is not the subject of the vision, but only a window . . . it looks out from its own eyes as if at a window-sill: out there is the world and here? still the world, what do you think it is. There cannot be a vision that is not mediated by the culture of the place, but at the same time the world cannot look at the world without passing through the I . . . doing without that stain of anxiety that is the presence of the subject. I believe that the most fertile paradigmatic orientation is that which does not presuppose a community and shared ethics where they do not exist, but recognises the need for active glances at a distance: moreover, not autonomous or arbitrary, but mediated by the inuence of a common tradition or at least the context of cohabitation. We must imagine a plurality of situated glances and consequent action perspectives that can raise problems of mutual coherence. The fragmented and sometimes chaotic image of many contemporary urban landscapes probably expresses the uncertain coexistence of a plurality of partial orders, still little understood, the dynamics and interdependence of which create new problems for regulation and the project (Lanzani 2003). In any context, a patient reconstruction seems necessary of the

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emerging points of view, the places and perspectives they express, the reasons and mediation constituting them, the interaction (also conictive) between the many visions and their subsequent modications by open processes of coevolution. The need is felt for multiplying visions to explore any meanings and possibilities in common, if these exist: not just concerning the visible forms (following a reductive notion of landscape as a view), but the ways a local society that has settled in the context organises housing, economics and environment, though remaining anchored to more general networks of relations. The specicity and importance of the notion of landscapes (in the plural) lies, in my opinion, in the reference to some fundamental themes to understand current settlement models and their transformation: the necessary relations between visible forms and coevolutive processes of production of sense, not only horizontal but also trans-scalar; the uncertain balances and dynamic interaction between individual rationalities and collective rationality, i.e. between the plurality of visions and interests in play, and the necessary sharing of the landscape as a common good.

3 Common Goods Regulation

In this conceptual picture, though problematic, I have no doubts about the need to adopt an idea of landscape as a cultural good, namely as a potential common good. Alternatives do not exist, even though the appropriateness of this vision might seem less obvious if the premise of a unitary, shared place ethics were questioned. To adopt this hypothesis means to put to the test in the context the variety of regulation principles and mechanisms that have been experimented in recent years in the eld of cultural goods. A purely binding approach appears clearly inadequate, although a strong Italian tradition of cultural patrimony conservation exists, that has carried out essential functions during the phases of most intense growth of our country. Salvatore Settis (2002) rightly emphasises the fundamental contribution of a secular conservation culture that has managed to protect a rich, widespread patrimony, deeply rooted in territories, as a shared value belonging to the civil conscience. The most precious cultural good of the country is the overall quality of city and territory, landscape and environment, where a large number of specic goods have a meaning and the possibility of being appreciated. However, a protective policy, though it be active, tending to spread knowledge and ensure maintenance, no longer seems sufcient. The Italian problem has for some time been the relaunch of a virtuous course of development, capable of reconciling the growth of competitive efciency with the European directives on cohesion and sustainability. If this is the perspective, the endowment of common goods institutions, capital stock, cultural traditions, environmental situations and, indeed, urban and territorial landscapes becomes a strategic variable of great interest, as Carlo Donolo has shown in a masterly way in various papers (see, for example, Donolo 1997, 2003, 2004). Common goods are not just productive resources but conditions of possibility that play an important

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role in a variety of processes of value creation: development, sustainability, social cohesion, capital stock enhancement, improvement in quality of life. A rich endowment of common goods ensures useful mediation with respect to possible excesses of self-interested behaviour (because it is known that market rationality is not able to guide the management of this family of goods). Also because the availability of common goods contributes to modifying the preferences of the single actors, guiding them on the basis of more sustainable and cooperative values. Thus, it can generate virtuous circuits: a high-quality landscape increases the probability of future care of the landscape, both by direct policies and thanks to widespread forms of self-regulation of behaviour. But we also know that common goods are exposed to incumbent risks of decay and dissipation (the tragedy of common goods), if regulation systems are not adequate. Between the orthodox hypothesis of pure public control (which has already given vastly unsatisfactory results) and the extreme alternative of privatisation or deregulation, a vast eld of principles and techniques exists (Donolo 1997), which should probably not be considered as mutually exclusive: reassignment of rights, contractual agreements, denition of standards and incentives, forms of concerted effort and compensation, third-party arbitration. The hypothesis of resolving problems of quality protection of a landscape by simply attributing ownership of it to a private actor risks being seriously deceptive: both because the risks of oligarchic use of the good are clear and because the denition of a transparent and safely legitimate procedure for individuating the private actors to whom goods of public interest are to be assigned raises serious doubts. Making some uses and behaviours, the subject of contracts involves transaction costs that are often not negligible. Certication and sharing of quality standards is a simple technique that can determine some positive effects on individual behaviours, as it contributes to strengthening the idea that a good endowment of common goods can ensure advantages for every actor living in the context. However, it cannot be ignored that the more intense transformation processes are, the more inevitable it seems that recourse to techniques of negotiation, arbitration and compensation will be. A eld of treacherous experiences looms for the kind of goods being discussed and the substantial lack in our country of an adequate culture of concerted effort between public and private interests. In any case, it would be a mistake to imagine that some instruments may in general be more effective than others. It is always a question of activating suitable combinations of specic instruments with respect to the conditions and possibilities of the context. Formal denition of rules is not enough, without verication of induced or emerging social practices. It is the body of rules and practices that determines the quality and efcacy of a regulative system. Recent experiments of integrated action programmes, with contents both regulative and pertaining to transformation, have not yet given entirely convincing results. However, in my opinion, an innovative perspective can be detected that deserves attention: it is important that the strategic objective is not reduced to the defence of specic goods (in this case, landscapes), but is understood in more radical terms as the search for a more effective process of development, that should improve the value of local

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potential (including landscapes). Namely it seems fundamental to nd virtuous links between regulation and development objectives in order to sustain landscape care.

4 Transformation Projects
This perspective leads to transformation problems being faced on the basis of the same analogy. If the landscape is a cultural good, it might be interesting to explore the ways of treating this category of goods through territorial transformation projects. This is an emerging hypothesis (though still controversial) regarding the general problems of turning cultural goods to account (Ponzini 2005). A purely publicist strategy would nowadays be unsustainable. It seems necessary to frame the possibilities of virtuous promotion of cultural goods rooted in a context within territorial transformation projects able to produce added value in sustainable forms for the context itself. The same idea can be extended, with critical spirit, to themes of urban and environmental landscape promotion. The implicit hypothesis is that this should not be a sectorial problem requiring a separate approach, be it the traditional art of gardens or the new landscapism. The landscape is a critical dimension of each urban project: critical precisely because of the difculty in reconciling plural interests and visions with the nature of common good, and of creating a relationship between the visibility of the apparent forms and the dense, often nontransparent sphere of meanings and interpretations. If it is true that landscapes are not designed (this is the opinion of Eugenio Turri, who is obviously not referring to the particular, rather unnatural case of designer parks and gardens), landscape transformations can be guided not just by the system of rules in force, but also by projectual action with a variety of aims. Which will present the general features of the urban project: as a programme of transformation concerning important parts of urbanised territory, it will adopt a horizon with pluriennial duration, it must respond to agreed requisites (on applications, aims and commitments) and be accompanied by procedural rules (process management is fundamental). Thus, it cannot be a denite product, like an executive architectural project. A capacity for evolutive modication is required in relation to the emerging conditions. The contents are not limited to physical transformations. The social dimension cannot be developed a posteriori, in terms of completion or compensation. The cooperative contribution of professionals from various cultural elds and professions is necessary (it is not obvious who should be the coordinator: not always the architect, not just any architect). Some context requisites are fundamental: leadership and political responsibility, strategic vision and administrative-political commitment (without which processes do not proceed alone), management capacity (a project leader is necessary). On this subject, projects should be involved that match up to the ambiguous, plural dimension of the landscape. Each action on the territory and networks becomes an intervention on the landscape (and vice versa). This principle of reciprocity should be respected by all government actions on the

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territory. It is not enough to consider the parameters of functionality, cost, safety and environmental impact of works, which must interact with contexts from numerous points of view (including those of morphology and landscape). Technical-projectual features and types must be specied in relation to the variety of local contexts and landscapes. A preventive assessment is useful of the effects of the works on the landscape. European directives tend to control sectorial impacts of the project (on air, water, earth, ora, fauna, material resources and cultural patrimony). But the quality of the landscape depends on modalities of local integration of all these factors: a more comprehensive, integrated vision is needed. Strategic environmental evaluations should be extended to the themes of the landscape, resorting to suitable forms of inter-institutional concerted effort, since the institutions involved are numerous. It is a mistake to separate the evaluation of technical-economic feasibility of the work, entrusted to the preliminary project, from any other evaluation (which, on the other hand, it would be useful to bring forward). These are outset positions that Alberto Clementi has tried to specify in recent years (see Clementi 2002, 2003), but they have only partially been experimented. Some progress in this direction is indispensable.

5 Landscapes and Planning

The perspective outlined here has nothing, therefore, to do with attempts to found specic disciplinary knowledge (widespread landscapism schools abroad, but not in Italy). Whereas it seems able to introduce elements of worry, potentially fertile in current conceptions of planning and architecture. Landscape planning has carried out some interesting experiments in Italy over the last twenty years (Gambi 1996; Gambino 1996, 1997), but nowadays does not constitute a frontier experience. Apart from a few exceptions (including original research by Giovanni Maciocco, 1995, and Maciocco et al. 2000), the majority of experiments do not seem able to offer innovative prospects these days. A balance is now available and some themes of criticism seem clear. As much as a plan usually expresses the will to act as control or overall guide for the transformation needs of a territory, paradoxically, landscape planning has ended up in many cases protecting particular goods isolated from the context. Care for overall quality of environmental and settlement systems has proved less effective. Technical-scientic culture of the ecological kind has shown itself too schematic and reductive (see Steiner 1994). Many widely adopted instruments and techniques have proved to be clumsy: for example, the notion of territorial invariant has often been understood as banal research into immediately evident homogeneous spatial features, rather than integration into specic contexts of principles and factors of a different nature. Moreover, the hypotheses of projectual or normative use of empirical evidence revealed by mere statistical analyses have been too mechanical. Nowadays, the hypothesis more frequently shared seems to be that a territorial plan offers rst of all an image of the future of the territory being studied, able

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to highlight critical relations and virtuous evolutive possibilities, without separating the landscape dimension from the great environmental, settlement and social tendencies: as matrices of more specic projectuality and a guide for local furthering of investigation and action (Palermo 2004). Without neglecting the risk that the guiding function of the plan be reduced to weak, vague orientation, compatible with real processes of substantial deregulation (as has happened in some Italian regions). This idea of planning is coherent with the vision of landscape as a common good and transformation by projects that has been mentioned. It becomes a complementary factor of notable importance for this vision to become more credible and effective. This scenario, moreover, does not appear to be entirely plausible if the state of difculty in which Italian urbanistics currently nds itself is considered. An unrelenting trend, though latent, namely not recognised or legitimised by theoretical reection, has been underway over the last few tens of years (Palermo 2006). Practices have changed appreciably, the rejection of outset positions has been growing, but apparently no need has been felt for theoretical revision. In fact, in spite of growing incongruities, new facts and old ideas coexist ambiguously. Halfway through the twentieth century, Italian town planning was based on an original, somewhat improbable (almost unique) model: a form of prescriptive plan, at the same time comprehensive and detailed, which had to last for the medium-long term. After some thirty or forty years, partial revision proved inevitable, which introduced also into Italy the division, well-known in Europe, between structure frames and operative programmes. But the structural vision turned out in many cases still to be too generic and comprehensive (instead of being selective and strategic). Moreover, coherence of operations often appeared uncertain, be it due to the insufcient guiding function of the programmed frames, be it for the contingent and fragmentary nature of the emerging opportunities and interests. Over the last ten to fteen years, there has been intense experimental work with integrated projects for local intervention, an interesting tendency, though perhaps overestimated, that has been negatively conditioned by the usually backward situations of contexts and nowadays seems to have lost a large part of its initial propulsive thrust. In the most recent years, the disciplinary culture has taken a further step backwards compared with the original premises, accepting some reductive and decontextualised ideas of strategic planning, coming from other elds of experience. The entire process may be understood as a sequence of successive setbacks, revealing a surprising incapacity for learning and integration: between old and new experiences, between visions, rules and projects, between strategic visions and structural organisation. These limits weigh heavily when themes of care and transformation of landcapes need to be faced. Because in this sphere it is fundamental to be able to count on a form of plan understood as a frame of coherence between strategic projects for active protection or transformation; on guiding visions sustained by widespread consent and able to effectively orient the behaviour of actors; on local projects founded on specic reasons, of form and meaning, shared by the inhabitants and able to induce virtuous effects on vaster territorial situations. The landscape dimension of planning problems may be treated in adequate ways only if Italian town planning culture manages to renew itself in the direction indicated

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here. The majority of models experienced from the general landscape planning prescriptive plan of the ecological school belong to the past. They are clearly inadequate to face the problems raised by emerging forms of social and settlement organisation: the widespread city, dynamic networks of temporal relations and mobility, places without identity continually redened by use (Lanzani 2003; Bonomi and Abruzzese 2004).

6 Landscapes and Architecture

The perspective outlined presents some important implications also for culture and practice in architecture. As I have already mentioned, a separation between the two elds does not seem convincing. The reections of De Carlo, Nicolin and others tend to exclude this possibility with convincing arguments. The landscape can no longer be understood as the background to works of architecture, but as the eld of interaction of which each project becomes a part. It also becomes a point of view that enables the idea of project to be renewed: no longer formal composition that responds to pre-established requisites (according to some modernity traditions, in particular the art of gardens), but exploration of possible relations between processes and the multiple forms that arise from a common context. The disciplinary glance shifts from architectonic objects, from volumes and forms of the built-up area towards mutual interdependence, signications, possibilities. The landscape still represents a temporary manifestation of this multiplicity, or rather a variety of representations according to inuential mediation and points of view. On the other hand, all modication of the landscape should be understood as an architectural work, the temporary outcome of an incessant dialogue between project and context. A work that is not congured as a traditional project on a dilated scale, but is the outcome of a process of re-signication that affects both the existing and the new, renewing each of them (De Rossi et al. 1999). This vision leads to new reections that are not trivial for various currents of the disciplinary thought. It is not just a question of conceiving a work of architecture as a component of the context, but as an isolated, fundamentally autonomous man-made element. But also of reformulating the idea itself of context and planning from certain important points of view. This seems to be the temporary outcome of a long course (described well by Durbiano and Robiglio 2003) of difcult relations between Italian architects and landscape themes. Themes that have never been underestimated, at least over the last fty years, but described in numerous forms, without any really satisfactory actual results. Sufce to recall the long-standing need to take care of physical integration of a work of architecture in the natural environment. The concept of pre-existing environmental elements as a place of values rooted in a culture: to safeguard with respect to post-war processes, not by mere prescriptions that bind, but thanks to reinterpretation of the relations between environment and buildings, between traditions and innovative transformations. The idea of landscape as a possible form of the territory and the attempts of an integral approach (including the landscape

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dimension) to planning for the territory, on a wide scale previously little explored with regard to past forms of urban settlements. The culture of conservation of the most traditional typical landscapes. The emerging dimension of the local, where landscape is not only a physical form, but a variety of ways of life and typical values of the place. The fragmentary and apparently chaotic landscapes of the widespread city that document the crisis of the most important theories of architecture but conrm, at the same time, a strong demand for projectual capacity. This sequence of problems and attempts, often generous but usually incomplete, could represent a strong impulse for revising certain paradigms. Some innovative conceptions of the urban architecture project that gave international prestige to the Italian schools of the 1960s seem nowadays to have lost an effective capacity to inuence. A morphological vision is not enough, if it is still too rigid, formal and prevalently limited to physical dimensions, the reproposal of alleged founding models or authors visions that are late-modern inspired (Gregotti himself seems to reformulate his idea of project as a critical modication of what exists in more cautious, moderate forms, 2004 and 2006) is not convincing. Landscape themes contribute to legitimise an idea of enzymatic architecture: capable of being inserted in transformation processes without imposing externally pre-established codes, of going beyond the limits of the building to activate widespread services in the environment; without seeking nal solutions but light, reversible ones, able to t into the increasingly changing, uid dynamics of the context (Branzi 2005). An exciting idea, if it were not for the risk of proving too easy and conformist. But in these elements of inspiration, a theoretical course of notable interest can be detected: the need to give an effective interpretation to the will (always expressed) for dialogue between project and context (without excessively one-sided reductions!); the hope of effectively conceiving the project as a virtuous evolutive possibility of the context, able to temporarily reconcile partial visions and collective interest, apparent forms, old and new meanings and values (Dematteis 1995, 2003). If modernity tended to legitimise direct, instrumental actions on visible forms, now a profoundly different perspective is taking shape: it is not a matter of acting on things in a guiding manner or of prescribing behaviour, but of trying to support the explicit or latent potential of the situation. This is the method that usually guides social self-organisation processes and strategic experiences and those of negotiation in inter-institutional and territorial governance. Its legitimacy and efcacy in the eld of architecture is not obvious: in fact, it might be feared that this vision gives place to weak, acritical, conformist practice, limiting itself to rationalising or embellishing evolutive possibilities already implicit in existing situations. The tendency is not free from problems; therefore, indeed it brings some radical dilemmas to light. On the one hand, a model of rationality is taking shape which is actually still vastly alien to western culture (Jullien 1998) and risks being understood as a reassuring ideology, though vague and perhaps inert: i.e. it risks dismissing responsibility for critical modication of what exists. On the other hand, recalling stronger commitments and founding principles risks seeming nostalgic and ungenerous. Nostalgic for experiences and models of modern tradition that, in spite of virtuous intentions, have produced more than a few perverse effects (they were the generating matrix of

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many non-places of contemporary times!). Ungenerous towards the vast eld of the most recent investigations, which are varied and not always comparable: perhaps it is not fair to classify them all, indistinctly, as degenerative forms of post-modernity (Gregotti 2006). This would risk, to say the least, not gathering the new enzymes of possible innovations, giving up perhaps plausible hopes and opportunities for the necessary renewal of the discipline and practices (Boeri and Gregotti 2006). These dilemmas may nd a solution only if architecture is able to match up in non-ritual ways with society and territory. The themes of the landscape, like making a society on its territory (Gambi 1971, 1996), are a way that might favour this tiring tendency.

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