(Urban and Landscape Perspectives 20) Fabio Bianconi, Marco Filippucci - Landscape Lab - Drawing, Perception and Design For The Next Landscape Models-Springer International Publishing (2019)

Urban and Landscape Perspectives
Fabio Bianconi · Marco Filippucci
Landscape Lab
Drawing, Perception and Design
for the Next Landscape Models
Volume 20
Series Editor
Giovanni Maciocco
Editorial Board
Abdul Khakee, Faculty of Social Sciences, Umeå University
Norman Krumholz, Levin College of Urban Affairs,
Cleveland State University, Ohio
Ali Madanipour, School of Architecture, Planning and Landscape,
Newcastle University
Frederick Steiner, School of Architecture, University of Texas, Austin
Erik Swyngedouw, School of Environment and Development,
University of Manchester
Rui Yang, School of Architecture, Department of Landscape Architecture,
Tsinghua University, Peking
Editorial Committee
Paola Pittaluga
Silvia Serreli
Project Assistant
Laura Lutzoni
Aims and Scope

Urban and Landscape Perspectives is a series which aims at nurturing theoretic
reflection on the city and the territory and working out and applying methods and
techniques for improving our physical and social landscapes.
The main issue in the series is developed around the projectual dimension, with the
objective of visualising both the city and the territory from a particular viewpoint,
which singles out the territorial dimension as the city’s space of communication and
negotiation.
The series will face emerging problems that characterise the dynamics of city
development, like the new, fresh relations between urban societies and physical
space, the right to the city, urban equity, the project for the physical city as a means
to reveal civitas, signs of new social cohesiveness, the sense of contemporary public
space and the sustainability of urban development.
Concerned with advancing theories on the city, the series resolves to welcome
articles that feature a pluralism of disciplinary contributions studying formal and
informal practices on the project for the city and seeking conceptual and operative
categories capable of understanding and facing the problems inherent in the
profound transformations of contemporary urban landscapes.
More information about this series at http://www.springer.com/series/7906

Fabio Bianconi • Marco Filippucci
Landscape Lab
Drawing, Perception and Design for the Next
Landscape Models
Fabio Bianconi Marco Filippucci
University of Study of Perugia University of Study of Perugia
Perugia, Italy Perugia, Italy

ISBN 978-3-319-94149-3 ISBN 978-3-319-94150-9 (eBook)
https://doi.org/10.1007/978-3-319-94150-9
Library of Congress Control Number: 2018965462
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Acknowledgments
The volume is the result of the combined work of the authors.

Fabio Bianconi particularly worked on the following topics: Chap. 1: paragraphs
1.2, 1.3, 1.4; Chap. 2: paragraphs 2.1, 2.4; Chap. 3: paragraphs 3.1, 3.2, 3.3*, 3.7*;
Chap. 4: paragraphs 4.4; Chap. 5: paragraphs 5.1, 5.2, 5.3; Chap. 6: paragraphs
6.1*, 6.2*, 6.3*; Chap. 7 paragraphs 7.1, 7.2; Chap. 8: paragraphs 8.1, 8.2, 8.3, 8.7,
8.9*; Chap. 9: paragraphs 9.1, 9.3, 9.5, 9.7, 9.9.
Marco Filippucci particularly worked on the following topics: Chap. 1:
paragraphs 1.1; Chap. 2: paragraphs 2.2, 2.3; Chap. 3: paragraphs 3.3*, 3.4, 3.5, 3.6,
3.7*; Chap. 4: paragraphs 4.1, 4.2, 4.3, 4.5, 4.6; Chap. 5: paragraphs 5.4, 5.5, 5.6;
Chap. 6: paragraphs 6.1*, 6.2*, 6.3*; Chap. 7: paragraphs 7.3, 7.4, 7.5; Chap. 8:
paragraphs 8.4, 8.5, 8.6, 8.8, 8.9*; Chap. 9: paragraphs 9.2, 9.4, 9.6, 9.8, 9.10.
*Paragraphs written jointly by the authors.
Research Group
The authors would like to thank Dr. Miriam Macina for his helpful in the review of
the English text and eng. Elisa Bettollini, arch. Michela Meschini, eng. Maria Pia
Calabrò, and eng. Marco Seccaroni for their contribution in the review of the text
and the elaboration of the images.
Academic Designs
“Academic designs” were coordinated by the authors and realized by undergraduate
students, scholarship holders, coworkers, and students from the classes of Civil
Drawing, Architectural Drawing, Architectural Drawing Laboratory, Automatic
Drawing, Techniques of Representation, Techniques of Simulation of Landscape,
Computer Technology applied to Design, held by the author from 2008 to 2018 at
the University of Perugia, of Rome “La Sapienza,” and of Trento.
Chapter 1
This chapter presents work gathering part of the results of the research project
“Tracciati della modernità. L’evoluzione dell’Umbria attraverso un secolo
d’immagini,” developed by the University of Perugia, Department of Civil and
Environmental Engineering, and funded by Umbria Region and by the Fondazione
v
vi Acknowledgments
Cassa di Risparmio Perugia, from 2009 to 2011. Scientific responsibility for the
project is held by Prof. Fabio Bianconi, Coordinator of the activity; eng. Marco
Filippucci, research group; eng. Stefano Andreani; eng. Alessandro Palazzetti; and
eng. Pamela del Pianta.
Chapter 2
This chapter presents work gathered as part of the results of the project “Piano del
Colore dei Centri Storici nel territorio del Comune di Deruta,” held by the
engineering society Esaprogetti srl of Perugia from 2009 to 2012. Scientific
responsibility of the project is held by Prof. Fabio Bianconi, Coordinator of the
activity; and eng. Marco Filippucci. The plano-altimetric and architectural surveys
were done by Studio A of Collepepe (PG); the study of colour and the project were
developed by the Esaprogetti srl society. People who collaborated to work on the
project are eng. Riccardo Pasquini, eng. Paolo Nicolini, and eng. Francesco
Trevisani.
The work also synthesizes the propaedeutic research to the project proposal
“DYELAB. Natural experimentation and innovation of European multicultural
chromatic identity,” presented for the Creative European Program, coordinated by
the University of Perugia (Scientific Responsibility for the project, eng.Marco
Filippucci), together with La Sapienza University of Rome–Department of Planning,
Design, and Technology of Architecture (IT); Politecnicos of Milan–Department of
Design (IT); University of Ljubljana–Department of Textiles, Graphic Art and
Design (SI); National Museum of Romanian History (RO); Bucharest National
University of Arts (RO); Institute of Natural Fibers and Medicinal Plants, Design
and Marketing Department (PL); Officina Atelier (FR); Mainz University of Applied
Sciences (DE); University of Leeds–School of Design (UK); and Shenkar College
of Engineering, Design and Art (IL).
Chapter 3
The research started in the PRIN Project 2010–2011 (201049EXTW_009)
“CARBONTREE” – Climate change mitigation strategies in agriculture and forestry
in Italy, and it represents the first step of an important action of the European project
“OLIVE4CLIMATE-LIFE. Sustainable olive-oil supply chain for climate change
mitigation” (LIFE15-CCM_IT_000141), proposal for LIFE CLIMATE 2015, a
project with the University of Study of Perugia (IT) as partner coordinator; project
coordinator, prof. Primo Proietti; Department of Civil and Environmental
Engineering coordinator, prof. Fabio Bianconi, activity coordinator; and prof.
Marco Filippucci.
Chapter 4
This chapter presents part of the results of the academic studies developed with the
students of the classes of Civil Design, Architecture Design, Laboratory of
Architecture Design, Automatic Design, Techniques of Representation, Techniques
of Simulation of Landscape, and Computer Technology applied to design, held by
the authors from 2009 to 2014 at the University of Perugia.
Acknowledgments vii
The work was then systematized by eng. Marco Filippucci through the scholar-
ship “The image of the city: the case study of Perugia’s dioceses,” founded by the
Centro Universitario Cattolico della Conferenza Episcopale Italiana (CEI) in the
three years 2009–2011.
Chapter 5
This chapter presents +part of the results from the three projects developed by the
University of Perugia, Department of Civil and Environmental Engineering: Study
of the anthropic transformation on the municipality landscape of Castiglione del
Lago (2006–2007); funded by Castiglione del Lago’s Municipality; Scientific
responsiblity for the project, prof. Fabio Bianconi; coordinator of the activity, eng.
Marco Filippucci.
–– Individuation, survey, and scheduling of the scattered buildings in the municipality
territory of Castiglione del Lago: Scientific responsibility of the project, prof.
Fabio Bianconi; research group; eng. Marco Filippucci, eng. Francesco Trevisani;
eng. Domenico Basile, eng. Siliva Bongi.
–– Landscape analysis and cataloguing of cultural goods in rural and urban fields in
the territory of Amelia (2011–2013); Scientific responsibility of the project, prof.
Fabio Bianconi; coordinator of the activity, eng. Marco Filippucci; research
group, arch. Vanessa Elefante, eng. Gabriele Rinchi, and eng. Sofia Catalucci.
Chapter 6
This chapter presents part of the results of the research project“Studio e ricerca per
lo sviluppo e della riqualificazione urbana dell’area di Fontivegge a Perugia,”
developed by the University of Perugia, Department of Civil and Environmental
Engineering (2016), funded by Perugia Municipality. Scientific responsibility of the
project, prof. Fabio Bianconi; Coordinator of the activity, eng. Marco Filippucci;
research group, eng. Elisa Bettollini, designer Benedetta Buzzi, eng. Andrea
Ciurnella, eng. Michela Cristofani, eng. Mattia Manni, arch. Michela Meschini, and
eng. Elena Tancetti.
Chapter 7
A proposal was developed in 2012–2013 by the partners Comune di Corciano
(coordinator), Regione Umbria, Università degli Studi di Perugia, Dipartimento di
Scienze Agrarie, Ambientali e Alimentari, Direzione Regionale dei Beni Culturali,
WWF progetti e ricerca, LIPU, Ufficio Biodiversità del Corpo Forestale dello Stato.
The scientific coordinator is eng. Marco Filippucci.
The next proposal was developed in 2013–2014, by partners Comune di Deruta
(coordinator), Comune di Perugia, Comune di Torgiano, Università degli Studi di
Perugia, Dipartimento di Scienze Agrarie, Ambientali e Alimentari, Italia Nostra,
ARPA, Umbraflor, Sirialab, Fondazione per l'Istruzione Agraria. Scientific
coordinator, eng. Marco Filippucci.
Chapter 8
This chapter presents work gathered as part of the results of the research project
“CAPUES – Cibo, Ambiente, Paesaggio, Urbanistica, Economia, Sviluppo,
viii Acknowledgments
Strategie Sperimentali per la pianificazione alimentare,” developed by the University

of Perugia, Department of Civil and Environmental Engineering (2015–1017) and
funded by Amelia Municipality and Umbria Region; scientific responsibility of the
project, prof. Fabio Bianconi; coordinator of the activity, eng. Marco Filippucci.
Chapter 9
This chapter presents work gathered as part of the results of the research project
“Studio delle trasformazioni antropiche del paesaggio umbro,” developed by the
University of Perugia, Department of Civil and Environmental Engineering, and
Regione Umbria (2013–2015), funded by Regione Umbria; scientific responsibity
of the project, prof. Fabio Bianconi; coordinator of the activity, eng. Marco
Filippucci.
This work gathers part of the results of the research project “L’Atlante degli
Obiettivi per i contratti di fiume, di paesaggio e di lago del territorio regionale”
developed for the first theme focus “Valorizzazione delle risorse storico-culturali,
fisico-naturalistiche e sociali simboliche, sviluppo locale” by the University of
Perugia, Department of Civil and Environmental Engineering, and Regione Umbria
(2015–2017); scientific responsibility of the project, prof. Fabio Bianconi;
coordinator of the activity, eng. Marco Filippucci.
Introduction
Landscape is a common good, a community heritage, the “part of the whole terri-
tory perceived by people.” Landscape is a pure word, a noble concept that everyone
loves, but it is defined in perception and for this, it is something virtual, possibly
indefinite. Contemporary culture, in the centrality of the images, gave new vigour to
the debate, by opening a scientific discussion on the theme. In this sense, the science
of representation appears as the favoured field for research, interpreting perception
as a primordial and virtual drawing in the mind.
This book intends to demonstrate how landscape represents an interpretation of
a process of meaning, a product of the relationships between man and his places.
The work starts from the hypothesis that it possible to describe these connections
transposing the Vitruvian triad of utility, solidity, and beauty: firmitas is associable
to the environment, because the same is as solid, as healthy, not polluted; utilitas is
owned by territories, useful for man, at the front of his social, economic, and politi-
cal meaning; and venustas can be linked to the landscape, in the relationship between
man and context connected to perception and beauty as a critical interpretation of
the vision. If the territory (from Latin terrere) is something linked to the possession,
if the environment is something connected to life, the landscape is close to the eye
centrality, and in natural elements, all these aspects are woven; also, they are not
explicit. Landscape is unavoidably connected to environment and territory, and the
center of gravity of this triangle is the sustainability of a place. The three elements
cannot be considered as separate, a condition of complexity and contradiction of
landscape. In the center it is possible to find the dimension of man, according to
Leonardo da Vinci and his Vitruvian Man. His umbilicus is the barocenter of equi-
librium, expression of the sustainability of the development of a place. In this way,
the interpretation proposed has an operative aim to connect to the project: the next
landscape is possible only in this perspective, so is essential for resilient needs
(Fig. 1).
To understand the complexity of factors hidden in the theme, a path is proposed
in which landscape is analyzed as a labor product, the connected definition of place
as condensation of time, space, and meaning, and the relationship that defines the
community, with the aim of co-projecting the next one.
ix
x Introduction
Fig. 1 Vitruvian triad and

his trasposition in
landscape, territory and
environment
Introduction xi
This interpretation derives from the wisdom of our law: in fact, the Italian
Constitution was among the first to give to landscape a first role on the citizens’
rights horizon. Article 9 of the Italian Constitution cites that “the Republic promotes
the development of culture and of scientific and technical research. It safeguards
natural landscape and the historical and artistic heritage of the Nation,” setting in an
implicit way, in a tight relationship, culture, scientific and technical research, land-
scape, and the common good. It appears that landscape is made by everyone, and for
this, it is central to make the landscape a laboratory to build the community, to
protect and discover our identity, remembering that Article 1 of the Italian
Constitution cites “Italy is a Democratic Republic, founded on Labour,” the central
element of the construction of the landscape. If, by convention, landscape is an
“expression of the diversity of their shared cultural and natural heritage, and a foun-
dation of their identity,” it is connected to labour, to man’s activity, to the construc-
tion of place as cultural path, to the dynamic relationship included in the identity as
process.
The volume presents an examination of case studies, wherein the structure con-
cepts are refined and verified, setting as the center of the research the value of the
instrument of representation, through the experimentation of interpretative models
of reality, verified in applicative case studies, all in the Umbrian territory. It is an
ex-post path, resulting from the explicit needs of Umbrian territory, cases taken as
main examples and paradigmatic, focusing attention on the possibility of reproduc-
ing the methodology and the transferability of the results. Through the studies of
representation, all themes propose the construction of new models to interpret the
complexity of the contemporary landscape. The book gathers the results of 10 years
of experiences by the authors of the Department of Civil and Environmental
Engineering of the University of Perugia, together with some research developed in
the first year of work of the International Laboratory for the Research on Landscape
(LabLandscape–Laboratorio Internazionale di Ricerca sul Paesaggio). This
Laboratory of the University of Perugia was established in 2016 in Assisi and is a
part of the interuniversity center C.I.R.I.A.F (Centro Interuniversitario di Ricerca
sull’Inquinamento e sull’Ambiente “Mauro Felli”), a section of the S.S.T.A.M.
(Scuola Superiore Territorio Ambiente Management). If the theme of landscape and
the relationship between men and territory is central for every culture, the quality
inherent in the Italian landscape becomes the place that exalts the narration inherent
in those logics. Its attraction is in a worldwide level, and the history that is con-
densed here is correlated to the perceptive values that the research is trying to “mea-
sure” and understand in their stratification of logic and signs equilibrium. The
Italian school researches have been always orientated to promote the achievement
of recognizable and distinctive urban identities; this is a kind of research that must
be founded in an interdisciplinary and intersectional approach, which is later applied
in heterogenic applications, all connoted with the centrality of representation, as an
instrument of an analytical project interpretation.
The structure of the volume is subdivided into three parts, according to the pro-
posed path. Each part is subdivided in three chapters marking the Vitruvian triad
interpretation. The sequence of the chapters in the three topics are always different:
xii Introduction
the first part is Territory–Landscape–Environment (T-L-E), in the second one

Landscape–Environment–Territory (L-E-T), and in the third section Environment–
Territory–Landscape (E-T-L). If seen in a grid, it is possible to show the logic of
development of the proposal and its multidimensional reading.
The first part interprets the landscape as a labour product in the centrality of
perception, analyzing materials, colour, and natural elements. The path begins with
the analysis of the evolution of landscape in the Umbria Region at the beginning of
the twentieth century, through a study that derives from the cataloguing of an archive
of more than 10,000 images of building sites of works in construction. The central-
ity of chromatic perception becomes the theme of the project proposal that wants to
overcome the loss of identity correlated to standardization processes. But it is also
an instrument to regenerate the urban landscape, which is proposed in an implicit
way with the instrument of Color Plans, where the survey, the cataloguing, and the
project are merged together in one whole path. The study also observes the details
of natural elements by analyzing the potentiality of the scientific approach that
might offer new points of view and new landscapes, through a strong impact in
redesigning the territory and the environment, correlated to the potentiality of opti-
mization inside the digital parametric tools.
The second part is inherent to the relationship between place and landscape,
proposing a different impact in the figurative processes of the interpretation, func-
tional for the creation of models. The study starts from the role of cultural heritage,
by analyzing some classes of architecture that define the structure to the urban land-
scape and, in a particular way, their value in the limit condition of transforming
functions. This path was supported by architectural surveys and drawings that let
the foundation rules of the peculiar character of Italian landscapes emerge.
Subsequently, the categories of the buildings in the rural spaces of the two territories
analyzed, Castiglione del Lago and Amelia, were studied. The research wants to
show the building heritage that, even if it was realized without an aesthetic research,
through cataloguing and survey it is possible to see an identity, by addressing plan
choices. The third case study analyzes the suburbs areas wherein the same idea of
landscape enters into crisis, analyzing the project proposal of urban regeneration of
the railway station area of Perugia: in this context, the project design becomes func-
tional to the construction of a new image of the city, rethought on the centrality of
perception and space as a common good.
The third part faces the relationship between landscape and community, the
implementation proposal of new models for the next landscape. The environmental
and ecological values of the landscape for humans are the foundation of the project
proposals of redesigning the territory, based on the value of green infrastructures
and the inheritance of the two case studies of the territories of Corciano and the
Tiber River area. The case study presented refers to the strategy of food, which has
substantiated the planning choices of Amelia Municipality, to redesign the land-
scape starting from need, from what it is a result but also the cause of landscape,
reconnecting city and countryside and representing an operative strategy that finds
its reasons in landscape storytelling. The role of the citizenship for the landscapes is
the last study that investigated the construction of policy models based on participa-
Introduction xiii
tion value: in the Landscape Contract proposed for the Trasimeno Lake and on the
Objective Atlas of the Umbria Region, this inseparable relationship emerges
between vision, knowledge, and communication, of which the representative instru-
ment are harbingers.
The science of representation is the field of research of all these experiences. The
representation of landscape then takes on connotations of valence both interpreta-
tive and cultural to individuate in the analysis of the context an “invisible” infra-
structure. From the research, it is expected the achievement of a critical model of
reading the architectural and environmental heritage is able to respond to the needs
of conservation and enhancement of the urban landscape and cultural heritage. To
understand the landscape it is necessary to include the analysis of mechanisms of
image and perception in their influence on interpretation, inserted in the transforma-
tive processes in place. The project becomes an explication of the strategies identi-
fied, now addressed without the strength that would be necessary in a direct
opposition. Delineating the research of relationships as the foundation of the con-
textual value of the landscape, there will be individuated some practical cases, trace-
able in the enhancement of the quality of historical cities and the requalification of
city sprawl, spaces useful to test the protracted considerations. Walter Benjamin has
written “The superficial pretext–the exotic and the picturesque appeals only to the
outsider. To depict a city as a native would call for other, deeper motives. The
motives of the person who journeys into the past, rather than to foreign parts.” The
citizens who live in places and know how to read across time the urban tale – as
natives can do – will be in the uncontaminated foreigners’ eyes as instruments able
to appreciate the spatial characteristics otherwise hidden to a daily viewer. Following
these considerations, it emerges that the landscape is something that is complex,
varied, not characterized by incontestable data, but it is in a certain sense defined by
the subjectivity of the observer (outsider) or by the person who inhabits it (insider).
Therefore, the surveying of a landscape, or better, the choice of what to represent, is
a purely selective operation, finalized to the objective of the project or of the study.
Representation therefore is the main tool capable of reconnecting the textum of
the place to the viewer, because it shows to the citizen/viewer “where to look,” put-
ting at the center the person and the value of perception that founded the very last
meaning of the landscape. Landscape is always open to works of art filled with
aesthetic references. European culture expresses itself in landscapes, rich with lay-
ers of references; this shows the result of an ongoing dialogue with history, and is
an aesthetic surplus of value whereon to base a promotion. Landscape, showing the
beauty of its forms, the wisdom of the signs of history, does not lose its trait of dis-
covery, capable of empowering more and more the dynamic interactions between
culture and creativity both necessary for European development. To bring out the
qualities inherent in the landscape, an attractive element in the world can be selected
for its fitness to resist for centuries, which certainly is based on perceptive values
that could be “measured” with the aim for understanding the logic, the layering, and
the balance of signs. As landscape is based on the value of perception, our image of
the city is in crisis because it is connected to the loss of value and the waste of cul-
ture. This then is moving to the field of vision, in which art as well finds our princi-
xiv Introduction
pal statute. The challenge is to find, in different forms of representation, narrative

tools capable to answer any needs of contemporary society to find signs useful for
orientation and identification. The research has then the purpose of emerging as a
construction of the perceptive space, a necessary scheme for its planning activities.
It is not a reduction of the connotative apparatus that configures the cultural and
historical wealth of Italian landscape – stratification of construction signs, the
research on architectonical particularities, the boulevard – but only the interpreta-
tive analysis of fondant elements of this image carrier configuration. If yet Heidegger
asserted that Modernity would have been “the Age of the World’s Picture,” this was
not in the sense of “representation of the world, but the world conceived as an
image,” as a product of the perception process. The aim is to enter into a project of
the place, something that for Alberti is the aim of architecture. In the Proemio of his
De Re Aedificatoria, he writes: “ad vitam bene beateque agendam faciant.”
Contents
Part I Landscape and Labour

1 Landscape and Materials: Modernity in the Umbrian Region........... 5
1.1 Tangible and Intangible Landscape................................................... 6
1.2 Case Study of the Umbrian Landscape at the End
of the Nineteenth Century................................................................. 9
1.3 Research Project “Paths of Modernity”............................................ 11
1.4 Materials, Architectures, and Landscape in the Umbria Region
at the Beginning of the Twentieth Century....................................... 15
References.................................................................................................. 25
2 Landscape and Colours: From Dyelab to Colour Plan........................ 29
2.1 The Colour of Landscape.................................................................. 30
2.2 A Proposal: DYELAB. Natural Experimentation and Innovation
of European Multicultural Chromatic Identity................................. 32
2.3 Colour Plan Through Research and Project...................................... 41
2.4 The Case Study of Colour Plan in Deruta Territory.......................... 42
References.................................................................................................. 54
3 Landscape and Nature: Olive Tree Digital Parameterization.............. 57
3.1 Scientific Analysis of Landscape and Representation of Natural
Elements............................................................................................ 58
3.2 Survey, Analysis, and Modelling of Trees........................................ 61
3.3 OLIVE4CLIMATE: A Strategy of Olive Tree Representation
and Optimization............................................................................... 64
3.4 Architectural Survey of the Olive Tree............................................. 68
3.5 Light and Form in the Olive Tree...................................................... 71
3.6 Virtual X–Ray Machine for Tree Analysis........................................ 77
3.7 Future Development of the Analysis................................................. 78
References.................................................................................................. 80
xv
xvi Contents
Part II Landscape and Place

4 Landscape and Historical City: Ecclesial Polarities in the Image
of the City.................................................................................................. 89
4.1 Landscape, Image of the City, and Transformation.......................... 90
4.2 Perugia and the Ecclesial Polarities.................................................. 93
4.3 Ecclesial Polarities and Social Development.................................... 96
4.4 Confiscation and Transformation of Ecclesial Polarities.................. 102
4.5 Comparison of Two Different Streets............................................... 109
4.6 Landscape and Meaning................................................................... 112
References.................................................................................................. 116
5 Landscape and Countryside: Cataloguing of Sparse Houses
in Castiglione del Lago and Amelia Rural Spaces................................ 119
5.1 Landscape and Rural Space.............................................................. 120
5.2 Cataloguing of Rural Assets.............................................................. 122
5.3 Landscape and Rural Architecture in the Area of Castiglione
del Lago............................................................................................ 124
5.4 Landscape and Rural Architecture in the Area of Amelia................. 132
5.5 Scheduling of Classes in the Amelia Territory Case Study.............. 138
5.6 The Structure of Cataloguing Schedule............................................ 144
References.................................................................................................. 152
6 Landscape and Modern City: Requalification of the
Perugia Railway Station District............................................................ 159
6.1 Drawing the Next Smart Landscape................................................. 160
6.2 Italian Call for Project in Requalification of Urban Area................. 167
6.3 Fontivegge Project Storytelling......................................................... 171
References.................................................................................................. 184
Part III Landscape and Community

7 Landscape and Natural Resources: Green Infrastructure
and Green Community Projects in the Umbrian Region..................... 191
7.1 Ambiguity in Landscape................................................................... 191
7.2 The Idea of Landscape in Umbria..................................................... 194
7.3 Crisis and Opportunities................................................................... 197
7.4 Green Infrastructures as Hermeneutical Landscape Innovation....... 198
7.5 European Proposal of Green Infrastructures for a Smart
Landscape in Umbria........................................................................ 201
LIFESCAPE: Linear Biodiversity Structure as Strategy
of Connection and Preservation of the Common
Landscape in Umbria........................................................................ 203
HABITATEVERE LIFE _ Natural Conservation
and Enhancement of the Green Corridor of the Tiber River............. 208
References.................................................................................................. 215
Contents xvii
8 Landscape and Production: Food Strategy in Amelia Territory......... 219

8.1 Food Theme...................................................................................... 220
8.2 Food and Territory............................................................................ 221
8.3 Food and Landscape......................................................................... 223
8.4 Food and Perception......................................................................... 225
8.5 Food as a Representative Theme....................................................... 226
8.6 Food, Landscape, and Storytelling.................................................... 227
8.7 Food Strategies.................................................................................. 231
8.8 Amelia Food Strategy....................................................................... 233
8.9 A Bottom-Up Research of Beauty.................................................... 244
References.................................................................................................. 245
9 Landscape and Social Participation: The Umbrian Region’s Atlas
of Objectives and the Trasimeno Lake Landscape Contract............... 249
9.1 Policies and Co-Design for Landscape Contracts............................. 250
9.2 Landscape Contract and Participating Policies................................. 252
9.3 Landscape Contract and Participating Policies
in the European Context.................................................................... 253
9.4 Landscape Contract and Participating Policies in Italian
and Umbrian Context........................................................................ 255
9.5 Construction and Setting Requirements of the Landscape
Contract in the Umbrian Case Study................................................ 258
9.6 Co-Design for the Public Realm: The Umbria Region
Atlas of Objectives............................................................................ 265
9.7 Integration Between Atlas and Contracts.......................................... 269
9.8 Two Selected Paradigmatic Results.................................................. 272
A: Urban Zoning............................................................................... 272
B: Public Property............................................................................. 277
9.9 Selected Paradigmatic Strategies...................................................... 280
A: Drafting an Open Map................................................................. 280
B: Representation of New Points of View........................................ 281
9.10 Landscape and Policy....................................................................... 282
References.................................................................................................. 284
Additional Reading.......................................................................................... 287

Part I
Landscape and Labour
Landscape is a transversal theme floating between the virtual elaboration of percep-

tion and the concrete transformation of the natural world in a domination of the
impetus of its laws. The construction of the landscape is a complex process con-
nected to definite objectives and results linked to concrete advantages, and also in
the aesthetic sphere.
Too often we witness a reduction of landscape to what is “picturesque,” pure and
simple beauty, beyond sublime. Abstracted from its context, the landscape becomes
a “figure” tending towards the characteristics of “myth,” in the centrality of mean-
ings, dematerialized and untouchable. In this sense, from the canvasses of landscape
artists emerge natural, golden, and sublime scenes, expressions of a search for har-
mony between man and nature or of flight from the real world, which is ever more
threatened by progress. But as we become accustomed to rarefied images of the
landscape and interested in rediscovering the romantic values of the picturesque, the
speed of our movements does not allow a careful evaluation of all the details and
elements of the landscape. Thus, the landscape becomes the subject of a superficial
reading, one of many images or a generic signal, such as an advertising billboard or
one of the many virtual outlines that assail us as we surf the Internet. This shift
shows itself to be a limit for the interpretation of the environment; indeed, when a
territory’s variable growth dynamics come into play, the problem becomes difficult
to resolve.
“The dream of reason produces monsters,” declared Goya at the beginning of the
nineteenth century in the face of the abuses of destructive enlightenment. The his-
torical interpretations of landscape that are still described today are alive in the
common sensitivity: in classical times, it was the natural landscape that needs to be
protected and conserved; in the Renaissance, the historical monuments are the
important elements; and in the nineteenth Century, it is the picturesque, that which
in itself transmits history. This cry of alarm for the protection of this relationship is
still too timid: only today are we becoming aware of the consequences resulting
2 Part I
from the loss of the relational dimension between construction and nature. Christian
Norberg Schulz concludes his memorable “Genius Loci” by affirming the impor-
tance of “living poetically” and demonstrating how man in place regains his
identity.
Micheal Jakob defines landscape through a synthetic and very effective formula:
L = S + N, where L = Landscape, S = Subject, and N = Nature. In the relationship
between man and his territory, interpretation of the place cannot prescind from envi-
ronmental and natural aspects. Landscape is a transversal sector, and for this reason,
it is linked to ecology and its study of the relationships between all living things and
their biological and physical habitats.
As a concrete result, as abstraction, in the contemporary age landscape is an
exigency. New attention to our environment is highlighting the necessity for a true
and ongoing dialogue between nature and the built world, which does not fall into
either of the excesses of immobilizing ecological conservation or devastating entre-
preneurial innovation. The same attention is also necessary for the relationship
between place and project, via architecture and signs in territory capable of dialogu-
ing with the context in a complete manner. The relationship with the landscape thus
proves to be fundamental in what is by now a fragile system of equilibria and of
environmental qualities. It is necessary to take responsible control of the landscape
because by so doing man can enrich himself and join the search for a close relation-
ship with nature.
In this sense, landscape shows itself connected to labour, understood as practical
work that involves hard physical effort. It differs from the more abstract concept of
work as an activity such as a job that a person uses physical or mental effort to do,
usually for money. Landscape as labour incorporates results in the three levels of
space, time, and matter: space, which is occupied by man’s work and which trans-
forms the place; time, that lets the person’s work mature, transforming it and adapt-
ing it according to the needs of the society; and matter, with which the same work
is made. Labour ennobles man, as the projection of his identity, his capacity, his
culture, all elements transferred in the landscape.
Labour transforms territory, environment, and landscape: in fact, having control
and creating concrete results, it contrasts the hospitality of natural forces to high-
lighted signs for the eye in a sea of images. It is necessarily a practical activity. And
it is for these reasons that landscape can be considered as a result of labour.
Materials, colors, and natural elements are only three possible layers useful to
understand the value of landscape. However, in this relationship between landscape
and matter are also hidden the complexity of processes that define landscape char-
acters. Materials, in fact, represent the labour of humans in the transformation of
resources. Our landscape derives, on one hand, from local matters, but on the other
hand, man transforms it. Understanding landscape, in fact, is also reading the his-
tory and the evolution of our place, the projective identity derived by “hard work”
and “by the sweat of one’s brow.”
In addition, colors are an implicit characteristic of landscape, so essential in the
perception process, derived by natural spontaneity and human alteration: with the
aim to rethinking the next landscape, it is necessary to project the colors in this
Part I 3
relationship with context, starting from the natural color of the environment to
redrawing the city. Landscape appears in this way as the results of a project, and the
image produced at another time is the witness of the deeper immaterial relationship
that characterized the complexity of landscape in the centrality of perception.
Moreover, in the essential elements of nature, it is possible to find the same relation-
ship between man and the landscape matters through labour. In the case study of the
olive tree is demonstrated how this plant, so important in the characterization of the
landscape, is transformed according to human needs to optimize the agricultural
results. The invisible relationship between light and form can be represented in
building the project of transformation.
In the three cases, all founded in matter and central in perception, landscape is
derived by labour in the transformation of materials for the construction of struc-
tures and infrastructures, in the transfiguration of forms through colors for valoriz-
ing perception, in the modification of natural elements. In another time representation,
science becomes the principal element to analyze and project the landscape.
Drawing guarantees the cataloguing of the image and the results of labour, to survey
forms and elements, to make visible the immaterial relationships that characterize
our place, our landscape.
Chapter 1
Landscape and Materials: Modernity
in the Umbrian Region
Abstract In the center of perception, the landscape is connected to materials in

their deep relationship with territory and culture, between the natural environment
and that which is man made. To narrate this relationship between population and
territory, it is necessary to analyze the history of landscape transformation. “Italy is
a Democratic Republic, founded on work”: in a resolute way, the first article of the
Italian Constitution lays the foundations of our society and our identity. Work is at
the center of territorial evolution, and the Umbrian landscape represents a paradig-
matic example of a territorial transformation begun in the twentieth century. In this
period, putting the act constructively to that legislation, the new Italian State was
particularly incisive in upgrading infrastructure, settlements, and substantial
changes of the territory that quickly led to redesign of a new landscape and a new
image of reality, acquiring an actual identity. The real Umbria was seen as less green
and less romantic than as it was always described by the first photographic images
at the turn of the century. The theme of this research is the cataloguing, classifica-
tion, and interpretation of a large body of historical photographs (about 10,000
documents) housed in countless private archives. It is a huge wealth of information
on the temporal nature of the landscape, a sort of narrative of how the work of man
profoundly affects the structure of a place. In this work is underlined the tangible
and the intangible heritage, the materials of place and the knowledge how to use
them; materials acquire the landscape status when they are transformed by human
work. In analyzing and studying the evolution of the use of materials is possible to
deeply understand the central theme of the relationship between man and his terri-
tory. The approach in topic of representation is central to show the analytic tool
potentiality useful for the deep understanding of the landscape. In the centrality of
perception and in the scientific nature of the analysis are the historical studies,
which are connected to the transformation of places.
Keywords Cataloguing · Materials · Work · Photography · Infrastructure
© Springer International Publishing AG, part of Springer Nature 2019 5

F. Bianconi, M. Filippucci, Landscape Lab, Urban and Landscape Perspectives 20,
https://doi.org/10.1007/978-3-319-94150-9_1
6 1 Landscape and Materials: Modernity in the Umbrian Region
1.1 Tangible and Intangible Landscape
In Notre Dame de Paris, written by Victor Hugo, a scholar, deep in meditation in his study
… gazes at the first printed book, which has come to disturb his manuscripts. Then … he
gazes at the vast cathedral, silhouetted against the starry sky …. “Ceci tuera cela,” he says,
the printed book will destroy the building. The parable which Ugo develops out of the com-
parison of the building, crowned with images, with the arrival in his library of a printed
book might be applied to the effect on the invisible cathedrals of memory of the past of the
spread of printing. The printed book will make such huge built-up memories, crowded with
images, unnecessary. It will do away with habits of immemorial antiquity whereby a
“thing” is immediately invested with an image and stored in the places of memory (Yates
1966, p. 131).
The anthropized landscape is characterized by two integrated elements, the vis-

ible and tangible material connected to the place that builds the architecture, and the
immaterial and the intangible heritage that is the knowledge connected to the ability
to build architecture (Fig. 1.1).
In the past the aspect that the buildings took on was closely linked to the location
and altitude of the place and the nature of the construction materials available.
Therefore, it was possible – and often is still possible – to read the characteristics of
the surrounding geological environment by observing the structure and the facades
of houses and buildings. In this sense, the landscapes that have been least touched
by man prove exemplary, such as some areas of the Arctic territory, where the exclu-
sivity of the construction materials almost leads to a paradox, or the dwellings of the
American Indians that are so closely linked to the “earth,” as can be seen, for exam-
ple, in the Navajo buildings in Canyon de Chelly, where the Earth element is for the
Diné, more usually known as Navajo, a mother-like divinity, which feeds and looks
after man and his dwelling, the hogan, and enters into direct contact with it. On the
other hand, in this sense the heterogeneous urban centers, where the link between
material and construction involves divers realities, are just as exemplary, from the
small Umbrian rural settlements (Sperandio 2004) to far-off cities such as Jerusalem,
where, owing to a British-inspired law, dating back to the beginning of the last cen-
tury, all the buildings must be in part faced in Jerusalem Stone, a stone from the land
Fig. 1.1 The ideal landscape in Pietro Perugino’s representation of the Adorazione dei Magi di
Città della Pieve. (Città della Pieve, 1504)
1.1 Tangible and Intangible Landscape 7
of Israel, which is mainly quarried between the River Jordan and the Mediterranean,
between the port of Eilat on the Red Sea and Galilee. This stone acquires an impor-
tant symbolic meaning connected to the three great monotheistic religions that share
this city: the stone of the Wailing Wall for the Jews, the stone of the Cupola of the
Mosque of Omar for Muslims, and the upturned stone of the Holy Sepulchre for
Christians.
But materials acquire landscape status when they are transformed by human
work. For landscape, it is possible to propose the same image offered by Hannah
Arendt about “conditions under which life was given to man” and by “man made”
or “self made” conditions (Arendt 1958). “Vita Activa” is produced by different
activities that have a different nature, which are labor, work, and action. Also, for
landscape, it is possible to suppose the same levels about work as “construction’ of
the world,” labour as “stressing the intertwined power of aesthetic/public appear-
ance and imagery” and action as “public speech and action.” Landscape derives by
these three levels, in a relationship with space and time.
In fact, the other central elements of the anthropized landscape are the immate-
rial tradition and the cultural practices that are part of the living identity of the local
communities. In the “Convention for the Safeguarding of the Intangible Cultural
Heritage” (UNESCO 2003), UNESCO defines “intangible cultural heritage” as “the
practices, representations, expressions, knowledge, skills – as well as the instru-
ments, objects, artifacts, and cultural spaces associated therewith – that communi-
ties, groups and, in some cases, individuals recognize as a part of their cultural
heritage. This intangible cultural heritage, transmitted from generation to genera-
tion, is constantly recreated by communities and groups as a response to their envi-
ronment, their interaction with nature and their history, and it provides them with a
sense of identity and continuity, thus promoting respect for cultural diversity and
human creativity.” In these words, it is possible to read how labor, work, and action
are at the basis of landscape, always related to man. In this sense, it is possible to
mark the process and the construction of landscape. And in this, craftsmanship
assumes a central role. Traditional craftsmanship is perhaps the most tangible mani-
festation of the intangible cultural heritage. The skills and knowledge involved in
craftsmanship too often are lost in the globalization era and in the internationaliza-
tion of crafts. Rather than focusing on preserving craft objects, safeguarding
attempts should instead concentrate on encouraging artisans to continue to produce
crafts and to pass their skills and knowledge onto others, particularly within their
own communities (Settis 2017).
The research developed by INTBAU, The International Network for Traditional
Building, Architecture & Urbanism, connected to the Prince of Wales, is important.
It is an active network of individuals and institutions dedicated to the creation of
human and harmonious buildings and places that respect local traditions. Traditions
allow us to recognize the lessons of history, enrich our lives, and offer our inheri-
tance to the future. Local, regional, and national traditions provide the opportunity
for communities to retain their individuality with the advance of globalization.
Through tradition, it is possible to preserve the sense of identity and counteract
social alienation. Traditional buildings and places maintain a balance with nature
and society that has been developed over many generations. These places enhance
our quality of life and are a proper reflection of modern society (Fig. 1.2).
Indeed, through the landscape, it is possible not only to “look” at a territory but
also to “see” it (Nigro 2007, p. 7) and read “the doings of a society in a territory”
(Sereni 1961, p. 18). The act of construction was linked to the concept of breaking
up and then of reassembly of material in the place where the building took shape;
the construction rose, therefore, seeming to emerge directly from the bowels of the
earth, and it remained clinging to this, thereby creating, with the existing fabric, a
Fig. 1.2 The invented landscape in Giovan Battista Massini’s project, Ospedale del Cambio in
Porta San Giacomo. (Perugia, 1921)
1.2 Case Study of the Umbrian Landscape at the End of the Nineteenth Century 9
sort of new geological layer that adapted itself perfectly to the natural environment,
merging into the landscape like the vague figures of wayfarers in eighteenth-century
lithographs (de Giorgi 1995, pp. 19–23).
The natural element was present not so much in the new forms as in the sub-
stance, in the grain and in the natural colors of the lithoid element. An example is
the Upper Church of the Basilica of Saint Francis in Assisi, where the structure,
despite its size, blends in well alongside the typical Umbrian architecture of the
small houses around it, precisely because of the choice of the stone building mate-
rial used. The advent of modern construction techniques and the growing diffusion
of artificial materials have provoked a split between the resources of the lithosphere
and the aspect of dwellings, thereby downgrading the territory. This split has been
conditioned by many factors: from the natural characteristics of the stone material,
of its availability, from the degree of evolution of technical knowledge, of the econ-
omy of the operation of exploitation (Cattuto et al. 1990, pp. 79–80).
Certainly, a first step towards environmental revitalization is the knowledge of
the resources and the materials that the territory offers to us. The solution of envi-
ronmental problems, therefore, does not lie simply in the use of wood only or in
avoiding the use of cement and concrete or in building deep underground to avoid
ruining the landscape or in any other alchemistic rituals. An answer can be found,
however, in using the territory rationally, finding limits to the modern city, applying
adequate logic for the locating of industrial or governmental structures, and replan-
ning the major infrastructural networks (Clementi 1998, pp. 49–57).
The great challenge is putting the tradition into practice (Amoruso 2017), and
also before of the transformation of our architectonical culture. In fact, “in every
epoch Architecture has been able to crystallize the essence of Tradition into an
architectural language, crucially at a time when a cultural, tectonic shift calls for the
evolution of the language in order to keep it alive and relevant as an expression of
civic and cultural values or aspirations” (Settis 2012). The prerequisite of the
“Modernist” approach is the separation of construction, tectonic, or the craft of
building from the architectural language, thus enabling the multitude of expressions
to be based on the same framework and structure (Sagharchi 2017, p. 23).
1.2 C
ase Study of the Umbrian Landscape at the End
of the Nineteenth Century
The case study of the Umbrian landscape represents a paradigm, in the dialectic, yet
opened, between tradition and innovation. It is necessary to mark how the Umbrian
landscape began to have an actual identity only at the end of the nineteenth century.
Up to then, even if it was described in the literature, it existed as an ideal figuration
that was transmitted from the representations in paintings and the urban centers
maps, and only with the first photography was the rawness of those places shown
where there were yet no buildings: in the written acts of the Agricultural Enquiry in
1883, it is possible to read that “Umbria region, all fenced by the mountains of the
Apennines, is separated from the sea, tormented with abrupt and harsh differences
in altitudes, exposed to unpleasant weathers and water disorders, poor in produc-
tion, with a lack of population not well-heeled, it all forms a single kind on its own,
with no mountain comparison with Toscana, the region it adjoins to” (Nobili-
Vitelleschi 1883). In the modern epoch, demographic concentration in the cities has
moved attention to a landscape still intended as a limiting space between city and
countryside, and its figurative charge was to be found in the relationship between
the natural element and the architectonic emergency, and not in the excess or in the
long view (Fig. 1.3).
The Umbrian landscape, until the Modern Age, was the unexpressed reverse shot
of the walled city, the main protagonist of all representations. With the beginning of
the last century, through the construction of the railway, new roads, and reclamation
channels, it was then possible to discover new areas never studied previously, nei-
ther by landscapers, who drew the cities seen from outside (and for this the natural
environment was only the best place where to collocate the point of view of the
subject), nor by cartographers, who settled those spaces in the white, not-drowned
parts of the maps. In this sense, the discovery of how really Umbria looked is owed
to the photographic documentation produced between the two centuries. In this
period the new Italian State was determinate on the construction of the landscape
through the substantial changing of the territory. Its incisiveness was also the result
of the intelligent move of working first on the constructive act and then on the
normative one (or at least it had not censured its work with protection measures for
Fig. 1.3 Tracks of modernity in the development of the railway network, road network, and public
lighting in the Umbria Region from 1865 to 1946
1.3 Research Project “Paths of Modernity” 11
Fig. 1.4 Landscape and infrastructure in the demolition of the railway bridge on the Tiber River.
(Perugia, 1945)
the already existing one). This same circumstance granted, in fact, an active
freedom in building national infrastructure, new urban drift, redevelopment of many
neighborhoods, and urban and architectonical reinterpretations of city tracks. The
main rules for safeguarding the territory go back to 1939, for example, those regard-
ing the protection of artistic and historical beauties (Italy, Law no.1089/1939; Italy,
Law no.1497/1939), or the one reordering the superintendence of antiques and arts
(Italy, Law no.823/1939), or the one for the constitution of the new urban cadaster
(Italy, Law no.652/1939).
A premise (the action of doing followed by law and limit) allowed reinterpreta-
tion of the territory, building a new landscape and defining a new image of reality.
The intervention of the law, then, established a situation that up to that moment was
still unstable, avoiding the evolution of those processes that in the next epoch were
needed for maturation of the territory (Fig. 1.4).
Umbria, in fact, still identifies itself with a landscape that was created less than a
hundred years ago, through a modernization process that remained unfinished. On
one hand it feels like it has inherited a very ancient territory, which is untouchable
and immutable; on the other hand, it wants to give answers to contemporary ques-
tions without interfering with the landscape and in a state of no acceptation of the
fact that it is a part in a design, now still interrupted, that continues to evolve.
The representation study can show the analytical tool potentiality useful to
deeply understand the landscape. In the centrality of perception and in the scientific-
ity of the analysis, historical studies are connected to the transformation of places.
1.3 Research Project “Paths of Modernity”
Through the research project “Paths of Modernity,” it was possible to investigate

this context and expressively face the cataloguing of the documental and photo-
graphic archives of the cultural region holdings, composed by more than 10,000
unpublished photos. The aim of the research project was to study the important
historical period that had signed the passage of an epoch and had written the plots
of a territory with deep changes both social and cultural. “Photography is a reflected
image, but, as opposed to the single inversion of the mirror image, it is further trans-
formed by its technical manipulation, and especially by the framing that makes of
the real sign” (Agrest 1991, p. 157). Walter Benjamin celebrates the mechanical
reproduction in regard to the destruction of the “aura”, which is the “unique phe-
nomenon of distance originated from the uniqueness of the art object” (Benjamin
1968, p. 224) (Fig. 1.5).
The concrete product consists in the definition of a system for the analysis of the
territory working on the category of those works (civilian, infrastructure, environ-
mental) that give a structural image of the same territory. Those goods, even if
determined by the message that they transmit, usually are not studied because they
are the product of a change too recent to be considered historic, and at the same time
too old to be contemporary, while, to tell the truth, they are some kind of memory
lengthening allowing us to connect the recent past to the present. If we think that the
Umbrian landscape, in the current meaning, was discovered/invented with the con-
struction of the great roads infrastructure, we realize that earlier its image was con-
nected to the fascinating state of the main historical centers, which were seen from
an unknown and indescribable outside view, and to the exotic taste of discovering
smaller areas located deep in wild nature. The new ways of communication show a
different territory, which appears dynamic, describable, and always in need of con-
tinuous modifications.
The central part of the project was composed of huge photographic equipment,
which testifies to the changes and is an efficient instrument for the comprehension
Fig. 1.5 Landscape and new urban spaces in Perugia’s railway station during 1920 and in the
“Perugina” chocolate factory area
1.3 Research Project “Paths of Modernity” 13
of the signs left by recent history, still not very well known. In this sense, the project
clarifies its utility in contemporary culture (globalized and multiethnic), offering a
contribution for the interpretation of the territory, whose actual unstable configura-
tion, apart from a clear spatial value, concretely represents the result of the intense
stratification that happened during this time.
Gathering of documents and photographs gathering was organized through a sys-
tem based on a classic procedure for which is possible to identify three different
moments: data retrieval, cataloguing, and disclosure of the results.
Data retrieval started with a cartographic and bibliographic investigation,
together with a rich documental and photographic base. Cataloguing involved the
realization of a complex digital document for the systematic archiving of all data
and their reference. Disclosure was realized through a computer platform able to
guarantee full use of the results to many different levels of knowledge (Fig. 1.6).
Particularly, the computer system, even if it belongs to the category of systems
for management and cataloguing of cultural goods, is defined in its wider meaning
(Auer et al. 1998); it was programmed as a web system open to consultations, dis-
closure, and most of all to implementation of data from each user interacting with
the system itself. So, the portal uses all dynamic characteristics through which is
possible to consult, ask, and create new information, adding photographic document
references regarding the same themes of studies. In this way, the user itself partici-
pates in the construction of a virtual space of meeting with its cultural content, for
the exchange of information, amplifying the abilities to interpret territorial data.
Fig. 1.6 Landscape and new territory geometries with the construction of disclosed embankments
of the Chiascio River. (Assisi, 1959)
The analysis that emerges from the orderliness of the data, from the possibility
of reconstructing their development and investigating the ambivalence between
look-like and being, for the similarity to which the scheme has to look up to be
analytical and descriptive is not based on a scrupulous identity, but on the corre-
spondence of the substantial structural characteristics. The theme finds its centrality
especially in those areas where, as in the Umbria region, the memory of traditional
themes increases a sense of pseudo-conservation that contaminates both the real
identity and the contemporary culture, including the aesthetics innovations inevita-
bly present (Fig. 1.7).
Project choices, as the fruit of a specific historical moment and social environ-
ment, can be revealed over time as inefficient in the widest relationship between
cause and effect, so the knowledge of a place in different epochs can help us to
imagine the same place through a critic reading of its signs.
A landscape is analyzed through a scientific approach, utilizing photography as
a tool to define a territorial historiography, a set of illustrations that alters the way of
interpreting the place. “The images were no longer dependent upon their original
contexts for their meaning and become open to multiple interpretations and read-
ings” (Wells 2004, p. 308).The sequentiality of the images generates a narration of
the places, useful to rediscover the origin and the real essence of the landscape.
Fig. 1.7 Tracks of modernity in new aqueducts and the organization of waterways in Umbria
1.4 Materials, Architectures, and Landscape in the Umbria Region at the Beginning… 15
1.4 M
aterials, Architectures, and Landscape in the Umbria
Region at the Beginning of the Twentieth Century
Starting from these studies, it is possible to propose an analysis of the materials used
to build the landscape in that age. For centuries, the construction of the building
organism was made on topological choices, which were mainly conditioned by
simple forms and by continuous structures that, even if they were limited in height
and light, held great thicknesses and important metric masses. The use of materials
is characterized by a research of synchrony between function and decoration, wish-
ing to reach out to that “sincere application” (Piacentini 1935) and a “clear, honest,
right economy” (Pagano 1935, p. 27) (Fig. 1.8).
The building can be defined as a “society of materials,” fitted to come into con-
tact one with the other. A “society” and not “sets,” because they are held in a hierar-
chical order, which can be translated, even if not in a linear way, in a “hierarchical
system of formal meanings” (Purini 1992, p. 342). In The Status of Man and the
Status of His Objects, Kenneth Frampton explains the “invariably confusing distinc-
tion between building (as process) and architecture (as stasis)” (Frampton 1979),
showing that the architecture has its primary charge in the creation of the public
realm and the landscape.
Fig. 1.8 Landscape and material in the construction of a bridge on Corno River. (Monteleone di
Spoleto, 1930–1939)
The new century, apart from redefining the relationship between nature and
buildings, brought a kind of secularization of the excess related to the new spatial
dimension of the architectonical object. The great glass window in the factories and
train stations, the great vaults begins to spread in many other empty spaces, ready to
be assigned to gyms, schools, barracks, and social spaces, following at least two
ideals: “rhetoric of simplicity” (Cupelloni 2002, pp. 91–100) and the idea of a social
architecture to be realized through the exaltation of collective values that, at least in
Umbria, are concretized with the passage from a mainly agricultural society to a
nonindustrial one.
The Italian region, Umbria, has always shown a constructive tradition, which is
spread and consolidate, made of brickwork, rough and heavy matter, compact ashlar
stones that compose the important public building, but also the minute fabric and
the urban space. The transformation process of the Umbrian territory started at the
beginning of the twentieth century. In fact, as modernity had arrived, all the require-
ment that up to that same period had characterized the historical environment, and
the now changed economic and social reasons, brought out the need of new infra-
structures able to adjust the territory to the inevitable modernization process. This
was a very fast change, which matured in the passage from one century to the other,
through the great questions of industrialization and the new urban drift (Bianconi
and Bonci 2010, pp. 319–325), but also on various infrastructures (Tatti 1862), of
aqueducts (Grohmann 1985, p. 161; Di Nucci 1992, p. 197; Tosti 2009), of great
civil works (Bianconi 1996, pp. 191–204), of new materials and forms, apart from
the discovery of new visions and new points of view and, consequently, to the con-
struction of the Umbrian landscape image that we have up to today (Bianconi 2011,
pp. 77–85) (Fig. 1.9).
In this sense, the important process of transition of the Umbrian landscape started
only after National Unity, and it moved from a static territory, mainly agricultural,
to a transit hub and productive landmark. With the turn of the century, in fact, with
Fig. 1.9 Landscape and new points of view in enlarging the provincial road (Cerreto di Spoleto,
1959) and in crossing Scirca’s Aqueduct (1950–1959)
the arrival of modernity new questions that up to that moment were almost unknown
came to light. Industrialization, new urban drift for the workers, and various great
infrastructures — this where the theme introduced in the old unchanged territory
many new signs and meanings. Up to then, anthropization of Umbrian territory was
founded on the direct relationship between what was built and the resources of the
soil, so much so that it could define a tight relationship between orography and
building apparatus, authorizing then the small structures to take care of local con-
nections. Therefore, the act of building was linked to the concepts of dismantling
and reassembly of matter from the cave to the factory (Bianconi 2011, pp. 77–85),
so that it could be defined as an image of the city strongly bonded to the local facies
lithoid, for example, the inseparable bonding between Assisi and the pink stone, or
the relationship between the places around the Trasimeno Lake and the sandstone,
or, again, Orvieto with tuff, here where nature and architecture mixed together give
life to a very singular landscape (Principi 1909, pp. 139–199; De Angelis D’Ossat
1927, pp. 16–18; Sperandio 2004).
Actually, the Umbria Region has always shown a widespread construction tradi-
tion composed of stone masonry and simple technologies. In the historical centers,
but also in scattered buildings, all structures conserve mass and small dimensions
for both plants and height. Only in monumental buildings, to cover very large
lighted areas, are the structures more complex, with arches, domes, and vault sys-
tems. This building scheme went on until the First World War, blaming marginal
stability, both economic and political, as responsible for the conservation of rural
and urban landscapes (Fig. 1.10).
Only in the modern epoch, in fact, did the Umbria Region discover the excess
with the new dimensions of the town, searching for solution for new urban drifts
(the construction of Perugia’s aqueduct was completed in 1932, and the houses for
the workers in Terni during the 1930s), but mainly it discovered to be a part of a
whole (the railway and the Grandi Officine Riparazioni in Foligno in year 1991, the
airport in 1926), a region in the center of the new-born Italian nation.
Civil works multiplied, and local materials were no longer sufficient to absolve
the desire for “modernity.” It will be the artifacts that, shaping the territory, will
introduce new forms and new materials, perhaps the same materials as before, but
treated with advanced technologies. It will start then a necessary project able to
respond to the growing industrialization and to the great infrastructural works, of
which the railways clearly represent modern action in adapting the landscape to the
iron line. Franco Farinelli explains “the advent of modernity introduces the reduc-
tion of space according to the time of the journey. Because of this reduction the
measurement, straightening and reclamation are presented as agents with the same
function, the coming up of one single territorial syntax, the one given from the
tabula rasa of which railway and highways are a clear sign of fulfillment” (Farinelli
2003, pp. 70–71).
In fact, the value of those large spaces given for civilian uses was an awareness
that appeared only after the Unity of Italy, when the State took over many religious
orders’ goods, taking advantage of the new laws (Pepoli 1860) intended to destroy
the ecclesiastical axis (Vaquero Piñeiro 2009, pp. 89–110). Through this decree,
Fig. 1.10 Landscape and new view of languages for territory signs for the foundation of Chiesa
dell’Oratorio Bambin Gesù. (Foligno, 1950)
305 religious houses were annexed to Perugia’s province, but the consistency had to
be associated to the quality of all artworks inside them (Galassi 2004), a relation-
ship explaining the economic reason for this action. In Italy “it was calculated that
the religious houses taken in possession form the State and then suppressed were
1,925, which is equal to the 2.9% of the main intervention on those buildings
affected by the laws of years 1866–1867, but at the same time, those same laws
brought to the State the possession of the greatest quantity of goods and almost the
entire cultural and artistic Italian heritage. The Italian region where the greater num-
ber of interventions, 1053, was registered was Sicily, whereas the smallest number
of interventions was, obviously, in Umbria and Marche, where those corporations
that were not included in the measures of years 1860–1861 were now affected by
the new decree. …The new measurements in 1866–1867 overlapped those of the
years before, which had already given to the State a total number of new possessions
even greater than the actual number (2075). The great quantity of historic and
Fig. 1.11 Landscape and new connections for the construction of bridges and artwork for road
traffic
a rtistic monuments involved and their deep meaning for the territory brought a final
result of 4000 suppressed religious houses” (Gioli 1997, pp. , 67–68). (Fig. 1.11)
The representation, which wants to concretize the imaginary, clarifies the substan-
tial thought on the city: if in the maps of the sixteenth century, based on the drawing
of Danti (Gambi and Pinelli 2008), until year 1860 there were indicated as central
elements the ecclesiastic poles, as is shown, for example, in the map designed by
Florimi at the end of the sixteenth century, where the author drew 119 poles; this
because the erudite students of Perugia founded their researches on those elements
(Belforti and Mariotti 1751–1800; Orsini 1784). The value of civilian elements
matures on its own time, as it is shown by Gambini’s work Guide of Perugia
(Gambini 1826), where the buildings represent half of 141 singularities that appear
in it, as for the first representations published at the very beginning of the Unification,
such as the map of Achille Porbomi (1862) (Cassano 1990), it is possible to see a
great reduction of poles (Filippucci 2011, pp. 202–205), that in this specific case
became 27, of which only 7 were of an ecclesiastic nature, but 4 of those were
owned by the state. This is the political redesign of the city (Filippucci 2012).
Our region, as it includes a great concentration of this kind of goods, it had a
multitude of spaces in where are collocated new functions, adapting churches and
convents to modern needs, and discovering that in this way they were perfect for the
upcoming industries. The formal and material research was then moved forward
until after the First World War and expressed itself only during the Fascism Epoch.
Around the 1920s, in fact, there was a lack of old structures to readapt for industrial
uses, so modern techniques were used to create more spaces and to cover large
lights, so much so that the same characters of the religious structures were passed to
civilian architectural needs.
For the first time, complex buildings were built in reinforced concrete, with a
new distinction between the bearing structure and the flow structure, as Le Corbusier
suggests (Le Corbusier and Roth 1927): skeleton and infill. Up until then, the
Umbrian constructive philosophy was concentrated on mass and small dimensions;
these concepts were forgotten with the new materials (steel, concrete, marble,
bricks, lithoceramic, white plaster, irons, glass block, etc.), but the most important
new material was emptiness: the great absence, the covered space, and the great
order (Vittorini 1999, pp. 257–268). The bearing skeleton in reinforced concrete not
only was able to release the internal spaces from their traditional relationship with
the masonry, but it also contributed to establishing new relationships with the exter-
nal spaces, by dematerializing the walls and limiting the expressive and decorative
roles (Loos 1921) of the bearing masonry. The separation between structure and
infill will also help to relive permanent loads (which before were resting on the
structure itself) thanks to the new implementation of “hollow walls” or of layer
walls made of isolating materials; this consequently brought a drastic reduction of
the thickness of the walls. Infill made of different materials were used (marble slabs,
concrete panels, concrete blocks, pumice boards, plasterboards) in alternation with
air chambers and frame structures to build the free bays and transparent walls, giv-
ing strength to the serial repetition (Le Corbusier and Roth 1927), which was
evolved from the Modern renovation (Gropius 1935, pp. 19–21).
Regarding research of transparency and light, one of the main objectives of mod-
ern building culture, it seems to be “the cancellation of the terrestrial origin of con-
struction materials” (Purini 1980, pp. 73–74) and this desire of abstraction found its
material expression in glass. “The illusion of transparency goes hand in hand with a
view of a space as innocent, as free of traps and secret places. Anything hidden or
dissimulated – and hence dangerous – is antagonistic to transparency, under whose
reign everything can be taken in by a single glance from that mental eye which illu-
minates whatever it contemplates” (Lefebvre 1974). The same classicism abstrac-
tion is then actualized that was theorized in the first half of the twentieth century
(Poretti 1999, p. 21). In this regard, the same Purini talks about simple geometries
that are exalted by materials such as iron, cement, and glass, which represent the
incoming of industrial production in the construction field (Purini 2002, pp. 35–36),
so much so that in the new architectures two different souls live together with two
different lifelong lastings: on one side materials that age in a good state, such as
marble and stones, and on the other side industrial products that demonstrate over
time their low resistance (Fig. 1.12).
It will be Giuseppe Pagano, writing in the pages of the periodical Domus (Pagano
1986, pp. 37–119), who was the first to clarify the relationship between matter,
technology, and architecture, he who questioned the spread idea according to which
the new architecture was born only thanks to the progress of construction
Fig. 1.12 Landscape and new green infrastructures in organization of waterways (1950)
techniques. This, according to him, was an affirmation that was reducing to a tech-
nique invention “the conquests” of new space (Zevi 1948, pp. 147–151), justifying
with science a need of the spirit. Actually, modern architecture, even if it is not a
simple product of technique, surely in those years expressed a high grade of conso-
nance with the reached technology level. According to Pagano, in fact, even without
iron and reinforced concrete the new architecture would have still pursued the same
ideals. A theme that reconnects, as an image, to the beautiful project of Franco
Simoncini (1930) for the warehouses of the company Montecatini in Brindisi,
which were originally realized in a wooden structure (D’Anselmo and Pecoraro
1999, pp. 435–440), and then reinterpreted standardized (Banham 1960), with a
system of hyperbolic arches made of reinforced concrete and intended to be repro-
duced in many other Italian locations, such as Recanati, or in the Umbria Region, as
in Assisi (1946–1948).
In a schizophrenic dyscrasia with the contextual academic researches of the time
(Tarchi 1923), finally also the Umbria region discovered the achievement of great
spaces: the Olympic pool of Nera Montoro (1931), the pool for the Female Academy
(1934), and Pietro Nervi’s hanger (1935) in Orvieto, finding a new esthetic made of
soaring, verticality, slenderness, and greatness, all monumental architecture ele-
ments which, in a decade, opened themselves to everyday use, denouncing a firm
formal, material, and figurative contradiction with tradition. In its absolutely moder-
nity, Italian architecture of the time kept its national characteristics (De Fusco 1968,
p. 99), dictated by a “classic Mediterranean of metaphysics aesthetics” (Patetta

1982, p. 50).
However, the strong conservative matrix of local building culture, now consoli-
dated from the centuries, metabolized what was new and, at least for the common
building, it combined tradition with innovation, using the reinforced concrete build-
ing techniques jointed to masonry, a mixed structure that allowed creating new com-
positional possibilities without completely supplanting the old masonry structures,
realizing the traditional conception of the building as a “masonry box.” In this sense,
a sort of technological hybrid was developed, to propose again the ancient typology
through a new structural matter such as the Elementary School of Gualdo Tadini
(1930) that was realized in a masonry made of mixed concrete, or the fake-medium
age built in Assisi in that same epoch. The selection of a typological model was
dictated from tradition for the figurative aspect, and from functional, economic, and
destination of use reasons for the technological aspect, renouncing perhaps to the
stone in face view and covering with plaster the hollow brick, as, for example, the
workers’ building in Perugia and Terni (Di Nucci 1992, pp. 128–139).
In that epoch, in Italy, the production of building materials received an impulse
as never before: masonite, faesite, linoleum, aluminum alloy (anticorodal), glass
(vis), glass brick, and clinker. Umbria also expressed itself in the industrialization
of the factory of clay brick in the province of Perugia; Terni concentrated its produc-
tion in steel, and Narni in the chemical industries for the production of linoleum
(Bosia 1999, pp. 189–196). Plants for the production of concrete were born in
almost every Umbrian district.
The Umbria region started late compared to the rest of the nation and stopped
very soon because of the introduction (1937) of the autarkic plane (Livi 1999,
pp. 165–170), which took the construction industry to limit the use of steel in build-
ings and forbidding the use of reinforced concrete for private buildings, but allow-
ing the use of mixed slabs of mixed cement as, for example, was done in the building
of Manifattura Tabacchi in Perugia (1936–1940). With the Second World War, in
1939, the prohibition to build in concrete was extended to all public and private
buildings, even if higher than five floors, and to all public works. In 1940 any kind
of building was prohibited, with the only exception of popular and rural houses, a
choice that was caused by the deep state of crisis wherein Italy found itself, which
had as a consequence the return to the old traditional use of technique and matter
(Fig. 1.13).
After the War, it had a slow and difficult recovery. “Maybe the irreducible dis-
tance generated from the imager and its superabundant production, it empties the
architecture of its matter e of its consistence of place” (Ugo 1989). However, the
Umbrian landscape had already started its important modification process and many
of the new forms envisioned with a spirit of hope and renovation will take matter
only at the beginning of the 1950s, when a neorealism (Casciato 2000, pp. 25–53)
is practically actualized. An example can be seen in the concrete train shelters of
many Italian train stations, among which the Station of Fontivegge in Perugia, that,
reveling a strictly modern theme, is rich with elements that recall the wonderful
forms of Angiolo Mazzoni (Cupelloni 1999, pp. 269–276), who worked out a
Fig. 1.13 Landscape and new functions in organization on the shores of Trasimeno Lake (1955)
simple system of pillars and beams facing the external, made of new matter with an
important cantilever, with coating made of travertine slabs, covered emptiness and
air volumes, that up to today interprets the passage of an epoch. “Civilization,
intended from a material point of view, it is the result of a progressive utilization
from mankind of Nature, that improves every day, and which develops day by day,
and it determinates in man always higher needs; the more this need grow higher the
more bounding between men are tighter, because to satisfy them it is needed the
help of everyone…The city is then a system of human adaption to the needs born
from the progressive conquer of nature” (Poëte 1929, p. 407).
At its base, there is the relationship between the place in its meaning of space
that achieves an identity and man that expresses his being; both themes are con-
nected to the value of sense and both determinate the action of memory (Settis
2017). The images then allow testifying something more than a place that once was
there: memory, certainly important but bounded to a subjective perception, which
means also tight mostly to a nostalgic feeling, gives up the step to history, to those
facts that transformed the territory and created the sense of place. In such a context
as Umbria is, traditionally named “Italy’s green heart,” a melancholy reminiscence
of a bucolic landscape contrasts with the real construction signed by work, the foun-
dation of the Italian Republic (Settis 2012) (Fig. 1.14).
Marshall McLuhan, in his Gutenberg’s Galaxy (McLuhan 1962, p. 3), helps us
to understand the definition of modernity by defying the environment, not as a con-
tainer but as the result of the whole process that modifies its contents. It is then clear
how, in a such an epoch, because of the upcoming war, it was not possible to do a
future projection of the process that will modify the just introduced contents, so for
this reason even if it reached a high level, the built model was not able to absolve the
growing needs of the industrialized society.
The research was not thought to create a new “Maurilia,” the invisible city of
Italo Calvino where “the visitor is invited to visit the city and at the same time to
Fig. 1.14 Lost landscape of the Perugina industrial area in Perugia (1955), demolished in 1983
(aerial view)
References 25
Fig. 1.15 Tracks of

modernity in the
systematic Umbria Region
transformation from the
end of the nineteenth
century to the first half of
the twentieth century
observe some old postcards that represent it as it was before” and where “in order
not to disappoint the inhabitants the visitor must praise the city in the postcards and
he must prefer it to the present one” (Calvino 1972, p. 29). Instead, it is the study of
the Paths of Modernity, the paths of history that can be enlightened from valoriza-
tion and not only from conservation, as a fruit of a logic intended to a paralysis of
landscape and of its image tendentiously manipulated by the affective criteria of
memory (Fig. 1.15).
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del primo convegno nazionale DOCOMOMO Italia. Edilstampa, Roma
Wells L (2004) Photography in the age of electronic imaging in photography. In: Wells L (ed)
Photography: a critical introduction. Routledge, London
Yates FA (1966) The art of memory. Routledge/Kegan Paul, London
Zevi B (1948) Saper vedere l’architettura. Einaudi, Torino
Chapter 2
Landscape and Colours: From Dyelab
to Colour Plan
Abstract In the centrality of perception, landscape is connected with colours, cen-

tral elements that impact on vision, by describing what is the natural environment
and what is man made. Understanding the landscape means to rediscover the
European chromatic identity as a strategy for creative culture promoting. The inno-
vation value chain starting from knowledge, sharing, and reactivating of identity
elements is a new European network of exchange. On one hand, in a globalized and
industrialized world, this necessity can start an innovative place-based approach,
useful for creative operators to rediscover the origins, and originality connected, to
the values and the resources of Europe, the core element of our cultural heritage.
Creativity, in fact, is linked to products, and the combination of materials and of
techniques can be seen as double-helix DNA, an agent of heredity of places and
cultures. On the other hand, the same perceptual need can generate a transformation
of the urban landscape, using the urbanistic instruments of the Plan of Colours. The
Plan of Colour is a normative instrument that can study and define the identity of the
urban character, aimed to determine the quality of public spaces through regulation
of the recovery of colour. Guideline rather than prescription, the duality between
project and survey finds an interesting experiment: analysis and synthesis are inter-
related by losing their boundaries in a critical reading of the image of the place.
Design analysis and project are described in the case study of the territory of Deruta,
an Umbrian area close to Perugia with nine small historical urban centers, a para-
digmatic case able to explain the close affiliation of this project in the sphere of
representation. In more than 400 tables the survey of facades and critical emergency
is developed, and with the help of more than 2000 schedules, a strategy is built to
interpret the state of the cultural heritage. Extrapolating values through a catalogu-
ing action, a logic able to understand the emergency of planning is systematized,
indicating “where” and “how” in a town’s element we have to intervene. Material
values of materials become the vehicle of immaterial values, able to exploit the
primary resources of place, the culture, which is expressed in the landscape, so as to
trigger a cascade process of upgrading in perception of place, space, and society.
The approach in the topic of representation is central to analysing and planning the
urban landscape, in its chromatic value, a strategy of the image of the city.

https://doi.org/10.1007/978-3-319-94150-9_2
30 2 Landscape and Colours: From Dyelab to Colour Plan
Keywords Architectural survey · Cataloguing · Chromaticism · Identity ·

Colour plan
2.1 The Colour of Landscape
Landscape, in its definition (Council of Europe 2000), is connected to perception

(Zube et al. 1982, pp. 1–33) and to the experiential results of human interaction with
the environment (Appleton 1975). And in this immersive connection, “we obtain a
better notion of the structure of ambient light when we think of it divided and sub-
divided into component parts” (Gibson 1979, p. 60), shapes, but also colours
(Kaplan and Kaplan 1989, pp. 92–101) and their harmonic relationship (Hermann
1999). Every landscape creates a “colourscape” (Lancaster 1996, pp. 84–87), with
a style (Yang and Kaplan 1990, pp. 251–262), and colour is one of the most decisive
factors that people use for objects and event recognition, identification, and notifica-
tion (Kaplan 1975, pp. 92–101); colours have different psychological and physio-
logical effects on humans (Ender et al. 2016, pp. 669–676) (Fig. 2.1).
The natural landscape, with its environmental colour (Bell et al. 2001), is per-
ceived always for its value; the anthrophized landscape, with its added colour, does
not always receive the same value, maybe because after industrialization, our places
are built with artificial and serial colours, whereas in the past local nature was trans-
figured also in our constructions. Colours represent essential elements in perceptual
reinterpretation, as demonstrable in viewing colour photographs, an important
Fig. 2.1 Effects of colours under good government in the city. (Siena, 1338–1339).
(https://commons.wikimedia.org/wiki/File:Ambrogio_Lorenzetti_-_Effects_of_Good_
Government_in_the_city_-_Google_Art_Project.jpg)
2.1 The Colour of Landscape 31
source of landscape variety (Shuttleworth 1980, pp. 61–76; Stamps 1990, pp. 907–

913), which are able to give more information about the landscape than a black-and-
white image (Nassauer 1983).
Chromatics identity is an expression of the natural heritage that includes territo-
ries and natural resources; of materials and of cultural landscapes and local identi-
ties (Mazzilli 2002, pp. 167–181). Chromatic identity of a place (Cler 2011), the
value of material and perception, can wedge in creative sectors for its peculiar dual-
ity to be “seen and unseen:” if, on one hand, its results are found in the colour,
perception, therefore in what is visible, on the other hand, dyes necessarily depend
on the materials that are used (Fig. 2.2).
Today we can register the cultural needs of “originality” and “identity,” so impor-
tant in a globalized world. New business models are being forged: focusing on the
unique value of rediscovery of history, traditions, tangible and intangible cultural
heritage, and making social and cultural infrastructures for the cohesion of European
identity. “(…) in the Generic City individual “moments” are spaced far apart to cre-
ate a trance of almost unnoticeable aesthetic experiences: variations of colour in the
fluorescent lighting of an office building just before sunset, the subtleties of the
slightly different whites of an illuminated sign at night. Like Japanese food, the
sensations can be reconstituted and intensified in the mind or not – they may simply
be ignored. (There’s a choice)” (Koolhaas 1995, p. 1250) (Fig. 2.3).
In a different way, it is possible to promote an innovative approach to the land-
scape survey (Swirnoff 2000) and project (Neill 2004), rediscovering chromatics
identity, so connected to place-based resource and traditional solutions, a core ele-
ment of the European cultural heritage. In a globalized and industrialized world, an
innovative place based on an approach that can help the creative operators to redis-
cover origins, and originality connected with the values and the resources of Europe,
a core element of our cultural heritage. It is necessary, indeed, to recover the chro-
matic space as a sign of identity in the landscape (Torres Barchino et al. 2017,
pp. 1321–1328), and to put it as the center of the relationship between man and his
territory in the sense of the place (Davis 1999) (Fig.2.4).
Fig. 2.2 Landscape and absence of colour seen in aerial view of Castelluccio di Norcia years after
the earthquake in August 2016 (2018)
Fig. 2.3 Landscape, form, matter, colour, and time in details of the stratified facades of Perugia’s
historical center (2016)
2.2 A
Proposal: DYELAB. Natural Experimentation
and Innovation of European Multicultural Chromatic
Identity
Among research activities, a proposal called “DYELAB. Natural experimentation

and innovation of European multicultural chromatic identity” was submitted in
2016 to the Creative Europe program, coordinated by the Department of Civil and
Environmental Engineering at the University of Perugia, together with La Sapienza
University of Rome – Department of Planning, Design, and Technology of
Architecture (IT); the Politecnico of Milan – Department of Design (IT); University
of Ljubljana – Department of Textiles, Graphic Art and Design (SI); the National
Museum of Romanian History (RO); Bucharest National University of Arts (RO);
the Institute of Natural Fibers and Medicinal Plants – Design and Marketing
Department (PL); Officina Atelier (FR); Mainz University of Applied Sciences
(DE); the University of Leeds – School of Design (UK); and Shenkar College of
Engineering, Design and Art (IL).
The proposal develops the topic that the use of natural dyes and the traditional
patterns is a core element of European cultural heritage and place identity. Creativity
is linked to products, and the combination of materials and of techniques can be
2.2 A Proposal: DYELAB. Natural Experimentation and Innovation of European… 33
Fig. 2.4 Analysis of matter and chromatic variation of an urban front in Perugia’s historical center.
(Academic design of M. Cardinali, 2017)
Fig. 2.5 Analysis of matter and chromatic variation of an urban front in Perugia’s suburbs.
(Academic design of F. Neri, 2017)
seen as a DNA double helix, agents of heredity of places and cultures. The innova-
tion value chain beginning from knowledge, sharing, and reactivation of identitary
elements, is a new European network of exchange (Fig. 2.5).
In the past, there was a central figure of the dyer, so important, for example, for
the fashion sector. Rediscovering identitary colours, place resources, natural dyes,
and traditional patterns, the material/immaterial elements of cultural heritage, can
create a new skill for creative operators. The tradition of dyeing appears today as a
dead profession, one that is surely underrepresented. The changing environment is
linked to digital globalization but also to a renewed sense of environmental respon-
sibility. The digital shift is connected by how natural dyes are made, disseminated,
accessed, consumed, and monetised. Cultural and creative development will be sup-
ported by digital tools that will produce an impact on production, distribution,
access, consumption, and monetization, through lower costs, new channels of dis-
tribution, and a new and wider public as well as opportunities for specific products
to be disseminated. The figure of the dyer can be considered as the guardian of tra-
ditional techniques, handed down over time, that describes the evolution of man-
kind, an intangible asset of the artistic craftsmanship that nowadays is being
rediscovered. It seems to be a memory of the ancestors, as museums and academies
remind us. The process of globalization might undermine all those elements. But
Fig. 2.6 Analysis of chromatic variation of the stratified historical complex in Via della Gabbia in
Perugia. (Academic design of G. Anastasi, 2011–2012)
now, innovation of creative districts speaks of sustainability ethics and responsible

environment, and this stream is flooding all the creative sectors. The original con-
text of an artistic craft can find new horizons in the use of digital technologies, able
to achieve and disseminate the quality and the innovation of ancient and natural
materials, of colours and patterns, and their capacity for storytelling place values
(Fig. 2.6).
Landscape and natural colours are connected to the artistic crafts, but, in the
traditional approach they are connected to natural and local resources. In a contem-
porary way, this profile is open to the most relevant sectors of creativity as environ-
mental design and sustainable fashion, perception, architecture and landscape,
drawing and digital technique of representations, cultural heritage, and artistic prod-
ucts. References coming from traditional patterns and material culture are expressed
by our tangible and intangible cultural heritage, cultural landscapes, historical sites,
museums, archives, collections of historical tools or designs, arts and crafts tradi-
tions, visual art workshops, and libraries.
Innovation of creative districts speaks of sustainability ethics and responsible
environment, and this stream is flooding all the creative sectors that can find new
horizons in the use of digital technologies, able to achieve and disseminate the qual-
ity and the innovation of ancient and natural materials, of colours and patterns, and
their capacity for storytelling place values.
At the end of the Middle Ages, commercial exchange revolutionized creative
cultural sectors; nowadays it is possible to foster these sectors through the circula-
tion of works of culture and the mobility of cultural players. The use of local
resources is an expression of a culture of work, based on social cohesion and dia-

logue as means of integration and equality. A key point is that “intercultural dia-
logue” as proposed differs from “multiculturalism” because it does not accentuate
the preservation and promotion of separated cultures, but rather mutual understand-
ing and interaction. Although the risk of multiculturalism is that it may reinforce
isolation and conflict, intercultural dialogue aims to reinforce social cohesion
through the creation of bridges and links among people and communities, through
dialogue and mutual respect (Fig. 2.7).
It is possible to rethink, linked to a landscape project, a kind of contemporary
dyer (but not a romantic echo of a past era): before industrialization, the dyer was
an underrepresented category that today cannot return to working in the same way.
But, if today we have lost the connection between creativity and place, in our vision
of the future is necessary to return to the value of terrain, to what is true, original,
natural, and sustainable. The dyer was only closed to fashion, but moving on, it
becomes evident that using place resources such as natural dyes permeates and
characterizes new areas of design, expanding the experience of the natural dyes in
the objects used in everyday life, from curtains to sofas, and in all those materials
and textiles that often we do not even realize accompany our daily life. Attention to
low environmental impact is also constantly taken into account. At the same time,
the project allows participants and beneficiaries to be involved in global markets of
international and economic relevance, the emerging markets “of globalization and
standardization” that are now rediscovering the unique value of the crafts works and
heritage as essentials. The contemporary dyer, in our vision, is an expert on colour
and identity, of chromatics linked to place. And he does not fight against the indus-
trialization process, as creativity does not. He supports a new business. The point of
starting is knowledge, and the dematerialization of digitalization can help the
exchanges. In the past, in the San Francesco Era, the image of Europe was brought
by traders. Today, creativity can find new lifeblood by a different way to share infor-
mation and data. Moving forward, the idea of the project is to promote the meeting
of experts on chromaticism, that exchange one with each other the results of their
research and work, telling the story of the traditions and showing the potential of
such work nowadays also in fashion and design (Fig. 2.8).
Participation and co-design help audience development and dissemination, find-
ing in stories of identity the strategy to create connections with those who were once
called the “consumers” but now are to be called rather as the public: from being a
helpless victim of the brand to become the quality breeder. A place-based strategy
is closely connected to people, to the citizen, to their “open resource,” connected in
participation and co-design approach. Co-design, participation, and (co-)creation
are preconditions for achieving intercultural dialogue in practice.
The target of applications is contemporary society and, for this reason, the aim is
the ideation of contemporary products. However, tradition can help new business.
Innovation is connected to the recombination of solutions, in applications of new
conditions. The material can be seen as the DNA of a product. If technology has
opened up a new world of advanced materials and complex production methods, in
this way we have lost a connection with the territory, environment, and landscape.
Fig. 2.7 Scheme of the relationship between natural dyes and multicultural chromatic identity for
landscape regeneration. (Academic design of M. Margutti and M. Stramaccia, 2016)
Fig. 2.8 Strategy of proposal for multicultural chromatic identity in natural dyes for landscape
regeneration. (Academic design of M. Margutti and M. Stramaccia, 2016)
Since the commercialization of synthetic dyes, natural dyes have been largely for-
gotten in all the creative sector. To understand the relationship between dyes and
materials, we need to examine the past before we can look to the future. This is
something that culture leads to transfiguring in fabrics, processed in a contemporary
way according to past techniques. The dynamic relationship between tradition and
innovation is developed by starting from past knowledge and following by being
open to cutting-edge aesthetic research that tells, through colours, about the cultural
capabilities of transforming environmental richness into something else (natural
dyeing). Techniques, lines, shapes, colours, and symbols are so expressed in fabrics
throughout different declinations that tell of humanity’s need of beauty as well as
the return to the origins, meaning the rediscovery of originality. The proposal wants
to research at the boundaries of several disciplines as well as creative ideas, new
horizons that can arise from another activation of immaterial heritage characterized
by its linguistic peculiarity (Fig. 2.9).
Fig. 2.9 Paradigm of homologation on chromatic identity in comparing Aldo Capitini’s original
Peace flag (Perugia, 1961) and contemporary replicas
Our proposal, not financed, was composed of a series of European workshops,

where experimental combinations of traditional natural dyes and patterns in innova-
tive and sustainable solutions were reinterpreted in creativity works; digitization to
share solutions (as digital catalogues), tools, and strategies to support creative sec-
tors (as eye tracking, generative patterns tool, cultural heritage photomodeling);
formation of a contemporary dyer through experiments sharing (dye, materials,
patterns) and lessons (formal, informal, in historical elements), supporting local
authorities (colour place) and European legislation (European colour culture driving
license) to train in an intercultural and social approach (social cohesion in natural
dye); promotion of new business models testing interdisciplinary and in interna-
tional work opportunities, promoting a strategy of identification of values (sustain-
able label), linking territories, resources, and products (eco-museum), and promoting
the art (calls, expositions).
In a connection between landscape resource and centrality of perception, Dyelab
represents an integrated strategy centred in the valorisation of the image of the
place. Rethinking artificial chromaticism from another point of view, rediscovering
a close relationship with the place, it represents a strategy founded in the analysis
and project of the landscape (Fig. 2.10).
Fig. 2.10 Images of Deruta and its colours

2.3 Colour Plan Through Research and Project 41
2.3 Colour Plan Through Research and Project
The urban landscape is developed in a stratification of signs and colours. There is

not a project of the image of the city, and often the planning tools are not able (or
not interested) to plan the perceptual results of an urban place (Carbonara 1988,
pp. 35–52). Instead, there is in contemporary urbanism a useful strategy to plan the
future chromatism of the cities, the colour plan, a study path that in Italy has a long
tradition (Brino 2009, pp. 30–35).
In built space now it is useful try to find identitary chromatics. The General
Conference of UNESCO defined and understood the Historic Urban Landscape as
“the urban area resulting from a historic layering of cultural and natural values and
attributes, extending beyond the notion of “historic center” or “ensemble” to include
the broader urban context and its geographical setting” (UNESCO 2011). Anyway,
it is necessary to investigate “a sensory level which shows how understanding ... the
skill in creating patterns that are able to give an interpretation to experience through
organized forms” (Arnheim 1954).
The city relevance is based on the balance between the unity of the urban form
and the exploitation of singularities. The colour is to support this logic. The relation-
ship between unity and fragment, so important to the vision, to the relationship
between the types and figurative structures, was in fact already described by Plato
in the Phaedrus (p. 265) and has become a topic of urban renovation (Muratore
2010).
The vision is natural for mankind, but needs its own “education” (Lynch 1960),
which is why we ourselves need to deconstruct the complex process to better man-
age it.
In this sense, an historical reference to the romantic figure of Alexander Von
Humboldt becomes really interesting, who, in his Cosmos (von Humboldt 1845–
1862) distinguishes between three stages of knowledge, which work as well as for
the research in the image of the city and in the perception of colour:
1. The first is that of the suggestions, the man like a white sheet, impressed by the
external landscape an approach that concerns the relationship between subject
and object.
2. The second step is the examination and the disarticulation of a unit scientifically
sorted into individual parts.
3. The third and last stage is the synthesis, where the whole is no longer reassem-
bled in an aesthetic impression, but is structured by scientific thought.
The Colour Plan then starts thinking from the impression, in the perfect matching
between landscape and its icon, trying to understand the current state as well as the
foreshadowing future. Deconstruction imposes then the relationship with similarity:
deconstructing the reality to inscribe it into known categories, to ensure that from all
the observations a law can be extrapolated.
Fig. 2.11 Nine historical centers in Deruta territory and profile definition of Casalina Center
The urban colour plan is based on the spatial configuration of the analysed city
(Gou 2013) and it can be useful to communicate a place in a different way (Meerwein
et al. 2007, pp. 19–23). Moreover, the conversation between reality and its model is
entirely left to abstraction. Subjectivism is fundamental because it is not possible to
observe without judging: the image is influenced by the imaginary, which, con-
versely, is the critical result of different observed images. From the three previous
conditions of the relationship between unity and fragment, the value of the laws’
perception, with the centrality of the interpretive process, almost inevitably follows
the dependence of the project to the action of the survey (Fig. 2.11).
2.4 The Case Study of Colour Plan in Deruta Territory
An applicative case study is represented by the urban survey and project connected
to the chromatics, the Colour Plan, that was born as a normative instrument to pur-
suit public space qualities throughout a restoration of existing colours.
The case study mainly concerns the Deruta administration, in the analysis of the
historical villages already identified by the General Plan: Deruta, Ripabianca,
Casalina, Fanciullata, San Nicolò di Celle, Sant’Angelo di Celle east, Castelleone,
Pontenuovo.
Referring to the issue of the relationship between colours and historical centers
with a perceptual point of view, the Plan regulates a process of colouring, cleaning,
and restoration of different facades, seen as a whole set of architectural components
that together create a particular set of roads and urban scenes.
The methodological path finds its basis in the perceptual issues, as a critical read-
ing of the image that develops from the fusion between analysis (survey) and syn-
thesis (design) (Fig. 2.12).
2.4 The Case Study of Colour Plan in Deruta Territory 43
Fig. 2.12 Relief and analysis of surfaces and finish colours and materials in the Deruta Colour
Plan
Through a redevelopment project of the individual facades capable of preserving

aesthetic continuity, the main goal of the Colour Plan will be to preserve and
enhance the local identity. The colour plan objective is the enhancement of the
homogeneity of historical centres.
The colour plan goal is the enhancement of historical centres units through a
redevelopment project of the individual façades, capable of aesthetic continuity to
preserve and enhance the local identity.
The protection of landscape is basically linked to the perceptions arising from
the vision of the whole urban environment: even before capturing a single colour,
our mind will consider its multiplicity and identifies the colour contrasts and domi-
nant tone. The colours, as well as the general appearance of the man-made perceived
environment, are elements that must be studied and valued because vehicles of the
urban image as well as of the culture revealed from the urban landscape.
The choice of this particular approach should be read purely in this sense: a per-
ceptual one focused on the primacy of the eye that is the concern also informing the
“European Landscape Convention” (Council of Europe 2000), where perception is
the main instrument of knowledge, another way to recognize the peculiar identity.
The Colour Plan is divided into three parts: survey, cataloguing, and project,
which are closely related in the critical reading action of the complexity of
landscape.
A study phase is undertaken starting from the existing literature, among which
can be mentioned the Fabretti ancient research (Fabretti 1845), an important
d escription that gathers the text of 28 drawings of monuments built in the territory
and highlighting the morphological and material appearance of the city. To identify
the original matrix which then led to the development of buildings, the historical
cartography has been studied to trace the peculiar evolution of this urban area. The
analysed maps have been mainly the Chiesa cadastre (1727–1734), the Tiroli cadas-
tre (1755–1756), and the Gregorian cadastre (1835–1943), with its updates and pho-
tographs of the transformation that occurred in the area.
In preparing the Colour Plan it has been necessary to define the agreement by
which the detected chosen colour is identified. With the purpose of determining an
unequivocal reading, the NCS (Natural Colour System), developed by the
Scandinavian model of colours of Stockholm (1950), has been examined (Hard
et al. 1996).
The study shows a similar pattern to each location, which starts from a table
with, on the left, a schematic representation of the territory (capable to let the reader
understand the position in the landscape local system) and, on the right, the floor
plan shows the analysed fronts and the urban sectors in which the city is divided in
relationship to its interpretations for parts. Following the same logic, the summariz-
ing tables have been prepared with the main colours detected, placed in the plan
over the footprint of the building. The project tables are based on setting the colour
detected and the subdivision into compartments; with the colours of the project
replacing in one of the possible simulations, the captured colours divided into a
schematic legend as subsequently will be analysed in detail; below are showed the
tonal results, plotted to show the constraints on the colours (Fig. 2.13).
Fig. 2.13 Definition of minimum décor units and filing scheme in the Deruta Colour Plan
As a premise of the description of the detection actions undertaken, it is appro-

priate to consider what survey action means: a cognitive interpretation of reality. In
this sense, the plan is strongly based on the critical reading of the existing state
which, through the sign, has allowed us to understand the existing matter of state.
The survey campaign, developed in parallel to the cataloguing one, affected all the
main fronts invested by the Plan, action founded by an expeditious detection
obtained with techniques of digital straightening, based on topographic contours.
The drawing makes possible to identify the shapes of prospectuses and therefore
to correlate the individual minimum units in their context, through relationships
with others who exercise contiguous elements.
The tables represent the facade in line drawing, in an urban scale of 1:250, suit-
ably divided by the same structure. The top right position is a zoom on the marked
plan with the reference face represented. Next is the front representation, internally
patterned with colour detected by NCS converted to RGB, and with the reference
code of the first main substrate, the roof, doors, and windowframes. For the first two
elements is supplied a specific encoding result surveyed and converted in NCS
colours; in the other colours the generic colours are established in correlation to the
value of the standards of the same generic perceptual (fixtures dark green, rather
than light brown, etc. ...).
In the draw, the singularities have been also identified by points associated with a
number. The identification aims to remark the emerging elements in the prospectus
that will then be either enhanced or eliminated. Through photography and design the
elements are then marked to allow the reader to capture the status of the territory, a
very important tool of knowledge, going beyond the planning purposes of the Plan.
In the analysis phase, it has been catalogued using a minimum unit of decorum,
trying to select the useful elements for place image comprehension as well as data
that may contribute to the area interpretation and evaluation for the project plan
purposes.
The first part of the cataloguing aims to be an identification. Essential elements
are primarily reported to identify the minimum unit, such as location (square or
street numbers), cadastral references (sheet and particles), the urban classification
of the General Plan in force. It is therefore interpreting the prevalent function-
building typology (residential, production, warehouse, services, religious) as well
as in the configuration typology (detached house or semi-detached, small apart-
ment), highlighting floor numbers and anything that might be useful. With the goal
to bring out the property history, given the inability to trace the property genesis, it
has been decided to note any presence in the historical registers that have followed
over time, particularly if it was scored in the Chiesa-Tiroli Cadastre, as well as in the
Gregorian one.
To characterize possible modalities to approach the problem, ownership (public,
private, mixed) has been highlighted and constraints (according to the Italy Law
1089/39, 1497/39 or other). Moreover, to contextualize the property in the land-
scape, a morphological perceptual analysis of the context has been drawn up, high-
lighting visual areas (closed, open, knots; main, secondary), the belonging context
(front continuous, discontinuous, scenic backdrop, singular elements, nodes, focal
points). The building classification avoids marking the building or even parts of it
with an historical value (historic architecture, ancient historical, urban environ-
ment), or even by using a valuable contemporary architectural language and ulti-
mately bringing up any cartographic and bibliographical references (Fig. 2.14).
The second part of the cataloguing form is aimed to the description of the prop-
erty starting from prospects: through their dimensional and qualitative analysis;
their characterization (primary, secondary, side, rear side); the number of floors
above ground and articulation (basement, mezzanine, original plans, raised, attic
space); main accesses (single, double, multiple); possible detractors of visual con-
text (billboards, banners, signs, parking meters, waste bins); presences or any affect-
ing vegetation in the front. In this logic the facade finishes are also analysed, starting
by highlighting the existing elements (bottom, plinth or pedestal, pilaster, shelf,
balcony, string course, string course frame, frame for doors and windows, orna-
ments, coat of arms), their respective material (plaster, brick, stone, mixed, stone
cladding, ceramic), and the elements of the conservation status (excellent, good,
medium average, bad, very bad).
Taking a cue from the Latina Colour Plan (Piemontesi 2006), from cataloguing
the first synthesis values have been derived, capable of inducing assessments of the
prospectus in its context, highlighting the conservation of the background colour
(V1), the preservation of the building (V2), the surface alteration (V3), and the rel-
evance (V4): these are parameters related to the previous form entries.
To these four “visible” values, as a result of the analysis, many evaluable param-
eters have been associated, related to the design choices: the possibility of interven-
tion (V5), the visual impact (V6), the historical integrity (V7), and the
contextualization of the colour (V8). With these parameters, it is possible to begin
to mark the property fate, as relationships between colour and the property itself
have been already highlighted.
From interaction between parameters, other items that will affect the design
choices have been extrapolated. From the starting three values related to the initial
synthesis, the first is connected to the opportunity for action (A1), given by the
minimum possible intervention and the contextualization of the colour (MIN V1,
V8): low values lead to inappropriate or impossible interventions, high values to
primary interventions. The second parameter tries to explain the characterization of
the place (A2); the average of the product between the visual impact and the histori-
cal integrity (V6*(4-V7)^1/2), if is a high one, identifies a featuring property.
The third parameter is related to the state of conservation of the property (A3): it
mediates amongst the first three values related to background colour preservation as
well as to the preservation of the building and any possible alteration in the building
surface (V1*V2*V3)^1/3, which if it is low it is thus explicit of the possibility of
good conservation of our architectural heritage.
Following these parameters leads to indicators seeking to realize an interpreta-
tion of the property status and the prominence in the context: I_C stands for emer-
gencies, colour as a result of a mathematical relationship between any further
action opportunities and the local characterization (1.5*(A1–1)*A2)1/2; I_D repre-
sents conservative degradation, which is the relationship between intervening
opportunities and conservative status (1.5*(A3–1)*A2)1/2.
Fig. 2.14 Study of inside views of the urban center and definition of the algorithm of the Deruta
Colour Plan analysis
Eventually from these two data are derived synthesis parameters that carry into
the project: E, the emergency, the maximum value between I_C and I_D, useful to
comprehend which building (following the design steps) needs the first action, that
is, the first colours to impose; G, ranges, represents instead the class of the permitted
ones, which reveals the freedom to vary even having a front, a value only correlated
to the characterization of the environment (IF (P11 < 1.7; 3; IF(P11 < 2.3;2;1)).
E and G are range values and the emergencies plan, which, when obtained, will
be plotted in the project tables for every locality (Fig. 2.15).
Fig. 2.15 Results from perceptive analysis of parametric models for the Deruta Colour Plan
For process automation, the parameters study aims to exit from a subjectivism of
aesthetic assessments too often left to the sole designer sensibility, structuring a
methodology to define any choices. The interpretation system construction, which
is still based on the interrelationship within objective analysis and project evalua-
tions, led to developing a way of doing determining what kind of elements to inter-
vene in a temporal order as well as the colour choice and the given freedom.
Following the parameters construction, then it is clarified how some buildings will
not be affected by the Plan, which in the event of material elements will suggest a
building restoration and, just in case of an historical interest, it will follow the com-
petent Soprintendenza choices.
First subjecting to the logic of design the most prominent to which is set a certain
strictness in the colour selection, the rest of the views will have a wider choice that
will follow the new conditions because both the original heterogeneity of colours,
between adjacent elevations, and the congruence with the first buildings changed
colour, which will limit the infinite possibilities of the contiguous ones. It is a design
relationship, to address any singular choice to the purpose to create in each historic
center that unicum.
The action follows the design of building and the perceptive reading of the city
image, so that the space is primarily seen through the perceptual and visual axis,
fundamental elements to understand the result to achieve: for example, in an urban
property, visible only from an axis and in which the observer is moving fast, these
will feature bright colours, able to capture the generally fleeting attention. Instead,
in an introverted urban part, for example, the heart of the urban and social space,
there will reflect the main colours of the environment. The perceptual space inter-
pretation, synthesized with primitive figurative bases such as point and line, is fur-
ther an interpretative action of the territory that helps on building the system choices
(Fig. 2.16).
The chromatic ranges are divided into the following:
1. “Local colours,” identified among those already in the punctual locations as well
as judged adapted to the context, according to the “geographical colours” theo-
rized by Jean-Philippe Lenclos (Lenclos and Lenclos 2004).
2. “Soft colours” and “bright colours,” clearly designed to create certain perceptual
effects that will find similar elements among different locations with the goal of
linking singular urban experiences in a wider landscape context.
The key is the interpretation of the city image: there are conditions in which to
enhance the “colours of the place” it is necessary to contrast soft colours, and there
are conditions in which to increase the attractiveness of the city centers bright
colours are used.
Thus, the instrument will report a two-dimensional plan with the class of colour-
ings and range of allowed activities for each minimum unit. Rarely will be imposed
a colour and, generically, it will be left to the owner to decide, who, in this way, will
not suffer passively the city’s image but will be the protagonist following the
dynamic relationship of a reflected identity from any environment.
Fig. 2.16 Analytical data

of historical centers,
colouring of reliefs,
deterioration, and visibility
of interpretation schemes
connected to the profiling
It is fundamental to combine to a punctual colour choice, being aware of the

inherent complexity in their design: to understand the adopted procedure, it may
entrust the narrative to the construction of evolutionary logic (de Rubertis 2008),
which has addressed the choices.
The “colour event,” experimental data to be analysed, is in the global build of the
historical center in a shape that seems generally random, given the generally auton-
omous logic. “It happens” that in the city there are colours that are catalogued and
classified. By applying a reasoned criticism, based on historical documents analysis
and systematic comparisons, it can be recognized how certain colours reflecting the
identity of a peculiar environment survived, through an ex-aptation, or prevailing
over others or even just surviving as sporadic traces, as if they were self-generated
antibodies to respond to the image problems of the current city.
The task of a good designer is first to identify these colours, then enhance them:
once marked as the aesthetic points of reference capable of directing further devel-
opment, the project becomes a kind of genetic engineering intervention on the
image of the city.
Thus, historical centers in the area are identified, interpreted, and represented, or
rather re-presented with a tool able to analyse the landscape beyond the mere mate-
rial aspect, being a knowledge tool that involves the community, simplifies the
bureaucracy, and therefore transforms the way of planning. The materiality ferries
across a set of intangible values, using primary environmental resources, the cul-
ture, that when “re-raised” in the landscape and reinforced in its being, triggers a
cascade process retraining in the perception of the place, in space, in society.
The colour is the main character that defines the architectural survey, highlight-
ing the elements of value and degradation of the main fronts of the examined urban
areas as well as the enhancement of physical scenarios in some urbanized areas and
conservation and protection of housing as well as control of new possible interven-
tions and their insertion in the context.
The Colour Plan also brings economic advantages: if someone interested in
painting, cleaning, and restoration of the building facades applies the addressed
indication, published in full in the city website,1 he can start working after just a
simple communication to the authority. It has to have the available chosen colour
range according to international encoding NCS, and/or any operations other than
colouring, with attached cadastral plan concerning the identification of the building
and photos of the facades from which it is possible to detect the context in which the
building is inserted. This step simplifies the process, by replacing the classic proce-
dures of evaluation involving the relevant bodies and the preparation of appropriate
practices, with savings for citizen and for public administration as well.
The colour plan is not limited to a general aspect of fronts, but providing guid-
ance on cleanup interventions related to these limited but unified areas becoming
the city face, going down in the scale until these details related to the painting of
windows and exterior doors, gates, windows, gates, or shop windows, and also
including the accessories or complementary.
The colour thus reveals its nodal role, the foundation of a strategy to enhance the
image of the city that reflects its culture. Researching the type figuratively is indeed
http://www.comunederuta.gov.it/piano-del-colore [2018].
1
associated with the action of identification, which means literally becoming equal,
a coincidence of being that guarantees this feeling of “being at home,” a member of
an ensemble. Habitare connects etymologically to the possession, habere, which is
reflected in the act of realization of its architecture. In the embodiment of the defined
relationship the discovery and awareness renewal path of belonging to a place, to a
story, even to a society ineffably strengthens. The Heidegger’s lure of “poetically
living a place” thus finds in the implementation of the plan, the conceptualization
declination of the relationship between building and signification, whose penetra-
tion characterizes both the individual elements of the city, the figurative type, as
well as the unit in the structure, in the mutual relationship, thus the content research
of shape and image. The identity research is linked to the underlying recognition
process, a necessary condition to the memory to be able and remember. The colour
denotes identity, placing its references in the character (Settis 2012), in quality as
well as in essence, in the sense of the place (Figs. 2.17, 2.18, 2.19 and 2.20).
Fig. 2.17 Comparison between urban survey and colour project of the nine historical centres in
Deruta’s municipality territory (Pontenuovo, San Nicolò di Celle, Sant’Angelo di Celle Est)
Deruta’s municipality territory (Fanciullata, Sant’Angelo di Celle, Ripabianca)
Deruta’s municipality territory (Deruta, Casalina, Castelleone)
Fig. 2.20 Comparison between relief and colour project of the nine historical centers in the Deruta
municipality territory
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Chapter 3
Landscape and Nature: Olive Tree Digital
Parameterization
Abstract In the centrality of perception, landscape is connected to natural elements.

It is almost impossible to think about landscape without reference to environmental
elements. The celebrated quote by Mies Van Der Rohe, God is in the details, is valid
also for landscape, where to understand the whole that is landscape, a process that
drills down and analyzes the singular elements is necessary. But in this idea of land-
scape it is possible to lose oneself inside the romantic echoes of artistic research,
forgetting the scientific needs so important in a landscape project. It can represent a
theme of representation study, even more in function than digital tools. The project
of landscape involves similarly architectural and agricultural sciences, both addressed
to the transformation of natural elements, both finalized to a better life, both based on
morphological evolution, both aimed to give efficiency in performance and results.
In this sense, this research integrates the science of representation studies with agri-
cultural tree analysis to describe the architectural form of an olive tree and to show a
scientific visualization of the relationship between morphology and light interception
in the canopy. The representation of plant architecture, manipulated with pruning
operations for agricultural purposes of light optimization, describes the action of
sunlight in the tree, by testing the potential of digital design tools – especially genera-
tive modelling. Through the design of a specific algorithm, the tree is interpreted as
a fragmented photovoltaic panel, analyzed by using 14,000 control points corre-
sponding to its leaves. The possibility of selecting these classes of elements becomes
the instrument to explain the canopy structure, finding the categories that describe
and simulate the annual radiance and illuminance. The developed modelling process
and its purely theoretical significance constitute the basis for a variety of applications
in data analysis and comparison among different models, evaluations, theories, and
operations. This research is the first step of an important action of the European proj-
ect OLIVE4CLIMATE-LIFE (LIFE15 CCM/IT/000141), the sustainable olive oil
supply chain for climate change mitigation. The approach in the representation topic
is central to its autoptical capacity to analyze the relationship between the elements
and the whole in the landscape.
Keywords Natural elements · Generative modelling · Optimization ·

Morphological analysis · Environmental survey

https://doi.org/10.1007/978-3-319-94150-9_3
58 3 Landscape and Nature: Olive Tree Digital Parameterization
3.1 S
cientific Analysis of Landscape and Representation
of Natural Elements
Landscape is closely connected to the natural environment. We are not able to think
of a landscape without natural elements. But in this idea of landscape it is possible
to lose oneself in the romantic echoes of artistic research, an important element of
landscape reinterpretation, but not a scientific topic when investigating the relation-
ship between landscape and project. Also, it can represent a theme of representation
study, even more in function than digital tools (Fig. 3.1).
Representing a tree in a central theme in the history of design is an application
field hardly connected to the varieties and complexities of the geometrics of the
same species. Even if in the first civilization Paleolithic man used to represent the
natural world in his caves by exorcising, in his paintings, the images of wild beasts
(Levi Strauss 1962), only in Egyptian, Cretan, Assyrian, Greek, and Roman art is it
possible to find trees and plants, forms used as decorations or as accessories of fig-
ure compositions (Blun and Stearn 1950, p. 7). In parallel, with the aim of describ-
ing medical properties, a series of drawings was integrated in the scientific texts, a
path in the art of botanical representation that survives since Roman culture, as the
Codex Vindobonensis (Dioscoride, 512) and 383 plant figures prove, to our days.
The analytical representation of plants finds a new development with the
Renaissance, together with that born of perspective and the scientific method:
maybe as a reaction to geometrical preeminence and aseptic mechanical construc-
tion of forms, it is possible to find studies about global representation, the research
of a model able to integrate nature, harmony, rules, mathematics, physics, and bot-
any. The greatest master of this subject was certainly Leonardo da Vinci, who was
concerned with the development of a deeper understanding of the creative and artis-
tic activity (Cassirer 1963, p. 199). Leonardo, in his Trattato della Pittura (Leonardo
da Vinci 1540), in the sixth part of this volume, describes observations on form,
light, and shade in the plants, one of the first treated about the representation of
trees, whose model is built on 11 rules):
Fig. 3.1 Garden painting

(30–35 AD) from House of
the Golden Bracelet at
Pompei
3.1 Scientific Analysis of Landscape and Representation of Natural Elements 59
Prima: ogni ramo di qualunque pianta che non è superato dal peso di sé medesimo
s’incurva, levando il suo estremo verso il cielo.
Seconda: maggiori sono i ramiculi de’ rami degli alberi che nascono di sotto, che quelli che
nascono di sopra.
Terza: tutti i ramiculi nati inverso il centro dell’albero per la soverchia ombra in breve
tempo si consumano.
Quarta: quelle ramificazioni delle piante saranno piú vigorose e favorite, le quali sono piú
vicine alle parti estreme superiori di esse piante, causa l’aria ed il sole.
Quinta: gli angoli delle divisioni delle ramificazioni degli alberi sono infra loro eguali.
Sesta: ma quegli angoli si fanno tanto piú ottusi quanto i rami de’ loro lati si vanno
invecchiando.
Settima: il lato di quell’angolo si fa piú obliquo, il quale è fatto di ramo piú sottile.
Ottava: ogni biforcazione di rami insieme giunta ricompone la grossezza del ramo che con
essa si congiunge: come a dire a b giunto insieme fa e; c d giunto insieme fa f, e f e
giunto insieme fa la grossezza del primo ramo op, il quale op grossezza è eguale a tutte
le grossezze a b c d, e questo nasce perché l’umore del piú grosso si divide secondo i
rami.
Nona: tante sono le torture de’ rami maestri, quanti sono i nascimenti delle loro ramifica-
zioni che infra loro non si scontrano.
Decima: quella tortura de’ rami piú si piega, la quale ha i suoi rami di piú conforme gros-
sezza: vedi nc ramo e cosí bc per essere infra loro eguali, che il ramo ncd è piú piegato
che quel di sopra aon che ha i rami piú disformi.
Undecima: l’appiccatura della foglia sempre lascia vestigio di sé sotto il suo ramo, cre-
scendo insieme con tal ramo insino che la scorza crepa e scoppia per vecchiezza
dell’albero.
In this treaty Leonardo wants to show how the morphogenesis of the tree is tightly
connected to light and to the capability of absorbing energy, and in this sense, the
deep knowledge (Docci 1996, pp. 27–32) is shown as the object of the design,
intended as the instrument to observe and reveal the immaterial relationships under-
lying, or as the essential meaning to understand nature and its rules (Fig. 3.2).
Thanks to his intuition, he anticipated the fractal geometry rules codified later by
Mandelbrot (Mandelbrot 1982); with his research Leonardo shows the relationship
between drawing and model and opens his studies to engineering applications,
Fig. 3.2 Drawing of a tree by Leonardo (1540) and in the Munari lesson (1978)
Fig. 3.3 Detail of Paul Klee’s “Tree Nursery” (1929). (https://commons.wikimedia.org/wiki/

File:Tree_Nursery,_Paul_Klee,_1929,_oil_on_incised_gesso__Phillips_Collection_-_
DSC04897.JPG)
which were confirmed centuries later; for example, about his studies on plants the
French physicist Christophe Eloy (Eloy 2011, pp. 258, 101) was able to demonstrate
Leonardo’s study of the resistance of plants under wind action with digital tools.
The scientific approach is based on the deconstruction of the interpretive model
of the plant, simplifying it in a simpler series of problems. In the integration between
scientific research and aesthetic reflection, the same method owned by the morpho-
logical analysis substantiate the artistic processes: the didactic research of the semi-
artistic representation of Paul Klee (Klee 1956), it is a paradigm of this integration;
he is also a collector of natural elements, fascinated by inventive lively vitality of
the form and of the colours of natural world. In the dominant poetic of that period
(Kandinsky 1926; Mondrian 1957; Taylor 2005, pp. 243–264) art is read not as a
result but as a process, a balance inside signs, a path correspondent to natural
growth, and it becomes the foundation of creativity (Fig. 3.3).
The research goes on up to our present day, and art, under artistic intuition, con-
tinues to find inspiration in the architecture of natural forms. One of the most inter-
esting didactical syntheses is the opera “Drawing a Tree” of Bruno Munari (1978):
it represents an investigation about a syntactical drawing, the investigation on the
form in the possibility of variations. Bruno Munari explicitly starts from Leonardo’s
research and, with a similar approach in a design topic that included the figurative
lessons, studies the morphology of trees, with particular attention to the process
connected with graphical action: “When you are drawing a tree, always remember
that every branch is slenderer than the one that came before. Also, note that the
trunk splits into two branches, then those branches split in two, then those in two,
3.2 Survey, Analysis, and Modelling of Trees 61
and so on, and so on, until you have a full tree, be it straight, squiggly, curved up,
curved down, or bent sideways by the wind.” The idea of Leonardo, understood by
Munari too, is to create through the drawing a model to query. And this condition
now is becoming more and more efficient with the support of digital
representation.
3.2 Survey, Analysis, and Modelling of Trees
The survey methodology and visual computing potential are transferred from the
architectural field to tree studies. In the same way, the research is available for all
modelled plants, and therefore it can be applied in other agricultural systems.
Nevertheless, in accordance with the bottom-up approach already theorized by
Hanan and Room (1996), it starts from measurable data, a hypothesis that allows
developing generalizable theses (Fig. 3.4).
To describe a tree with incredible levels of detail, using digital tools, holds great
potential. The model conception, as well as the survey technique, both represent
essential steps, developed with a cross-disciplinary approach, able to handle com-
plex requirements and evolving data structures, and also simple activities and instru-
ments. The generic modelling developed and its purely theoretical significance form
the basis for a variety of applications in data interpretation and comparison between
different models, evaluations, theories, and operational concretizations.
At the basis of the interpretative process is the analysis of the relationship
between form and light in the examined tree. On the one hand, to guarantee a uni-
form light distribution, through the generative model it is possible to select part of
the tree to understand its functionality: in this way, all the achieved results can help
Fig. 3.4 Relief and digital model of an olive tree with polyconic vase geometry
in selecting pruning choices, or opening to make a comparison among different

cultivars, pruning options… on the other hand, starting from the tree representation
of the selected one as a generalized case study, all the issues connected to the opti-
mization of sunlight could be simulated in the digital space, with the aim to generate
economic advantages.
The three-dimensional digital representation of plants has been a subject of inter-
est for several decades, as clearly shown in the examination of Godin (2000,
pp. 413–438), which, starting from Hallè (1986, p. 77), defines the concept of archi-
tecture of the plant, as any individual description based on decomposition of the
plant into components, specifying their biological type and/or their shape, and/or
their location/orientation in space and/or the way these components are physically
related with one another (Fig. 3.5).
Different authors (Hanan 1997, pp. 35–42; Sievanen et al. 2000, pp. 399–412;
Birch et al. 2003, pp. 519–533) have investigated the conceptualization in
three-dimensional models of the plants. They have identified structure and the field
of application as connected. This survey reveals the declination of connections
between arboriculture and the sciences of representation: if centuries ago Vitruvius
(De Architectura, I, 2) identified that a good building should satisfy the three prin-
Fig. 3.5 Digital model in triangular meshes of an olive tree and images of relief phases
3.2 Survey, Analysis, and Modelling of Trees 63
ciples of Venustas, Firmitas, and Utilitas, as also in the architecture of the plant
analysis these focuses are the geometric structure (Sinoquet and Andrieu 1993,
pp. 131–158), made explicit in the form (De Reffye et al. 1989, pp. 984–992),
ordered in the connection of the topological structure multiscalar (Godin and
Caraglio 1998, pp. 1–46).
The study of the architecture of the plant, in general, is at the basis of the survey
on the light captured, as already proposed by Ross (1981). The digital representa-
tion stands as a tool for the analysis of the illumino-technical aspects (Sinoquet
et al. 1997a, b, pp. 265–273), able to overcome the problems of discretization of the
in situ measurements (Munoz-Garcia et al. 2014, pp. 143–153), by reason of the
morphological synthesis already drawn in the virtual representation, a condition
that allows us to query the model in its continuity.
The construction of the model is developed starting from empirical morphologi-
cal relationships, as already set by Casella and Sinoquet (2003, pp. 1153–1169).
The analysis starts from the Plant map, theorized by McClelland (1916, pp. 578–
581), the first critical step in understanding the observed element deconstructed in a
branching topology (Lewis 1999, pp. 185–210). As summarized by Prusinkiewicz
(1998, pp. 113–149), the morphological characteristics that can substantiate the
construction of the architectural model, directly observed and measured, are attrib-
utable to the orientation of branches (e.g., orthotropic or plagiotropic), their type
(monopodial or sympodial), their persistence (indefinite, long, or short), degree of
lateral shoot development as a function of their position on the mother branch
(acrotony, mesotony, or basitony), type of meristematic activity (rhythmic or con-
tinuous), number of internodes per growth unit, leaf arrangement (phyllotaxis), and
position of reproductive organs on the branches (terminal or lateral). The model,
structured by basic elements, meets the Godin (2000, pp. 413–438) requirements in
deconstruction information (how the plant is made up of several components and of
different types), geometric information (shapes and spatial positions of compo-
nents), and topological information (which components are connected with others),
according to the real focus of research on architecture for illumino-technical pur-
poses (Fig. 3.6).
Attention to the relationship between the structure, form, and type of the plant
has the aim of correlating the morphological aspects to solar radiation, to under-
stand a key aspect for the functioning of the plant. Over time, the scientific literature
has focused on carefully analyzing the different irradiative model computing fluxes
at the spatial scale described in the plant model (Chelle and Andrieu 1998,
pp. 75–91). At the base of the validity of the instrument is the relationship between
the energy calculation model and the representation of the form: simplified mathe-
matical models of plants are first abstracted two dimensionally (Charles-Edwards
and Thorpe 1976, pp. 603–613; Cohen and Fuchs 1987, pp. 123–144; Ganis 1997,
pp. 67–76) and then in three-dimensional simplified models characterized by
ellipsoids (Norman and Welles 1983, pp. 481–488), cones for conifers (Kuuluvainen
and Pukkala 1987, pp. 215–231), cylinders, paraboloids, and cones for fruit trees
(Wagenmakers 1991, pp. 13–25), or using fractal geometry (Prusinkiewicz and
Hanan 1989).
Fig. 3.6 Comparison between meshes and photorealistic texture digital model of an olive tree
trunk
As already explained by Myneni (1991, pp. 323–344) and Mariscal et al. (2000,

pp. 183–197), from the work of Monsi and Saeki (1953, pp. 22–52), more than 50
models of radiation attenuation inside the homogeneous canopies have been pro-
posed, focusing on the construction of efficient mathematical models that can now
be read as a sectoral theme of other disciplinary areas, so that digital applications
can start from those results to investigate any geometry represented.
If the growth models that refer to the studies of De Reffye et al. (1989, pp. 544–
546) and to the development of the Atelier de Modélisation de l’Architecture des
Plantes (AMAP) algorithm are foundational for the conceptual and instrumental
approach with which to address this issue, Willaume et al. (2004, pp. 705–713)
shows that the direct correlation between growth and irradiation is a pragmatic
obstacle in the case of plants manipulated by man, as the case of the olive tree, char-
acterized by an uneven distribution of the leaves that is exemplary for the relation-
ship between tree form and light in heterogeneous and non/random structural
properties of the canopy (De Reffye and Houllier 1997, pp. 984–992).
3.3 OLIVE4CLIMATE: A Strategy of Olive Tree

Representation and Optimization
The objective of this study is to analyze the intersections between plant and repre-
sentation, with the aim to discover new frontiers of knowledge where geometry is
the starting point of creative and generative design processes. The research has
3.3 OLIVE4CLIMATE: A Strategy of Olive Tree Representation and Optimization 65
Fig. 3.7 Digital model in

triangular meshes of an
olive tree and of its
volumetric configuration
with the survey in
photo-modellation with
covered canopy
started in the PRIN Project 2010–2011 (201049EXTW_009) CARBONTREE –

Climate change mitigation strategies in agriculture and forestry in Italy, and repre-
sents a first step of an important action of the European project
OLIVE4CLIMATE-LIFE. the sustainable olive oil supply chain for climate change
mitigation (LIFE15-CCM_IT_000141), proposal in LIFE CLIMATE 2015, a proj-
ect with the University of Study of Perugia (IT) as partner coordinator and nine
more partners from three other countries (Greece, Israel, Germany). The research
describes and quantifies the relationship between morphology and light interception
in trees and the canopy structure, to understand the effects of environmental change
(Béland et al. 2014, pp. 184–189), and to acquire elements in agricultural resource
management (Proietti et al. 2008, pp. 243–250), both connected to the photosyn-
thetic activity of tree plantations (Fig. 3.7).
The olive tree has been selected, among various plants, one of the most popular
and representative fruit trees in the Mediterranean area whose anthropization allows
us to clearly describe the relationship between form and light (Proietti et al. 1994,
pp. 272–277). Human intervention, in particular in the pruning of the tree, is aimed
to the uniform distribution of solar radiation on all the leaves of the crown, a
technique developed following empirical experience, which has only partly found a
more analytical verification. Of great interest in the case study of olive trees, and
generally for geometrically complex systems, are the simulations of radiation inter-
ception, first related to the analysis of dry matter partitioning for olive trees (Mariscal
et al. 2000, pp. 183–197) to formulation, calibration, and validation of a model to
estimate photosynthetically active radiation (PAR), from which further applications
follow (Villalobos et al. 2006, pp. 296–303).
The approach in this study is thinking about olive trees as a kind of natural solar
panels, whose complex fragmented morphology is the result of the choices of man
who wants to make the plant photosynthesis more efficient, maximizing with prun-
ing the incidence of the light on the leaves. We wish to address the complexity of the
geometric conditions of the plant, with the associated problems of selection and
management of shapes, through the unprecedented use of generative modelling, a
representative added value that ensures the serial control of the elements repre-
sented (Fig. 3.8).
The representation of the model is based on the geometrical shape (Migliari
2012), an interpretation of the form created by Advanced CAD topics that are the
NURBS (Non-Uniform Rational Basis Splines). The advantage of this approach has
been recognized for years in the application of the digital representation of trees
(Benes 1995), a discrete interpolation of the measurement data that exceeds the
shape simplification (Takenaka et al. 1998, pp. 159–165) and intersection (Godin
et al. 1999, pp. 343–357) issues. It is possible to work in a NURBS environment
through the Rhinoceros software (version 5), then using the Grasshopper plugin, a
visual aid for scripting that ensures generative representation, a real added value of
the investigation method. For the illuminotechnical investigations we also used the
DIVA 2.0 software (Jakubiec and Reinhart 2011), a plugin by Grasshopper (Lagios
et al. 2010), a fully tested tool (McNeil et al. 2013, pp. 404–414) based on the inte-
gration of Radiance (Ward and Rubinstein 1988, pp. 80–91), Energy Plus (Crawley
et al. 2001, pp. 319–331), and DAYSIM (Bourgeois et al. 2008, pp. 68–82).
Fig. 3.8 Exemplification of parametric instruments (Grasshopper)

3.3 OLIVE4CLIMATE: A Strategy of Olive Tree Representation and Optimization 67
Generative modelling, intended simply as a tool for visualizing the representa-

tive path that was followed, stems from the need to overcome the limits of canonical
digital modelling, marked by a single morphological configuration, that can theo-
retically be altered but practically that is fixed according to the set choices. The
solution could be provided by generative modelling (Filippucci 2010a, b), which
presents itself as an additional line of development of the digital representation, a
writing and interpretation tool that extends the capabilities of the model, repre-
sented not only in its shape but also in the construction of its process. This is a clari-
fication of the interpretive logic that underpins the form, a construction which by its
very nature is independent of the parameters that can vary, changing the shape
within the given ranges.
The parametric drawing paradigm is able to insert all the way, penetrating into all
corners of the discipline. Parametricism implies that all architectural elements and
compositions are parametrically malleable: this implies a fundamental ontological
shift within the basic, constituent elements of architecture. Instead of the classical
and modern reliance on ideal (hermetic, rigid) geometric figures – straight lines,
rectangles, and cubes, cylinders, pyramids, and (semi-)spheres – the new primitives
of parametricism are animate (dynamic, adaptive, interactive) geometric entities –
plines, nurbs, subdivs, particle-spring systems, agent-based systems, etc. – as fun-
damental geometric building blocks that can be made to resonate with each other
and with the wider context via scripts (Schumacher 2017).
This approach is already within the scope of the construction of models of plants,
but if in Godin (2000, pp. 413–438) the computational representation was detached
from the geometric representation and in Salminen et al. (1994, pp. 49–64) the com-
plex hierarchical tree system is a cornerstone of the writing of the software, instead
the development of digital design guarantees the possibility to condense different
representative forms in one instrument that correlates the spatiality result. Compared
to the construction of the multiscale topological structure (Godin and Caraglio
1998, pp. 1–46), the connections between form and structure, with the topological
interpretation of connections between the classes represented, differs in the para-
metric settings that enhance the dynamism of the relationships (Fig. 3.9).
Fig. 3.9 Abstract of the path for landscape research between reality, model, and experimentation
3.4 Architectural Survey of the Olive Tree
A premise of the construction of the model is the architectural survey of the selected
plant species. Scientific necessity assigns to the model the task of interpreting real-
ity and of proposing a cognitive synthesis that becomes the place to highlight
implicit relationships, in addition to describing the morphological aspects.
As an initial assumption, it is possible to mark the value of the knowledge inher-
ent in the activity of the architectural survey, which shows the close relationship
between means and message, already theorized in the past century by Marshall
McLuhan (1964). The form construction derives from survey activity, an undeniable
tendentiousness related to the project aims (de Rubertis and Soletti 2000), which is
a condition that needs to be revealed to make the process of investigation explicit.
Even if in the scientific world the high-performing technical tools are prominent,
it is possible to develop a parallel strategy in the modelling process, through an
application of the principles and tools of the traditional direct survey. The construc-
tion of the architectural model, in fact, is grounded on the already established rela-
tionship between structure, form, and type, which is expressed effectively through
geometrical representations (Migliari 2012), an interpretation of the form through
drawing: the shapes are connoted by a logic-defined morphological (e.g., a sphere),
to oppose the general result of the digital numerical representations (Fourcaud and
Lac 2003, pp. 23–30; Fourcaud et al. 2003, pp. 31–39), accurate interpolation of
points, results of passive remote sensing technique, as was once the stereo plotting
systems (Andrieuay et al. 1995, pp. 103–119) and today is laser scanning (Li et al.
2014, pp. 152–158), the systems related to photography (Van Elsacker et al. 1983,
pp. 285–298; Edinburgh et al. 2012, pp. 1–8), recent application of the photomodel-
ling process (Filippucci 2010a, b), in the use of light (Bellasio et al. 2012, 1052–
1071), with digitising devices (Díaz-Espejo et al. 2008, pp. 531–538), as the
ultrasonic applications show in different ways (Llorens et al. 2011, pp. 2177–2194)
or by the use of lidar (Paris and Bruzzone 2015, pp. 467–48). Anyway, the automa-
tion leads to a result that still, if optimal, is a clone of reality, also unknown as real-
ity itself. At the heart of the matter still remains the lack of interest in the punctual
configuration and an unsustainable individual analysis, before the willingness to
develop a up-down process from configuration to actually generalizable and repre-
sentative forms. Large amounts of data collected, in fact, result in being difficult to
manage, very expensive in production, so have poor applicability among farmers
(Miranda-Fuentes et al. 2015, pp. 3671–3687). If then these tools are useful for the
measurement of performance (Dornbusch et al. 2007, pp. 119–129) on the other
side they do not make explicit the importance of the full conceptualization of the
model, because they are built without a process of understanding and they are
strictly constrained in the configuration scanned. Then, a secondary highlight is not
determined in the context of the architectural survey of plant laser scanning, if
applied to the entire tree rather than to individual branches (Takafumi et al. 1998,
pp. 149–160; Giuliani et al. 2000, pp. 783–796). The direct survey, despite the hard
work necessary, is a method dominant in the past (Daughtry 1990, pp. 45–60;
3.4 Architectural Survey of the Olive Tree 69
Sinoquet and Andrieu 1993); it was chosen to set up a direct survey with simple
tools. This choice, in fact, complementary and only contextually alternative to the
most popular passive evaluation systems, finds its appropriateness to demonstrate
the validity of the traditional survey in the setting of Côté et al. (2011, pp. 761–777):
they proved an important conceptual evolution on the value of LIDAR technology,
in this case, the laser scanner, which from being a means for the creation of the
model (Côté et al. 2009, pp. 1067–1081) becomes a simple tool to measure shapes.
It was then recognized and reinterpreted with a topological and parametric approach,
imposing however reasonable approximations to optimize the aforementioned
issues of shade cones and the presence of wind.
Given the interest in the relationship between form and light, the plant is mod-
elled only for the visible forms, that is, the part that has the ability to acquire the
light and be decisive for the results of the competition (Kuppers 1989, pp. 375–379;
Tremmel-Bazzaz 1993, pp. 2114–2124).
The case study examined is an olive tree (Olea europaea L.), cultivar Leccino,
selected as characteristic for its standard conditions, situated in Tuoro (PG), at
350 m a.s.l., 43°13‘33″N 12°03‘28E. The plant is 26 years old, 16 cm in diameter
at the base of the trunk, 4 meters (m) high with 4-m crown diameter, trained to an
open vase system and subjected to the normal cultivation care applied in the area.
In the tree, the elements detected are the characteristic shapes, reduced to a mini-
mum to make the measurement path as accessible as possible. The represented sur-
face was divided into layers, consisting of main branches, twigs, and leaves. The
instruments used are those of direct architectural survey (measuring stick, longim-
eter, plumbline). This choice is related to the definition of a permissible tolerance to
an extent congruous with the agronomic world where the accuracy given by the
construction of the model with the centimeter scale failures is significantly greater
than the values usually collected according to the need of representation of homo-
geneous models, determined simply by the main measures of the foliage and trunk
(Fig. 3.10).
The typical geometry in the woody part was surveyed in the spatial discontinuity
of the nodes, according to Prata de Moraes Frossom et al. (2010, pp. 478–488) oper-
ative methodology and to topological definition of Godin et al. (1997, pp. 357–368)
that breaks down the structure of the plant in terms of axes (A) segments (S) and
Fig. 3.10 Double orthogonal projection of the tri-dimensional olive tree digital model
branch units (U), according to a consolidated scheme (Sinoquet et al. 1997a, b,
pp. 37–40).
This interpretation in segments was highlighted also physically on the tree itself
with a noninvasive coloured sticker on the breakpoints, to verify, at the end of the
representative phase, the model produced. The sequential sections were noted in
their perimeter, approximated to a circle whenever possible in favour of simplicity.
After fixing a virtual levorotatory tri-rectangular triad, in the branch the projections
of start and final points of every segment were measured sequentially (Sterck et al.
2005, pp. 827–843), to derive the Euler angles, as applied by Sonohat et al. (2006,
pp. 337–351). The interpolation between the initial and the final curves is achieved
through loft surfaces, with the standard options of curvature continuity.
The model was oriented according to its original position and at the base was
placed a reflecting plane following the soil, but flat in its proximity.
The representation of the foliage is more complex because of the number of
shoots and leaves involved, as well as the related issues of shape, distribution, ori-
entation, and inclination, a set of conditions accurately illustrated by Lang (1973,
pp. 37–51) and Parveaud et al. (2008, pp. 87–104). Given the multiplicity of data to
be analyzed, the shoots of the tree with the leaves were simplified with characteris-
tic types, derived from an interpretation of the sample surveys of the tree, selected
at random, with the analytic drawing of 10 heterogeneous branches for which were
measured both the internodes, about 2 cm in average, data in line with the typical
values found in comparable case studies (Proietti et al. 2015, pp. 20–27) and the
angle of the leaves, analyzed through the Euler angles obtained always from the
linear measures.
This study allowed the definition of a typology that still follows morphological
criteria: as first, it was distinguished between branching and nonbranching ele-
ments; as second, it was evaluated the distribution density of the leaves in the shoots
that is varied only between the two extremes; finally, these elements were measured
punctually according to their length, to then be portrayed as a curvature that simu-
lates a catenary.
Given the number of elements, it was chosen to represent equally the shape of the
leaves of the tree and then carry out corrective estimates. Samples of the leaves were
taken, measured in individual branches in their inclination and mutual distance. All
these laminas were redrawn in CAD, surrounded by a polygon line, after they had
been scanned regularly, according to a simple technique that is more than proven
(Dornbusch and Andrieu 2010, pp. 217–224).
In a first phase 20 leaves were taken at the base of the foliage, elements that can
be selected as certain shade leaves and therefore with a maximum area, a partially
detrimental condition but that ensures a safety factor for the correct interpretation of
their shadow, which was followed by a subsequent correction.
In a second step, following the simulation process inherent in the first graph of
the distribution of light on the tree, to carry out subsequent morphological correc-
tions, from the plant were taken 20 shade leaves, 20 southeast-oriented sun leaves
and 20 southwest-oriented sun leaves, doubled for safety reasons to face the varia-
tions according to the position (Andrieu et al. 1997; pp. 315–321) (Fig. 3.11).
3.5 Light and Form in the Olive Tree 71
Fig. 3.11 Analysis of leaves: irradiation and classification
3.5 Light and Form in the Olive Tree
Starting from the studies of Mariscal et al. (2000, pp. 183–197), to calculate the
values of indirect radiation of the leaves, a reflection coefficient equal to 10% was
assigned, with transparency (1%) deemed irrelevant, whereas for the branches and
trunks, starting from Colwell (1974, pp. 175–183), 10% was given as the reflection
value. Through the DIVA software, the annual radiance value was calculated, and
the position and climatic values of the area were posed as the boundary conditions.
As just demonstrated (Filippucci et al. 2016), with regard to the illumino-
technical analysis, the unprecedented added value that substantiates the application
of generative modelling to complement the three-dimensional representation is
attributable in particular to its capacity to be able to select serially a class of ele-
ments. The control points of the analysis are therefore the 13,918 leaves, a value
taken thanks to the contemporary computing performances, data that do not become
the subject of interpolation compared to necessarily limited control points.
Technically to determine control points, after recognizing the foliar surfaces already
grouped into one layer, through generative modelling a point was located by select-
ing serially the CG of the leaf, with a slight offset of a few millimeters from the
vertical to avoid the intersection between points and planes. To avoid miscalculations,
statistically possible in nearly 14,000 leaves, in the list of values were excluded the
extremes close to zero, caused by possible overlaps.
The algorithm generates data about form and radiation.
At the end of the analysis, 13,918 leaves were represented, a value appropriate to
the experiences already verified in other research (Proietti et al. 2015, pp. 20–27),
another scale preceding empirical measurement (Díaz-Espejo et al. 2008, pp. 531–
538). The surveyed geometries of the tree instead have 1,600 curves, between gen-
erators and leaders.
To these variables regarding the crown, it is possible to add the data of the woody
part, which has a volume of 0.065 m3, of which 0.06 m3 is the trunk and the three
main branches, and 0.005 cm3 for the other branches and the small branches. For the
weight, a density of 1.10 kg/dm3 referred to the dry weight and 0.85 kg/dm3 referred
to the fresh weight (Giordano 1988); to obtain the values of the weight of the woody
part, that was 71.5 kg for the living plant, of which 66 kg was the trunk and main
branches; it becomes 6519 kg, if the density of the dry weight is considered. The
total volume of the tree is 0.079 cm3 and its weight is 74.39 kg.
From the model it is possible to estimate for all the foliage the punctual illumi-
nance, as the average annual radiation on the leaves of 969 kW h/m2, with a total
amount of energy received of 7,960 kWh. The three-dimensional model was char-
acterized by reference to the value with a gradient depending on the light received,
visual performances that already describes radiation distribution within the
foliage.
As the interception of radiation is affected by the orientation of the leaves, it
could be useful to prove as their deployment is statistically congruous with reality,
not vitiated by orientation automatisms. Analyzing normally on the surface the dis-
tribution of leaves compared to the two Euler angles, a clear synthesis image was
immediately obtained that shows the heterogeneity of slopes, whereas through the
selection of the elements you can check that for 30° intervals you have almost
always between 2000 and 3000 leaves, with the exception of the nearly horizontal
interval where the amount is lower. With such analysis, which does not have the
purpose of describing the punctual functioning of the foliage, obtained through the
construction of typological branches, we wish to validate the constructive process
which, at its genesis, does not lead to installing limiting geometric conditions,
surely lower than the transformation of areas in voxels (Béland et al. 2014, pp. 184–
189) connected to the passive automation, where extremely important geometrical
conditions are set (Fig. 3.12).
The possibility to select classes in foliage, in the function of light interception
analysis, becomes the instrument to interpreting the canopy structure and to visual-
izing this relationship.
It is possible to analyze the punctual illuminance, as a first result, opening unto
the extension of research in the fourth dimension of time. The illuminance of the
leaves can perhaps be more effectively interpreted in relationship to the data of the
literature related to photosynthetic capacity. Therefore, a specific time range was
identified: the leaves that exceed the value of the light saturation threshold (1000
μmol photons m−2 s−1). The range down to the threshold of linear increases (500
μmol photons m−2 s−1), the range down to the clearing threshold (40 μmol photons
m−2 s−1), and finally the leaves with lighting below this value. The four classes are
represented, respectively, with the colours yellow, orange, red, and blue. Thus was
built a table in which you have as y-axis the days of the year and as x-axis the years,
and internally the distribution of the leaves in the four categories, with synthetic
images that provide the possibility to make the interesting comparisons in a more
intuitive way.
To present a case study significant for of the illuminance of the plant, to show the
annual change, values for 4 days were simulated as characteristic of the seasons,
identified at the solstices (June 21 and December 22) and the equinoxes (March 20
and September 23), calculated in 2015; to show the daily change as significant times
Fig. 3.12 Analysis of leaves: illuminance
were taken the early morning (9:00 AM), the early afternoon (12:00 PM), and the
first hours of evening (6:00 PM) (Table 3.1).
By analyzing these data, data synthesized by the radiance and the graph of the
shade leaves and sun leaves, it was well understood how the distribution of light
varies throughout the year. The leaves receive more light than they need (this prob-
ably means that the canopy was heavily pruned) and have a nonlinear behaviour in
their photosynthetic activity only during the hottest hours, with the exception of
Table 3.1 Illuminance values

Class I Class II [1000, Class III [500, Class IV
[…,1000] 500] 40] [40,0]
SPRING (MARCH 20)
Morning 9:00 AM 0 0 13,663 255
Afternoon 9,597 2,983 1,232 106
12:00 PM
Evening 6:00 PM 0 0 12,908 1,010
SUMMER (JUNE 21)
Morning 9:00 AM 8,407 3,380 2,004 127
Afternoon 8,867 3,105 1,834 112
12:00 PM
Evening 6:00 PM 0 0 13,618 300
AUTUMN (SEPTEMBER 23)
Morning 9:00 AM 0 0 13,598 320
Afternoon 9,591 2,946 1,268 113
12:00 PM
Evening 6:00 PM 0 0 3,643 10,275
WINTER (DECEMBER 22)
Morning 9:00 AM 0 0 13,644 274
Afternoon 0 0 13,599 319
12:00 PM
Evening 6:00 PM 0 0 0 13,918
Fig. 3.13 Representation of olive trees with different geometries
winter. The amount of light at the same time of day changes considerably during the
seasons: in the morning the leaves receive a fair amount of light only the summer,
whereas in the evening there are significant differences between autumn and spring.
It is possible to interpret the tree with other significant values that correlate form
and light, particularly with radiation, that also could guarantee a corrective optimi-
zation of the model in the foliage (Fig. 3.13).
In function to the annual radiation received, the foliage was interpreted accord-
ing to four categories, adapted to the limit values of literature: the shade leaves
represent that class of elements which receive less than 30% of the yearly radiation,
a threshold below which the same have an amount of light that qualitatively and
quantitatively is unsatisfactory because of phylloptosis, absent or low fruiting, and
in any case poor quality of the fruit; the sun leaves, up to 70% of irradiation, repre-
sent those elements above the saturation point of light; the semi-sun leaves and the
semi-shade leaves find in the significant median value a threshold capable of provid-
ing the representation of a functional connotation. Compared with these categories,
in the tree analyzed, 9481 leaves are known as sun leaves, 2846 leaves are semi-sun
leaves, 795 leaves are semi-shade leaves, and 796 leaves are shade leaves. The same
are represented with the colours yellow, green, brown, and black, respectively, to
provide a chart of the functioning of the tree.
Analysis of the distribution of light in the leaves of the tree allows us to refine the
model represented by a corrective value of the size of the represented leaves, in
agreement with the anatomical adaptations that follow the light received: the shade
leaves, receiving less light, of different spectral quality, develop a thinner layer, but
a greater area, the opposite condition of the sun leaves, which have a thicker layer
and a lesser area. The consequences of the change in geometry of the leaf in rela-
tionship to radiation were analyzed by several authors (Pearcy and Yang 1996,
pp. 1–12; Falster and Westoby 2003, pp. 509–525). From the analysis carried out on
the statistical sample, it appears that the sun leaves have an average area of 4.5 cm2,
and the shade leaves 6.06 cm2. After placing the two areal values in connotation
with the two extremes of the shade leaves and the sun leaves, in linear ratio to the
radiation received by each leaf, an inversely proportional correction factor of shape
reduction was imposed. The total leaf surface, therefore, becomes 79.234 cm2, with
a correction factor of the order of 5% compared to an approximate calculation with-
out distinguishing between sun leaves and shade leaves from the latter (84.343 cm2).
This research can address the researcher towards the understanding of the opti-
mal pruning intensity, with a study of the training system effect or of pruning inten-
sity on light distribution inside the canopy. The analysis developed could become an
instrument to interpreting the invisible relationship between form and light in the
tree. The generalization of the algorithm opens to future confrontation within differ-
ent classes of plants, cultivars, pruning, and surveys. By the same generative model,
it will be possible to test optimization in agricultural system production and resource
management, as results of the valorization of the light intersection of the plant. The
intersection of arboriculture with the science of representation unfolds as an engi-
neering of form, a modelling concretization useful for detecting the morphological
differences related to radiation, clarification of underlying relationships that open to
further developments and research applications. For example, the use of a genera-
tive model such as Grasshopper could be integrated with Galapagos tool, an evolu-
tionary computing tool, and the tree elements will be considered as a system of
particles evolving under the influence of agents, with the aim to find optimized
solutions (Fig. 3.14).
The model created allows describing with some clarity the characteristic sizes of
the plant and the distribution of light in the crown, a comparison that is also useful
Fig. 3.14 Virtual “X-ray” machine for tree analysis
to check the validity of the agronomic estimates and the results obtained with the
advanced instruments of indirect detection.
The opportunity to compare form and structure of the tree finds strength in the
value of the generative design, with which it is possible to select, query, and manip-
ulate more easily isonomic classes of shapes, as can be seen in the selection of the
leaves and in the further classification according to radiation and illumination. This
kind of representation leaves explicit the path, for the benefit of the understanding
of the logic to the very definition of the model as well as the possibility to intervene,
modify, and query the model, interconnecting the different representative phases.
The parameterization involved in the serial monitoring of the data already assumes
a value in itself, as evidenced by the selection of nearly 14,000 control points in
correspondence of the leaves.
Another significant fact is provided by the volume of the envelope shape that
contains the crown of the tree, formed with an approach similar to that protracted by
Cluzeau et al. (1995, pp. 297–306). Having chosen to work with NURBS surfaces
rather than with simple geometric shapes, it is possible to evaluate a complex form
that interpolates control sections to thus be able to analyze the various data derived
from the model which can be compared with those obtainable with traditional tech-
niques, according to an approach followed also by Xu et al. (2013, pp. 242–251). Of
interest may be the comparison of the projected area and the Vertical Crown
Projected Area Method (VCPA) calculated by identifying the bundle of straight
lines centred in the trunk every 45°, the vertices resulting from the intersection with
the edge of the surface projected on the ground, as described by Miranda-Fuentes
et al. (2015, pp. 3671–3687).): the VCPA turns out to be 10.6 m2, while the area
obtained from the outline of the projection is 11.19 m2 (6.39 m2 if one considers the
actual projection of each single leaf). It may also be significant to compare with the
3.6 Virtual X–Ray Machine for Tree Analysis 77
Ellipsoid Volume Method (VE): if a hypothetical sphere constructed from the pro-
jected extent of the greater diameter, equal to 4.6 m, has a volume of 51 m3, and if
also with the smaller diameter, equal to 1.35 m, you get a volume of 10.3 m3, given
the sphere calculated on the height of the crown of a diameter of 3.58 m and a vol-
ume of 24.54 m3, you obtain an ellipsoid volume of 11.63 m3 This value can be
compared with the volume estimated virtually, where progressive sections have
been realized with 0.3 m steps, whose contours have been interpolated in a lofted
surface that results in a volume of 14 m3.
3.6 Virtual X–Ray Machine for Tree Analysis
The model created allows describing with some clarity the characteristic sizes of the
plant and the distribution of light in the crown, comparison that is also useful to
check the validity of the agronomic estimates and the results obtained with the
advanced instruments of indirect detection.
The opportunity to confront form and structure of the tree finds strength in the
value of the generative design, with which you can select, query, and manipulate
more easily isonomic classes of shapes, as can be seen in the selection of the leaves
and in the further classification according to radiation and illumination.
Once the model is well defined and organized in classes of homogeneous ele-
ments, it is still possible to analyze it in detail, looking for a reading of the plant
visualizing the immaterial relation between form and light. It is then possible to
virtually take the tree in an X-ray machine, for an analysis that digital instrument
can easily make progressive, repeatable, and automatic, which is particularly impor-
tant to understand the distribution of leaves in the canopy.
Changing the position along the tree, it is possible to have data of distribution of
the foliage about its number of leaves and area, identified in shade-leaves and light-
leaves, their annual irradiation, their volume and weight of the woody part, so that
it will be possible to calculate their own weight. The aim is to have a significant
statement of the distribution of the main characteristics of the plant, and the analysis
may be set on the axes z and x.
The progressive reading already brings up an interpretation of the implicit rela-
tionship between the two values, but the same discretization of the numbers, even if
it is a very accurate investigating instrument, loses efficiency in the description.
From the represented model in the set sections, it is possible to obtain images that
certainly contribute in a substantial way to the interpretation of data. Now that the
value of the representation as a support to an explication of values is established,
this research is interested in finding innovative solutions for the visualization of
implicit relationships that characterize the plant, identifying in the first place the
following drawing outlines perceptively assailable to some kind of similar trees.
The objective is to put in relationship the distribution of leaves, to understand their
role in the interception of light. The secondary effect, not unwanted at all, of this
application is the decline of the educating value of the digital representation of trees,
with connected advantages in visualization and experimentation.
The progressive analysis of the plant brings out the following elements:
Distribution of the number of leaves along axis z
Distribution of the quantity of leaves according to irradiation on axis z
Distribution of radiance along axis z
Distribution of illuminance along axis z
Difference between radiance and quantity of leaves
Distribution of the variance compared to the total medium value of the radiance
along axis z
Distribution of the variance compared to the medium value of irradiation in the
partial brake along axis z
Average squared deviation of the radiance along axis z
The tridimensional modelling can happen not only using images from the visi-
ble, but also using data obtained with multispectral or iperspectral cameras. These
are all images that, once settled in correspondence one with the other, generate tri-
dimensional models (Fig. 3.15).
3.7 Future Development of the Analysis
The final goal, still far to reach, and probably still unreachable with this project,
could be to automatize the whole path of studies. The reading of some cases, con-
sidered paradigmatic, represents an essential passage for an innovating manage-
ment of growing olive trees and a deeper and structured knowledge of the
phenomenon that characterize the plant.
In tridimensional space is then possible to estimate the most important index
used for the analysis of plants, NDVI (Normalized Difference Vegetation Index) and
Red/NIR (relationship between red and infrared next to it), which combine the
reflectance in both bands of the red and infrared.
NDVI is connected to the density of the biomass, to LAI (Leaf Area Index) and
to the vegetative vigor.
Red/NIR is related to the physiological state of the crop.
It is a very innovative path, not only founded on the two-dimensional image, an
image quite reductive because of the loss of one dimension. With the integration of
various instrument, that have been described, with a distribution of space, this
research wants to think highly of
1. Structural parameters (leaf area index, LAI; fractional cover, FC; dry leaf area
index, LDMP; upbringing form)
2. Ecophysiological parameters (absorbed fraction of active photosynthetic radia-
tion, FAPAR; net prime productivity, NPP)
3. Biochemical parameters (concentration of leaf elements, leaf water content,
chlorophyll content, etc.)
3.7 Future Development of the Analysis
Fig. 3.15 Analysis of relationship between form and light of olive trees with different geometries
79
In correspondence with architectural form, it is possible to think of a tree as the

target of an architectural survey whose scope is to create a digital model, able to go
beyond the limitations of the operative representative tools. Generative modeling
represents an important answer to the problem, a clarification of the logic that
underpins the form, able to combine different elements in one tridimensional result,
creating a connection between form and structure, with the topological interpreta-
tion of classes that enhances the dynamism of the relations. The analysis developed
could become an instrument to interpreting invisible relationships between form
and light in trees. The generalization of the algorithm opens future debates in differ-
ent classes of plants, cultivars, pruning, and surveys, also in relationship to climate
change challenges, to test optimization strategies in agricultural system production
and resource management. By combining tree biology with the science of represen-
tation it is possible to engineer tree forms, allowing detection of the morphological
relationship related to radiation while opening up to further developments and
research applications. It is possible to show how the global model answer to Monge’s
aims is assigned to descriptive geometry:
“Le premier est de représenter avec exactitude, sur des dessins qui n’ont que
deux dimensions, les objets qui en ont trois, et qui sont susceptibles de définition
rigoureuse. … Le second objet de la géométrie descriptive est de déduire de la
description exacte des corps tout ce qui suit nécessairement de leurs formes et de
leurs positions respectives. Dans ce sens, c’est un moyen de rechercher la vérité;
elle offre des examples perpétuels du passage du connu à l’inconnu” (Monge 1798,
p. 132).
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Part II
Landscape and Place
Space, when time gives meaning for the people who live in it, becomes a place. At
his origin, man transforms the environment, as explains the archetypes of the cavern
adapting space, and the paradigm of the hut reusing natural elements. Man fights
against nature, creating the landscape as the result of this process. Space, time, and
meaning are abstract concepts, but the place is something real, defined.
Composed by these elements in their complexity, landscape appears as a real
monster, something that appears for the first time before man, and scares him to
death. Just like the terrible Moby Dick of Melville, something wants to be grasped
with the drawing because behind this white veil something pushes a reason for
which Captain Achab “has to break into pieces what broke him into pieces.” The
obsession for Moby Dick is the same horror vacui of the white drawing paper, a
monster, where the unknown is connected to a complexity of signs and images. The
pencil, the line, the geometry, can engrave the monster, to avenge the filature of
image perception. In Moby Dick perception is one of the most important themes
analyzed, the difficulty of seeing and understanding, which makes the deep reality
hard to discover and truth hard to pin down. Achab explains that, like all things, the
evil whale wears a disguise: “All visible objects, man, are but pasteboard masks”
and Ahab is determined to “strike through the mask! How can the prisoner reach
outside, except by thrusting through the wall? To me, the white whale is that wall”
(Chapter 36). And the landscape, that “part of territory as it is perceived by the
population,” is connected to perception and images, where the geometry has the
central role of creating an order, to strike through the masks and to understand the
logic of its evolution.
This concept clearly explains how the theme procures a key role in the cultural
and political debate where the cultural pluralism often falls in the homologation and
“loss of place,” and its result is a translation of the meaning in a relativistic lack of
originality, in amorphous environments, devoid of any social bond. In the information
era, European cities are passing through an identity crisis that makes it difficult to
86 Part II
predict the future of their figurative aspect, this looking on the sum of the values that
disclose the aesthetic dimension. The loss of the limit, theorized by the Modern and
the lack of the architecture expressive structure, caused by the same growth, both
contribute to increase the loss of meaning and recognition, leading to a tragic lack
of form.
Condemned to the present, wandering inside a labyrinth of signs of a place with
no memory and no future, preannounced in Piranesian Prisons, the effect of
homologation of a dominant image, which is stereotyped in the expansion and
modification processes of the city, as the research of new identity does, it opposes
to those urban experiences where the high level of recognition is ensured by those
supporting actions, aimed to enhance the strong qualitative differences that history
shows as the original ones. The “iconocracy” in which we live, dominated by sports
and emoticons, substitutes the oral language with inflated images, multiplied and
fragmented in a repetition that causes the loss of the center. This condition transfers
from the need of monitoring the production processes to the need of controlling
their content and meaning. The substantial critics of the Pop Arts arise from the
disconnection between the perceptive signs and their content, with an inured
observant who is only a watcher alienated from an active role of transforming an
image in a tale. The break of the space implemented by the Modern, anticipated by
the baroque multifocality and by its same will of dissimulation and cheating, it is
intended as a concentration impossibility, criticized for its absurd intent of wanting
to break up time to concentrate on all conditions, an absurdity that only brings us to
be unable to capture the sense of things. The message has to communicate in a few
seconds and the synthesis depletes the content, causing a short circuit: if knowledge
passes through imagination and absence, or the inability, of capturing images it will
become deprivation of contents.
The ambivalence between appearing and being becomes a central theme in the
landscape, which is transformed from a “cultural heritage” to “consumer goods,”
with the image that instead of showing it, sells itself and our places. Images
transform our way to perceive the landscape and, according to the paradigm of local
marketing, the landscape also has to cope with economic competitiveness, which is
both tourism and cultural: the historicized space, especially in Italy, is stated as an
antithetical pole against homologation, a place full of signs and culture, that
expressed itself with an appropriate narrative model through the image. This image
then becomes successfully efficient for knowledge, protection, enhancement, and
communication of all cultural heritage that is preserved by it.
In this context, the labour of man creates places in the relationship between
territory, environment, and landscape. It is possible to find different layers of these
relationships in the historical place, as expression of a narration of landscape, in
suburban neighborhoods, as non-intentional territorial transformation, in rural
emergencies, as polarity of a strong relationship between man and nature.
In fact, the parts of the city stratified in signs and meaning in this century
represent one of the most interesting cases where is possible to mark a centrality
role of the eye in man’s evolution. The urban system researches a balance according
to an equilibrium of the vision. The transformation of the place in relationship to
Part II 87
different needs and events, as described in the case study of the historical center of
Perugia, can confirm the relationship between architectures and images in the
definition of the urban landscape character.
Instead, suburban images, developed in a shorter time, are often projected with a
vision “from above,” from a distant point of view. The recovering of the relationship
between environment and perception becomes a contemporary strategy of urban
regeneration. Natural elements collaborate to rewriting the meaning of the place, in
a sustainability of a place focused on the centrality of the man.
The rural space represents the field of existence where natural forces are in
relationship with human needs, where labour is the principal reason of its forms.
Rural architectures, their spontaneity, the hyperbolical boundary conditions, are
classes of cultural heritage that describe the landscape identity from an interesting
point of view.
In all these places, representation affirms itself as a performing instrument for
knowledge. In the cataloging activities, it is possible to understand the consistency
of heritage. In the rules of perception, it is possible to find the quality of place and
its language, and throughout the survey, it is possible to deeply analyze them.
Representation supports project activity, offering a simulation of the next landscape.
Chapter 4
Landscape and Historical City: Ecclesial
Polarities in the Image of the City
Abstract The interpretation of landscape, in the figurative process, leads to the

selection of particular places that condense the value of places, a storytelling of their
identity. The legibility of the image, a structured identity of the space, is synthesized
in a stratified image that tells the story and the history of the place. Also, if our own
historical cities are not a matter of easy codifiability, here studies compete by repre-
sentation to transcribe a selection of the values therein contained, through urban
cataloguing, architectural survey, and drawings, useful to transcribe and abstract the
relationship between parts. Reading the landscape, and in particular the image of
the city, it allows us to understand how the simple vision becomes form, full of
meaning. European cities have a common image and identity, conveyed by the
square overlooked by the church, the space of political power and the place of social
gathering. Perhaps, also from the outside, the churches with their steeples appear as
the principal actors on the urban scene. Christianity, as shown in particular in the
reality of the small town, represents the deep roots of European culture, the soul of
the landscape. It possible to show how, in the relationship between architecture,
image, and city form, the citizen finds here identitary places to care for, beautifying
them with art, as in this study is described in the case study of the city of Perugia, a
paradigm of the occidental urban space. Behind the historical walls, after a research
process based on direct monitoring and the following cataloguing, the presence of
125 liturgical buildings emerges, among churches, convents, monasteries, oratories,
conservatories, hospitals, mountains, and chapels, for a citizenship that counts, from
the medieval epoch to modernity, about 19,000 people. But the real value of this
heritage for landscape may be better testified by their confiscation in the half of the
nineteen century for the consequential transformation of ecclesial polarities into
space for new functions (shops, restaurants, storage areas, carpentries, gyms, etc.):
in this way, the value of the relationship between man and his architecture appears
more clearly, the dialogue on the language of signs that continues in his valence.
The approach in the topic of representation is central to find the invisible relation-
ship and the image roles that characterize the quality of the urban environment.
Keywords Urban landscape · Cultural heritage · Architectural survey ·

Catalouging · Architectural meaning

https://doi.org/10.1007/978-3-319-94150-9_4
90 4 Landscape and Historical City: Ecclesial Polarities in the Image of the City
4.1 Landscape, Image of the City, and Transformation
“Reading a landscape – Franco Purini believes – requires the intelligence of a dia-

chrony between a primary form, a non-historic form, which by its nature lies outside
of the categories of the complete and organic, and a derived ensuing form, which is
by nature unfinished.” Too often there are interventions that ignore the evolution and
the historical consciousness of places, whereas these are fundamental factors that
describe the character and the sense of equilibrium reached, whether it is stable or
unstable. Therefore, it is necessary to achieve a “culture of the landscape that needs
to shift from the reconstruction of a full sensitivity for its image and from a capacity
to comprehend its meanings.” The objective is the definition of an “ecology of
vision” which, “permitting the isolation of single views as pictures, restores the
unity of the Italian scene” (Purini 1991, p. 44) (Fig. 4.1).
The legibility of the image, a structured identity of the space, is synthesized in a
stratified image that tells the story (and the history) of the place. As Gaspare de
Fiore wrote, “finding the relation between history and design, the image of the city
Fig. 4.1 Urban landscape:

monuments and
recomposition of the image
of Perugia in the
“Gonfalone di S. Francesco
al prato” (1464) painting
by Benedetto Bonfigli and
Mariano d’Antonio in the
Oratorio of San Bernardino
at Perugia
4.1 Landscape, Image of the City, and Transformation 91
not only wants to analyse its representation and its meaning, but above all it aims at
indicating and identifying those places, by searching through historical knowledge
and graphic investigation, the peculiar identity that Modern globalization seems to
erase “ (De Fiore 2005, p. 20).
As a premise, it has to be postulated that the image of the city may represent a
sign system tendentiously conservative, a continuous summation always alive in
project actions developed by the succession of societies. Once it appears, a figure
mostly could not be elided completely, even if it does not maintain its original form.
The transformation process becomes fundamental in the analysis of the image and
the conservation of figures in its hermeneutic relationship leads to investigate the
evolution that characterizes the same idea of the city. The events built, inside the
dynamic equilibrium inherent in the sign system that generates the image of the city,
are inserted in a stratification process that does not take away the meaning from the
previous figurative actions, but adds more elements or different interpretations that
all together characterize our landscape (de Rubertis 1992, pp. 179–226) (Fig. 4.2).
Man distinguishes himself for his ability in conversing, expressing himself, to
listen, to learn, to adapt to different situations, to convey knowledge and existence
itself, all through words. Equally, a living place is more than a simple refuge: it is an
expression of his ability in conversing, with what exists, with culture, with the place.
Architecture of itself cannot speak: it is only an instrument that man has to do so, to
modify the environment, to interpret, to build, and to adapt humans to their land-
scape. If the project was composed only of statements, as a transcription of a graphic
Fig. 4.2 Stratification of signs in the evolution of the Rocca Paolina at Perugia. (Academic design
by A. Sberna and G. Ranieri, 2008)
sign in a built sign, it will only be a monologue in expressive form, condemned to

be born already old. Stratification of the signs, so strong in the Italian urban land-
scape, shows the existence of a dialogue that is founded on variation. Places live the
same equilibrium logics owned by every system and also in a figurative way a con-
text finds its order only after a long balancing process.
The approach of the research is certainly peculiar, tight to the representation
field, particularly to the studies on perception. There opens an issue very contempo-
rary on our identity routes (Settis 2017), that, as recognized by the current legisla-
tion of the European Convention on Landscape, it reflects in the image of the city,
as a “central element in the elaboration of local cultures … fundamental component
of the cultural and natural European heritage, element able to contribute to human’s
welfare and satisfaction and to the consolidation of a European identity.” The States
of the European Community have the task of “safeguarding landscapes”; they must
promote “conservation and maintenance actions of significant and characteristic
aspects of a landscape, justified by their heritage value which derives from its natu-
ral conformations and/or from man’s intervention type” (Council of Europe 2000,
Art.1, comma d) (Fig. 4.3).
Fig. 4.3 Perugia
“Turrena” and the
persistence of the Torre
degli Sciri in the
contemporary era.
(Academic design by
G. Grazieschi)
4.2 Perugia and the Ecclesial Polarities 93
4.2 Perugia and the Ecclesial Polarities
In this context, it is possible to show these relationships in the paradigmatic case of

the city of Perugia, analyzing the value of a class of particular architecture, the
ecclesial spaces. The choice of this chief Umbrian town is not limitative and tenden-
tious, but is only an example, a limited context in space, so that an accurate analysis
could be guaranteed, and at the same time be able to help the explication of the
peculiarity of a whole general model, a paradigm of the occidental urban space,
“one of the many variants of a non-paradigmatic excellence based on a concrete
local not reproducible system, and mysteriously sublimated to a universal level”
(Benevolo 1994, p. 49).
Among the different polarities present in the urban space, the study intends to
analyze the role and the transformations of the buildings that were born with a litur-
gical purpose, as a representation of the architectural value related to the identifica-
tion processes so important for the image of the city. The role of this class of
architecture in the history of our Italian cities is very strong, an expression of the
local culture, centres of artistic results, the hearth place of the citizens.
In the city of Perugia and in its stratification of signs milled for ages, the complex
urban form, that Alberti (1450, pp. IV, III) compares to one hand’s fingers, develops
in an infinite series of combinations between “regularity and irregularity” (Benevolo
1994, p. 49) that identify a designed image of the walls. Another historian, Leandro
Alberti, speaking about Perugia, used to represent it as “molto forte di sito et ornata
di belli et vaghi edificii così di cittadini come etiando di sacrati templii” (Alberti
1557) (Fig. 4.4).
Their identification was supported by many aspects: from cartography and imag-
inary study, in the first place the Gregorian cadaster of 1820, and then also maps that
by the end of the sixteenth century up to the unity of Italy “showed” as neuralgic
elements the ecclesial poles, identifying them with their names written in the mar-
gin (Cassano 1990), from the 162 drawings that represent 84 poles, which were
drafted by Father Francesco Cacciavillani and donated later to San Peter Monastery
in 1847, that helped to recognize some structures which determinations without this
were uncertain (Gurrieri 1982); from the researches of Perugia’s scholars of the
time, basing the study particularly on the five manuscript volumes on Perugia’s
districts, written by Annibale Mariotti and Giuseppe Belforti in the second half of
the eighteenth century, titled Storia civile ed ecclesiastica della città di Perugia
(Belforti and Mariotti 1751–1800), on the Guida al Forestiero per l’Augusta città di
Perugia draft by Baldassare Orsini, design professor, and treatise in Perugia’s
Academy in 1784 (Orsini 1784), and on the thousand pages of the “Descrizione
topolico-istorica della città di Perugia” written by the abbot Serafino Siepi in 1822
(Siepi 1822) (Fig. 4.5).
Behind the historical walls, after a research process based on direct monitoring
and the following cataloguing, the presence of 125 liturgical buildings emerges,
among churches, convents, monasteries, oratories, conservatories, hospitals, moun-
tains, and chapels. Of these 31 are in Porta Sant’Angelo district, 28 in Porta Santa
Fig. 4.4 Growth and form

in the tower incorporated
in the Palazzo dei Priori.
(Academic design by M.
Mattioli and S. Menichelli,
2011)
Susanna district, 27 in Porta San Pietro district, 21 in Porta Sole district, and 18 in
Porta Eburnea district, with a minor number because of the destruction of 9 churches
related to the Rocca Paolina (Aa. Vv. 1992).
The significance of the information arises only in the confrontation with the data
of Perugia’s population that, according to a common historiographical approximation
(Ranieri di Sorbello 1969), is 19,000 inhabitants from the Middle Ages up to the
Unity of Italy: without considering the great poles as the cathedral and many other
convents, it can be calculated as perhaps fewer than 100 persons per church. Even
few families, in a small community, have their space in which they identify
4.2 Perugia and the Ecclesial Polarities 95
Fig. 4.5 Growth and form in the towers incorporated into palaces after the sixteenth century.
(Academic design by E. Florindi, 2010)
t hemselves and take care. The architecture is then defined as a formal research more
than a residential habitation, mostly a product with no author, of a community and
not of single persons, a summary of tensions and contributions that determinate the
quality and characterize the image of the city.
Widening the categories, the typology of liturgical poles is characterized by the
following multicolored distribution: 1 cathedral with a seminary, 47 churches, 28
oratories, 13 convents with a church, and 12 monasteries with larger or smaller
churches, 9 chapels inside building or tenements, 5 autonomous hospitals, 3
churches with houses, 2 conservatories with a chapel, 2 churches with hospitals, 2
oratories with hospital and chapel, 2 hospitals with a chapel, 1 complex composed
of a church, oratory, house and chapel, 1 church with hospital and conservatory, 1
monastery with conservatory and chapel, 1 isolated mountain; 5 are poles that had
lost their function before the Unity of Italy: 2 ex-churches, 1 ex-oratory, 2 ex
churches with monastery. In total, the buildings seen in this examination are more
than the already quoted 169, to which a series of structures have to be added to the
analysis; these are annexed or, at times, stratified, and at other times they are incor-
porated or juxtaposed, numbering more than 50. It is thus evident that 350
architectural constructions, more or less, were examined, of which the liturgical
buildings are slightly more than 50% (Fig. 4.6).
From Siepi and Mariotti’s dating, the results then are that 10% of the centers
were originated in the first millennium, 5% in the twelfth century, 12% in the thir-
teenth century, 17% in the next (fourteenth) century, another 10% between 1400 and
Fig. 4.6 Quality of detail in the reconstruction with photo-modelling techniques of the portal of
Collegio del Cambio. (Academic design by G. Rinchi, 2010)
1500; the next century, the century of Counter-Reformation, was one of the most
productive with 20%, which in the following century goes back to 10%, and in oth-
ers less than 6%.
At the margin of this monitoring and cataloguing, a representative action of
architectural survey was juxtaposed, obtained with photo-straightening techniques,
because, according to Norberg-Schulz, “in the medieval city the outside of houses,
churches and city halls were a variation of representative themes of an integrated
way of life” (Norberg-Schulz 1980, p. 184).
4.3 Ecclesial Polarities and Social Development
One of the significant points that emerges from the cataloguing is the inherent rela-
tionship between space and society, the gesture and use of liturgical places that
overcomes and conditions their representative aspect. By analyzing the many
sources, it is possible to note that 116 of the 125 poles are related to religious orders
or to brotherhoods, and in the remaining ones it easier to suppose that there was no
information notice found indicating any rooted and structured interaction with the
people. A brotherhood is an association mainly of lay people who intend to live their
4.3 Ecclesial Polarities and Social Development 97
Christian life in a very strict way, engaging together in prayer or in active charity (in
different proportions according to time and space) (Fig. 4.7).
With the alteration of convents or monasteries, 54 male fraternities and 28 female
congregations, the 121 Brotherhoods, the liturgical center lifeblood, are most
affected. The number of companies, which is difficult to define because of the many
mergers and changing of places, is not so important, but the social movement
connected to ecclesial spaces has fundamental peculiarities for the identification
Fig. 4.7 Church of Sant’ Isidoro, now a library. (Academic drawing by F. Benedetti, J.C Mackaill,
E. Cukat, and B. Andiol, 2011)
and the image of the city. By the way, from the examination of the apostolic visit of
Paolo Maria della Rovere in 1571 (Casagrande 1994, pp. 81–104), it can be noticed
that for 27,000 inhabitants, there are 40 parishes and 26 brotherhoods, which in the
following years will add another 12; of these 13 have origins since the Middle Ages,
and 8 have a disciplined origin, whereas the others have an origin earlier than the
Reformation. Particularly, having as a reference Siepi’s study and skimming some
names, it is possible to deduce that by the beginning of the nineteenth century there
were fewer than 100 congregations: to the already quoted 8 brotherhoods, another
22 were added from collegiate unions and from professional organizations, 42 with
various titles of a welfare or cultural character to which must be added the 14 dedi-
cated to Mother Mary, 1 for the catechesis and 4 with an “administrative” nature.
The social structure that then arises it is reflected in service actions to those who
are more in need all over the territory: during the Middle Ages it was possible to
count 25 “hospitals,” as welfare structures but also with a hospitality aim, set inside
the city walls (Grohmann 1981, p. 66), but by the beginning of the nineteenth cen-
tury it was possible to demonstrate that their number doubled, mainly because of
their relationship with religious or lay fraternities, specialized in different sectors
(the blind, phthisis, etc.,) and in complementary fields (such as orphanages, conser-
vatories). Their architecture has to answer the needs of identification; they are
noticeable spaces, but their aim and the implicit content of their appearance is to
give a social orientation (Fig. 4.8).
Ecclesial architecture is developing within a culture filled with social living. It is
not by chance that in Perugia, in the ecclesial field, in 1266 was born the Studium
(Angeletti and Bertini 1993, p. 55), changed into Universitas in 1304 (Ermini 1947),
Fig. 4.8 Identification of more than 124 ecclesiastical buildings inside the medieval city walls in
the Gregorian Pedestrian, 1820
one of the first Italian schools, and from 1360 was built also the first Italian
“Collage,” the Pia Casa di San Gregorio, also called Sapienza Vecchia (Angeletti
and Bertini 1993, p. 13), built with the aim to provide free guest accommodations
for foreign students.
The image of the city, then, can be seen from the signs that the architecture
reveals in the urbs and the implied civitas, places far away from the self-referential
logics of a celebration of a power, closer instead to social unity, to collaboration, to
the representation of the people and the real city. Their architectonical form that
transcends simple living is still fixed to functional content, as a following connota-
tion, because the project centrality is set as an aesthetic cure, still addressed to
identification, a needed condition to determinate a fundamental sign for orientation
and to imprint the sign of their own membership.
Perhaps the elitism that really characterizes those spaces does not influence the
image of the city, which is resistant to the action of its patrons, but is the result of its
totality, supported from below, from minor architecture. As Patrick Gaddes asserts
in 1911, “the evolution of the city and the evolution of the citizens are two processes
that have to develop together” (Gaddes 1911). According to who writes, the cultural
expression that strongly gives a base to the people is the action of the brotherhoods.
Taking as a paradigm the work of just one Company (Marinelli 1965), for example,
the Disciplinati di Sant’Agostino (Marinelli 1965, pp. 8–57), it is possible to appre-
ciate the richness and globality of the cultural incidence that springs from here. To
comprehend and contextualize the action, it is important to underline again the fact
that the congregation germinates and grows in a field of renovation of faith, a bond-
ing testified since its first statues and from the religious practices accomplished,
which actually assign to a contemplative life a social practice, in which it is engaged
the same aesthetic propulsion.
Born in 1317 (Ardu 1962a, b, pp. 519–524), in the year 1325 the Company was
running its own hospital (Ardu 1962a, b, pp. 90–91): with a certain corresponding
in the architectonical plan, the liturgical place is supported by the assistance space,
an almost immediate condition of “ecclesial” living. When in 1737 (Briganti and
Magnini 1931, pp. 28–29) the nursing center was closed and used as a storage place
(Gigliarelli 1907, pp. 28–29), the Company continued its work of helping the needy
by contributing to the principal expenses of the main focus, Santa Maria della
Misericordia (Caracciolo 1739, p. 8), but also dedicating themselves to the founda-
tion of Casa del Rifuigio, a place for abandoned girls (Marchesi 1856, p. 9), or to
help those who had suffered damage because of hailstorms and earthquakes or by
supporting the faithful ones, as shown by the mounting of two fountains, for red and
white wine, in the years 1609 and 1610, as recorded by Rossi in Memorie di Perugia
dall’anno 1575 all’anno 1630 (Fabretti 1894, pp. 221–226). The continued charity
works (Crispolti 1648, pp. 159–181) were necessary to the economic sphere and, in
fact, there was active interest in the creation of Monte Spinello (Marinelli 1960,
p. 28) and later its participation in the institution of the saving banks (Grohmann
2008). In a productive rural system, people contribute with wheat, to be put in “the
abundance” (Mattei 1636), and their role in the agricultural field (Majarelli and
Nicolini 1962, p. 58) explains the intrinsic economic potential (Fig. 4.9).
Fig. 4.9 Ancient and contemporary architectural survey of the church tower “Chiesa del Gesù”.
(Section drawn by Francesco Maria Tiroli in 1766 and academic design by N. Ansovini, C.
Marchese, and D. Scartocci, 2010)
Fig. 4.10 The “Chiesa del Gesù” represented in the Cabreo of the Compagnia del Gesù. (Drawn
by Francesco Maria Tiroli, 1766)
For the same social development, dynamism is correlated to a social impetus,

certified by the documents that prove support to Perugia’s Studium (Ermini 1947,
pp. 235–236), to the Accademia delle Belle Arti (Cecchini 1954, pp. 27–28), and to
the Collegio della Sapienza (Fani 1889). Its centrality is highlighted by the Austrian
Kings to the oratory (Siepi 1819, p. 4), a celebration of an attraction of the architec-
tonical space that it is revealed as one of the most important roles (Fig. 4.10).
The social and cultural work of the Brotherhoods is well described by the motto
that says “devotione overo representatione” (devotion or/and representation)
(Trabalza 1901, pp. 185–190): the Disciplinati had in fact their role in the civilian
life of the city in the popular manifestation, in the processions (Cittadini 1829), in
acts of devotion (Corniteli 1612), working for the “public education” (Cantoni
1889, p. 23), and promoting literature (Baldelli 1962, p. 360), theatre (Apollonio
1954, pp. 69–71), and music and poetry (De Bartholomais 1952, pp. 30–231), as the
Laude content in the Officium prints reveals emblematically, and as can be testified
by the book of “Prestanze,” a list of scenic furnishings loaned to other Companies,
as a sign of the implicit promotion of sacred representations (Bonfantini 1942,
p. 23) (Fig. 4.11).
The same aesthetic related towards the people is reflected also in architecture,
as is perceived from the contributions for urban requalification actions, for exam-
ple, for the restoration of the Cathedral (Graziani 1850, p. 10) or for the rebuilding
of excellent works such as San Domenico (Fantozzi 1972, pp. 342–349), and it
proves the cure of its own venue, in its hybrid relationship with art (Orsini 1788,
pp. 68–69): to make the oratory beautiful (Tiberia 1980, pp. 291–310, the
Disciplinati hired, at their own expense, the best painters of the time, such protago-
nists of the occidental culture as Gentile da Fabriano (Bellucci 1965, pp. 10–15),
Perugino (Gnoli 1923, p. 68), and Pinturicchio (Gnoli 1921, pp. 17–19), and also
minor authors still not very famous (among their names appear Raffaellino di
Colle, Sinibaldo Ibi, Orazio Alfani, Pietro Carattoli, Berto di Giovanni, Giovanni
Fig. 4.11 Stratification of signs in the “Chiesa di Santo Stefano e San Valentino”. (Academic
design by L. Cecchetti, I. Monsignori, E. Conigli, and L. Minelli, 2011)
Antonio Scaramuccia, Mattia Batini, Francesco Appiani, Scarra Bovarelli, Pompeo

Cocchi, Latanzio di Giovanni, Marco Pace, Marino Samminuzzi, and Bernardino
Sozi) (Marinelli 1965, pp. 8–57), and masters of the different arts, such as the mas-
ter builder of carving art (Rossi 1872, pp. 318–319; Rossi 1872, pp. 350–352). The
architecture, mainly connoted by artistic signs, without having to impose or show
off its appearance, but e xpressing a deep social cohesion, reveals the widespread
quality of landscape and of the culture that characterizes the image of an Italian
city (Figs. 4.12, 4.13, 4.14, and 4.15).
4.4 Confiscation and Transformation of Ecclesial Polarities
The relationship between liturgical spaces and city changed with the Unity of Italy,
with the decree of December 11, 1860 issued by Gioacchino Napoleone Pepoli,
extraordinary general commissar for the Umbria Region, an act to abolish all
4.4 Confiscation and Transformation of Ecclesial Polarities 103
Fig. 4.12 Dismantling of the stratification of signs in the church of Sant’ Antonino
religious corporations (Pepoli 1860). With Pepoli’s decree not all the 305 religious
houses (Pepoli 1866) were shut down, “just” 299 of those, and to be precise it must
be noted that the decree gave the exception to 8 houses and a reserved chance to 3
others to continue their common life with the condition of having among them at
least three religious people. Inserted in Perugia’s Province, for what Perugia was
concerned about, even beyond the historical facts, is enough to observe that today
99 of the analyzed poles have a civilian function, almost 80% of the liturgical archi-
tectonical heritage.
Their transformation finds its roots in the illuminist revolts of the year 1798, then
in Napoleon’s revolt in the year 1810, and finally with the Unity of Italy. The logic
of great revolutions had as a common base the deprivation of ecclesial assets,
exalted by the ideology as an expression of the pope’s power, an abstract vision
from the real social context in which they are closely held (Fig. 4.16).
Political implications are, at the same time, also social and aesthetic, because
those new proprieties of the State clearly separate the social hierarchies: emblem-
Fig. 4.13 Dismantling and reconstruction of the bell tower from the church of Santa Maria degli
Aratri to the church of San Matteo in Campo d’Orto
Fig. 4.14 Ecclesial signs in the convent of the Beata Colomba. (Academic design by D. Kracmarek,
2010)
Fig. 4.15 Vanvitelli’s architectural research in the Olivetani. (Academic design by M. Servoli, I.
Baccherini, and V. Umena, 2011)
atic, in this sense, the reformation of three noble brotherhoods of the Disciplinati in
Perugia that was sanctioned with the new Statue of the Sodalizio Braccio
Fortebraccio that gathers them in 1890, in which it was sanctioned that the brethren
had to have their origin from Perugia’s noble families, and there was no reference to
a spiritual life. Also, aesthetically was lost a great part of that creativity richness that
determined the growth of such representative spaces, development that was com-
Fig. 4.16 Sant’ Agata church in its evolution with the addition of residential spaces. (Academic
design by M. Vescarelli, 2012)
Fig. 4.17 Convent of Santa Caterina transformed into the Saffa match industry. (Academic design
by D. Biscari, F. Ciani, G. Olimpieri, and F. Scalabrini Spazzoni, 2009)
pletely stopped: inside the historical center, since after the Unity of Italy, no new
church was built, whereas also for the cultural action of Gioacchino Pecci, bishop
of Perugia – later Pope Leo XIII – the architectonical renovation interested only
small urban foci spread all over the territory.
In general, it is possible to observe that after the revolts of the year 1798 about
ten structures did not exercise their function, and a similar number as well after the
revolts of the year 1810, whereas there were 80 liturgical spaces that became a State
property after the Unity of Italy, among which only 28 were found in the report draft
by the new Superintendent of the taken goods (Commissione Artistica 1860–1870),
to which must be added in the past century the closing of ten other units because of
inactivity (Fig. 4.17).
The revolts are tied to devastation, looting, and scrapping: of all these can be
quoted the Convent of Santa Maddalena delle Convertite, that was used as a brothel
of women after Napoleon’s army; the first Masonic Lodge in the new church of San
Benedetto dei Condotti; the proposal to use the great convent of San Francesco al
Prato, an art masterpiece in Perugia, as a match factory; and the denouncing by the
local press of the decay of Santa Caterina, which was an Alessian church rich with
Pomarancio’s pictures, that were soon blackened by the exhalations of must when
the church was subsequently used as a cellar. The list could go on, but it helps to see
transparently the results of the transformations that happened, most of all, the actual
urban landscape, where the ancient sacred places are used for the most varied pur-
poses: shops, restaurants, storage areas, carpentries, etc. (Fig. 4.18).
Among the confiscated buildings, 9 were demolished; 12 of them maintained, at
least partly, their liturgical function in the church, but they lost their annex spaces
(convents, monasteries…). Among the poles assigned for civilian uses, 31 of them
guested cultural activities (schools, universities), 29 are residential buildings, 13
have productive activities, 13 social activities; 12 commercial activities (restaurants,
Fig. 4.18 San Costanzo church decorated according to the Leonina style. (Academic design by
Valentina Abitante, Laura Corapi, Luca Quadrante, and Marco Zanioli, 2011)
shops…), 4, very large ones, are military spaces. Only 1 chapel was preserved as a
chapel and it remained with a liturgical activity even if private, and 2 oratories were
liturgically officiated even if they were a municipality property. Among those build-
ings it is possible to highlight that 17 schools were placed in monasteries and con-
vents; 6 became auditoriums and 8 commercial shops. It is also interesting to
observe how many ecclesial poles combine at once many different activities (resi-
dences, offices, rooms …) and how they were the scenario of a history of different
and changeable functions (first factories, then offices, and finally residences) that,
spatially, caused equal architectonical changes. In this the architectonical quality of
the places emerges, conditioned by the function only extensively, in projects where
the same space has its own formal autonomy (Fig. 4.19).
4.5 Comparison of Two Different Streets 109
Fig. 4.19 The church of Santa Maria delle Povere, transformed first for wood storage, then to a
prison, and today to a conservatory warehouse
All these new state properties conditioned the relationship between society,
city, and culture, unraveling here bonds that were giving a sense of identity, rais-
ing knowledge to a highbrow condition, an instrument useful to affirm supremacy,
a means of estrangement more than union. In this way, the accusation moved to
the Church of being anti-cultural and anti-social, unmasked by the same image of
the city.
4.5 Comparison of Two Different Streets
The ecclesial polarities taken as state property and used for less noble functions do
not lose their role in the landscape. The action of time is still close held to beauty; it
does not necessarily illuminate or exalt it, but better hides it by imposing research.
A paradigmatical example is given by two streets in the northern part of Perugia, Via
Garibaldi and Via Fabretti (Fig. 4.20).
Via Garibaldi, already in the Lungara, has its origin from the junction with the
ancient Etruscan Arch, one of the entrance points of the historical city, with the
religious center of the Sun Temple, surely a Roman matrix, transformed since the
fifth century into a Christian building. Popular, and because of this having no tow-
ers, an overful area during the Middle Ages, and thus without great buildings around,
the street is characterized by theme streets, with names influenced by working activ-
ities (Via Pellari, leather street; Via Tornitori, turning machine street; Via Solfaroli,
sulfur street; Via Martelli, hammers street; Via della Cera, wax street; Via del Pepe,
species street; …) but on its own one walks no further than 600 m to where there is
a collection of 15 Christian locations: a liturgical center is identified in the church,
a convent, Sant’Agostino oratory, 6 monasteries or convents with the annexes of
churches and charitable spaces (Santa Lucia, Santa Agnese, Sant’Antonio, Beata
Fig. 4.20 The church of San Simone in Perugia, which today is again a church but disused.
(Academic designs by A. Cogliuso, S. Messina, B.L. Bondi, and C. D’Addario, 2011)
Fig. 4.21 The ex-church of San Giovanni del Fosso, today a private home. (Academic designs by
A. Pacchiarotti)
Colomba, Santa Caterina, Santa Maria Annunziata), 4 very important churches for
the city (San Michele Arcangelo, Santa Maria della Consolazione, San Cristoforo,
and San Fortunato, and 4 other welfare and liturgical spaces (San Benedetto’s ora-
tory, the Camaldolesi hospice, the church and hospital of Sant’ Egidio, the chapel of
Santissima Madonna Ausiliatrice); almost all of these appear on the street, some
with notable dimensions (Fig. 4.21).
4.5 Comparison of Two Different Streets 111
Fig. 4.22 Evolution of the church of San Savino, transformed into a carpentry center and today a
bank office. (Academic designs by M. Tarducci, 2012)
With the urban rebirth in the Communal Age, the great religious poles rise out-
side the ancient walls, along the main pathways of communication. Finding their
identity, each district of the city earns an autonomy that in the fragmentation does
not get separated from the unity of the image of the city, but it allows to show the
vitality and diversity which are its enrichment (Fig. 4.22).
Small places such as Sant’Egidio or San Cristoforo, even if transformed as is this
last one that today is a Bed&Breakfast named “Duabai. La perla del deserto” (Dubai.
The pearl of the desert), do not lose their formal original qualities that actually con-
tinue to show the real liturgical character, literally, “service space,” for the people,
for the place, for the society, a service that does not forget the recalling of Le
Fig. 4.23 Matteo Florimi’s “Perusia Augusta,” with 119 urban poles. (Sixteenth–seventeenth
century)
Corbusier of the poetic need to “move” (Le Corbusier 1923) while doing architec-
ture, a condition that becomes pregnant in the dialogue of the place, in history signs,
in the sense of loss (Fig. 4.23).
The liturgical poles find their real contextualization if inserted in the place, in the
equilibrium and competitiveness process that are necessarily created; the quality
imposed by the liturgical poles constitutes a formal exception that morphologically
colours the heterogeneity of the profile, beyond further transformations (Fig. 4.24).
4.6 Landscape and Meaning
Pascal presents on this point a problem that appears quite fitting for the relationship
between city and construction, between the dialogue that time imposes and its rep-
resentation; “a man that stands in front of the window to see those who pass nearby,
if I pass nearby, can I say that he is standing there to see me? No, because he does
not think on me in particular; but who loves someone because of beauty, does he
love? No, because smallpox, that will kill beauty without killing the person, will not
let him love that person anymore” (Pascal 1670). The French thinker in a synthetic
4.6 Landscape and Meaning 113
Fig. 4.24 Achille Porbomi’s map of Perugia with 27 urban poles (1862)
Fig. 4.25 Anonymous profile of the Ariodante Fabretti Street without churches. (Academic design
by A. Asciutti, M. Corazzi, D. Koczmarek, and F. Mangiabene, 2010)
way sets in relation perception with deep knowledge: the eye is trained to see, it
registers only what it knows. The vision is tightly held to the action of recognizing,
which is defined on the base of aesthetic categories that derives from the previous
experience. The question mark is the set on the genesis of interpretation, on the
subjectivity of the experience of Beauty that is asserted regardless of the pure super-
ficial aspect: what happens if the variation transforms the function, as to say the
essence of the constructed artifact, if, for example, towers cease to stand out against
the sky to be absorbed in their context, or churches lose their liturgical function? Do
they lose their beauty? (Fig. 4.25).
It cannot be only an aesthetic aspect, either the functional one to define essence
and role. Between lines, Pascal asserts that what counts is the relationship. This is
the story of the anti-smallpox: the poles in the city are such for the “generative”
action of beauty. Natalie Ginzburg wrote, “Loving life generates life”(Ginzburg
2003, 136): about the signic value of towers or the aesthetic attraction that the
Fig. 4.26 Dynamic profile of Giuseppe Garibaldi Street with more than 20 ex-churches.
(Academic design by A. Lelli, L. Pesaresi, E. Bisogni, G. Coresi, and L. Bini, 2010)
churches exercised is still a contagious “research” that generates culture, more than
a self-care reference or an investigation of its own identity. The history of the image
of the city tells about a continuous “ex-attament” of stratified signs. In the histori-
cized city, the 80% of liturgical spaces are not isolated, but insert in a curtain of
architectonical elements that find in those spaces a structure to lean on, even beyond
the physic space, as the fruit of a developed equilibrium (Fig. 4.26).
Form and content are inseparable. To be faithful to tradition means to enter in
relationship with the experience of the past and renew it in your own life, giving a
sense to time and transforming it in history (Galimberti 2010), which, as a life
teacher, is not a celebration of the past but a support for the present. In the architec-
ture survey this means that the parallel attention to the image has to rely on the
analysis of the dialogue, to overcome the image in its immediate meaning by read-
ing its content, the signs of history and the study of the origins, the growth process
that, ex post, comes back up to the original step; but also to the equilibrium analysis,
on the variation that leads to questioning the sense of the image and then on the real
beauty.
Deep in, it is possible to affirm that loneliness kills the architecture. The image
of the city lives in the relationship between unity and fragmentation, between tradi-
tion and innovation, between time and space, is fed by the relationships. The being
is a fruit of the confrontation process with the other, but also the same research of
quality is contagious, the variations of particulars are spread in an aesthetic cure that
invests the neighboring buildings and which signs the identity. Education, also in
the image of the city, is then to rediscover the great coordinates of human relation-
ships, in the centrality of the cure, of buildings, of place, of image, of the origin, of
the other, of the sense, which could be intended as searching for beauty. But “Hell
is—other people!,” in Sartre’s philosophy (Sartre 1944): in this centrality of percep-
tion, it emerges an essential centrality of the image of the city, as a direct expression
4.6 Landscape and Meaning 115
Fig. 4.27 Evidentiary signs of the community in Mercanzia hospital and Church of Sant’ Egidio.
(Academic designs by O. Jernovaia, 2009)
of the rational ability of man. A fundamental anthropological point emerges: in this

sense, the seriousness of the research has to be confronted with the deep transforma-
tion that was born from the figure of Christ, who changes the sense of relationships
(von Balthasar 1998, p. 237) (Fig. 4.27).
The “verification” that this section wanted to fulfill concludes by imposing the
centrality in man: figuration, through orientation of the structure and at the same
time identification in the polarized elements, comes back to the subject as the main
protagonist of the city, not only as a spectator but because the image reflects his
interiority and the form is the cultural product of a rediscovered identity in the value
of history and signs (Settis 2005).
There is no longer an attempt to determinate a Christianity perimeter in the cul-
tural field, which is dominated by lay thought, and the objective is not self-celebrant;
moreover, the study proposes to determinate a needed critic to face the crisis on the
significance of liturgical spaces and the of the contemporaneous city in general. The
relationship between architecture and urban space arises again in the centrality of
spaces that are lived in and residential. The dialogue and the relationship are set as
peculiar elements of a re-writing action on the territory based on a language of signs
that continuous to stay in their valence (Fig. 4.28).
Fig. 4.28 Value of the image of the Church of San Cristoforo in Perugia, today a bed-&-breakfast
called “Dubai Pearl”. (Academic designs by Marco Tasagian, Federico Luppi, and Giacomo
Quarti, 2009)
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Chapter 5
Landscape and Countryside: Cataloguing
of Sparse Houses in Castiglione del Lago
and Amelia Rural Spaces
Abstract The interpretation of landscape, in the figurative process, suffers the

impact of vast spaces more than the small elements. The misconception of a monu-
ment consists in reducing the image of a place to those elements that summarize
cultural and social aspects, although they cannot replace the perceived reality and its
context. Also, if landscape can be represented by particular elements, it exceeds
them in the centrality of perception, in the value of space and vastness of territory.
In this sense, the rural environment represents an important aspect of our land-
scapes, drawn by man. The relation with architectural elements is quite different
compared to the urban case: small and isolated buildings are emblematic cases of a
practical culture founded on labor rather than on erudition, without aesthetic inten-
tions, but enriched by the surplus value of time. This heritage, ignored for decades,
now emerges as a fundamental element of the Italian landscape. In response to that,
first the municipality of Castiglione del Lago and, after a few years, the one of
Amelia have commissioned the University of Perugia to develop both analysis and
cataloguing of the overall buildings spread over the countryside. The cataloguing of
rural assets is essential to understand and communicate a particular interpretative
model of a landscape close to reality, able to connect with more information and
create a systematic order, considering the individual phenomena in their entirety to
determine their laws of evolution. Moreover, the cataloguing of historical resources
stands as a fundamental instrument for their restoration; it is a good opportunity to
give a logical order to the vision of a landscape, able to connect information and
create a systematic network of comparisons between common heritages. The sched-
uling is structured by a ministerial standard, useful to produce shared-use documen-
tation with the aim of building a database. The cataloguing work “quantifies” and
“qualifies” the building heritage according to a logic capable of revealing those
identities by basing data readings through an analysis and systematization of his-
torical data, texts and representations, but also through a deconstruction of the typo-
logical elements of the building, with a value-based classification that can be used
as a foundation for planning activity.
Keywords Rural landscape · Scattered assets · Territorial cataloguing · Planning

https://doi.org/10.1007/978-3-319-94150-9_5
120 5 Landscape and Countryside: Cataloguing of Sparse Houses in Castiglione del Lago…
5.1 Landscape and Rural Space
The idea of landscape is usually connected to the natural environment, to the bucolic
idealization of a mythical and peaceful place, perhaps closer to utopia than to the
real world where we live. Also, within urban planning, landscape quality is becom-
ing one of the most important aims. To obtain good results, it is necessary to have
good questions, well formulated, and, in this context, it is necessary to understand
who draws the landscape (Fig. 5.1).
Everyone creates landscapes: planners, architects, artists, administrators, citi-
zens. But within this vast group, a principal role may be reserved to the farmers. The
rural spaces, in fact, are drawn by this activity, perhaps without aesthetical inten-
tion, but often with great results. Rural regions cover 44% of the EU territory and
occupy a slightly larger share of the territory (48.4%); urban areas are less important
(4.6%).1 In the EU-28, the total utilized agricultural area (UAA) came nearly to 179
million hectares (ha) in 2015, and in 2013 61% of the UAA was used for arable
Fig. 5.1 Discovery
through in the certitude of
measurable space of
Giotto, the miracle of the
fountain, Superior Basilica
of Saint Francis, Assisi
1290
https://ec.europa.eu/agriculture/statistics/facts-and-figures_it [2018].
1
5.1 Landscape and Rural Space 121
crops, 34% for permanent grassland and meadow, and 6% for permanent crops.2 In
Italy, the UUA for each farm is 8.5 ha,3 and from these data alone it is possible to
understand their major impact in the territory. “The rural landscape is the form that
man, in the course and for the ends of his productive agricultural activity, con-
sciously and systematically imposes to natural landscape.” In this famous sentence
of Emilio Sereni written in 1961 (Sereni 1961), now it appears to us in his value, for
the geometric drawing of a territory transformed by labour. In the same years, in
1962, UNESCO formalized his recommendation (UNESCO 1962) concerning the
safeguarding of the beauty and character of landscapes and sites, defining two con-
cepts that would guide World Heritage List (WHL) nomination, which concepts
were preservation of the beauty and character of the landscape and the protection of
natural and rural landscapes (Fig. 5.2).
Reinterpreting Kenneth Frampton, it is possible to propose a parallelism of rural
space signs as “temenos set against the vastness of space and time” (Frampton 1988,
Fig. 5.2 “I came to Spoleto, and I reached the aqueduct which is, at one time, also a bridge to join
two mountains. The ten arches crossing the valley are built with stone; they have last for centuries,
and they bring water everywhere in the city. And this is the third monument that I see of the ancient
age; this also has a great character. Architecture in those years was almost a second nature, it cor-
responds to civil uses, and from these the amphitheater, the temple and the aqueduct have their
origin.” (Goete, Italian trip, 1786)
https://ec.europa.eu/agriculture/statistics/facts-and-figures_it [2018].
2
http://www.confagricoltura.it [2018].
3
p. 44). Goethe, in his Italian Journey, observed how the construction techniques
handed down from ancient Rome took on such dimensions as to give to the Italian
landscape of the late eighteenth century the sense of “a second nature, which works
for civilized ends” (Goethe 1815–1816). Before this, Cicero, in De natura deorum
(II, p. 13), discusses an alteram naturam, that which a modern geographer might
call cultural landscape: infrastructure, bridges, roads: an attentive observation
which, if extended, invests not only what Cicero and Goethe alluded to, but more
particularly the entire landscape of the Roman limitatio. The relationship between
man and the natural landscape often enriches the latter with new shades of meaning,
which over time change until they come to characterize it completely. Landscape
filtered by the eyes of the passer-by or of a traveller of the end of the eighteenth
century, therefore, seems enriched by nuances that echo the splendors of late
antiquity.
In relationship with its constitution of territorial signs, the rural landscape has a
strong impact on our vision from the road (Appleyard et al. 1964), but it is possible
to find the rural architecture as a paradigmatic representation of the same relation-
ship. There are strong connections between the two spaces, because both, perhaps
without intentions, devitalize the difference between what is contained and what
contains them in an equilibrium in the natural setting. Rural architecture provides
examples of spontaneous architecture because of their perfect construction
(Rudofsky 1964, p. 114). The conservation of traditional values within the context
of preserving and revitalizing the architectural heritage constitutes the preservation
of culture (Ipekoglu 2006, pp. 386–394).
In particular, the 43% of Umbrian landscape that is occupied by agricultural
areas is used for production by more than 50,000 companies, and, although these
areas may be decreased over time, agriculture still has an important role in protec-
tion and land management.4
5.2 Cataloguing of Rural Assets
The cataloguing of rural assets is an essential instrument to understand and com-

municate a particular interpretative model close to reality, able to connect more
information and create a systematic order. Considering individual phenomena in
their entirety, it is possible to delineate their development.
The scientific literature has developed different methodologies to catalogue tra-
ditional buildings (Armesto et al. 2006, pp. 174–183; Arias et al. 2006, pp. 350–
354; Yilmaz at alii 2007, pp. 428–433; Pérez-Martìn et al. 2011, pp. 941–949),
related to geographic context (Palang et al. 2005, pp. 3–8; Fuentes 2010, pp. 119–
129; Lainga and Scotta 2011, pp. 478–496; Brunskill 1999; Yildirim and Turan
2012, pp. 493–503; Van der Vaart 2005, pp. 143–152; Van Hoof and Van Dijken
2008, pp. 1023–1030; Marjan et al. 2011, pp. 72–80), and also the reuse of aban-
http://www.arpa.umbria.it [2018].
4
5.2 Cataloguing of Rural Assets 123
doned buildings (Bullen 2007, pp. 20–31; Bullen and Love 2010, pp. 215–224;
Wang and Zeng 2010, pp. 1241–1249; Bedate et al. 2004, pp. 101–111; Cyrenne
et al. 2006, pp. 349–379). Compared with the past, digitalization (Haining 2003;
Fischer and Wang 2011; Ford et al. 1999, pp. 64–75; Crain and MacDonald 1984,
pp. 40–46; Cano et al. 2013, pp. 34–47; Ezekwem 2016) and its tools (Ma and Ren
2017, pp. 1072–1079; Wolk et al. 2014, pp. 109–127; Mignard and Nicolle 2014,
pp. 1276–1290; Kari et al. 2016, pp. 67–72; Stojanovski 2013; Hijazi et al. 2010;
Kolbe et al. 2010, pp. 45–49) has changed the logic of design and interpretation, and
in the current cultural context significant benefits are seen for the protection and
preservation of our cultural heritage.
The goal is not to acquire knowledge; the Internet can give us all the required
information. The aim is to select, to understand and research. The electronic net-
works become a new way of thinking to create an educational environment. The
new digital context becomes a place of new production and social relationships, the
forms of information transmission change and become wider, as is explicit in the
recent phenomenon of social networks, including Facebook. These new communi-
cation channels can be read as an expression of contemporary culture marked by the
need for cataloguing, and Facebook becomes a simple and efficient paradigm capa-
ble of describing the same architectural cataloguing. It is possible to exploit the
famous website to explain the project and scientific action. Cataloguing and the
digital world are different but follow the same logic. Facebook has revolutionized
the information through a new idea of relationship inside the cataloguing logic, an
interpretive model characterized by discretization of categories and by the research
of affinities, which is then the new paradigm for the new interactive society (Bianconi
2005). In a similar way, the study of rural goods creates a cultural surplus, which is
translated in a landscape protection action, with the past that does not solidify its
forms but becomes the foundation of needed transformations.
In this scenario, cataloguing considers both a dual process of selection and com-
parison between extracted data and a general contextualization. As Paul Valery
claimed, to “classify is to make more habitable the world, it is an order effort, which
requires passion, but also implies a slowdown, a reflective suspension of the creative
act. Sort is a continuous movement between the exhaustive and the unfinished. It is a
theatrical and polished installation, a writing dramaturgy exercise” (Cervellini 2007).
In the Italian regulatory environment, the cataloguing of historical resources
stands as a fundamental instrument for their protection (Italy, Law no.42/2004, art.
17). It is fully part of the spatial planning process, which requires a scientific pro-
cess, the ability to repeat the experimental program and come to comparable results.
Basing research on the widespread character of rural architecture becomes impor-
tant to avoid exclusive selection of exceptionality. In the agricultural context of a
rural landscape, architecture arises from simple necessity, without aesthetic intent;
time enriches these assets, giving them a cultural and memorial value. The miscon-
ception of the monument consists in reducing the image of a place to those elements
that summarize cultural and social aspects, although they cannot replace the
perceived reality and its context. The monument must persist with its distinctive
features as an instrument of “memory recall,” as a “reminder” of an Italy based on
Fig. 5.3 Ruins and the per-

manence of the monument at
the Piazza del Sopramuro in
Perugia (1930–1939)
the importance of work (Bianconi and Filippucci 2011a, b), which follows our iden-
tity. A monument will never replace the landscape, but it can be an identifying ele-
ment, a current memory text (Fig. 5.3).
5.3 L
andscape and Rural Architecture in the Area
of Castiglione del Lago
Cataloging the rural assets in the territory of Castiglione del Lago (Italy) represents
an important case study. The research outcomes constituted the basis for the draft-
ing of the new town plan of the municipality, concerning particularly the protection
of landscape changes. Indeed, this theme was already investigated in the late fif-
teenth century by Leonardo da Vinci, in his famous representation for the Valdichiana
drainage. The research can synthetically be described through a simple but emblem-
atic finding of a 1765 Cabreo, drawn for the Jesuits by Francesco Maria Tiroli, a
Bolognese surveyor. Kept in the Archivio di Stato in Rome, this manuscript shows
nine rural complexes, presumably in their original condition. These complexes are
the property of the religious order in a hamlet of the municipal territory. A following
1773 literature description, edited during the order’s suppression, and the survey of
the current state above all, allow to both compare temporally distant data and acquire
5.3 Landscape and Rural Architecture in the Area of Castiglione del Lago 125
a possible planning action of protection. The finding of these drawings determines

a cultural surplus value, which, on one hand, is specifically reflected in both cultural
and economic realms; on the other hand, making use of the heuristic abilities of a
tendentiously-careful-to-transformations survey, it highlights the original forms,
hidden by the stratification, and allows for tracing, in a more general perspective,
some spontaneous laws of evolution, typical of the architecture itself. The drawing
is, therefore, the hidden value that also reveals what is veiled, because, as stated by
Leonardo, “all our knowledge has its origins in our perceptions” (Fig. 5.4).
The territory of Castiglione del Lago was, for centuries, a strategic boundary
between Umbria and Tuscany, central in Umbrian and Italian histories (Festuccia
1985). It is testified by the sculptural images of the Fontana Maggiore (Vermiglioli
1834; Cenci 2006; Ottavi 1999; Dozzini 1994; Comune di Perugia 1999; Vignaroli
2003; Montagnoli 2007; Sproviero 1999; Gurrieri 1973) in the Umbrian capital,
Fig. 5.4 Rural landscape in the territory of Castiglione del Lago (2010)
emblem of the city, where it appears among the statue depictions, next to the two
images of Domina Laci forens granum Perusiae and Domina Clusi forens pisces
Perusiae, thus connoting the lake and in particular with Chiugi, demonstrating the
political-economic centrality of this territory (Bianconi and Filippucci 2011a, b).
This is a witness, as in the communal age the ancient Chiugi was “Perugia’s gra-
nary” because “in the municipal budget, Chiugi’s income accounted for about two-
thirds of the income that was at the time the largest asset of entry” (Vallerani 1987).
This place is close to man’s action on the landscape, as characterized by a dichot-
omy relationship with water that, on one hand guaranteed fertility (Campano 1982),
and on the other hand, because the water level oscillated in the lake, about 600–
700 m from the coast (Gambini 1995) and marshy in the Chiane (Repetti 1833),
between inundations and malaria fever: this made the environment very hostile.
The transformation of the landscaper is connected to the study of “great works”
projected by such scientists as Leonardo (Starnazzi 2000), Galileo (Castelli 1906),
and Torricelli (Torricelli 1822a, b), but it is the capillary action of each worker that
determines the real place changing. In this context, it is possible to identify in rural
architecture the connotation element of space where are condensed, between forms
and materials, the signs of time. Farmers’ houses are, in fact, the fruit of continuous
functional stratifications that, by adapting to the changeable needs of agricultural
life, do not leave out the implicit aesthetic research that is made more meaningful
over time (Fig. 5.5).
The relationship between landscape, work, and architecture has deep roots,
already emerging in the first Statutes of Castiglione del Lago of the fourteenth cen-
Fig. 5.5 Digital reconstruction of anthropic development in rural areas of Castiglione del Lago in
the past 300 years
tury, where some normative dispositions appear to give value to the environment
(Grohmann 1981, p. 611). On the same side, in the Statutes of Perugia of 1366, it is
possible to find similar measures, with the authorization “for any person can build a
house in the Chiuse and occupy three earthbound that were unused in the last three
years, with the obligation of cultivating it” (Grohmann 1981, p. 619), or in the grant
for productive activities it is testified by archived documents, where is claimed as a
reward the commitment to “spit and smash the seeds and stains of these Closures
each year at certain times (...) to make it cultivated and also at least every year work
four corners of earth (...) and in that they sowed wheat” (Chiacchella and Rossi 1983,
p. 350). Administrators always have encouraged a construction of landscape through
the development of agriculture, granting to build a house to anyone who wanted to
dedicate his life to breeding sheep and farming (Grohmann 1981, p. 625) (Fig. 5.6).
From the documentary analysis, the requalification of the territory of Castiglione
is revealed as closely linked to building and habitations, with the aim of overcoming
the depressing demography signed by famines and agricultural crises that for centu-
ries had created a serious imbalance between the needed working force and that
available. A rural complex so formed was presented as implicit testifying of a his-
toric process, and for this reason, it can be analyzed in its complexity through a
systematic confrontation that necessarily overcomes local borders (Bonasera et al.
2002; Desplanques 2006; Fanelli and Mazza 1989; Milletti 1949; Guidoni 1970,
1980; Chiuini 1986; Fanelli and Mazza 1989; Aa. Vv. 1993).
In such an optic is inserted the cataloguing work on spread-out rural goods,
developed in the conventional field of research between municipality and university,
which results have been incorporated in the new General Regulator Plan. Almost
1600 complex buildings were studied and censed, of which 250 units from the
Fig. 5.6 Perugia, Company of Jesus’ Cabreo of Goods (Tiroli, 1766), and reconstructive hypoth-
esis of the transformation phases of the Gioiella building in the territory of Castiglione del Lago
Fig. 5.7 Reconstructive hypothesis of the transformation phases of rural goods scattered in the
territory of Castiglione del Lago considering designs from the eighteenth century
Gregorian cadaster and 280 more recent buildings, but with a historical interest,
were all selected for a deeper analysis (Fig. 5.7).
The filing synthesizes quantitative and qualitative information on the good, by
selecting elements that, if read in their totality, contribute to identify the characters
of the local constructive identity (Settis 2017). In this sense, the contribution given
to information technology is nodal, with the possibilities of relating graphics and
numbers data and to represent them in their complexity, so much that it is possible
to build a new layer that visualizes relationships that before were hidden.
Cataloguing does not end with the analysis. The work leads to the evaluative
synthesis of the examined buildings through the identification of three address
classes for the recovery project.
The first category includes the architectonical complexes that are maintaining
their original aspect or that were inserted in a valuable landscape area: in fact, in a
negligible part of the artifacts in the Gregorian Cadastre, 10% to 20% lost the origi-
nal signs. These buildings were supposedly rebuilt after the original core demoli-
tion, but many of the older structures are characterized by profound modifications.
In this way, the parameters considered here have ranged from the visibility of the
property to the rural integrity of the surrounding environment, to the visual cones
that are perceived by the place, binding those cases where the landscape gives a
quality to the place. To this set of selected buildings is reserved a particular protec-
tion legislation, even if this class encases only the 10% to 20% of the analyzed
goods (Fig. 5.8).
Fig. 5.8 Graphic abstract of filing and abacus of the goods cataloguing scattered in the territory of
Castiglione del Lago
The second typological set includes rural buildings that preserve their typical
conformation, but stratified by continuous architectural juxtaposition and the addi-
tion of external functional elements. These are not compromised complexes, around
which could develop a limited building activity, because of the attention to preexis-
tences and to developmental logic. In fact, a substantial portion of the buildings
Fig. 5.9 Relief of a rural complex in the territory of Castiglione del Lago, 2009
under consideration has undergone extensive modifications, overlays, or reconstruc-

tions. In this group of quite common interventions, 75% to 80% of cases are the
rebuilding of the roof and the construction of reinforced concrete arches that clearly
overturn the original morphological conformation. A good part of the structures,
between 10% and 20%, and especially those for tourists and tourist destination,
present consolidation and restoration efforts that try to reproduce traditional forms
but often betray the true local tradition (Fig. 5.9).
The third class concerns buildings that were modified in the past 10 years, a
modification that under different aspects had contaminated, and almost destroyed,
the original characteristics. The investigation work was concretized then in the
identification of architectonical elements that indicate the historical path taken by

the buildings: extensions, external stairs, superfluous add-ons that appear as para-
digmatical examples of typical evolutions of the original implant, whose material
heterogeneity helps to identify the time scale. Sometimes the upgradings aimed at
the reproduction of stereotyped images of rural architectural ideas have been the
least respected interventions of the architectural identity of the building and have
caused a total loss of signs and distinctive characters that would allow the immedi-
ate reading of the building, but such process remains an expression of the vitality
and complexity of events and necessities that lead to an inevitable historical stratifi-
cation of elements, cultures, and signs.
The class of aesthetically compromised buildings is the more consistent one, a
common reality over all Italy, “although the majority of the cases are on historical
buildings and of particular architectural value, building interventions do not always
express a qualitative quotient, and they end in the consuming mouths of consumer-
ism and valorization … in the name of a more profitable fruition” (Unali 2001). The
state of the goods of this category does not give much liberty to the degradation
process; rather, it pushes the planning to impose more retrenchment constraints
(Fig. 5.10).
Fig. 5.10 Evolution of rural complex in the territory of Castiglione del Lago, 2009
5.4 Landscape and Rural Architecture in the Area of Amelia
The catalogue of the rural assets in the territory of Amelia (Italy) represents the
evolution of previous research.
The territory of Amelia, as almost every Italian landscape, is a place full of his-
tory and meanings, in whose stratification of signs it is possible to find the “foot-
prints” of the history of the world, of central figures such as Pontius Pilate (in the
sixteenth century, an inscription concerning “Pilatus / IIII Vir / Quinq (Uennalis”)
(CIL, XI 4396) was found near the church of the Abbey of San Secondo: this text is
adduced by some scholars as a proof of the Amelian origin of the more famous of
the Roman governors, Pontius Pilate, and his stay in Amelia before being executed
in Rome and his body thrown into the Tiber) (Del Lungo 2004, p. 232) and of events
such as the discovery of America. One illustrious citizen of Amelia was Alessandro
Geraldini, the first bishop of the New World, a decisive figure for Cristoforo
Colombo’s enterprise because of his strong influence in the Spanish court, which
was also exercised earlier by his brother Antonio (Menestò 1993), of places such as
the Sistine Chapel (the implicit support of Michelangelo’s best known masterpiece
of 1508 was the starry sky painted in 1483 by Amelia’s Piermatteo in the vault) (Aa.
Vv. 1996), of architecture, such as the Cyclopean walls (Guardabassi, ca. 18--;
Monacchi 1994, p. 317; Fontaine 1981, pp. 5–17; Girotti 1864, 1904; Angelelli
et al. 2001, pp. 69–114; Antonio da Sangallo 1520–1525, dis. 697; Antonio da
Sangallo 1520–1525, dis. 724) or historic buildings, including the work of Antonio
da Sangallo (Antonio da Sangallo il giovane 1520–1525, dis. 1280; Vasari 1558,
p. 316; Cansacchi 1938, pp. 73–85; Giovannoni 1959, pp. 269–272). If the fortunes
of Amelia, from the past (Maraldi 1997, pp. 91–104; Monacchi 1985, 1989, 1991,
pp. 87–93, 1994, p. 317, 2004, pp. 149–224; Martin et al. 1983, pp. 195–271; De
Angelis 2004, 2008, p. 22) were certainly joined to the presence of the Romans via
Amerina (Coarelli 2012, pp. 101–105; Frederiksen and Ward-Perkins 1957;
Scarpignato 2009; Martinori 1930; Menestò 1999; Facoltà di Lettere e Filosofia
dell’Università degli Studi di Perugia 1966; Bonomi Ponzi et al. 1995; Ciotti 1972;
Menestò 2004; Soprintendenza Archeologica per l’Umbria 1989; Maraldi 1997;
Scortecci 1991) that projected the place towards the capital of emperor, at the turn
of the nineteenth and twentieth centuries the American Egerton R. Williams
describes the place as connoting solitude, the isolation fruit of roads of communication
that for centuries now no longer affect the territory, creating in the form of the city
an even temporal furrow in the rarefaction of the glories passed: “Amelia lies in the
heart of the mountains which intervene to the west between the valley of the Nera
and that of the Tiber. In legend and authentic history it figures as one of the earliest,
still existing, cities of Italy, built by the Pelasgi even before the days of the Etruscans.
Once on the north side of the Nera we mounted rapidly the face of the mountain wall
which girdles in the plain upon the west. We were soon at such a height that the
plain lay before us like an oval, green basin, its sides dotted with grayish-white
towns; at the further end of it, upon the level, lay Terni with its broad extent and
modern factory chimneys. We turned westward into a gap in the mountains, and
5.4 Landscape and Rural Architecture in the Area of Amelia 133
entered the heart of them, still climbing. Even up here the vine and the olive were
ubiquitous. After an hour I saw Amelia before me on a vast hill-top, surmounted by
its cathedral tower, the houses descending in successive tiers to the fragments of the
ancient walls. It was late in the afternoon when we reached the piazza outside the
gate, and the sun was hidden by dense clouds. A heavy murkiness filled the air, and
gave to the mountains which hemmed us in on every side a dark and menacing
aspect. I felt as though I were really back in ancient times, or at least a thousand
miles from civilization. A few men slouched about the gateway with a gloomy air,
saying nothing to each other, in a fashion, it seemed to me, more Etruscan than
Italian. I approached to examine the walls; and, true enough, they were Pelasgic,
built of tremendous many-sided blocks of gray stone of different sizes. There they sat
in the town wall just as they were laid four thousand years ago; it seemed incredi-
ble. I climbed the winding ways in the gloom toward the cathedral at the top. Black
walls of endless age lined the little streets, and melancholy-looking people gazed at
me from cavern-like doorways. I heard nobody talking anywhere, and it produced a
feeling of extraordinary isolation and loneliness. Halfway up I found a little piazza
where there was no one but an old man with bleared eyes, who stood before an
ancient town hall arching the street; and he followed me for a while in utter silence.
It was evident that the perfect isolation of Amelia must affect its remaining people
in this way. It was a long climb to the top, but I reached it at last, in a little square
before the cathedral (which was closed). Here the view was magnificent, in spite of
the sun’s absence; it was impressive in its grandeur. The bare mountain peaks lined
the whole horizon; there ran the valley of the Tiber, on the west; to the dim south sat
Soracte, with its crouching back, which I had not thought to see again. It was hard
to realize that this remote place could once have been so important; but I remem-
bered that Ameria (its Latin name) was often referred to by Roman authors as a
large and flourishing town. On descending, I noticed remains of Roman days,
ancient columns built into the house walls here and there, and Corinthian capitals
projecting from the plastered façades. After one more look at the cyclopean walls,
the equal of which I should probably never see again, I summoned the vetturino, and
we descended rapidly to the plain of the Nera, and remounted to Narni” (Williams
and Rogers 1903, pp. 80–82) (Fig. 5.11).
In this context of a lesser-known landscape, less well known than other famous
places, the rural soul that sustains this Roman “granary” is expressed in the rural
architecture, as traces and key elements for the interpretation of the landscape: for
example, the Farattinis were a noble family of Amelia, that has this spelled out in
the family crest, people connected to “Frattina Street” (Gnoli 1939, p. 116; Antonazzi
1979, pp. 15–18) in Rome, which name was derived by Bartolomeo Farattini
(Amayden 1910–1914, p. 395; Moroni 1864, p. 189; Van Gauchat 1935, p. 10;
Katterbach 1931, p. 123), just bishop of Amelia, site manager for Pope Giulio II in
San Peter construction at Rome (Briccolani 1816, p. 5), for this reason the “dear
friend” of Michelangelo (Bull and Porter 1999, p. 119).
The rural assets, in fact, change in every territory, and also inside a limited area
such as Umbria it is possible find great differences.
Fig. 5.11 Relief and tri-dimensional model of a typical rural complex in the territory of Castiglione
del Lago, 2009
The Amelia urban landscape has the peculiarity of having many palaces inside
the wall (Santarelli 2006), but also a noble villa in the country (Durante 2000;
Pellegrini 1993–1994; Cleri 1996–1997). This architectonical development has had
an influence for all the rural architecture. About these, in the research of Henri
Desplanques’ tome of Campagne Umbre (Desplanques 2006), Amelia is one of the
few Umbrian cities never mentioned, as well as in the volume about Umbria con-
cerning L’architettura popolare in Italia (Chiuini 1986). In La casa rurale
dell’Umbria meridionale (Fondi 2002), Amelia highlights several different types of
houses. Generally, this type considers two floors with stairs outside and a farm
building, with more families in the same complex; as an alternative, there is the
presence of an internal connection, a stair in stone or wood.
From the counting of the descriptive land registry ordered by Pope Pius VI in
1777, it emerges that the Communities own 28% of the land, Laics 46%, and
Ecclesiastics 26%, of which 51% were sacred patrimonies and of first-built homes.
Properties up to 1 ha represent 0.38% of the total surface area, small properties from
1 to 10 ha approximately 5.16%, the average properties are 18.46%, and the large
ones 76%; these comprise only 11 properties, equal to 8% of the total. The proper-
ties belonged mainly to chaplains and confraternities; the average ones belonged
mainly to parishes and church institutions (bishopric, archdeacon, canteen,…). The
monasteries were wealthier owners, with more than 400 ha; the other large proper-
ties belonged to the noble families. The properties belonging to the communities
were mostly mountain and scrub. The evolution of this land registry culminated in
the preparation of maps of the Catasto Gregoriano between 1820 and 1859, finally
competed in the Cessato Catasto Terreni in effect at the time from 1854 to 1953
(Battistelli 1978–1979) (Fig. 5.12).
From the analysis of the properties represented in the various graphics and text
documents, it appears that the most common contract, given the scale of the prop-
erty, was sharecropping.
Fig. 5.12 Geographic map of the ancient Sabina region, oriented with the east at the top, by
Giovanni Maggi and Mauro Giubilo. (Roma, 1617)
Specifically, the Umbrian agriculture was “technically underdeveloped and

primitive, whose production is mainly addressed to local and family consumption
market, rather than the national circuit” (Margheriti and Pernazza 1983).
The sharecropping model never loses its power, and 70% of the Umbrian agricul-
tural area is invested in the sharecropping system, with 2% of the owners owning
57% of the land (Rossi 1983).
The peasant struggles of 1905 (Bogliari 1979) that involved Amelia and all the
surrounding cities defined a culturally important step in the growth of the working
class, established in this area, increasing socially a synergy between the countryside
and cities.
Cooperative mills were a symbol of the ancient rural tradition, different from the
industrial structures of modern mills. A widespread number of historical villas con-
stitutes another constructive peculiarity of the Amelia area (Fig. 5.13).
Particularly for the Dove Tower, even if it was inserted in the building organism,
it has to be highlighted with a separated voice and a detailed description in different
voices. This building type, characteristic constructions in the Center of Italy, are
structures that transport verticality, to respond to the need of optimization of the
rural space in the city, which for its own constitution has many wide spaces: the aim
of this kind of building was generally also as a defense for the farmers who, outside
Fig. 5.13 Views of landscape of the Rio Grande area in the territory of Amelia (2012)
the city, were attacked by armies and robbers. By the end of the sixteenth century it
began to have a productive aim; it was used to produce palomino, a fertilizer that has
been used since antiquity.
The dove is a bird that has been hunted for centuries with different techniques,
and in this sense, it characterizes local imaginary in an important way, as, for exam-
ple, “La Palomba in Amelia,” whose importance was perceived more and more over
time, leading to the first laws on the protection of this bird by the beginning of the
nineteenth century, as, for example, the “Prohibition” issued by Cardinal Camerlengo
Altieri in 1839 (Della Rosa 1989, p. 36). It is important to underline that Franco
Della Rosa, who studied this theme, individuated in the territory 29 existing towers
(Della Rosa 1989, p. 139). Be careful not to confuse them with the similar and more
rare presence of tower houses or defensive towers, by observing the relationship
between asset and orography. By examining the IGM 1:25.000, it is possible to note
that almost the whole series of place names connected to the tower theme are set on
the slope [as, for example, the presence of toponymous ruins (Torre dir.) on a slope
site, and the other four are the same sites with impossible toponyms (Torre Boccarini,
Torre, Torrazza, Torri)], plus two more areas (Torre, Torre Nuova), and a survey
(Poggio Castellaccio) (Melelli and Fatichenti 2004, p. 76). For the Dove Tower, it is
important to report the approximate height, the presence of other openings, on the
Fig. 5.14 Cyclopean walls of Amelia and hyperography by Mariano Guardabassi (1864)
molding and on triangular windows with the nozzle, on round windows (in the num-
ber of sides), and the type and number of roof coverings (Fig. 5.14).
Another characteristic element of the past history of the territory, to which cer-
tain attention must be paid, is the historical mill, an element that clearly has to be
related to the environmental context.
From the different parts, the actual use has to be highlighted (e.g., private habita-
tion/store) as also, still referring to the part, the original use for which the building
was constructed. By describing rural buildings, the link between the rural center and
its origin must be visible, considering that the presence of the corridor caused the
establishment of scattered important buildings, able to defend themselves from
scourges and the hordes of invasions that cyclically affected the territory.
The research included the survey of 301 buildings in the Amelia area, accessible
or not. Those buildings not accessible have been regarded as private property, for
which it was not possible to make a photographic survey and evaluate their state of
conservation, and those buildings impossible to reach because they are isolated in
the woods by vegetation overgrowth and poor roads. The accessible buildings have
been categorized into three classes, according to specific parameters on the conser-
vation status and their visibility. The main indications for each building have been
collected in a schematic report.
From the identification, the research has considered the extrapolation of sum-
mary values for the classification, which can be used as the foundation for the activi-
ties of planning. In particular, the purpose is to find in the observations, always
critical, an interpretative description of the relationship between past and present
that can direct the possible evolution of the artifacts (Fig. 5.15).
Fig. 5.15 Themes in DSM of Amelia City (2012)
5.5 Scheduling of Classes in the Amelia Territory Case Study
According to the previous research, three classes are defined in terms of the sched-
uling options:
• Class (A): the architectural complexes that over time have preserved their origi-
nal appearance and therefore must be better protected.
• Class (B): those rural buildings that reflect the typical rural structure, but their
conformation has the juxtaposition of various elements, related to the evolution
of agricultural and residential needs, which have altered their original identity.
Typical is the example of the building used as a residence with different attach-
ments, for example, the stable, the barn, the granary. These buildings are not
compromised; around them, limited edification activity might be allowed in
observance of the relationship between ancient and contemporary uses.
• Class (C): the group of buildings that have been changed in recent decades and
no longer show their historical features. These areas have not been developed in
recent decades, causing a total loss of the signs and distinctive characteristics
that would allow an immediate reading of the buildings. The process remains an
expression of the vitality and complexity of events and needs, which lead to an
inevitable historical stratification of elements, cultures, and signs. The variants
have been made with materials (elevations in brick, the presence of structures in
reinforced concrete or steel, changes made with different materials from the
original ones) that facilitate the task to identify aesthetically this class of con-
struction. For such, a greater opportunity of transformation is possible (Fig. 5.16).
5.5 Scheduling of Classes in the Amelia Territory Case Study 139
Fig. 5.16 Tri-dimensional digital model of the territory of the Amelia municipality, with interpre-
tation of the evolution dynamics of the gathered settlements, 2012
To avoid complex interpretative models, this research has considered only three
values: the state of conservation, the information that highlights the historical trans-
formations, and the relationship with the context.
For what concerns the state of preservation, a closed vocabulary has been cho-
sen, which allows assigning the values of the classes: “very good, good, average,
bad, very bad, ruin.” For these possibilities, each is assigned a numeric value,
respectively, “10, 8, 6, 4, 2, 0.” These data allow evaluating the current state of a
building, regardless of its history. This feature is described in the second class of
specific indications: “original core not compromised, original core partially com-
promised, original core compromised, core absent.” Even for these descriptions,
there are associated values, “15, 10, 5, 0”, respectively. The final evaluation will
emerge from the sum of the individual contributions. The relevance of this second
class, a condition imposed by the weight assigned to the historical value of each
property, should be noted: an architectural complex that maintains its typical char-
acteristics and presents an original core that is not compromised should be pre-
served. A different case is a building excellently preserved, possibly by virtue of a
recent restoration project that has tampered with its original form.
Even if it is already possible to describe a relationship between past and present,
it was considered useful to juxtapose an additional variable to the result, giving
prominence to the observations. This feature defined the relationship between per-
ception and context where the building is located. It is necessary to highlight in the
lab the relationship between architecture and perceptual axes. The possible attri-
butes of the observations are “building clearly visible from road axes and/or urban
cores, building clearly visible but not by road axes and/or urban cores, partially
screened building, totally screened building” with the values, respectively, “3, 2, 1,
0.” The relationship with the environment is expressed as a benefit for history and
for the asset: a building full of history, that has survived from the signs of time,
shows the reasons which necessarily contributed to its survival (Fig. 5.17).
The summary value is the sum of the three contributions. All the buildings
with a value greater than 15 are in Class (A), in Class (C) are those with a value
lower than 11, and in Class (B) are included the other cases, with values between
15 and 11.
It may be possible that some buildings in Class (A) have the following options:
if the core is not compromised, any part of the property not in ruins has to be neces-
sarily preserved. If the original core is perfectly preserved and there are some por-
tions in ruins, it has to be preserved only in the case that it is placed in a particularly
good and visible perceptual condition. Thinking about the correlation between per-
ception and memory, even if the building is a ruin, it remains in the landscape with
its own meaning that today should not be lost. In the same class belong those build-
ings with a partially compromised original core with the state of conservation at
least average, beyond the different visibility conditions. In addition, in this class, if
the state of conservation is poor but not too bad, it will be the context to define itself
as added value, able to reveal the actual role in the urban development planning
referring to the visibility, which, if good, will preserve the asset.
Fig. 5.17 Territorial framing panel of the scattered rural goods census, 2013
If the core is rather compromised, but the state of preservation of the scattered
buildings is good and visibility is clear, it could be possible that, although the assets
have been deeply tampered with over time, they still preserve their history and con-
sistency (Fig. 5.18).
Fig. 5.18 Graphic abstract

of scattered rural goods
catalogued in the territory
of Amelia, 2013
Part of the Class (C) buildings reveal the following borderline cases: original
compromised or absent core, bad state of conservation, totally screened. These three
options allow defining how any conservative intervention would not be appropriate
and useful to preserve the values both of the present and of the past.
All the other combinations will belong to Class (B).
For cataloguing, the study has considered the taking of two or more photographs
for each easily accessible building. Referring to a first cartographic collection (an
overview in A2 format of the entire Amelia area, then divided into several A3 ortho-
images), it was possible to realize a first detection of the buildings in the map, con-
cerned for cataloguing. The photographic survey required a direct recognition in the
area, sometimes effectuated by direct indications of the owners. The photographic
documentation shows the state of conservation of assets; in most cases, the need to
implement a series of interventions is evident, aimed both for security of the area
and for the recovery of the building, respecting the intended use in accordance with
the rural tradition.
At the end of the photographic survey and the cataloguing, the research has led
to the conclusion that most of the buildings have been restored, maintaining almost
in their entirety the original cores, and they are inhabited. A large number of build-
ings are abandoned, but they present a good state of preservation and good visibility
from the outside. For the survey of damaged assets, now in a state of real ruin, it was
sometimes necessary to go into the vegetation. These assets, as seen from the sur-
vey, showed interesting features of artistic and architectural order, which would
justify any conservative interventions. In some cases, the owners adopted the ruin
profile as a symbol and reference signal for tourism and information, for example,
in the case of farms, private villas, and social communities.
In these tables it is possible to visualize the results obtained after the survey and
cataloguing:
Total number of accessible buildings (surveyed) 165

Total number of inaccessible buildings (surveyed) 78
Total number of buildings (not surveyed) 58
Total: 301 buildings
Accessible buildings classified:
Class (A) 80
Class (B) 61
Class (C) 24
Total number of photographs: 374
In conclusion, the cataloguing of architectural assets is increasingly proving an

essential tool to understand and communicate a certain interpretative model, in
which it is possible to express the idea of reality that enriches the landscape.
However, the cataloguing cannot be considered as design data without specifica-
tions, but should be considered as an indication given to the designer, with the aim
to highlight the issues involved and avoid the risk of an unplanned choice. Similarly,
the designer must adopt the classification in a critical way, possibly to motivate dif-
ferent possible actions.
5.6 The Structure of Cataloguing Schedule
Starting from this experience, in the second case of Amelia territory, the proposed
structure for the cataloguing schedule of the spread rural assets was developed with
more rigor, finding its origin in the Italian Ministerial addresses given by the Central
Institute for Cataloguing and Documentation (ICCD), for according to the statutes,
“it manages the General Catalogue of Archaeological, Architectural, Artistic and
Ethno-Anthropological National Heritage, it elaborates the methodologies of cata-
loguing and it coordinates the operational activities of the technical bodies that
implement it on the territory”5 (Fig. 5.19).
Fig. 5.19 Territorial anagram of Amelia, inspired by Armell Caron’s resolutions. (Academic
design by A. Drei, 2013)
http://www.iccd.beniculturali.it [2018].
5
5.6 The Structure of Cataloguing Schedule 145
The study wanted to align with the scientific requests proposed by the ministry,
which is interesting to report in the definition of its activities where it is stated that
“cataloguing aims to systematically know all the types of cultural assets identified
by the Code for Cultural Assets and Landscape, as well as incorporated in the his-
torical and environmental context, for the purpose of their protection and enhance-
ment. The task of the Institute is to define, in accordance with the regions,
methodologies and standard procedures for cataloguing according to homogeneous
criteria, with the aim of promoting the increase of the national catalogue of archaeo-
logical, architectural, historical, ethno-anthropological, scientific-technological and
natural resources, in its territorial articulations. For the integrated acquisition and
management of cataloguing processes, the ICCD has developed the general cata-
logue information system (SIGeC web), which ensures the quality of the data and
their compliance with national standards.”6
The interaction with the Regional Direction for Cultural Assets and Landscape
of Umbria Region led to defining an agreement to jointly develop the proposal. The
integration between university research and the Municipality Administration needs
planning, which found then a fundamental foothold in the instruments provided by
the Ministry to proceed with the production of a documentation with shared criteria,
whose aim is to produce data to be used over time in a national database.
The study was developed by placing as a binding structure in class A, written for
cataloguing architectural assets. The detail of the proposal leads the investigation
beyond the inventory level, as a pre-cataloguing card (level P) or directly as a cata-
logue. Subjection to ministerial criteria certainly guarantees the product a scientific
aspect, but it also develops the research with digital instruments that are provided by
the same ministry, particularly with the SIGECweb system.
Not all fields were considered, but through an extension of the strings for which
was set an absolute mandatory status, the data have been selected according to the
category in examination of rural property, for which it will not be possible to obtain
the same indications as a monument, also because of the general condition of the
impossibility of accessing inside the asset.
The prepared card is based on a first level of “Codes,” wherein the analyzed asset
is identified together with the research context: in this phase is defined the card type
(type A card), the level of the research, set up as type P, the unique code provided by
the Ministry for each card, that consists in the Regional Code, the General Catalogue
Number, the Suffix to the General Cataloguing Number, apart from showing the
references of the Cataloguer body (the Municipality) and of the Competent bodies
(Superintendence of Architectural and Landscape Heritage and Umbria Region).
The second information level refers to the “Object” in examination, identified in
the first place in its typological definition, as name or locution to identify and deter-
minate the architectonic typology to which the catalogued asset can refer. To iden-
tify this class the cataloguer does not have any liberty; he is more addressed to
through the closed file of the identified terms of the vocabulary of architectonic and
landscape assets, provided by the Ministry; as this vocabulary is an open system,
http://www.iccd.beniculturali.it [2018].
6
this class wants to achieve only the “rustichetto” (rustic) term to indicate the typical
isolated refuge of the farmers, just one place, used as a shelter for people or animals
or work tools. These elements can be also related to hunter refuges, because Amelia
has always been famous for hunting pigeons, so highly specialized that small com-
plexes appeared formed of houses, ponds, and watering stations; to increase hunting
with nets, the wild game was then sold on the main markets of Central Italy. In this
phase the cataloguer needs to pay a certain attention to the terms used and to the
identification of typical typologies such as villa, mill, dove tower, church, palace,
house, and small house. In the same vocabulary are reported the Qualification and
the Denomination of the asset, extended in a second field that encloses the Other
denominations.
The individuation of the “Localization” then follows, which is obtained through
an administrative geographic localization defined by state, region, province, and
municipality fields, but also through a cadastral localization: this is first obtained
by specifying the localization type, which in the present study is always a “physic
localization” (and never the place of fabric and previous recovery), so that it can be
explicit in the canonic reporting strings on Municipality, Paper/Date, Particles, and
eventually Particles and other border elements (Fig. 5.20).
The “Cultural Definition” is the set of information that helps to contextualize the
asset in a synthetic way in its historic-cultural environment. For each intervention,
or constructive phase, the whole paragraph is repeated because the definition can be
segmented in the case of a stratification, which can be determined by signs and
styles, identifying the intervention referent. The denomination of the cultural field
Fig. 5.20 Rural buildings abandoned in the Amelia countryside

has to be done through a denomination that refers to stylist categories (Renaissance,

local workers, Roman mannerism) and not by time intervals (nineteenth century,
twentieth century…). In this context is important to sign the string-denominated
source of attribution, and the references that made possible this identification, even
if those were determined by the same author. The under-field of identification of the
author is left as optional because in the system of rural assets it is evident that the
author is unknown, but still with the possibility to gather some later information. An
eventual title has to be surrogated through the source of attribution by specifying
again the intervention referent, and as well it is important for the author to report the
principal information on the registry data/ time of activity. Historic news allows
comprehending a chronological repertory of all news (for both general and specific
character) related to the catalogued asset. Every notice reported can refer to an
extendable period or to a single date. First of all, in the reference field it is important
to give information about space and structure related to the news: apart from show-
ing whether the news refers only to a portion of the specific building, when it refers
to an extension outside the catalogued asset, it has to indicate “general character,”
whereas for those in the next environment it has to be indicated with “around.” The
obligations that characterize those fields require also expressing the source, apart
from the reference, although there is the possibility to report the source entirely in
the news field. These two similar fields highlight the interventions in their chrono-
logical order with the extreme remote chronology and the extreme recent chronol-
ogy, with two analog fields for century and validity of the hypothesis.
Of great interest is the Italian territory: rich in history and testimonial signs
related to each age, it is the inherent field for “Pre-existences.” This paragraph pro-
vides a synthetic but complete transcription of the consistency of eventual pre-
existences that had as condition the realization of the catalogue asset and of which
some traces are still available. The presence of pre-existences can be seen through
the ruins or remains of enclosed parts in the selected building, by the element of
every genre (foundation trends, horizon ratios between bearing walls, road con-
struction, etc.) that derive from a demolished building, from a previous road net-
work, from canalizations, etc., of which we do not have any trace today. Perhaps it
is repetitive, but for every asset, the location has to be signed (e.g., right corner of
the main facade), and the identification that allows describing the type of pre-
existence and its denomination (e.g., traces of medieval masonry in mixed stone).
The identification of “Space” is granted through the first fundamental notions,
where for each reference are explicit the horizontal subdivision type (or continuous
levels or offset levels), the number of surfaces, surfaces’ type, and eventually a verti-
cal subdivision. In fact, the indication of the sequence of acronyms is subdivided by
semicolons that, starting from the bottom, lists the various floors that make up the
building, specifying if necessary whether it is a noble floor (n.f.), a mezzanine (mez-
zanine f.), an attic (attic f.), basement (basement f.), etc. If the extension of the
floors does not coincide with that on the ground floor, the terms “partial,” “project-
ing” (for ground floors), or “deburring” (for underground floors) are used: for exam-
ple, f.2 adjective; open vocabulary: basement f.-2, basement f.-1, basement f., g. f.,
f.1, f.2, ... mezzanine f., attic f.. Similarly, the indication of the type of vertical divi-
Fig. 5.21 Formal stratification of a characteristic rural stone building in the Amelia countryside
sion, if significant compared to the typology of the building (ex.: serial elements,
double body, three naves...), is required (Fig. 5.21).
“Structural System” is described with various information, by genre and species,
that provides the system’s description of the catalogued asset. Particularly requested
is a description of the primary structural configuration (e.g., building in continuous
masonry with vaults on the ground floor and attics on the upper floors).
The “Map” description is set by assuming the worst case condition of impossibil-
ity to perform an inspection in the building. Reference should be made to the part
where, in particular, it is advisable to indicate separately the typical presence of the
“cabin,” a supported backbone consisting of a roof covered with cobblestones and
embossed, supported by a wall or two pillars. The other field to fill in is the form, for
which there is a closed vocabulary (L, T, C, U, comb, circular, irregular, mixed-line,
polygon of n. sides, squared, rectangular) to limit the number of cases.
If possible, it is advisable to provide indications on “Foundations,” giving infor-
mation of a technical and typological character useful for the description of the
principal foundation, where this has a uniform structure, or that describes every
single part with a different structure from the others that compose the general sys-
tem of the foundations. The sub-fields to fill are site, type, and material. Indications
specifying the location of the specific structural part that is being described are in
the context of the foundation structures of the well-catalogued asset. If foundations
are typically homogeneous and do not result, therefore, in being described as sepa-
rate parts, this sub-field is not compiled.
The description of “Vertical Structures” is to guarantee indications and data of a

typological, morphological, and technical character, related to the catalogued asset’s
vertical structures, considering them from a constructive point of view, as to say
beyond their historical-artistic and decorative values, which will be analyzed in
other paragraphs. The previous scheme is repeated with the sub-fields site, type, and
material. It must be stated whether the successive fields refer to the entire property
or to any parts thereof by making such disaggregations only in the presence of dif-
ferentiated architectural structures. To report the following information for specific
structures, the location specification will follow that of the part of buildings sepa-
rated by a semicolon (e.g.: right wing, main wall, main body, good overall facade,
apses, wall between nave and nave, lower part ...). This field is to identify the type
of vertical structure or the whole of the vertical structures that are part of the build-
ing, but to simplify, you use a closed vocabulary composed of only three terms:
columns, walls, pillars.
The “Covers” are a nodal element for the description of the intervention: descrip-
tive fields are similar to the previous ones with site, genre, and form, where these are
connected between themselves.
The “Stairs” are important elements for Umbrian types and apart from the site,
the category of the stair must be explicit. Although it has been pointed out several
times, it is further noted that in this string it is to be indicated whether the successive
fields refer to the whole good or to any parts of it, making such disaggregation only
in presence of structurally differentiated shells.
The presence of “Decorative elements” can be deepened in cases of study even
with the repetition of the voices: the scheme is still similar, with the sequence of
voices being site, collocation, material, type. For this last voice an open vocabulary
can be used (fresco, frame, cornice, sill, sacred newsstand, fascia, stringcourse,
fountain, frieze, ring, grata, teaches, headstone, pilaster, bezel, sundial, niche, niche
with statue, panel, saved, jambs, stucco, entablature, etc..), but it is important to pay
attention to the following characteristic particulars having as a reference the cata-
logued elements in the volume titled “Architecture and rural landscape in Umbria
Region” (Melelli et al. 2010): Blubber, Ring, Arnie, Insurance Table, Mailbox, Date,
Persian Shore, Loggia, Sundial, Dove Tower, Riot Stones, Hydraulic Pump, Clutch
Holder, Gutter Extension.
The historical context of Amelia’s territory requires that much attention be given
to the “Inscriptions,” “Tombstones,” and “Coats of Arms,” elements that may have
relevance in the construction or in the history of the building, for which it is impor-
tant to specify site, genre (whether inscription, tombstone, coats of arms, or some-
thing else), a description of the type (e.g.: Gothic shield of Lancellotti family,
framed by cartouche with volutes), a transcription of the text, the technique with
which the object was realized (e.g.: interlocking; cool; graffiti; engraved; carved,
etc. ...), that is, the material with which it is made.
The analytical descriptions of the object end at this point, but examination of the
context is continuous with the evaluations on the state of “Preservation.” This phase
has an important role because the observations reported by the detector will engrave
the future evolution of the building, by conditioning the planner’s choices. After
providing the reference on the part according to which the evaluations are true, the
state of preservation is signed, which can be excellent, good, mediocre, bad, very
bad, or ruin: this evaluation refers to a function of the building, and it is easy to think
that a building deeply compromised or with no historical qualities could have an
excellent state of preservation, whereas on the other hand a building with a histori-
cal value can be abandoned and become a ruin. The next evaluation specifies the
same value of the state of preservation, which is inherent to the specific indications
on the building. For this voice a closed vocabulary was selected to lead detectors to
take in judgment the evolution of the building, by indicating if it has any of the fol-
lowing conditions: “original core not compromised,” “original core partially com-
promised,” “original core compromised,” or “original core absent.” This evaluation
is then very delicate, because at times restoration, but even carelessness, can dis-
simulate the true story of the building. It is then fundamental to confront this analy-
sis with all the information from history, sources, and clues that the research
provides in several ways. Another mandatory voice to indicate is the eventual pres-
ence of restorations from the past 50 years, proving for the reference to the part that
of interest for the restoration and a description of the intervention type (Fig. 5.22).
The next voice is inherent to the “Utilization” of the asset: in the first place it has
to refer to the part, but in such a context this disintegration has a central value in the
analysis setting because it has to be correlated to the same description on the map.
In this section, it is possible to describe the rural complex that is usually composed
of some typological elements, which have a certain documental interest on tech-
Fig. 5.22 Relationship between traditional architecture and rural landscape in Amelia territory,
2012
niques, traditions, and culture. Even if it is an open field, this section must pay atten-
tion to the following typological elements typical in Umbrian architecture: Fountain,
Hut, Dove Tower, Drying Room, Newsstand, Barn, Oven, Dunghill, Manger,
Chicken Coop, Well, Silos, Stallion.
The “Legal Condition” of the asset is shown in the first place in the generic indi-
cation, the propriety for which it was chosen to give a closed vocabulary composed
of “private property,” “public property,” “body,” “mixed property,” and “not
identified.” If possible, at the voice specific indication, it is possible to explicate the
exact name of the Administration, the Body, or Private Owner.
It is then important to sign possible “Protection Measures” already present in the
asset, giving the type measure (Italy, Law no. 1089/1939) and the extremes of the
measure, by indicating if the bond is referring to the whole asset or to some parts of
it, according to PTCP maps of Terni Province. 7
“Reference Sources and Documents” have to be punctually described providing
clear indications on given valuations. First of all, it is necessary to attach to the card
an exhaustive photographic documentation, where every image has a description on
genre, type, author, date, identifying code to identify uniquely the asset, and even-
tual equipment notes. If possible, in this section the graphic documentation that
describes the asset must be attached, specifying genre, type, author, date, identifying
code, stair, body owner, and eventual notes.
The setting is similar for other “Sources and Documents,” still described by spec-
ifying type, author, date, denomination, paper/card, name of the archive, position,
identifying code, and eventual notes; and for multimedia sources to indicate, where
possible, the information concerning genre, type, author, date, owner body, colloca-
tion, identifying code, and eventual notes. Finally, for bibliography it is possible to
indicate genre, unique code ICCD, author, year of issue, the abbreviation for quota-
tion, V., pp., n. (Volume, page, dossier number) V., t., fig., (Volume, table, figure),
and the complete quotation.
It is necessary then to indicate the “Access Specification of the Data,” highlight-
ing the access profile to indicate the future visibility of the card, and the motivation
that led to the previous choice.
At the end the card has to be accompanied by “Compilation Data,” indicating
date, name of the detector, scientific referent, and official responsible.
It is possible, at the last, to attach “Annotation” with observations. In this field, it
was chosen to indicate the perceptive value of the place by highlighting one of the
following options: “housing visible from road axes and/or urban cores”; or “a dwell-
ing clearly visible from road axes and/or urban cores.” Moreover, it is possible to
use this space in a repetitive way for extra notes on historical-critic news, dating,
attribution, iconography, state of preservation or restoration, etc., or for other infor-
mation acquired that cannot be inserted in other fields provided for cataloguing
(Fig. 5.23).
http://www.provincia.terni.it [2018].
7
Fig. 5.23 Photographic relief, prospective restitution, and representation of the first convent of
Saint John the Baptist Observants in Amelia, 2013
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Chapter 6
Landscape and Modern City:
Requalification of the Perugia Railway
Station District
Abstract The interpretation of landscape, in the figurative process, comes into cri-
sis in places characterized by an absence of definition, of boundary, of identity – the
conditions of our suburban districts. “Urban landscape”, “rural landscape”, or “nat-
ural landscape” exist: no one thinks about a “suburban landscape” because these
spaces are often “Characters in Search of an Author”, a condensed center of dis-
jointedness, where anthropization has too many times decreased natural and envi-
ronmental values. Rethinking and redrawing landscape means reinterpreting places
and confronting the urban question as landscape topics aim to generate links of
reconstruction between community and city. The applicative results of research in
this topic starts from the national call for suburban boundaries requalification, for
which Perugia Municipality has sealed an agreement with the group of researchers
representing the University of Perugia to study the image of the next district,
Fontivegge, around the railway station. The project developed aims to stop the dete-
rioration of this central part of Perugia, intervening in a saturated urban landscape
through new signs targeting the citizen in the recovering of public spaces and for the
construction of a smart city. The proposal acts in a multitasking strategy of redraw-
ing parks, urban mobility, and spatial reconnection, and funds were awarded (16
million euros) for work that is coming soon. According to the smart city principle of
“doing more with less,” the proposal is developed with zero-volume architecture
rethinking the visual. The proposal results in application of the Lynchian theory of
the image of the city in the centrality of perception, in a research approach based on
a human–environmental relationship. Building with nature, this concept valorizes
the main ecological basins of the area with a process of improvement in user ser-
vices, space quality, and ecological and environmental value. The draft increases the
existing vegetation, especially with the use of edible plants, and it involves the con-
struction of urban gardens for the local community to generate the re-appropriation
of spaces by the community itself valorizing the perceptual senses. The idea is to
create a public space that can promote the urban vitality of the entire district, by
becoming the attractor for the community, and it becomes a district safety supervi-
sion. The aim of the project is to retrieve the urban space, in the new relationship
between man and the environment, redrawing the urban landscape for a new image
of the city. However, the proposal launches more questions than answers, asking
how is it possible to reappropriate the hold of public space. The hope is that it can

https://doi.org/10.1007/978-3-319-94150-9_6
160 6 Landscape and Modern City: Requalification of the Perugia Railway Station District
generate a dispute about solutions, involving citizens to co-design their place and
revaluing their urban landscape according to a common good value. The approach
in representation topic is central to connecting the analysis developed through an
urban survey with the project, according to the study of architecture in a contempo-
rary approach for the sustainability of the spaces.
Keywords Suburban · Image of the city · Project · Requalification · Perception
6.1 Drawing the Next Smart Landscape
Today, one of the most used terms is “smart city,” possibly an abused and vast con-
cept (Cocchia 2014, pp. 13–43; Hollands 2008, pp. 303–320; Chourabi et al. 2012,
pp. 2289–2297; Wall and Stavropoulos 2016, pp. 875–879; Ahvenniemi et al. 2016,
pp. 234–245; Schuler 2001, pp. 71–85; Couclelis 2004, pp. 5–19; Ergazakis et al.
2004, pp. 5–15; Stimmel 2015), pleonastic, because nobody wants to live in a stupid
city. But in this crisis era, a place becomes smart because it is forced to “do more
with less” (Bettencourt and West 2011, pp. 52–56): we are paying for the errors and
the corruption (Bergoglio 2013). The widely spread-out city, aimed to the advantage
of a few people (Bauman 2013), is not reversible, and, in a different way from the
past, the economic resources to develop and transform the territory are now more
limited than in earlier times. In an urban space and territory that tend to merge one
into the other to produce a single landscape, the image of the city no longer corre-
sponds with its monuments. During the Middle Ages the correspondence was close:
Perugia, for example, could have been represented by its Fountain, or by its Palazzo
dei Priori, or by the Cathedral. When the boundaries are extended, when a certain
limit, which is not only physical, has been passed, and the city spreads outside its
closed walls and merges with its periphery, this begins to undermine the canonical
vision of the clearly defined city, in favour of the dynamism and vitality of a new
landscape. If we return to the preceding example, in many people’s minds there
could be a correspondence between the Umbrian capital and the Perugina factory,
without there being, however, a close connection between the physical image of the
factory and the city. This new image of the city underlines rather the relationship of
modernization that is typical of a widespread landscape, and which, starting from
the end of the seventeenth century, became ever more complex until it reached its
maximum level in the nineteenth century in response to the conflicts inherent in its
development. Furthermore, within the city itself, in the wake of the victory of a
business-oriented mentality, the built-up environment has undergone a change,
resulting in the proliferation of signals that impose a multiplicity of space–time
attractors (dynamic equilibria), which change the face of the city (Fig. 6.1).
The spaces of the sprawling urban areas test our descriptive capacities to the
limit because of their continuous mutation and their non-semanticity, which is so
different from our style of observation (Boeri et al. 1992, pp. 2–4) (Fig. 6.2). This is
a limited view, however, that derives from a shared perceptual limit which was mas-
terly exposed by Jonathan Raban in his Bad Land (Raban 1996), where the author
6.1 Drawing the Next Smart Landscape 161
Fig. 6.1 Suburbs in the interpretation of the twentieth century by Mario Sironi and Aldo Rossi.
(©Eredi Aldo Rossi)
tells of his journey in Montana in search of the traces left by the people who colo-
nized it in the early years of the twentieth century, taken in by the first great opera-
tion of territorial marketing of contemporary history. The author, in trying to
reproduce the landscape, tells how: “Click. Click. Click. Click. Click. Head swivel-
ing like an owl’s, I tried to shoot a panorama in 40-degree liths, but the exercise only
emphasized even further the inadequacy of the lens, its congenital tunnel vision.
Bred to looking at landscape as if it were a picture, to the posted scenic viewpoint,
I was responding to the prairie like a shut-in taking his first walk across a blinding
city square. It was all periphery and no center, and I could feel my eyes doing some
kind of calisthenic workout in their sockets. Back at the wheel, I blamed the land-
scape painters for my habitual telephoto view of things. It would take a very long,
narrow-angled lens to frame Flatford Mill or Salisbury Cathedral as John Constable
painted them — and the art of the traditional landscapist is all about excluding most
of what the eye naturally sees and focusing on a tight rectangle, a “vista.” The word
is inseparable from its association with narrowness and containment; with the
avenue of trees framing the Palladian villa, or the sudden opening in the wood
Fig. 6.2 Signs in urban landscape of Perugina factory in Perugia in the 1920s
d isclosing a prospect of water… The prairie made all my received ideas about land-
scape seem cramped and stultified. There were no vistas in it“ (Raban 1996). We are
dealing with “non-places which push the Haiddegarian vision of space to the limit
in that they are creations of emptiness” (Purini 1992a, b, c, pp. 80–83). According
to Gilles Clément, the attention of the landscape painter should now turn itself
towards a “third landscape”, those residual places left out of the rational organiza-
tion of the territory (Clément 2005).
In the landscape topic, planning a “smart landscape”, also a “smart urban land-
scape” means reinventing (Purini 1990), restoring meanings (Jencks and Braid
1969), giving an order to the vision (Arnheim 1954), investigating, identifying and
communicating the types and the main figurative structures. Smart landscape means
also understanding the evolution of the city: “reading a place means understanding
what is happening, what has happened or what might happen there. And also, what
it means, how it is connected to other places and how one should behave there. This
environmental tale is not a single, fixed text. Reaching the knowledge of its com-
plexity is a continuous and cumulative process” (Lynch 1960) (Fig. 6.3).
It comes to address the issue of readability of the process which leads to the
building of the landscape’s image (Lynch 1985), the expansion of the theme of the
city. The image of the environment, that can be artificial or natural, is in fact neutral,
both in the genesis, certainly not teleological, of the urban phenomenon, and in its
action, in its ability to attract only those who are interested: you cannot be attracted
by monuments such as a Palladian villa without necessarily noticing their beauty;
while in general the experience and the memory attribute gains and connotations
which determine the value of sites. Thus, it emerges how seeing is always an active
process, cut off from a static contemplation (Appleyard et al. 1964): identify itself
for identifying (De Fiore 2005), with the recognition that allows the creation of a
“logical geography.” It is the exaltation of the sign’s value, it is central both in
perception and in subsequent drawing phase for the bond that exists between inter-
pretation and meaning (Filippucci and Feyles 2012) (Fig. 6.4).
Fig. 6.3 Aerial view of Perugina factory in the train station area of Fontivegge in Perugia around
the 1950s
Fig. 6.4 Aerial view of Perugina factory in the train station area of Fontivegge in Perugia around
the 1950s
The act of construction is, as a consequence, always preceded by deconstruction

of the existing, by the breaking up of the environment and of the signs that identify
the original landscape. “Any architectural and urban project arises from the demoli-
tion of the context into which it will have to be inserted” (Purini 1996, p. 7). If we
interpret the constructed as a transformation of the landscape, the process of altera-
tion appears to our eyes not only as a birth of new forms (Turri 1979), but also of
new meanings and signs to interpret: “monuments” of a territory are among the
most explicit testimony of the culture of a population (Settis, 2005), defining the
territory as a historic and artistic whole so that the values are not defined as catego-
ries, but as “historical events,” and they express the “sense of place of an area”; they
are therefore values in that they constitute “memory” and therefore include the
ancient, the historical, and the intentional (Riegl 1985) (Fig. 6.5).
This definition means exceeding the reductionism of the Urbs described in the
Encyclopèdie of Diderot and D’Alembert as a “group of several buildings placed
along the roads and closed by a single fence, which is normally defined by walls and
moats …” (Diderot and Dalambert 1751–1757). It represents a social Orwellian
dystopia (Orwell 1945) of a city made up of cages, idealized without men, engulfed
as in Hobbes’ Laviatiano designed by Bosse (Hobbes 1651) for strengthening the
definition of the modern centralized state (Farinelli 2008). Because, as the antithesis
of the vision expressed by the Civitas of Sant’Agostino, the city is also made up of
“living stones” (Saint Augustin 426), it precludes the community and includes
social rules, spaces of both relationships and regulated freedom. It is the place
where ethics and aesthetics enter the cyclical dynamism of a continuing reversal
relationship between cause and effect; where social justice creates beauty and archi-
tectural quality promotes the need for social equity. The choice of focusing on the
landscape shows clearly the centrality of the man (Settis 2014) who is lost in a liq-
uid modernity (Stiglitz 2015) no longer adequate for his needs (Fig. 6.6).
The centrality of perception clarifies the scope of research that fully falls so in
representative studies (Bianconi 2008). If operationally the path of contracts arises
from the identification of new limits, it is because the landscape, like the city, “is not
a tree” (Alexander 1964), but a “semilattice,” a set that contains other sets and
among those, some are intersected. In this dialectic in the value of limit, in the redis-
covering o the visual space, it is possible to rethink a city for the lives of the people
(Fig. 6.7).
The smart city, the overlap of technology, engages in the path of the urban, in
those stratified signs that causes to resurface the sense of a space full of history so
that it becomes a “place” (Norberg-Schulz 1980). One of the reasons for the failure
of the contemporary city is the loss of sense of their dialogue stratification, a condi-
tion that leads to create either new images, which however stop at the banality of the
spectacle, or efficient models, certainly capable of ensuring easy guidelines (Katz
1944), but also heralding a loss of the sense of identity. It is the side effect to the
definition of space (Zevi 1948), what has replaced the place, with the loss of the
value of the sign (Klee 1956), which liquefies in the loss of human scale. The dia-
logue between the individual protagonists of urban space configures the close cor-
respondence between Urbs and Civitas: in the center is placed man, his language
Fig. 6.5 Part of main

entrance of Perugina
factory in Perugia during
the 1920s
skills, his ability to create culture, his will to communicate their identity, the aes-
thetic intentionality leading the dialectic between individual city and multiple city.
The question of the relationship between technology and cities, the city connotation
with smart landscapes, it is finally expressed as a substantial anthropological prob-
lem hinged on the sense of the report on which is based the concept of city (Fig. 6.8).
The image then makes a “re-velation” in the sense of place, as it manifests itself
but at the same time it hides, because implicitly pours itself in an identity language
that requires a coding, and this preserves the narrative of its history. That is why the
landscape and the smart city find their foundation in the relationship, which is
expressed in a full participation, too often evoked only in a fantasy. Moreover, the
limits of a society made on liquid relationships realize that the future is in the path
6.2 Italian Call for Project in Requalification of Urban Area 167
Fig. 6.6 Aldo Rossi,

architect (1988) of project
of Umbira Region building
in Fontivegge, Perugia.
(© Eredi Aldo Rossi, courtesy
Fondazione Aldo Rossi)
of intelligence shared and widespread. Loneliness kills the intelligence of the city
and its landscapes, while bonding with unity and fragment, between tradition and
innovation, between time and space, however, are lives in relationship (Fig. 6.9).
6.2 Italian Call for Project in Requalification of Urban Area
To support local municipalities, the Italian Government has published an announce-

ment addressed to all the metropolitan cities and provincial capitals, entitled “Notice
to present new proposals for the organisation of the Special Program for an inter-
vention to requalify the urban area and the safety of the suburbs” (Italy, DPCM
no.127/2016). This path has become for many commons an opportunity to rethink
the next city. In Perugia territory, the theme of this intervention has been addressed
to local administration in collaboration between the Departments of Civil and
Environmental Engineering. The research, and particularly the studies of the repre-
sentative area, have become the essential tool for innovating urban development.
Beginning with the centrality of perception, the research approach based on the
man–environment solution is the basis to stop the deterioration of the district around
the railway station (Fontivegge) in Perugia (Fig. 6.10).
The project acts in multiple ways: parks, urban mobility, and reconnection. The
intervention in the ecological parks gives more value to the main basins of the
area with a process of improvement of user services and space, with environmental
Fig. 6.7 Digital models with photographic texture of Fontivegge area in Perugia. (Academic
designs by M. Seccaroni, 2017)
quality and ecological value. The draft increases the existing vegetation, especially
with the use of edible plants, and involves the construction of urban gardens for the
local community to generate the re-appropriation of spaces by the community itself
(Fig. 6.11).
The idea is to create a public space to promote the urban vitality of the entire
district, becoming an attractor for the community, and for it to become a district of
safety supervision. The aim of the project is to retrieve the urban space, in the new
relationship between man and environment, redrawing the urban landscape for a
new image of the city. The proposal is found financeable, and it is foreseen to start
in the coming months in 2018.
The announcement founds its cultural reasons in the concept proposed by sena-
tor Renzo Piano about urban mending,1 the main theme of the design hypothesis,
http://renzopianog124.com/ [2018].
1
6.2 Italian Call for Project in Requalification of Urban Area 169
Fig. 6.8 Using analytical eye tracking in Fontivegge area. (Academic designs by J. Castagna and
E. Florindi, 2016)
Fig. 6.9 Study of Fontivegge area by using Eye Tracker. (Academic designs by J. Castagna and
E. Florindi, 2016)
Fig. 6.10 Interpretation of data in “heat maps” of the observations of a significant number of
users. (Academic designs by J. Castagna and E. Florindi, 2016)
which actually, in the study case, are transferred to the suburban relationship, cen-
tral to the relationship between town and country (Fig. 6.12).
The goal of the course is to requalify all urban areas that are in a situation of
economic and social exclusion, with building deterioration and lack of services. The
interventions, to be implemented without additional consumption of soil, could
cover one or more of the following types of action:
6.3 Fontivegge Project Storytelling 171
Fig. 6.11 Hypothesis of completion of the area through a redistribution of built volumes.
(Academic designs by J. Castagna and E. Florindi, 2016)
• Improvement of urban quality projects

• Maintenance projects, re-use and re-adaptation of public areas and existing
buildings, for purposes of public interest
• Projects directed to the enhancement of regional security and urban resilience
• Projects for the strengthening of performance and of the scale of urban services,
including the development of practices of the third sector and civil service, all
with the aim of social inclusion and the creation of new metropolitan and urban
welfare models
• Projects for sustainable mobility and the adaptation of infrastructure for social
and cultural services, for education and teaching, as well as cultural and educa-
tional activities promoted by public and private interests
6.3 Fontivegge Project Storytelling
Briefly, the proposal could be read as a simple redesign of a new large square of the
station, a proposal developed mainly by the city, and the reconnection of these
spaces, in front of the break represented by the same railway infrastructure
(Fig. 6.13).
The narration of the project, based on the themes of public space, can begin with
the reconnection of the railway in the valley with the rest of the Fontivegge district:
Fig. 6.12 Graphic elaborations of the International Workshop “Fontivegge andata e ritorno”.
(Academic designs, 2016)
the two areas cut from the train tracks (as it always happens) and its appurtenances
actually have similar logic, with a strong residential vocation. Here is located an
important polarity of the intervention, the current subordinate, insecure and poorly
resolved, where, even if it is guaranteeing access, lets others identify themselves as
a simple and degraded shelter. The proposed design relies on the thorough regenera-
tion of this area, to be converted into a square of access to the station, the center of
Fig. 6.13 General framing of Fontivegge area invested in the project of its relationship with the
territory of Perugia, 2016
attraction, and a convergence space of slow mobility, through the cycle path to the
Thirties areas.
The idea finds its foundation in the creation of a public space able to promote
urban vitality, an attractor for young people and a local presence so important and
fundamental for the needs of security. The square is intended as a place where peo-
ple of social groups, various cultural and demographic orientations, meet and enter
into a different relationship, a space where public life is centered on communication
(McLuhan 1964) and vision (Kepes 1944). The parameters that define the spaces are
the easy interpretation of the surrounding environment, the “legibility” (Lynch
1960), the opportunity to obtain additional information through the exploration, the
“mystery,” and the ease of finding a shelter, the “refuge” (Clemente 2015). The
project sees then a complete redesign of the site, wherein it wants to return to an
“original landscape” (Purini 1992a, b, c), functional to accessibility, with a square
that gradually descends towards the entrance of the underpass, placed at the center
of pedestrian and cycle flows.
A red divider separates and protects the place from vehicular traffic, with respect
to which it is still identified for the centrality of the flows present therein (Arnheim
1977). The same perceptual pole (Appleyard et al. 1964), if the side of the road is
designed as the shelter of the bus stop, for those pedestrians and citizens who want
to stay and spend some time on the terraced steps, becomes the scenery flat of pro-
jections of sensors filming and cameras set to make the place a “mirror of the soci-
ety” (Benjamin 1968) as well as a great monitor where youth associations of the city
and the neighbourhood can communicate (Fig. 6.14).
Fig. 6.14 General framing of project proposals for the requalification of Fontivegge’s suburbs,
2016
The idea of the square in the ordinary use is completely changed compared to
that in the past; it was then the identification space (Lynch 1981) and meeting that
breaks the outskirts of the “identical city” (Petranzan et al. 2005). For many psy-
chologists, the attractiveness of a public space is commensurate with its ability to
see others as well as to be seen and to express themselves freely. If in the rural and
traditional Italian culture, the town square can encompass the image of the city
itself, in the modern world as well, in the visual pre-eminence (Purini 1982, p. 2) the
contemporary square wants to focus on those aspects related to the memory of the
visitors (Feyles 2012) and the consciousness of the citizens, who are the keepers of
their community’s values. The square becomes a fluid entity, so that these pieces of
the city are a collection that contains within it other collections, some of which are
intersected between themselves: a city “per parts, ” and not made in “pieces”
(Alexander 1965, p. 172), in which the underpass to the station is the hub of
pedestrian paths and the place that opens to a path connected to discovery. A uni-
form ramp redraws the underground walkway, and the space created in the past for
the removal of architectural barriers, completely unused, turns into a greenhouse to
enrich the inbuilt naturalness (Fig. 6.15).
The need to respond to the tensions of a “place searching for an author,” the pur-
suit of beauty and art as a means and not as an end (Duchamp et al. 1973), all then
condense in the inlet of the participatory co-design perspective, which sees in social
cohesion the centrality of an urban mending path: with the support of local schools
and city, the space wants to be characterized with tiles drawn by children on the
theme of “the city’s image.” It follows that such a place is filled with colours, that
the protagonists, their relatives and friends, find, in this one identity space, themes
Fig. 6.15 Project hypothesis of connection underpasses for Fontivegge train station. (Academic
designs, 2016)
that discourage, especially for chromatic reasons and perceptive, the degradation of
spaces caused by graffiti writers. This same space then runs from one side to the
station, the new square, and to the interchange with Minimetrò’s entrance; on the
other side, it gradually diffuses in the neighbourhood characterized by small houses
from the beginning of the last century.
The square now becomes the meeting place of unity and fragment, between
accessibility and use, nature and artifice, with modernity that has been made an
essential feature for the habitability of the site. The city “per parts,” all connected,
intersected with each other, one depending on the other, leads then to connect the
appurtenances, in a time sequence to constitute the unicum that is the city itself. And
the path, in the relationship between identification and orientation (Filippucci 2018),
stands as the main structure of the urban mending. In such a system, the cycle path
finds a formal and spatial dominance to connect the adjacent districts of the city.
The path, the first in the urban city environment section, redesigns access to the
interchange center transport terms to break the absolute dominance of cars in favour
of a new measure, human centred and walkability (Ewing and Handy 2009,
pp. 65–84) (Fig. 6.16).
Valorization of soft mobility is to be implemented through the tarmac repainting
of all Thirties areas that are all divided and yet connected in a network model func-
tional for the discovery. A specific strong colour pervades and dominates the urban
space redevelopment, materializing in the coloured and printed tarmac according to
research that can be provided, considering the aim of participative and open paths,
with the support of students of construction and architectural engineering. The paths
will then enrich with naturalness chromatism with a fundamental “edible land-
scape” to strengthen the connective value of the ecological redesign. It is also
wanted, for all these reasons, to satisfy the spontaneous naturalization processes,
where, perhaps from negligence, vegetation has grown, redefining its relationship
with the man-made infrastructures and connoting cement paths and infrastructures.
The pedestrian network now becomes functional to the green infrastructure system
and the polarity of the parks, which at the same time are organically functional to
the system for pedestrian and bicycle paths that unfold within them.
Research on perception and vision is linked to the objective of remaking the
space livable, known and personal. The concept of place has a purely operational
value, connected to the quality, to relationship between all parts. The enhancement
of shared values between environmental consciousness (Jelin 2000) and its almost
mythical (Jencks and Baird 1969) meaning (Barthes 1967), an “exemplary model of
all rites and all significant human actions” (Eliade 1948), stands as a strategy to see
the city through its inhabitants’ lives (Fig. 6.17).
The project’s hypothesis is that through the upgrade of green infrastructure2 it is
possible to reconquer the man-made space, to replace at the center of the project the
citizen as main protagonist and keeper of that good as are the city and its environ-
ment. According to the United Nation, cities generate 75% of the global carbon
emissions and consume two thirds of the world’s energy (United Nations 2015):
continuous development will increase the amount of carbon dioxide, greenhouse
emissions, congestion, and wastes, which will affect public health, with greater
challenges in handling air pollution, population density, waste management, and
human health (OECD 2012) (Fig. 6.18).
ec.europa.eu/environment/pubs/pdf/factsheets/green_infra/it.pdf [2018].
2
Fig. 6.16 Study of cycle and pedestrian paths in Bellocchio district in Perugia. (Academic designs,
2016)
Fig. 6.17 Study of colours, street colours, and requalification hypothesis of Bellocchio district in
Perugia. (Academic designs by F. Neri, 2017)
The redesign of the man-made space aims to contribute to biodiversity conserva-

tion by increasing the connectivity of urban green spaces and its reconnection with
the ecological network. At the center stands the dynamics of perception (Ancona
1972), which gives value to the relationship between man and territory that enhances
the entire landscape. The natural area in the urban landscape shows itself as a frag-
Fig. 6.18 Study for a skate park in Fontivegge. (Academic designs, 2016)
mented residue, whose bourgeois origins have hampered its transformation, stuck in
the design in which it was born, unable to evolve and respond to contemporary
needs. Unresolved places (de Rubertis and Soletti 2000) and those removed (de
Rubertis 2002), the “Third Landscape” (Clément 2004), which, perhaps fortunately,
did not find strong levers able to overtake private economic expectations. These
spaces, considered today unsafe, are essential elements for an urban mending that is
founded in the ecological centrality of a model, also cultural (Settis 2017), to live
Fig. 6.19 Accommodation project for Pescaia Park. (Academic designs, 2016)
with new responsibility and involvement in the urban space (Brown et al. 2005).
The strategy that can be appealed to a “pervasion of the Green” aims to promote a
re-appropriation of places: identity and identity-making (De Fiore 2005) become
compliant characteristics from which it is possible to achieve innovative manage-
ment solutions based on participation (Settis 2014), joint planning, involvement,
and social cohesion, to also ensure long-term sustainability of the interventions
(Farina 2000) (Fig. 6.19).
A strong central strategy with the creation of more than 400 vegetable gardens
has revised thinking of these spaces in a new way: no longer places of anthropiza-
tion where wild species are hunted, nor of unauthorized construction and living, but
vegetable gardens definable as “biodiverse,” where is attested, in a central semantic
inversion, the union between the functionality of the space for humans and the pos-
sible advantage for wild species (Fig. 6.20).
In addition to the gardens, the entire infrastructure is characterized by fruit trees,
an agriculture invasion in the country to restore a culture of care and integration of
urban spaces between town and country. The goal is to draw an “eatable landscape,”
according to the Anglo-Saxon idea of edible landscape (Creasy 2010), a functional
structural biodiversity to create corridors (Bohn and Viljoen 2009, pp. 50–60) for
wild species compatible with the urban environment, which is useful for the absorp-
tion of CO2 (Zhang and Sui 2012, pp. 2314–2317), and, where compatible, a primary
good for mankind (Leake et al. 2009). These infrastructures, in their flowering and
fruiting cycles, can assume a central attraction for a value of perception, for their
colours, their flavours, and their characteristic scents. These elements will then
enhance residual spaces with specific connotations to become inclusive and attrac-
tive for disadvantaged groups and for citizens with disabilities. Accessibility is
alloyed with attractive, educational paths and forests, connected to the adjoining
schools, where the game, directed broadly to everyone, enhances places as multi-
functional (Fig. 6.21).
Fig. 6.20 Valorization project of Foibe Park in Perugia. (Academic designs, 2016)
Fig. 6.21 Valorization hypothesis of the flyover of Foibe Park in Perugia. (Academic designs by
M. Margutti and M. Stramaccia, 2016)
The sustainability of the action is guaranteed by an action of recovery from that

fundamental primary resource that is water, which will be used to supply more than
6 ha of urban green as well as retained. The Fontivegge area, in fact, is characterized
by the presence of a large groundwater level problem (Righi et al. 1986), that was
solved in this year with a system of pumps and extraction that until now was flowing
into the sewers; instead, in our proposal, that water is channelled and distributed in
a water supply system with storage tanks and drip systems controls.
Fig. 6.22 Valorization hypothesis of the new Foibe Park Center in Perugia. (Academic designs by
M. Margutti and M. Stramaccia, 2016)
The innovative system clearly involves a complication of the management of

urban space, as if the popular tradition says that “the garden wants the man dead,” it
is unthinkable that such a complex system does not have deep problems with imple-
mentation. But the challenge undertaken was born from the profound reversal of the
territorial government (Bassoli and Polizzi 2011), a concrete application of the bot-
tom-up strategy that will need to be accompanied and supported, but which can
bring those rich rewards associated with participation (Settis 2012) and social cohe-
sion (Pahl-Wostl and Hare 2004, pp. 193–206).
The proposal launches more questions than answers, asking how is it possible to
reappropriate the hold on the public space. Hope can generate a dispute about solu-
tions, involving citizens to co-design their place. Education on the quality of land-
scape is the implicit message contain within the project, with the aim of building
together a new role for landscape as a common good (Fig. 6.22).
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Part III
Landscape and Community
The natural environment can live without people. The territory too can exist without
the presence of humans. Landscape, in contrast, cannot be defined without the peo-
ple who perceive, who project the underlying culture shown in their own language.
Landscape, in fact, is an expression of identity of the place, a dangerous mine-
field where the relationship between narration and invention creates tensions in the
meaning. In the dynamism of landscape and of perception, identity is a close simi-
larity or affinity between place and the people who generated it, as the qualities of
place that make them different from others. However, identity derives from relation-
ships: it is a father who has a son, or a professor who has students…. And the rela-
tionship inside the place defines the character of landscape: people, nature, and
products are the richness that defines identity.
In this net, landscape shows itself as a transdisciplinary space. As in the perspec-
tive drawing diagonal lines are meant to measure space, transversality compensates
for the simple reduction of apparent sizes. The diagonal line, while cutting the
drawing transversely, introduces an important perceptive hint, which is essential to
appreciate the deepness and to represent the right measure. Landscape, as a diago-
nal, connects different dimensions through an extremely simple material action, that
actuates, in a perceptive level, an important relationship between objects, objects
that in reality are very distant from each other, and it is this relationship between
proximity and infinity that allows catching the scientific aspect of the perceptive
process and landscape vision.
Landscape derives and aims to create relationships, which essentially defines
itself. The eye represents the principal door. Moreover, the vision, in its complexity,
becomes a cultural path of education to the landscape. In this way, to intervene in
the landscape project, the planner always finds himself working in a sort of middle
ground between the work of the geographer, intent on raising his point of view to a
zenithal position, and the landscape painter, in the perpetual search for a framed
view from the ground. Landscape cannot be limited to the romantic reduction: if the
188 Part III
landscape painter paints, corrects, and carefully chooses and improves the ideal
landscape, the planner, without alternative, has to intervene in the real environment
and so has to move between two limits, tendentiously lowering the point of view of
the geographer and broadening the field of vision of the landscape painter so as to
be able to grasp the temporal dimension at least, thereby translating the single view
into a sequence. In this way, in the centrality of perception, the place renew its
meanings, communicating it to the people who live in it.
In this system of relationships, the complexity of the elements structures the text
of the discourse. Landscape appears as a dialogue between nature and architecture,
signs and means, spontaneity and anthropization, territory and environment… It is
the result of historical and cultural conceptions as well as rules and regulations that
are difficult to pin down in narrow sectorial definitions. In this sense, rediscovering
the concept of landscape means restoring the senses. Considering the place and the
landscape as a palimpsest of signs and texts and as a narration of the story of gener-
ated transformations, the problem of its image acquires a purely representative and
linguistic aspect as a result of the adaptation of the code that generated it. The ten-
sion between “text-landscape” and “landscape-meta-language” supports the inter-
pretation of the meaning of places, with particular emphasis on the effects inevitably
produced by the instrument. The language of landscape exists with its own syntax,
grammar, and metaphors, and we imperil ourselves by failing to learn to read and
speak this language. In a perspective of comprehension of man’s ability in reading,
interpreting, and projecting the landscape, the present study is concentrated on the
language of geometries and the drawing becomes the instrument for the analysis,
both as a synthesis instrument and in the role of explicit testimony. In the act of
construction, it is inherently an act of dismantling, as to put in crisis what already
exists and is perceived, to rebuild it inside the mind; it is a process that dissipates the
critics on the centrality of optical physiology, because it is not perception that
changes over time and which generates new forms, but the rebuilding action that in
its design becomes the fruit of a wider culture.
The relationship between landscape, environment, and territory shows itself, in
this way, as an interpretation of a substantial holisticity of a meaning process. In the
three case studies described, the transdisciplinarity of landscape appears in the need
of interdisciplinarity, in the vision of a colonial and collective approach. The per-
spective of landscape as a common good is, at the same time, the start and the end
of the path. Moreover, all the cases are linked to the project, not as results but as a
cultural path in a rediscovering of coordinates to renew the relationship between
places and communities. Landscape is a political act also because it helps the people
to rediscover in it their identity, the sense of community.
In fact, in a connection with the environment, the green infrastructures project
represents the storytelling of a new relationship between citizens and places in a
territory drawn by the signs of the natural world, forgotten by the contemporary.
The ecosystem services help the territory to be attractive and resilient, in a centrality
of perception and in a new pact with the citizen who takes care of them.
If landscape can be considered a product of human labour in the territory, at the
same time the products of territory represent landscape. The food produced in a
Part III 189
place is an expression of the labour in the territory and a concrete synthesis of the
local environment, but also the landscape finds reason in its results, because, with
the aim to produce it, agriculture takes care of it. Food is a storytelling of the land-
scape; it is an expression of the quality and meaning derived by human capacity and
hard work. Food communicates through a full perception, exploiting all the physical
senses, a point of connection of the local community, and a possible reason for the
drawing of a new landscape.
Landscape, ultimately, is a political question. The citizenship needs to be the
protagonist in the development of the next landscape. Participation in the landscape
can create new strategies for a concrete actuation of social cohesion around the
landscape theme. The centrality of perception can become the new horizon to pro-
mote this synergy with territory and environment. Through social contracts, it is
possible to develop a different engagement of the community, by a new point of
view linked to the rediscovering of the identity with the project aims.
In all the cases, the science of representation affirms the central role in the analy-
sis, in the project, in the communication. Landscape relationships need to be found
and extracted because they are predominantly immaterial. The representation has a
transdisciplinary language, according to the same character of the landscape. The
perception processes are a sort of oral drawing: while understanding the media, it is
possible to mark the message bounds, with the aim to support the sustainability of
the next landscape.
Chapter 7
Landscape and Natural Resources: Green
Infrastructure and Green Community
Projects in the Umbrian Region
Abstract Within the principal resources useful for the next landscape models, natu-
ral elements represent a substantial structure ever more necessary for the sustainabil-
ity of places. Landscape cannot be reduced to its picturesque aspects, because, in this
case, it could become more an idea than a reality, disjoint from material issues. The
case study of Umbria represents a paradigmatic example of a romantic vision of a
territory, called “the Green Heart of Italy”. In the front of a strong natural example,
the storytelling of landscape tries to communicate this idealistic model in a bucolic
style, without a real strategy for nature and environment; those are aspects of the
same landscape reality. The case studies presented here derive from an interdisciplin-
ary reading within the ecological road, with the aim of rethinking landscape through
conserving and valorizing biodiversity. Also, in the front of the economic crisis, this
topic represents an opportunity to develop territories, according to EU directives. To
create a smart landscape, “to do more with less,” it is necessary to start from conser-
vation of natural capital, redrawing the green infrastructures, today fragmented, as in
the two cases proposed about green peri-urban corridors in Corciano territory and the
green corridor of the Tiber River. Both proposals are founded on integration of
knowledge and approaches, where the cooperation between different territorial
actors represents the flywheel to lead a territory through a synthesis between environ-
ment and climatic functions and landscape issues. The approach in the representation
topic is central in the planning activities, in the field of connections of different issues
and questions, and a place of simulation of the next landscape.
Keywords Environment strategy · Green infrastructure · European founds ·

Planning · Drawing
7.1 Ambiguity in Landscape
Landscape is an open system, in a dynamic equilibrium, wherein the relationship

between man and nature results in continual transformations. In virtue of the
variability of these transformations it is possible to show a typological study of

https://doi.org/10.1007/978-3-319-94150-9_7
192 7 Landscape and Natural Resources: Green Infrastructure and Green Community…
landscape highlighting, therefore, the diverse aspects: “natural landscape” emerges

when the influence of man is not present; “cultural landscape” when it is
contextualized in a particular historical era; “rural landscape” in reference to a
territory that has undergone man-made modifications to suit agricultural needs; and
“urban landscape,” which is further removed from natural conditions (di Fidio
1993) (Fig. 7.1).
Furthermore, landscape still hides an ambiguity in its definition: “its sharp wit
(Farinelli 1991, pp. 10–12), its hinting at a piece of the real country and to the
representation which is created from it at the same time, to the things and to their
images,” a double-edged blade because even if, on the one hand, the “objectifying
seductions of the Earth Sciences and of a certain historicism are rejected as are the
regressions to pure visibility aesthetic leanings and to ascientific impressionism on
the other, there is the risk of a “rule changing creativity that recalls the irony of Don
Quixote, founded on the endemic double meaning of the continual dialectic between
reality and imagination” (Gambino 1997). Idealized, the landscape seems to have
problems. “Its transfer into the domain of representation as resting place of an
aesthetic progression has determined the duplication of the real environment into an
image, which, while allowing its simulacrum to remain intact, permits the carrying
out of any breaking of its body” (Purini 1991, p. 43).
There is, therefore, the risk of losing connection with reality, with the project
constructed in its materiality. But above all, the fundamental relationship between
“territory” and “project” comes under question. The abstraction of landscape
painting idealizes and deliberately forgets either one or the other and conceals the
conflictual character of the man-made alterations to the territory within which
landscape comes to be (Gambi 1986, pp. 102–105).
The hand of man has changed the environment, creating landscapes (Beltrame
1993, p. 25) that belong to his own cultural heritage, to his history (Settis 2005), in
a fruitful union between the natural environment and the action of man (Settis
2014). The model of the English biologist J. Huxley defines culture according to
three components:
• Mental products, which, even though abstract, constitute the basis of a culture
and are linked to human capacity for thought and production of concepts
(language, religion, folklore…)
• Social products, which derive from the links between individuals and include
social, family, and political structures…
• Material products, concrete expressions of a culture connected to its technologi-
cal level and its capacity to transform the environment to adapt it to human needs
(Huxley 1942)
This distinction can be sensed in the dialectic relationship between landscape
and city and that between the city and the countryside: ever since antiquity, from the
conception of the rus in urbe of Latin culture, the Italian city, with its parks and
gardens, has recalled the natural landscape, but a “civilized” natural landscape,
which “re-presents other territories” (Dixon Hunt 1993, p. 99), whereas in the
countryside, with its scattered villas, the landscape is marked with man-made
7.1 Ambiguity in Landscape 193
Fig. 7.1 Value of nature in landscape between representation and reality of Hollywood’s Niagara
Falls
elements that suggest the urban or, at least, human dimension. The strategy of a
design linked to the city has within itself the objective of being able to utilize
consolidated planning techniques, such as those used for the planning of the man-
made environment (Gregotti 1993, pp. 2–4). Man, therefore, attempts to educate
nature and, in the same way, nature is assigned the task of educating man, via the
gardens in the city, the green spaces, which appear as oases amid the busy network
of roads and noise. The natural landscape, which is often downgraded to something
of recreational value, is, therefore, able to leave behind that judgment that relegates
it to the purely aesthetic sphere and to become a useful and functional tool (Ponte
1990, pp. 369–382).
On this subject, Emilio Sereni, in his memorable work (Sereni 1961, pp. 47–49),
maintains that the Roman centuriation (Settis 1983), with its regular grid that extends
over a large part of the plains of the Italian peninsula, radically marks the territory not
so much with a number of lines and forms, as with its extension, with its excess, that
make it a solid reality capable of producing continuity. This continuity has largely
weathered the centuries intact and unchanged thanks to the terms of land rights divi-
sions and in the directions of the local roads, which conserved it during the mediaeval
period and have maintained it for us today (Sereno 1992, p. 66), demonstrating a sort
of “law of inertia” of the agricultural landscape. In this perspective, the experience of
the archaeology of ancient landscapes is interesting, where in this sense it proves
useful to reconstruct scenarios starting from surveys of various types: archaeological
reconnaissance, aerial photography (Alvisi 1989), and cartography (Cambi et al.
2003; Cambi and Terrenato 1994; Piccareta and Ceraudo 2000).
7.2 The Idea of Landscape in Umbria
Umbria, particularly, is a territory appealing as “the Green Heart of Italy”. In front of

a strong natural character, the storytelling of landscape tries to communicate this
idealistic model in a bucolic style. This is the case of “Sensational Umbriam” (McCurry
2009), where an artist as Steve McCurry, who became famous for the “stolen instant”
aesthetic with artworks such as the Afghan girl (McCurry 1985), is called to read a
landscape meaning: “the pictures enable you to experience an interpretation of
Umbrian identity that is the truthfulness of its values”1, says the artist, but it is a false
landscape, a project, an ideal narration, not the real territory. In a tentative of touristic
promotion, this expensive politics action (220,000 euros for the exhibition of 145
photos), sponsored and organized by the Umbria Region, shows itself in the roman-
tics roots, may be a “big fat liar”, because this is not the real landscape (Fig. 7.2).
Instead, Italy is a democratic republic founded on labour. And the labour is the
real basis of landscape, “whose character derives from the action of natural and/or
human factors and from their interaction”, as the “European Convention of
Landscape” (Council of Europe 2000) explains. In this sense, a central theme is a
http://www.sensationalumbria.eu [2018].
1
7.2 The Idea of Landscape in Umbria 195
Fig. 7.2 Natural and anthropic signs in controversial landscapes in Israel
straight connection between landscape and environment (Settis 2012): first because
it is a large error to hypothesize a division between the aspects of the same reality
(Ingold 2000), in a reductivism (Pett et al. 2016, pp. 576–583) of an interdisciplinary
reading (Meier 2012, pp. 503–514), but also because, in the centrality of interaction,
man creates a conflict with nature (Wiegand et al. 2005, pp. 108–121), especially in
global forecasts of urban expansion (Seto et al. 2012, pp. 16083–16088), in front of
fragmentation and derived landscape change (Lindenmayer and Fischer 2006). Loss
of landscape can be translated in a loss of ecosystem service (Haase et al. 2014,
pp. 413–433), so it is important also for the urban context (Luederitz et al. 2015,
pp. 98–112). And, biodiversity represents a holistic aspect of the same question
(Mace et al. 2012, pp. 19–26; Hagen et al. 2012, pp. 89–210; Jetz et al. 2004,
pp. 266–268).
The aim is living landscape (Steiner 2008): psychological well-being and mea-
sured species richness have consistent relationships (Dallimer et al. 2012, pp. 47–55),
with a positive relationship between psychological well-being and perceived rich-
ness by visitors to a green space, showing that is first a knowledge gap (Botzat et al.
2016, pp. 220–233). In this sense, landscape fragmentation becomes data that sup-
port territorial policies (Romano and Zullo 2012, pp. 399–414) in ecological revalo-
rization for sustainable landscape (Opdam et al. 2006, pp. 322–332) (Fig. 7.3).
Nature characterizes the Umbrian landscape: the territory of Umbria consists in
hills for some 30% and 70% is considered mountainous, with agriculture that is
quite modest from the productive point of view, may be for the excessive division of
the property and the absence of big companies with the modern means of cultivation
and techniques (Van der Sluis and Pedroli 2004, p. 13). The ecologic road (Forman
et al. 2003) in the Umbria Ecological network strategy confronts settlement interfer-
ences and tries to conserve and valorize biodiversity (Romano 2009, pp. 65–110).
Also, if in front of environmental questions and climate challenges our culture
“overrides these warning signs, and we can often be praised as being heroic in
keeping going in spite of them” (Hopkins 2011, p. 183), natural and environmental
resource development requests a collaborative management (Borrini-Feyerabend
et al. 2008). And the natural capitalism represents also an industrial revolution
Fig. 7.3 Umbrian agricultural landscape between Corciano, Campello sul Clitunno, Norcia, and
Castelluccio
7.3 Crisis and Opportunities 197
(Hawken et al. 1999, p. 310) that is changing our world and it can change also our
local system, preserving its own identity (Hoggart et al. 1995).
7.3 Crisis and Opportunities
In this crisis period, without a budget to concretize a real and necessary transforma-
tion of landscape, the landscape suffers. Economic and financial roles always win.
And, without investment in research, in the real recession of university, the land-
scape is abstracted in its “endemic double meaning”. Often the crisis period becomes
new opportunities. The economic crisis has brought significant changes in the way
of thinking about the research and the project of territories. If in the local context is
often a mission impossible for fundraising, it could be necessary to look away to the
international context; and the new migrant workers, in the age of communication,
also by staying in their homes, can try to find new paths.
The EU provides funding for a broad range of projects and programmes covering
areas such as regional and urban development, employment and social inclusion,
agriculture and rural development, maritime and fisheries policies, research and
innovation, and humanitarian aid. The multi-annual budget for 2014–2020 aims to
fund the objectives of the Europe 2020 strategy for smart, sustainable, and inclusive
growth. This strategy sets objectives in the following five areas: employment,
research and development, climate change and environment, education, and poverty
and social exclusion.
For the period 2014–2020, the MFF sets a maximum amount of EUR 960 billion
for commitment appropriations and EUR 908 billion for payment
appropriations2. Funding is managed according to strict rules to ensure there is tight
control over how funds are used and that the money is spent in a transparent,
accountable manner. As a group, the 28 EU Commissioners have the ultimate
political responsibility for ensuring that EU funds are spent properly. But because
most of the funding is managed within the beneficiary countries, responsibility for
conducting checks and annual audits lies with national governments. More than
76% of the EU budget is managed in partnership with national and regional
authorities through a system of “shared management”, largely through five large
funds, the Structural & Investment Funds. Collectively, these help to implement the
Europe 2020 strategy3 (Fig. 7.4).
The Commission also makes direct financial contributions in the form of grants
in support of projects or organizations that further the interests of the EU or
contribute to the implementation of an EU programme or policy, as Horizon, LIFE,
Erasmus, Cosme….
To participate in this program, a strong and complex partnership and project is
necessary. The competition and the standard request are very high. The connections
http://ec.europa.eu/budget/mff/introduction/index_en.cfm [2018].
2
http://europa.eu/about-eu/funding-grants [2018].
3
Fig. 7.4 Umbria, the green heart of Italy and Europe
with research are very important. And in this way, this is becoming a new way to
apply study to concrete proposals.
It could be useful to explain two proposals for three different territories of
Umbria inside the LIFE Program: these are models of Resilient Districts, in a Post-
crisis Local Development and Sustainable Society, proposal, but also expression, of
a new way of thinking landscape. Also if these proposals are not (jet) financed, at
least discussions and hypothesis of a new development of the territory will take
place. These proposals represent an investment in research. And, indirectly, this
investment will be returned with benefits for the territory and landscape.
7.4 G
reen Infrastructures as Hermeneutical Landscape
Innovation
The landscape project aims at reaffirming the culture of the image as an unmistak-
able testimony of changing, full of figurative elements in a constant evolution.
Actually, even if contemporary culture identifies itself with the image, this has
almost lost its ability to transmit different contents from those that are already barely
7.4 Green Infrastructures as Hermeneutical Landscape Innovation 199
shown. In this sense, searching images that belong to a past epoch helps to guaran-
tee the incorruptibility of the product (not manipulated) and how the now-modified
content is unrepeatable, a double authenticity now lost in the digital age (Bianconi
2005) (Fig. 7.5).
Fig. 7.5 Territorial reconstruction of Umbrian landscapes

In this sense, if the normal progress is to make a quantity growing from 1 to 10,
to 100, or to 1000, innovation is happening instead of jumping from 0 to 1: that is
giving birth to something that did not exist before and which we were not even able
to imagine. Thus, Peter Thiel, a Silicon Valley entrepreneur, defines the value of
innovation. It is difficult to innovate, because the future is hidden where nobody is
supposed to look, and predictions are usually always wrong. The “Blade Runner”
movie was set in a future city where people were driving flying cars, and yet nobody
would have thought of using mobile phones to talk to each other. But it is possible
to create conditions to help the landscape transformation, in a scientific approach to
the central question in environmental and natural fields.
In this context, it is possible to contextualize the landscape project of construc-
tion of green infrastructures. To create a smart landscape, “to do more with less”
(Bettencourt and West 2011, pp. 52–56), in our territory where environment
represents one of the most important resources, we need to start from the conservation
of natural capital (Benedict and McMahon 2002, pp. 12–17). The European Union
has issued directives supported by strategic documents aimed to develop Green
Infrastructures in Europe within the overall EU 2020 Biodiversity Strategy, with the
final aim to achieve the goal of promoting requalification of the degraded ecosystems
by 2020 (Target 2). Green Infrastructure (GI) is a “strategically planned network of
natural and semi-natural areas with other environmental features designed and
managed to deliver a wide range of ecosystem services. It incorporates green spaces
(or blue if aquatic ecosystems are concerned) and other physical features in terres-
trial (including coastal) and marine areas. GI is a tool for providing ecological,
economic and social benefits through natural solutions. It helps to avoid relying on
‘grey infrastructure’ that is expensive to build when nature can provide cheaper,
more durable alternatives” (European Commission 2013). One of the key attrac-
tions of GI is its multi-functionality, that is, its ability to perform several functions
and provide several benefits on the same spatial area, in contrast to its “grey” coun-
terparts, which tend to be designed to perform only one function such as transport
or drainage. The functions of GI can be environmental, such as conserving biodiver-
sity or adapting to climate change; social, such as providing water drainage or green
space; and economic, such as providing jobs and raising property prices (European
Commission 2012) (Fig. 7.6).
An additional objective is also to improve the quality of life in many ways,
through its environmental, social, and economic credentials factors, based on the
multi-functional use of natural capital (European Commission 2012): GI can benefit
human populations and contribute to a more sustainable economy based on healthy
ecosystems delivering multiple benefits and functions. Green Infrastructures (GI) is
“an interconnected network of green space that conserves natural ecosystem values
and functions and provides associated benefits to human populations” (Benedict
and McMahon 2006). The urban green infrastructure will improve both biodiversity
and urban ecosystem services (Kabisch et al. 2016, p. 39; Ziter 2016, pp. 761–768;
Gómez-Baggethun et al. 2013, pp. 1974–1983). Green infrastructures become the
means to obtain territorial cohesion (EEA 2011) contrasting, also with an ecological
approach, the fragmentation problems (Wiegand et al. 2005, pp. 108–121). In this
7.5 European Proposal of Green Infrastructures for a Smart Landscape in Umbria 201
Fig. 7.6 The value of Tiber river in the strategic territorial document of Umbria Region
context, the importance of green infrastructures in ecological networks (Jongman

2004, pp. 7–33; Jongman 1995, pp. 169–183; Ahern 1995, pp. 131–155; Bryant
2006, pp. 23–44; Chon and Scott Shafer 2009, pp. 83–104; Gobster 1995, pp. 401–
413) is linked to greenway value (Little 1990; Austin 1984) (Fig. 7.7).
7.5 E
uropean Proposal of Green Infrastructures for a Smart
Landscape in Umbria
In the university research, more proposals were devised to support the development
of the local landscape. Within these, the most representative are selected to show the
interdisciplinary approach in the centrality of representation as an analysis tool.
Both were submitted directly to the European Commission in the LIFE program;
Fig. 7.7 The relation between Tiber river, as the first Umbrian blue infrastructure, and the pressure
settlement in the Ecological Network Analysis for Umbria (RERU, Rete ecologica della Regione
Umbria)
neither was financed, but both open a study and a perspective to those territories,
opening in this way a path, that for now is just a work in progress.
IFESCAPE: Linear Biodiversity Structure as Strategy

L
of Connection and Preservation of the Common Landscape
in Umbria
The proposal involves the territory of Corciano municipality (PG), developed in

2012–2013, in a partnership between Comune di Corciano (coordinator), Regione
Umbria, Università degli Studi di Perugia, Direzione Regionale dei Beni Culturali,
WWF progetti e ricerca, LIPU, and Ufficio Biodiversità del Corpo Forestale dello
Stato. The aim of the project is the conservation and the enhancement of green peri-
urban corridors, which represent key elements of the Umbria landscape. In the
territory of Corciano municipality, the first peri-urban territory of Perugia and the
area most developed in term of urbanization in the past 30 years, the project and its
systematic actions are focused on natural and anthropical corridors that provide a
link between an increasingly populated area of Perugia and the Trasimeno ZPS area
(IT5210070-IT5210018). A lack of integration between nature and human settlement
has caused biodiversity attrition and prevents settlements from solving the internal
conflicts of urban development (Fig. 7.8).
Fig. 7.8 Umbria maps developed by ISPRA on the environment fragility, the habitat, the anthropic
pressure and the ecological value
The proposal defines a system of innovative and demonstration actions able to

highlight benefits related with the biodiversity of emblematic corridors. Therefore,
it proposes a conceptual path that evolves, growing from perceptual botanical expe-
riences included in an educational park and then joins into a broader greenway, still
incorporated into a network of ecological corridors able to discover the riches of a
vast landscape, perhaps common, but certainly characteristic and distinctive of the
cultural identity. The corridors are supported in their intrinsic function of connective
spaces, places of paradigmatic analysis, areas strengthened by experimental actions
of conservation, areas for the mitigation of settlement pressure, contexts able to
ensure biodiversity-full development, tools for the restoration of both the suburban
landscape and living quality of the city.
The project, in the systematic nature of its actions, has the task of testing a
demonstrative and cultural strategy, starting from the assumption of a strong corre-
lation between environmental and social health. The plan is aimed at preserving and
strengthening the system and its natural habitats, at the same time promoting the
accessibility of the site with paths of alternative mobility, opposing a “greening”
solution to the planned road that would cut through the unspoiled hill. Through
strategic and experimental interventions able to make nature inclusive for all, on one
hand is perpetuated the rescue of urban quality, through actions of lowering the rate
of pollution and climate change adaptation, and on the other hand is conserved and
valorized the local biodiversity. The proposal takes an important value in environ-
mental policy as monitoring and updating of the normative process, a case study
where simulate potential legislative actions to support the implementation of envi-
ronmental sustainability, at the local and regional level. In this way the proposal
would become a demonstration and innovative model able to cross the line of the
local boundary in its ability to give a clear message about the potential synergies
between the urban, natural, and social spheres, strengthening of functionality of the
spatially linked ecosystems (Fig. 7.9).
The integration of the heterogeneous skills of the beneficiaries (administration,
planning and design, protection, control, private interests, non-profit organizations)
becomes a system able to demonstrate both the need for a multidisciplinary approach
and the link between increasing diversity and culture/economy growth. Therefore,
the protection of genes, species, and ecosystems at risk becomes the surplus value
that can reactivate the full functionality of the ecosystem increasingly threatened,
through the employment of landmarks that are replicable in other contexts. The
intrinsic relationship between ethics and aesthetics remains as a foundational crite-
rion of research that wants to communicate biodiversity value.
The project descends into the territory through the analysis of the ecological con-
nection of the Lake Trasimeno biodiversity reserve (SIC-SPA) by strengthening the
little Caina River network. The Caina River represents an undervalued channel; its
vegetation has been attacked by neighbouring agricultural development and man-
made infrastructures, but argues by threatening the territory hydrogeologically. The
proposed actions lead to the protection of habitats, vegetation, and hydrological
systems through experimentation and demonstration studies on the corridors with
Fig. 7.9 Landscape representation developed inside LIFE proposal on the territorial valorization
of Corciano area (PG) and of its green infrastructure as a connection of instruments of a biodiversity
and ecosystem services, 2013
an aim of guarantee transmission in terms of genes, phytocoenoses, insects, birds,

wildlife, and biodiversity (Fig. 7.10).
Environmental protection intersects with the experimental nature of the land-
scape plan in a real simulation of administrative integration: the solutions needed to
safeguard biodiversity stand as the creation of a new culture program, rather than
the imposition of enforcement actions. The strengthening of the corridors aims to
rediscover the peculiarities of the area and the relationship between system
complexity and its intrinsic richness. The channels will become sites for ecological
and educational workshops; arboriculture will find expression and functionality
Fig. 7.10 Analysis and study of Corciano territory in LIFE proposal, 2013
through the mitigation of polluted air (CO2 storage and capture of dust), but also
water, soil, noise.
The project will develop strategies that enhance the connection of the green cor-
ridors as well as specific actions for habitats and species at risk, such as populations
of Malosorbus florentina (Zuccagni) Browicz, bird species that have not been iden-
tified (Lanius collurio), and different species of amphibians and bats included in the
II and IV Annex of Natura 2000 sites. Those actions will be implemented by analyz-
ing corridors and environment conditions via a multiple survey instrument
(Fig. 7.11).
In the park, sustainability and accessibility will find an inseparable synergy,
essential to the enhancement of environmental assets: the division between the
natural and the urban environment is one of the most important barriers of those the
project wants to overtake. At the same time, the premised possibility is that cultural
deficiency in terms of the environment is related to the lack of attention to the social
Fig. 7.11 Ideation schemes for the first LIFE proposal on landscape valorization by redesigning
the fruition area with a higher residential expression, 2012
problems and the project responds by proposing a renewed relationship between

ethics and aesthetics as the basis of design choices.
On a scalar model, the expected results may be related to three levels:
• THE POINT: REDEVELOPMENT OF A GREEN AREA (LIFE PARK), with
7000 m2 of park in perceptual and botanic experiences, 1800 m2 of garden, 2 ha
of sensorial park for human biodiversity, redevelopment of paths within 18 ha of
urban forest, identity card of the park, creation of habitat for “Averla Piccola”,
enhancement of Villa del Colle del Cardinale and its historic garden.
• THE LINE: CONSERVATION OF GREEN CORRIDORS, with prototype of
trees and shrubs barriers for air and noise pollution, prototype of buffer strip,
actions aimed at the protection of amphibians and bats (creation of 15 wetlands
for amphibians, installation of 250 bat boxes and 100 bat boards), educational
construction site on the relationship between vegetation, embankments, and
fauna, ornithological fauna, entomological monitoring, analysis and chemical
characterization of the sample areas, strengthening of biodiversity corridor
connectivity, identification of a green way through the requalification of existing
roads, and analysis and protection of Malosorbus florentine (Zuccagni) Browicz
spontaneous genetic reserves.
• THE PLAN: ENVIRONMENTAL PROTECTION AND URBAN PLANNING,
with definition of a strategy for green purchases (GPP), environmental actions
monitoring in the regional price list, CO2 monitoring in urban forest and corridors,
experimental application of the regional landscape plan for the protected river
areas of Caina stream, protection of buffer areas, and enhancement of the tradi-
tional agricultural landscape.
Climate changes will increase heat stress, especially in urban areas with lack of
shade and grassy areas. Trees and green areas reduce the vulnerability of natural and
human systems to the impacts of the expected climate change, revalue free spaces,
provide shade, have a cooling effect on the local climate, and combat soil sealing.
Corridor preservation and enhancement can foster species adaptation, so that it is
very important to ensure their mobility by removing obstacles. To ensure a rich
biodiversity, we have to consider agricultural conditions and the cultivation of
varieties that allows an optimal use of natural potentiality. Better communication
between research, administration, and practice helps to concentrate all the
information available from observations, early diagnosis, and research at the
national and international level. The project aims to ensure synergy between these
very different entities that may ensure proper planning of actions. The proposed
actions provide a tool for biodiversity defense and natural mitigation in the face of
the worsening of the resources of air, soil, and water (Fig. 7.12).
ABITATEVERE LIFE _ Natural Conservation

H
and Enhancement of the Green Corridor of the Tiber River
The proposal involves the territories of Perugia, Deruta, Torgiano, and Marsciano
municipalities (PG) developed in 2013–2014 in a partnership between Comune di
Deruta (coordinator), Comune di Perugia, Comune di Torgiano, Università degli
Fig. 7.12 Proposal for Tigli Park in Corciano, 2012

Studi di Perugia, Italia Nostra, ARPA, Umbraflor, Sirialab, and Fondazione per
l’Istruzione Agraria. The proposal regards the natural conservation and enhancement
of the green corridor of the Tiber River, which is the third-longest river in Italy,
rising in the Apennine Mountains and flowing 406 km in a generally southerly
direction past Perugia and Rome to meet the sea at Ostia. The project is triggered in
a path of more than 50 km in Umbria, the “Italian green heart”, in a densely
populated area close to Perugia. Those elements constitute a strong pressure on the
ecological corridor, manifesting its fragility, recognized also by RERU (Umbria
Regional Eecological Network) as a linear concentration of settlement development
and the main thoroughfare of the region (Fig. 7.13).
The long-term objective of the project is to build the base for a wide Tiber River
national park that will connect with regional policies which have already invested in
the northern and southern areas of Perugia. This effort will consolidate the Nature
2000 network that appears broken and fragmented in this central part of the Tiber.
The midterm objective is the reversal of biodiversity loss to promote the mainte-
nance and restoration of ecosystems along the corridor.
The proposal is built on concrete conservation actions, on citizen awareness and
demonstration of a possible and necessary synergy between biodiversity/
environmental protection and enhancement of the agricultural landscape and
agricultural sustainability, linked to the promotion of environmental culture.
Fig. 7.13 Aerial view of a part of Thames River in Deruta, as involved in the LIFE proposal, 2013
The proposal is based on conservation actions that are necessary to decrease the
loss of biodiversity through the restoration of different types of habitats and
threatened native species. The main focus of the project will be the stream corridor
and fish fauna; very important is the environmental characterization of river water
and land, identifying any critical pollution and implementing demonstration actions.
Interventions to strengthen the corridor are pursued through the environmental
restoration of the parks of the three municipalities involved in the proposal, through
the use of portions of state property and the strong involvement of private persons.
It is necessary to relate the goals with the problems, tracing the causes that have
generated the fragility of the corridor. The widespread lack of interest in the value
of the river and the ecological network is tackled by the strengthening of
environmental sustainability actions in the buffer areas that historically are
characterized by agriculture. Precision agriculture presents the most innovative
results emerging from research in the farming field and represents not only an
environmental solution but also a positive economic tool in the preservation of the
biodiversity corridor (Fig. 7.14).
With the aim of obtaining more shares of indirect protection, the project will
promote the Museum of Rural Life and the Museum of Natural History in Casalina,
converting these into an eco-museum that extends to the outdoor educational-
agriculture park, along the road that runs between the Tiber and the main road for
more than 1 km. The cultural promotion is part of the dissemination process of
results, through a laboratory for environmental education and promotion of an
environmental protection.
The expected results, in term of outputs and quantified achievements, could be as
follows:
Fig. 7.14 Images of Thames River areas as involved in the landscape requalification project
• Mapping and assessment of ecosystems to contribute to their restoration, to pro-

mote the use of green and blue infrastructure, and to ensure that there is no net
loss of biodiversity.
• Restoration of the river ecosystems by applying the restoration framework,
planting more than 15,000 plants.
• Development of methodologies for the assessment and payment of ecosystem
services (including tangible and intangible services), strengthening the
environmental link between the green corridor and the citizens, by providing
100,000 free plants to private interests.
• Preservation of endangered species listed in the Annexes of the Habitats Directive
or considered “at risk” or worse in European Red Lists or in the red list of the
IUCN.
• Protection of species at risk.
• Measures to detect and classify invasive alien species and their vectors, for both
vegetation and fishes, to contain or eradicate priority species, manage vectors to
prevent the introduction and establishment of new species by setting up a parallel
system of early warning and rapid response.
• Measures to maximize agricultural areas planted to grassland, arable, and perma-
nent crops that are covered by biodiversity-related measures under the CAP so as
to ensure the conservation of biodiversity.
• Action to make a measurable improvement to the conservation status of species
and habitats that depend on or are affected by agriculture (Fig. 7.15).
• Actions to make an improvement in the provision of ecosystem services that
depend on agriculture compared to the reference scenario for the EU in 2010,
thereby helping to promote a more sustainable management of the same.
• Promotion and dissemination of the results achieved in the territory and within
the specification of activities that contribute to the development and
implementation of EU policy and legislation in the area of nature and biodiversity
and which help people to be able to contribute to the loss of biodiversity and the
degradation of ecosystem services.
Climate change causes impacts on water quality, soil, and air. The biodiversity
corridor has a crucial role in their value, increasing the resistance of the system.
Enhancing the flow of ecosystem services will improve the quality of the urban
environment, mitigating risks associated with incipient degradation and climate
changes. Through afforestation, significant amounts of carbon will be accumulated
from the trees, considering that the storage capacity of carbon is higher in forested
species than in agricultural land. The protection of riparian green and permeable
surfaces helps to ensure the natural ability of the soil to store water and to consider
floods related to climate changes.
The responsible agriculture actions are also aimed at mitigating the effects of
agricultural pressures, an area more dependent on climatic conditions, but equally
important for the percentage of areas involved. The proposal has the duty to carefully
analyze the pressures of agriculture on the corridor to promote demonstration
projects designed to lessen the effects. At the same time the proposal is based on the
Fig. 7.15 Project board on LIFE proposal for the part of the Thames River passing through Deruta
municipality
storage of significant quantities of carbon dioxide that must be removed from the
atmosphere and accumulate in soils through a combination of farming practices,
such as reduced tillage or no-tillage, that avoid or reduce the need for soil, protein
crops and organic crops, and maintenance of permanent pasture.
Always in an integrated manner, the proposal involves private and citizens in a
concrete support for the development of land management practices that help to
reduce emissions and promote absorption through the strengthening of the ecological
network. The promotion of biodiversity and native species and the eradication of
nonnative species increase the ability to tolerate the biotic and abiotic, hindering the
spread of pathogens and increasing resilience to adverse climatic conditions
(Fig. 7.16).
municipality
The value of the actions enhances the very important historical tradition of places
transformed by the Benedictines and subsequently inherited by the Foundation for
Agricultural Education, which owns 800 acres adjacent to the southern area of the
project site.
The proposal contributes to the development and implementation of EU policy
and legislation in the field of nature and of biodiversity, including the Union’s strat-
egy for biodiversity up to 2020, Directive 92/43/EEC and Directive 2009/147/EC,
in particular through the application, development, testing, and demonstration of
approaches, best practices, and solutions.
In particular, the theme is developed within the call “Biodiversity”, according to
its key objective for 2020 which is to “halt the loss of biodiversity and the degrada-
tion of ecosystem services in the EU by 2020 and restoring them as far as possible”.
The thematic priorities for 2020 Union Biodiversity Strategy are as follows:
Target 1
By 2020, the assessments of species and habitats protected by EU nature law must
show better conservation or a secure status for 100% more habitats and 50% more
species.
Target 2
By 2020, preserving and enhancing ecosystems and their services through the green
infrastructure and restoring at least 15% of degraded ecosystems.
Target 3
Agriculture: By 2020, maximize agricultural areas planted to grassland, and to ara-
ble and permanent crops that are covered by biodiversity-related measures under the
CAP. The aim is to ensure the conservation of biodiversity and make a measurable
improvement, first, in the conservation status of species and habitats that depend on
or are affected by agriculture, and, second, the provision of ecosystem services
compared to the reference scenario for the EU in 2010, thus contributing to promot-
ing more sustainable management (Fig. 7.17).
Target 4
Fishing: Achieve by 2015 the maximum sustainable yield. Achieve a distribution of
population by age and size indicative of a stock in good condition, with a fisheries
management that does not have a significant negative impact on other stocks, spe-
cies, and ecosystems, to achieve a good environmental status by 2020 as envisaged
by the strategy Framework Directive for the marine environment.
Target 5
By 2020, identify and rank in order of priority invasive alien species and their vec-
tors, contain or eradicate priority species, and manage carriers to prevent the intro-
duction and establishment of new alien species.
Target 6
By 2020, the EU will have stepped up its contribution to avert global biodiversity
loss.
References 215
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Chapter 8
Landscape and Production: Food Strategy
in Amelia Territory
Abstract Within the principal resources useful for the next landscape models, food
represents a solid foundation as a link between territory and environment. It is at the
same time a result but also a generative reason to develop landscape. Food is a
necessity and, for this condition, it is an essential element for the landscape, that
cannot continue to be connected to the beauty understood as an end and not as a
means. The relationship between food and landscape represents an opportunity for
place-based development to connect the producers and consumers, city and
countryside, citizen and tourist. Food asserts itself as a representative synthesis able
to emphasize the perceptive aspects, a theme that can be actuated also from a
sensorial point of view. The product can tell the rich story of our territories, man’s
work that shaped the impetus of nature, answering to a clear need of communication
of our society. Landscape is perceived, it is a representation, but it is also something
that it is found in materiality, so used for landscape needs that cannot be separated
from territorial logic. If in the past it was read as an antinomical problem to
urbanization, today it is seen as a foundation for the sustainable development of
territories, so much so that the great international metropolises have a “food
strategy” or “food policy” with the aim of planning and giving values to the nearby
markets and satisfy social, environmental, economic and healthful targets. The
ideation of Amelia food strategy represents an applicative case study where food is
inserted into the planning topic. The idea is to follow the conceptual evolution of
food (quantity–quality–sustainability) that forms a simple quantitative product
moved first to research quality and today is orientated towards sustainability of
food, as a step from consuming production that reaches to define the concept of
nutrition. Food strategies represent for the Amelia Administration the possibility of
realizing policies to rebalance economic, social, and cultural inequalities, with new
regulatory models, to promote the health of citizens and of the environment. The
approach in representation topic is central, particularly in the communication of the
image of places and in the promotion of an innovative government policy.
Keywords Food strategy · Economy · Communication · Perception

https://doi.org/10.1007/978-3-319-94150-9_8
220 8 Landscape and Production: Food Strategy in Amelia Territory
8.1 Food Theme
The theme of food and its relationship with the territory represents a complex and
articulated problem, until a past not so far away and in lands different from ours
today, as a reason for wars and death. The relationship between food and landscape,
between production and needs, has always been one of the central themes for
territorial development. Up to today it is an open matter. And an opportunity
(Fig. 8.1).
Food is a resource and a primary need, a product of the territory, wherein it func-
tions because of its aim, a product of the environment, which is organically absorbed
in it, a product of the landscape, because it designs places, it offers perceptions, it
reflects man’s work. Translating the Vitruvian triad Utilitas, Firmitas, Venustas (De
Architectura, I, 2), respectively, in the relationship between territory, environment,
and landscape, it is possible to identify a center of gravity between these three polar-
ities, which is sustainability. By applying this relationship to the product, the need
emerges of conforming food strategies to equilibrate them, regarding not only pro-
ductivity (with damage to life quality), and not only on the total environmental
protection (excessively contrasting profitability), and not only on the valorization of
the image (when this has no content and is therefore deceptive). Food is more the
result that manifests the sustainability that a territory can achieve, an element that
can verify the productive capability of a place, life quality that is related to health
promotion. To food is ascribable the regulatory definition given by European
Convention on Landscape, that defines it as “an expression of the differences from
their common cultural and natural heritage and foundation of their identity.” Food
states man’s work: according to the Art. 1 of our Constitution, it is the base of the
republic, a relationship between work and landscape that is the central axis for ter-
ritory development.
The consequence of the actual model is the de-territorializing and the disintegra-
tion of social relationship between who produces and who consumes (Fabris 2003).
Fig. 8.1 Relationship between food and landscape in the artistic interpretation of Ambrogio
Lorenzetti. (Effetti del buon governo in Campagna, Siena, 1338–1339)
8.2 Food and Territory 221
Fig. 8.2 Data on the relationship between landscape, territory, environment, and food in the
Amelia territory
To define a territory strategy of the food, it means sharing a process among spaces
of production and the multifunctional role of agriculture (Scepi and Petrillo 2012,
pp. 247–273), from protection to hydrological risk, with the setting of crops and the
agricultural governance of the territory, up to social matters such as the promotion
of healthiness and nutrition (Cavallo and Marino 2014), in a logic of reconnecting
society and resources (ISMEA 2012). At the same time, it means also promoting
location and proximity, for the connected advantages both social and environmen-
tal. There is then a space for experimenting with cooperative practices of “after”
capitalistic economy and an “anti”-capitalistic resistance, but still in a setting of
capitalistic approval (Rossi and Enright 2016, pp. 37–46). In the center of question
is the common goods theory (Ostrom 1990), which involves the territory (Maddalena
2014), the landscape (Settis 2013), and the environment (Keohane and Olmstead
2007) (Fig. 8.2).
8.2 Food and Territory
In the 27 countries of the European Union (EU), there are around 14,000,000 agri-
cultural farms actively working (average size, 12.6 acres), that use 45% of the total
continental surface and provide work for almost 30,000,000 people. Generally,
about 5.7% of the total workers in the EU are in an agricultural occupation; the add
value, regarding the total European economy, is only 1.8% from the production of
food crops. For concerning Italy, the SAU (used agricultural surface) is equal to
12.8 million acres of SAT (total agricultural surface) of 17,277,023 total acres, with
6% of occupation, with 990,000 workers and about 851,000 factories in the
agricultural and forestry sectors. As to the agro-food sector (including beverages),
in Europe it represents 14.7% of the total industrial production of the EU, with a
value of 792 billion euros. In Italy, the agro-food industry turnover (including
agriculture, distribution, and services) by the year 2009 reached almost 154 billion
euros, of which 120 billion came from the food industry and 34 billion were from
agriculture (not including forestry). According to the Eurispes-Coldiretti Report,
the added value of agro-food (on average, 52.2 billion euros a year for the period
2005–2009) was equal to 10% of the Italian GDP in 2009 (Campiotti et al. 2011).
Urban planning is then revealed as a need, but it may be converted into an oppor-
tunity. Globalization has dematerialized the market in the great net (Lang and Raven
1994, pp. 124–129; Walten and Seddon 1994), a condition that in agriculture means
a continuous increase of the percentage attributed to who produces. According to
international trends (Senauer et al. 1991, pp. 269–311), in the ISMEA Report (2012)
about Italian competitiveness in the agro-food field, concerning the value produced
by the Agriculture branch: regarding the value chain of the food industry’s products,
in 2009, of 100 euros per household expenditure for processed food products, nearly
10 euros were spent on imported products. Although 42.2 euros is the quote for
what remains to the food industry, emended for the remuneration of workers and for
the capital employed and, furthermore, for the payment of taxes on production and
purchase of raw materials and intermediate goods, both domestic and foreign, as
well as services necessary for production. In this case, the margin of trade and trans-
port (marketing share) absorbs almost 42 euros, whereas about 6 euros are intended
for the payment of indirect taxes on consumption. Moreover, in the year 2009, for
every 100 euros spent by families for agricultural products meant for fresh con-
sumption without industrial transformation (mainly fruits and vegetables) and on
other goods and services of the same branch (processed food products from the
same agricultural factories and agrotourism services), 7 euros were spent for final
agricultural external products; 20 euros remained at the same productive agricul-
tural branch (farm share); and 73 euros represented the gross distributive margin
(marketing share), which means that they are far away from the commercial, dis-
tributive, and transportation sectors, on one hand, and on the other hand still far
from the payment of taxes on consumption, where the quote attributable on indirect
taxes on consumption was estimated as equal to 3 euros in the year 2009, with 69
euros then remunerating all sectors that were working between the “gate” of the
agricultural factory and the selling point where the consumers buy the product.
From a deeper analysis of the data, it is possible to read that “the profits for the
farmer were reduced to 1.5 euros every 100 euros spent by families in product that,
mostly, are already finished by the ‘door’ of the agricultural factory (as for fruits and
vegetables)” (Finizia and Merciai 2012).
8.3 Food and Landscape 223
It enters then in the game the value of a smart city, as a methodological innova-
tion in the management of resources: considering the growing trend of the market-
ing share and the clearer indefensibility of the farm share, given the difficulty
caused by the factory realities of less features that find negotiation margins more
difficult, it is possible to see the need of an intervention in the development
models.
8.3 Food and Landscape
The theme that is open is then the equilibrium relationship between food, landscape,
territory, and environment. Man, in fact, molds the territory to get profit from it
according to his needs (Gambi 1964), an action that has generated some imbalances.
The story of construction and architecture finds its mythological roots in the
antagonistic relationship between man and nature, with the original cabin, an
architecture archetype, that Vitruvius sets as a shelter place. Every act of man is a
transformation of the equilibrium, and different kinds of equilibrium exist, stable,
unstable, and indifferent: the action has to be evaluated according to the reaction
that it generates. In this sense, it is clear that man, beginning with agricultural
activity, transforms the territory, and this action can find an equilibrium with nature
and become an instrument to protect man. To transform places becomes a funding
aesthetic and cultural act, to create places where a community identifies itself and
develops a sense of belonging (Linehan and Meir 1998, pp. 207–223), but not alone:
it is the labour that is in the center, with a following correspondence between the
aesthetic landscape result and the reduction of disaster risks in molding beautiful
landscapes, safe and stable at the same time (Marincioni and Casareale 2016,
pp. 245–249) (Fig. 8.3).
The landscape, protected by the constitution, as well explained in detail by the
European Convention, represents a dynamic system of relationships, connected to
perception, all elements that are emphasized in a key theme that has always been the
true immobile care engine of the territory: food. The emphasis on the theme of
production, with the traditional urban–rural dualism and an agro-industrial system
every day more expanded and deterritorialized, made food progressively disappear
from the urban development reflections after the form and substance of the city and
its landscape were shaped and molded for years (Steel 2006). The landscape matter
is connected then to the need of restoring in the product the value of the work and
of the environment, in the centrality of the process, against the misunderstanding of
the exaltation of the landscape as a product, inherent in ascribing and embalming in
a large book of identified sites (Jakob 2009, p. 9). According to the territorial mar-
keting paradigm (Varaldo 1999, pp. 9–10; Paolini 2000), territories also have to face
competitiveness in economy, tourism, and culture: landscape, for its natural role,
asserts itself as the antithetic pole against homologation, a story tale through pic-
tures about lost quality because of mere efficiency needs.
The association of food and product could be the reason for territorial develop-
ment, in a synergy of attractiveness. Thematic routes were born in the territory, as
Fig. 8.3 Graphical abstract of Central Coast Local Food Security Strategy, 2016. (Published in
http://www.centralcoast.tas.gov.au)
for the ways of wine and oil, just to give an example, were attested as valorization
models (Perri and Croce 2009, pp. 59–64), where the offer is structured in a system-
atic way and the production goes together with receptivity. Landscape and food,
“being a benefit for all … they overthrow reality and move the attention from the
good as commodity to the good as a collective resource and it imposes an ecologi-
cal, not economic, vision of the world” (Pilieri and Granata 2012, p. 137). The need
then is “to work on the hypothesis that the common good is something that has to be
produced, built by an able collective subject, in the process of its constitution,
destroying the exploitation basis and re-inventing funding conditions” (Bonesio
2012), avoiding dissipation and deterioration following rules such as inclusion/
exclusion, sanction, conflict management, rights of use, exploitation, and fruition
(Ostrom 1990).
8.4 Food and Perception 225
8.4 Food and Perception
The problem of food is connected to the theme of its perception, opening a debate
on paths of interpretation and relationship that can derive from the evaluation of
produced goods. From the perception, the conception follows and then the practical
action, intended as a lifestyle and sanctioned in both question and offer.
As well demonstrated by Pisa’s Plain, the strategy of food has three main
moments, cyclical and individual to comprehend and map, to design and promote,
to coordinate (Di Iacovo et al. 2013). Also in this case, the centrality of representation
is the main point of the first mapping and comprehension theme, in the logic of a
survey of the landscape that finds its essential landscape and the concretization of
the analytical value of the instrument, in the representative synthesis. The explicit
recall to the relationship between representation and promotion strengthens the
instrumental centrality in the investigation field, highlighting the communication
and the heuristic potentialities in the design. Also inside the coordination phase it is
possible to find a representative centrality, for the need of making uniform the
multiform of information and of different data, for the practicality of finding in the
digital drawing and in a new instrument more congruous management functions to
govern the territory, for the main presence of the digital and of the image.
The value of representation appears then also in its project and heuristic propor-
tion. On one side to rediscover territorial food strategies means to re-think on places,
re-design spaces, but also to optimize resources, as for example can be seen in the
spread hotel’s logics. In a similar way, food design represents an action field of great
interest. It is then possible to observe, analyze, and project the commodity layout,
with applications that move from the packaging detail of the single product, to the
disposition of the commodity, and reach to the valorization of urban space. Locating
food, in this sense, is asserted as a project process that interests communication of
places to sell, but also the relationship between the city and its products of represen-
tation. The relationship between space and virtual space, from social network to
e-commerce, is another field in which representation can find a stable field of appli-
cation. In this field enter game experiences, connected to gaming logic, between the
selling of the food and virtual space, as talking labels, interactive experiences,
immersive and augmented reality. In Galileo’s logic of “measuring what is measur-
able, making measurable what it is not possible to measure,” the instruments of
representation become very important to observe and communicate immaterial val-
ues, not commodity, underlying in food. The education on nutrition, transversal to
different generations and cultures, needs to find a communicative exemplification
for the graphic signs and its ability of storytelling. Also, the need of finding an
instrument to prove the active work of the citizens, from the dashboards that show
the impact of the contribution of each citizen and platforms for the participation, the
representation is asserted as a democratic instrument.
8.5 Food as a Representative Theme
Food communicates the territorial identity, the identity of the environment that pro-
duced it and of those who live it (Corti et al. 2014) in an evolution of the cultural
heritage concept (Vecco 2006). Food asserts itself as a representative synthesis able
to emphasize the perceptive aspects, a theme that can be actuated also from a
sensorial point of view. Food creates and produces landscapes (vineyards, wheat
fields, sunflower fields), much more than architects and regulators think or would
like to believe (Fig. 8.4).
From what was analyzed, it is possible to see how the relationship between food
and landscape is a representative problem.
In fact, as Egidio Dansero and Cristiana Peano assert, in the territorial food strat-
egy are inherent “representation problems,” as in the following terms:
Fig. 8.4 Parametric model of pasta and study on new forms. (Academic designs by F. Merli, 2010)
8.6 Food, Landscape, and Storytelling 227
• Represent in an analytical way the system of food that supplies the cities (local
system of food) and that part that works most on the spatial and cognitive
proximities (system of local food)
• Politically represent the system of food, progressively inserting it in urban and
metropolitan political agendas and in those of the many actors between market
and civilian society, highlighting sense, possibilities, and limits of the local scale;
• Connecting analytical and political representations through indicator systems
able to catch and represent the different components of the complex system of
food, translating political intentions (which are expressed by the governance of a
wide and varied system of actors) in local objectives all desirable, prosecutable
and measurable” (Dansero and Peano 2017, pp. 8–13).
• This examination can be considered as not exhaustive, widening with the themes
of communication, promotion, landscape, and territorial marketing. Then it also
speaks of the following:
• Represent the actual use of soils and their future possible use, to govern it and to
optimize production according to the observed needs
• Represent the story of the relationship between food and territory, observing
typical elements and identity products, able to communicate the value of places
and increasing their attractiveness
• Represent and strengthen the relationship between food, territory, and society,
valorizing its substructure potentiality of being a collective representation
instrument (Ciaffi et al. 2016)
• Represent how our cities and territories might change to valorize this relationship
It is important to understand that the theme does not refer to the imaginary
sphere, because “landscapes are representations that obviously recall on who
observe them, but at the same time are sets of concrete objects, even if faded, they
are the body of the world, matter that resists to our sight and our intentions.
Compared to other images of the territory, the landscape is not just a representation
(as the territorial images of territorial marketing), but it is carved in the matter, it
owns material proprieties, it presents a solidity that resists even to the efforts of a
voluntary action” (Lanzani 2011).
8.6 Food, Landscape, and Storytelling
The product can tell the rich story of our territories, man’s work that has shaped the
impetus of nature, answering to a clear need of communication of our society
(Waldman 2011). Landscape is perceived, it is a representation, but it is also
something that it is found on materiality (Lanzani 2011), that cannot be separated
from the questions to which the products respond (Tamma 2010, pp. 27–46). This
condition is so strong that territories are recognized in the first place for their
agricultural products and then for places’ qualities, as for the case of Amatrice, of
which maybe only after the earthquake is associated with an image, despite its main
product, the amatriciana tomato sauce, having a worldwide fame. The world atten-
tion that was referred to Amatrice, more impactful than the near Accumuli or other
cities in Marche Region which all faced similar devastation, shows the essential
relationship between product and landscape, and the neuralgic role that food covers
and may cover (Fig. 8.5).
The valorization of quality agricultural production (ISMEA 2006) of a territory,
having as an example Castelluccio and its lentil or Norcia and its ham, anticipates
the images of physical spaces, the Plain of Castelluccio of Norcia’s main plaza, and
it comes to transmit them. Food is tight to its touristic attractiveness (Bessière 1998,
pp. 21–34; Cicerchia 2009; De Carlo and Caso 2007; Elmont 1995, pp. 57–63; Sims
2009, pp. 321–336; Tefler and Wall 1996, pp. 635–653), to export (Carboni and
Quaglia 2001, pp. 41–54; Bucci et al. 2011), to culture (Montanari 2005; Altili
2010, pp. 35–46), and traditions (Neresini and Rettore 2008), because it is good full
ethno-anthropological value, as is shown, for example, with the recognition as
humanity’s heritage of the Mediterranean Diet in the Cilento area and of the agricul-
tural practice of vineyards in Pantelleria.
An interesting contradiction is then opened: food, produced par excellence, in its
relationship with the landscape gains the quality of Commons by the attribution of
an “identification value” that it is not for exchange and it is not just for use, and that
in a different way from the produced good, it is not paid. Then the question that
arises is how to participate in the construction of the value for the same role that it
occupies, and at the same time in the decisions that refer to the effects on the prod-
uct, and then explicit the cure of the territory, the need to assure their governance
and their sustainability (Gattullo 2016, 235–244).
It is important to be careful to govern the use of the attractiveness of the relation-
ship between landscape and food, to the risks of possible construction strategies to
accelerate narrative inventions. The ability of gathering food prescinds from time
values, as it is shown by the phenomenon as popular festivals always associated to
global products, independent from the territorial context and, consequently, unable
to valorize the landscape, are seen just as a frame. One of the main needs of our
post-industrial society is originality, correlated to the origin. Identity contrasts with
the concept of seriality, giving value also to imperfection, to simplicity, in a handi-
craft (almost artistic) that it is rediscovered also in the digital era. On these coordi-
nates, it is possible to set the relationship with landscape and thus emerges the
centrality of the story, the need to describe the relationship, from which follows
attractiveness and valorization. In our territories, there is no need of creating new
boundings between food and territory; it is important just to replace the relation-
ships, strengthening them by reactivating them, confirming them as values, and then
communicating them to extend the interest (Fig. 8.6).
Yet this logic is never this clear. And yet the romantic heritage and the pictur-
esque research are still set as a foundation for landscape valorization. It is possible
to criticize then the promotion policy inspired for imagining and inventing “a land
full of time” (McCurry 2014) that does not exist, that has to take stereotypes and
archetypes which hyperbolize, only in part, the points of the real, by telling the
qualities of landscape, territory, and environment. Conscious of the synergic
8.6 Food, Landscape, and Storytelling 229
Fig. 8.5 Italy and its regional products in the papers proposed by Expo 2015. (Reported in Il
Sole24ORE, 11 Febbraio 2015, p. 15)
relationship between narration and invention, of how both are essential for the story,
it has to be highlighted how the valorization of the landscape is based on the activa-
tion of construction of the identity processes nigh to the origin and the dynamism of
contemporaneity.
Fig. 8.6 Umbria and its food products on a twentieth-century map. (Reported in http://www.
stradadeivinidelcantico.it)
8.7 Food Strategies 231
The underlying representative centrality still remains a foundation for the discus-
sion, that, in the relationship between means and message, has to concentrate in the
revolution of narration logics imposed by the digital era. The theme of food has
pervaded the media: as the research “FoofFWD” reports, in the year 2004, food and
kitchen already had a heavy presence on media, with 70 TV programs, that monthly
reach out to 35 million people, 25,000 food-bloggers, and more than 1,000 theme
web sites and 110 paperheads.1 Today there is a real obsession with food, also
defined as “food porn” (McDonnell 2016), with TV and social media (Stagi 2016)
full of kitchen, recipes, and culinary competitions broadcasts, but also specific life-
style and makeover formats connected to eating, diet, and exalting body form (and
its perception).
The attention to food is always stronger and at every level, where there were
installed interesting convergences between food, aesthetics, and art (Perullo 2014):
the food product, and all its transformation processes, stand out as the language of
an applied art (Douglas 1972, pp. 61–81). The anthropological value of food has
been emphasized since Lévi-Strauss’ first studies, through the linguistic parallelism
that supports the definition of “gustemi” (Lévi-Strauss 1958) as constitutive
elements useful for the analysis of the society. Food is in the center of ritual
(Grimaldi 2012) and representations (Cavalcanti 1995), since antiquity (Cuscito
2016) and up to the present day (Landowsky and Fiorin 2000); it has its historiography
(Capatti and Montanari 1999) and its geography (Montanari and Sabban 2004),
with a role in the identity (Montanari 2010) and construction processes of a culture
(Montanari and Sabban 2004), fighting against the “consuming vision of human
being, helped by the gears of the globalized economy, that makes homogeneous all
cultures and weakens the cultures varieties, which is a treasure for humanity” (Holy
Father Francis 2015, p. 144) and it also homogenizes places.
8.7 Food Strategies
Food, as tied with agricultural production, if in the past was read as antinomical to
urbanization, which in Europe had already reached 70% of the resident population
(UN 2008), today is seen as a foundation for the sustainable development of
territories, so much that the great international metropolises have a “food strategy”
or “food policy” with the aim to planning and giving values to the near markets and
satisfying social, environmental, economic, and healthful targets. Then the work is
to make visible a factor that, even if it does not show, has a neuralgic role in the
territory governance (Pothukuchi and Kaufman 1999, pp. 213–224), “too big to
see” (Steel 2006). At an international level there are many applications (Moragues
1
http://www.economia.rai.it/articoli/dai-social-alla-tv-cos%C3%AC-il-cibo-moltiplica-il-suo-
business/24149/default.aspx [2018].
et al. 2013), among which it is possible to quote as international references the
different plans from London (Barling et al. 2010), Bristol (Carey 2013), Vancouver,2
Melbourne,3 Malmo,4 Amsterdam,5 New York,6 and Portland.7 Also, at a European
(Deelstra et al. 1991) and national level interesting experiences are developing,
among which have to be highlighted and analyzed the proposals and the experiences
developed in the Province of Pisa (Butelli 2015, pp. 125–130), Turin (Toldo et al.
2015, pp. 270–282), Rome (Cavallo and Marino 2013), Bologna,8 and Milan9
(Fig. 8.7).
The development of rural space has to resettle inside the city, involving mainly
those who use the place in which they are more concentrated. It is a conceptual
overturning: it cannot be the city anymore that conquers the countryside, but the
other way round, new relationships for the reconstruction with natural nets physic
and virtual of the countryside (Viljoen et al. 2005) towards the city (Van der Ploeg
2009). The cure of rural space (Smit et al. 1996), of which urban agriculture becomes
a declination (Di Iacovo et al. 2013), has to become an urban problem, a condition
that imposes a determinate standard (Marino and Cavallo 2009), connected to soil
consumption, objects to promote rural development and reactivate the relationships
between city and countryside. The unsustainability is then visible of a model that,
because of its statute, does not support the creation of social relationships between
who produces and who consumes (Cicatiello and Franco 2012), between who cures
the territory (the farmer) and who has interest in its valorization (the citizen in
general).
Re-locating food, through basic initiatives with the aim of remodeling an inter-
personal word of production and consumption, is a strategy meant to not only to
respond to feeding and social needs (Throsby 2001), but also to strengthen local
communities, in the deep relationships between cultural (Corrado 2005) and eco-
nomic (Baldassarre 2010, pp. 153–169) aspects that bring results in work and
innovations on resources management (Pothukuchi and Kaufman 1999,
pp. 213–224).
2
http://vancouver.ca/files/cov/vancouver-food-strategy-final.PDF [2018].
3
http://www.melbourne.vic.gov.au/community/health-support-services/Pages/health-support-ser-
vices.aspx [2018].
4
http://malmo.se/Nice-to-know-about-Malmo/Sustainable-Malmo-/Sustainable-Lifestyle/
Sustainable-food-in-Malmo.html [2018].
5
http://ec.europa.eu/regional_policy/.../6a_iclei_amsterdam.pdf [2018].
6
http://www.nycfoodpolicy.org/ [2018].
7
http://www.portlandonline.com/portlandplan/index.cfm?c=51427 [2018].
8
http://www.cityoffood.it/it/ [2018].
9
http://www.milanurbanfoodpolicypact.org/ [2018].
8.8 Amelia Food Strategy 233
Fig. 8.7 Project hypothesis for the reorganization of urban space through food hub in Perugia.
(Academic designs by S. Betti and D. Ranieri, 2017)
8.8 Amelia Food Strategy
This path finds a first application in the studied case promoted by Amelia’s munici-
pality, developed with the support of CARIT Foundation and the contribution of
Umbria Region. The idea of a territorial strategy of food is asserted as an innovative
strategy to redefine the relations between city and countryside. This theme, intended
as a minimum common denominator between what is anthropized and cultivated,
can lead to rewriting a new model for the governance of the territory, defined later
by a collaboration path already activated for the propaedeutic studies at the PGR
(Tregear 2011, pp. 419–430). The idea is to follow the conceptual evolution of food
(quantity–quality–sustainability) that forms a simple quantitative product, which
moved first to research quality and today is orientated towards sustainability of
Fig. 8.8 Relationship between natural, agricultural, and settlement areas shown in ortho-photos of
the Amelia municipality territory, 2012
food, as a step from just consuming production that now reaches to defining the
concept of nutrition (Marino and Cavallo 2009) (Fig. 8.8).
This strategy has to be addressed to public bodies in the role of Municipalities
(Stuart 2011) towards the concentration of the offer, the integration between the dif-
ferent phases of the spinneret work, the exchange and the spread of innovations, and
the development of helping services and forms of cooperation between different
productive realms. In the same way, with the aim to promote a reduction of food
waste (Garrone et al. 2012), which in Italy measures 6 million tons a year (17.4% of
consumption) (Comune di Amelia, law no.100/2012), the proposal intends to help
Fig. 8.9 Graphical contextualization of Amelia territory
the sustainability of agribusiness systems through technological, organizational,

and contractual instruments, aimed to reduce waste in all phases: cultivation, har-
vest, industrial transformation, distribution and consumption, a drastic reduction of
the environmental footprint of agricultural activities, and at the same time help
reduce consumption prices and access to food for the weaker social strata (Fig. 8.9).
For a new market, what is asked of the producers involved is to cultivate well, to
promote sustainable agricultural models, orientating their actions towards a
biological agriculture, the agronomic techniques needed to increase the organic
content and biodiversity of the soil, efficiency in use of natural resources for
agricultural productive processes (soil, solar energy, water), and re-using under-
products of agricultural and agribusiness activities as prime matters for energetic
production.
The strategy must be addressed from the point of view of Public Bodies in the
role of the Municipalities (Pothukuchi and Kaufman 1999, pp. 213–224) towards
the concentration of supply, the integration between different stages of the supply
chain, the exchange and dissemination of innovation, and the development of
support services and forms of cooperation between different productive realities. As
Pope Francis clearly points out on the need to defend work by taking food as an
example: “in order to continue providing employment, it is imperative to promote an
economy which favours productive diversity and business creativity. For example,
there is a great variety of small-scale food production systems which feed the greater
part of the world’s peoples, using a modest amount of land and producing less
waste, be it in small agricultural parcels, in orchards and gardens, hunting and wild
harvesting or local fishing. Economies of scale, especially in the agricultural sector,
ends up forcing smallholders to sell their land or to abandon their traditional crops.
Their attempts to move to other, more diversified, means of production prove fruitless
because of the difficulty of linkage with regional and global markets, or because the
infrastructure for sales and transport is geared by a larger businesses. Civil author-
Fig. 8.10 Food value in exaltation of olive tree history shown in Roman bas-relief with branches
of olive tree observed through photo-modeling, 2015
ities have the right and duty to adopt clear and firm measures to support of small
producers and differentiated production. To ensure economic freedom from which
all can effectively benefit, restraints occasionally have to be imposed on those pos-
sessing greater resources and financial power. To claim economic freedom while
real conditions bar many people from actual access to it, and while possibilities for
employment continue to shrink, is to practise a doublespeak which brings politics
into disrepute. Business is a noble vocation, directed to produce wealth and
improving our world. It can be a fruitful source of prosperity for the areas in which
it operates, especially if it sees the creation of jobs as an essential part of its service
to the common good” (Holy Father Francis 2015, p. 129) (Fig. 8.10).
Food strategies represent for the Amelia administration the possibility of realiz-
ing policies to rebalance economic, social, and cultural inequalities, with new regu-
latory models to promote the health of both citizens and the environment. Active
involvement in the regulation of urban metabolism implies the construction of new
knowledge regarding the topic and the problems connected to it, but also the identi-
fication of suitable methods and logics, up to the definition of integrated policies
(environmental, energy, food, territorial and transport, prevention, education) aimed
to ensure, at the same time, an efficient use of resources and the environment, full
democracy in access to basic goods for the populations, and greater stability for
future supplies (Di Iacovo et al. 2013).
The role of the administrations is central for their function of planning the terri-
tory and the infrastructures, physical and immaterial, in the field therefore of the
government of the territory. The same administrations are involved as large consum-
ers, for both canteens and other types of purchases, for their ability to determine the
conditions of the market, starting from the Green Public Procurement to the address
for purchases for popular parties (Fig. 8.11).
In this sense, the strategies of food are triggered in the logic of promoting the
production of food, in urban (Mougeot 2006, p. 97) or peri-urban areas,10 as
10
http://www.ruaf.org/ [2018].
Fig. 8.11 Food value as

shown in the history of the
presence of wheat in the
noble coat of arms of the
Frattini Family of Amelia
promoted in the group of European cities of Rotterdam (The Netherlands), Rome

(Italy), Ghent (Belgium), Vigo (Spain), Bristol (United Kingdom), Riga (Latvia),
and Zürich (Switzerland), who developed the project Supurbfood. Towards sustain-
able modes of urban and peri-urban food provisioning,11 as garden communities12
and health communities (Twiss et al. 2003, pp. 1435–1438), according with United
States experiences (Brown and Carter 2003; Hedden 1929; Howard 1960; Isard
1956; Minnesota Food Forum Citizens’ Panel 1995; So 1979; UCLA 1993)
(Fig. 8.12).
The strategy is seen as an integrated and holistic political vision of the territory
that includes in parallel landscape, environmental, natural, territorial, economic,
educational, and cultural factors. The strategy can be summarized in three
fundamental movements:
• Redefine new knowledge, with respect to problems related to food, both prob-
lems and emerging problems, the way in which consumers, citizens, exist, per-
ceive, and conceive the environment in which their interests are considered and
justified;
• Redesign regulatory and regulatory frameworks, direct or indirect, related to
food management, ability to incentivize or sanction – implicitly or explicitly –
conduct and choices related to food at different times and in community life (for
11
http://www.supurbfood.eu/ [2018].
12
http://www.healthyplanning.org [2018].
Fig. 8.12 Reconstruction of Frattini Palace by the concept of Antonio da Sangallo il Giovane,
1520–1525. (Academic designs by M. Sicilano, 2014)
example, the definition of nutritional rules within a school menu, an inducer of

innovative interests, inside and outside the school) (Fig. 8.13);
• Favour the preparation of infrastructures, material or immaterial, sometimes new
approaches in the management of food, as in the spread of micro-logistics to
support the local production networks by the definition of regulatory frameworks
consistent with new specifics with respect to food management (Di Iacovo et al.
2013) (Figs. 8.14, 8.15).
Fig. 8.13 Details of Frattini Palace. (Academic designs by M. Sicilano, 2014)

Fig. 8.14 Plants and sections of Frattini Palace. (Academic designs by M. Sicilano, 2014)
In the face of a new market, the commitment required by the producers involved
is to cultivate well, to promote sustainable agriculture models. In this way,
intervention actions are directed towards organic farming, agronomic techniques
aimed to increase the organic substance and biodiversity of the soil, efficiency in the
use of natural resources in agricultural production processes (soil, solar energy,
water), and the reuse of by-products of agricultural and agri-food activities as raw
materials for energy production (Figs. 8.16, 8.17).
Fig. 8.15 Images of agricultural space in Petrignani Palace paintings

Fig. 8.16 Territorial representation in the programmatic document on the Amelia’s master plan-
ning (PRG), the first in Italy based on food value
Fig. 8.17 Landscape strategy and food in Amelia’s master planning (PRG)
8.9 A Bottom-Up Research of Beauty
It appears then a “food contract,” a participative path, works in parallel, integration,

or declination of landscape contracts.
Awarded by the indispensable tendency of the analysis always limited by many
project intents, the objective results are very hard, even as a concept, because the
same landscape is perceived as an image of transformed territory from man’s design
that is set in a relationship with the natural environment, transforming it and being
transformed by it. It is then very difficult to convert the image in a territorial design,
stratified over time, as analogic and evocative, in another design, synthetic, discrete,
and schematic, that can help the next project choices.
The value and the centrality of environmental contracts, in which are asserted
food strategies, are based on bottom-up strategies, with an integrated vision of
the territory that becomes a theme of great actuality and debate for the land-
scape, which will be, as Salvatore Settis explains, “In order to preserve the pre-
cious Italian heritage and to prevent what remains of our landscape is destroyed,
we must start from the rights of future generations and, on this basis, build (or
reconstruct) a credible, functional and effective institutional and legislative
framework. Undoubtedly, it would be extraordinarily important in this regard
that illuminated international public opinion expressed its concerns about this
issue” (Settis 2013).
In this way, the landscape plan is connected to the same productive aims that
have generated our landscape, not intentionality. Perception in landscape, in the
Fig. 8.18 Project logo:

“Multinet – Innovazioni
sociali ed organizzative per
lo sviluppo della
multifunzionalità delle
imprese agricole: modelli,
co-produzione, inclusione,”
PSR Umbria, misura 16.1,
project responsible prof.
Gaetano Martino,
responsables for the
research unity of
Dipartiment di Civil and
Envirnmental Engineering
prof. Fabio Bianconi and
eng. Marco Filippucci.
(Academic design by
E. Bettollini and M.
Meschini, 2017)
References 245
centrality of vision, remains in its panoramic, educative contemplative values.

“Beauty will save the worlds,” but we are only the observer of beauty, and, just by
talking about it, we betray it. “Beauty will not save nothing and no one, if we will
not save the beauty” (Settis 2017, p. 16). Science, also in a landscape project, cannot
involve the promotion of beauty, but it can be found in it, as media, as tool, as a
principal instrument to promote development, using what San Tommaso defines as
beauty, “Pulchrum est quod visum placet” (Saint Thomas d’Aquin, Summa
Theologiae, I, q. 5, a. 4, ad 1um). The corporeity of beauty in food, the centrality of
senses, helps the citizen to turn away from anaesthesia, the absence of aesthetic,
because the landscape and its products can pierce our consciences. Food, as a land-
scape product, can be rethought “for People, not for Profit” (Lerza and Jacobson
1975). And in parallel, landscape too can return to be rethought first for the citizen
(Settis 2017) (Fig. 8.18).
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Chapter 9
Landscape and Social Participation:
The Umbrian Region’s Atlas of Objectives
and the Trasimeno Lake Landscape
Contract
Abstract Within the principal resources useful for the next landscape models, peo-
ple who live in their places represent the beginning and the final point of all the new
possible regenerations paths: landscape is perceived by people, it is for people, and
it is from people. The policymaker, whether intentionally or not, has a principal role
in landscape construction. Reactivating the relationship that binds the community to
its landscape is crucial to understand its meanings and to take action on it, and the
representational tools can be useful in this regard to present, describe, and commu-
nicate the landscape, to involve citizens, and to support their participation. In this
context, the research aims to introduce the Umbrian regional strategy of co-design
applied for the integrated governance in the political and public sphere. The meth-
odology presented intends to promote some models for the sustainable and demo-
cratic development of a social contract connected with environmental citizenship
and the co-design approach. In this strategy of public and private partnership (PPP),
academic research is fundamental to reach the standardization of the approaches for
investigation and intervention, and the Atlas of Objectives produced represents a
contemporary tool to bring out relationships and to define “routes” in compliance
with the European guidelines, which are applied in some regional strategies. This
guideline can be applied in the Landscape Contract, in particular, that of Lake
Trasimeno, an agreement between citizens and the administration for territorial
governance and cohesion policy. It starts from a well-structured cognitive frame-
work and is finalized to the active government of the territory. The main goal is the
involvement of both citizens and economic entities in joining in a strategy that aims
to increase the sense of belonging. In that regard, it promotes the necessary social
and cultural changes and makes more efficient the productivity in terms of sustain-
able development of a homogeneous territorial area. Particular case studies and
strategies are detailed to explain the potential impact for landscape planning of the
instruments developed. The approach in the topic of representation is central to
synthesize the knowledge and to reinforce its value, sharing with the citizens and
involving them.
Keywords Government · Participation · Smart citizenship · Planning · Codesign

https://doi.org/10.1007/978-3-319-94150-9_9
250 9 Landscape and Social Participation: The Umbrian Region’s Atlas of Objectives…
9.1 Policies and Co-Design for Landscape Contracts
The study is concerned with both development and application of new regional poli-
cies, which could be applied on even a larger scale, to guarantee the sustainable
development of the landscape. It is not so recent a trend in public and private
interorganizational policy that multiple actors become involved to collaborate
around issues of water and soil management, nature preservation, land use, farming
practices, the introduction of new technologies in life sciences, and related problem
domains (Bouwen and Taillieu 2004). The agreement forms for the management of
the territories permit turning the social contract (Mansell 2013), and in particular
the Landscape Contract, into a new tool for implementing and monitoring strategies,
that, for the new point of view, represents an innovation, ahead of the centrality of
perception and its role for participation needs (Fig. 9.1).
The foundations of the reasoning are the interpretation of landscape and its sus-
tainability, as well as the principles of a smart city, that now are directed towards the
smart citizen (Bianconi et al. 2015). Landscape is the connective topic: the
“European Landscape Convention” (Council of Europe 2000) provides a definition,
which assumes a legal nature of the topic, describing it as “a specific part of the
whole territory, as perceived by people, whose character is the result of the action
and interaction of natural and/or human factors,” “expression of the diversity of
their cultural and natural heritage, and foundation of their identity,” so the landscape
is recognized as a primary element and a Common Resource that must be protected.
Fig. 9.1 Landscape and

signs in Franco Purini’s
“Ondulazioni Perugine”.
(Perugia Undulations,
2016)
9.1 Policies and Co-Design for Landscape Contracts 251
The aim is the development of a strategy of co-design (Bohnet and Konold 2015)
for an integrated plan in a defined territory, with highlights on biodiversity: in an era
of growing social, ecological, and economic injustice, the mobilization of all
possible forces to challenge the marketization of the political is animated by a
global environmental citizenship (Jelin 2000). Ethic impulses are supported by
aesthetic values of landscape (Farina 2000): realities characterized by a significant
environmental importance, such as the basin of Trasimeno, also in the new regional
programs (Regione Umbria 2014) can be the subject of multi-fund requalification
and development, to protect landscapes, in a conservative approach, able to link
nature, culture, and community (Brown et al. 2005; Settis 2012).
The signed “pact” should lead to the creation of a program of actions that is
always the result of a concerted multi-actor process (Beebeejaun 2016), even if it
has no regulatory function. The contract must always be the result of a participatory
process (Arnstein 1969), based on technical and scientific documents (landscape
plans, landscape maps, landscape studies...). The landscape contract is identified as
an arrangement that has no legal value. The signing of a contract by the prefect and
one or more communities must be preceded by both the diagnosis and the definition
of a global project, which identifies the strategic direction followed by a concrete
action program for the short and medium term. This type of contract may also be
developed as a part of a landscape plan. The actions specified in the contract for the
landscape could be related to the enhancement of settlements, restoration or
development of rural architecture, green areas and woodlands, mitigation of
infrastructure impacts, signage, systems integration, etc. The implementation of a
contract for the landscape requires a specific technical supervision that could be
assumed by a steering committee and a project manager.
The Landscape Agreement is a negotiated territorial planning process; it is treaty
and voluntary and allows the governance of environmentally friendly development
processes of specific territories and redevelopment of landscapes that require action
by the institutions and public and private stakeholders (Adler and Goggin 2005,
pp. 236–253).
The use of this spatial planning tool is highly innovative, and unusual for some
countries such as Italy, because of the special land legislation and land use planning
(Tippetta et al. 2005). The construction process of the landscape contract is based
on the comparison and negotiation among all the players involved, with the aim of
activating projects for territorial and landscape redevelopment, integrated into
content and shared in the detailed decision. The Landscape Contract, in general,
benefits the voluntary contribution of those who are committed to converge their
actions with the aim of sustainable development of the area, characterized by the
presence of a structured and methodological reference, not severe because it permits
developing a flexible and adaptive process, based on a “bottom-up” approach. Local
communities have a central role from the outset of the process, with the attention of
the institutions to the reality of their territories, by indicating opportunities and
problems and explaining immediately the reasons and objectives for which it is
appropriate to activate a Landscape Contract.
A key element of this economic cultural and social choice for achieving the
recovering, development, and enhancement of territories is the participation,
namely, the involvement of all stakeholders and citizens in a process of social
learning in integrated resources management (Pahl-Wostl and Hare 2004). For the
governance of sustainable processes for developing certain territories, the active and
proactive involvement of all social actors becomes essential to promote collective
solutions and avoid conflicts arising. It opens up two related themes: community
and participation.
The 7th of December, 1965, represents a historical date that has granted a
cultural revolution whose effects have been realized only nowadays, a half cen-
tury later: with the Second Vatican Council, the Catholic Church, which has had
a great influence on European culture for several centuries, not only emphasizes
the original value of the community (Gaudium et Spes), different from the con-
cept of the people, but transforms the liturgical forms by promoting an active
role, and not just a contemplative relationship (Sacrosanctum Concilium). It has
been realized that a transformation which is the same nowadays invests the ter-
ritorial governance. Perhaps, this could be the result of the implicit sustainabil-
ity criteria related to the understanding of Latin and the risk of detachment from
reality. The lack of sustainability of a language in nonsense, the separation
between those who make decisions and those who undergo them, and the related
inability for citizen involvement are revealed in a citizenship crisis that is expli-
cated in the landscape. Enhancing the participation and reconnecting the differ-
ent places as a single community can be the need for a strategy for escaping this
impasse. A relationship between Urbs and Citivatas, through dynamic identity-
making processes, has stoked the care of places (Filippucci 2011).
9.2 Landscape Contract and Participating Policies
The Landscape Agreement is a negotiated territorial planning process. The use

of this spatial planning tool, highly innovative and unusual for Italy because of
the special land legislation and land use planning that characterize our country
compared to almost all other European countries, allows coordinating wide
interventions in terms of preservation and enhancement of the territory and
landscape. Furthermore, it permits identifying territorial development goals
through the involvement of economic actors, social and institutional, in the area
and the sharing of commitments by all partners involved, public and private,
subject to the planning and building forecasts. The legal basis of the landscape
contracts consists of the European Landscape Convention (Council of Europe
2000), which interprets the landscape as a synthesis of territories and the per-
ceptions of those. According to such highly innovative principles, which are
partially included in the Italian Code of Cultural and Landscape Heritage, the
9.3 Landscape Contract and Participating Policies in the European Context 253
landscape is considered as a reference for policies that affect the changes in the
environment where people live (Fig. 9.1).
The Landscape Agreement, in accordance with the principles of the European
Landscape Convention, encourages synergy among public authorities and other par-
ties, which should be the expression of economic, social, and cultural local systems,
and in the determination of landscape policies, by respecting the aspirations of local
communities. Therefore, the construction process of the landscape contract is based
on the comparison and negotiation among all players involved, with the aim of acti-
vating projects for territorial and landscape redevelopment, integrated into content
and shared in detailed decision. The contract of landscape, in general, benefits the
voluntary contribution of those who are committed to converge their actions with the
aim of sustainable development of the area, inspired by the objectives of protection
and enhancement of landscape, and it is able to express their willingness to partici-
pate in the process of individuation interventions, in a mutual agreement. In this
way, the instrument does not have an explicit value for the common definition of
intervention choices. Contracts of landscape are characterized by the presence of a
structured and methodological reference, not severe, as it permits developing a flex-
ible and adaptive process, which is based on a “bottom-up” approach: local com-
munities have a central role from the outset of the process, with the attention of the
institutions to the reality of their territories, by indicating opportunities and prob-
lems and explaining immediately reasons and objectives for which it is appropriate
to activate a Landscape Contract. Development options for their territory are built
with the local community (Settis 2014). A key element of these economic cultural
and social choices, together with development and enhancement of territories, is
participation (Settis 2017), namely, the involvement of all stakeholders and citizens.
For the governance of sustainable processes for developing certain territories, the
active and proactive involvement of all social actors becomes essential to promote
collective solutions and avoid rising conflicts (Fig. 9.2).
9.3 L
andscape Contract and Participating Policies
in the European Context
In France, the law about landscape declared in 1993 (France, law no.93–24/1993)
has introduced locally the “Charter of the Landscape,” an instrument to guarantee
protection, recovery, and development of areas with high landscape value and
natural parks. It also defines “landscape contracts” among local authorities to
enhance and improve rural areas (Ugolini 2010). In 1995, a Ministry of the
Environment’s Circular (France, Circulaire 21/03/1995) provides a detailed
definition of this topic, specifying general requirements. The circular indicates that
a signed “pact” should lead to the creation of a program of actions that is always the
result of a concerted multi-actor process, even if it has not a regulatory function. In
Fig. 9.2 Italian natural–cultural resources map by ISPRA
the French approach, the contract must always be the result of a participatory
process, which is based on technical and scientific documents (landscape plan, land-
scape map, landscape studies).
The participatory local governance can also be implemented with other tools
that are different from landscape contracts. A paradigmatic case is the river con-
tract, and even other kinds of existing contracts are not particularly different, such
as a food contract, wood contract, forest contract, mountain contracts, lake con-
tract.... For example, river contracts represent essentially a new way of thinking in
planning and management of river basins that is gradually spreading throughout
Europe. The primary objective of a River Contract is building in incremental form
of the transition from specific to integrated policies of the hydraulic risk mitiga-
tion and policies of ecological regeneration, fruition, and landscape of river sys-
tems, to connect within a system multi-objective local or supra-local planning,
several directives and European initiatives (European Parliament: 2000/60;
2007/60; 1992/43; 2001/42). The spread of these contracts comes from a deploy-
ment in Europe of such forms from France in the early 1980s (Bassoli and Polizzi
2011), which later involved other nations such as Belgium, Luxembourg,
Netherlands, and Spain (Bastiani 2011). French contracts recall the voluntary
environmental agreements with nonbinding nature and are based on a level of
coordination among agencies and among levels of very strong planning-program-
ming and in the involvement of local communities, mainly the result of informa-
9.4 Landscape Contract and Participating Policies in Italian and Umbrian Context 255
tion and consultative stages. This model has found many different methodological
and content interpretations during its European and extra-European coverage.
9.4 L
andscape Contract and Participating Policies in Italian
and Umbrian Context
In Italy (Gioioso 2006), River Contracts have spread from the first Lombard experi-
ences of 2001,1 initially linked to cross-border projects with France in 2003. The
Lombardy Region has recognized them officially by placing them in a specific piece
of legislation (Regione Umbria, law no.147/2014). The Umbria Region in 2007, in
collaboration with the Coordination A21 Italy, gave an important impetus to the
spread of the River Contract at a national level and, with other Italian regions, it has
joined the National Charter of River Contracts in February 2014. The “Collegato
Ambientale” (Italy, law no.221/2015) in the Stability Law 2012, at the article 43,
legislates about River Contracts by defining these as the signing of an agreement
that allows you to “adopt a system of rules in which the public interest criteria, eco-
nomic performance, social value, environmental sustainability are equally in search-
ing for effective solutions to redevelopment of a river basin”.(Fig. 9.3). In addition
to specific law, in the Italian context, social and environmental contracts can be
included in the strategy of Green Communities. The Italian Government has noticed
that and, in the “Environmental Connected” to the law of Stability 2016, art. 72, it
explains the National Strategy of the “Green community” (Italy, Law no.221/2015).
In compliance with this, it has “defined the values of rural and mountain areas which
should exploit in a balanced way the main resources available, including primary
water, forests and landscape”. It permits to open a new subsidiary relation and
exchange with urban communities and subways, so you can set, in the phase of the
green economy, a sustainable development plan, not limited just to an energetic,
environmental, and economic point of view, in the following fields:
a. Integrated and certified management of agro-forestry resources, including
through the exchange of receivables arising from the capture of carbon dioxide,
biodiversity management, and certification of the wood industry
b. Integrated management of water resources and certificationed
c. Production of energy from local renewable sources, such as hydroelectric micro-
plants, biomass, biogas, wind energy, cogeneration, and biomethane
d. Development of sustainable tourism, capable of enhancing local production
e. Construction and sustainable management of the housing stock and infrastruc-
ture of a modern mountain
f. Energy efficiency and intelligent integration of the systems and networks
g. Sustainable development of productive activities (zero waste production)
h. Integration of mobility services
http://www.contrattidifiume.it [2018].
1
Fig. 9.3 Strategies of Landscape Regional Plan (PPR) of Umbrian Region
i. Development of a sustainable farm model that is also energy independent

through production and use of energy from renewable sources in electricity,
heating, and transport“
In addition to this, it is expressed that “with its own laws, the regions ... can iden-
tify the methods, timing and financial resources on the basis of which the unions of
9.4 Landscape Contract and Participating Policies in Italian and Umbrian Context 257
Fig. 9.4 Nineteen regional landscapes located in the Umbria Region in the synthesis of resources
on the Regional Landscape Map
municipalities ... should promote the implementation of national strategy introduced

in this Article” (Fig. 9.4).
Despite its precursor of the law, the experience of landscape contracts anticipates
these issues. The Umbria Region, as declared on the Regional Strategic Framework
(Regione Umbria, law no. 633/2014), clearly defines how the 2014–2020
programming cycle is characterized by a “significant role on the integrated use of
funds, particularly with regard to local development objectives. Specifically, the
importance of focusing on the territories development applying a place-based
approach (European Commission 2009) has already been detected in the “Barca
Report“ of April 2009. A place-based development policy should aim, therefore, to
reduce persistence in efficiency, in terms of under-utilization of territorial potential,
and inequality, in terms of standard living disparities or health, promoting shared
and integrated actions, which support the joint development of different territorial
dimensions (economic, social, environmental, governance, and ICT) .... The use of
the Projects Integrated Area will be extended in Umbria even beyond the thematic
itinerary of the interior areas defined in the Partnership. Realities characterized by
significant environmental importance, such as the basin of Trasimeno and Piediluco,
will be the subject of multi-fund requalification and development, even including
the use of a specific equipment, that is proposed in the Regulations. The territorial
dimension and the issues of integrated local development are in fact implemented in
Commission regulations through new instruments for local participatory develop-
ment, integrated with territorial investments, in accordance with the Common
Action Plans for Sustainable Urban Development.“
9.5 C
onstruction and Setting Requirements
of the Landscape Contract in the Umbrian Case Study
The Umbria Region, as part of its regional policies of territorial government, pays
particular attention to the management of territorial planning instruments negotiated,
any conventions, voluntary and participatory, highly innovative, with its own legal
basis in the “European Landscape Convention” (Council of Europe 2000), where it
recognizes in the landscape the synthesis of the territory and the perception that of
it has the local population and acts to introduce forms of sustainable management of
an area, where local entities will be protagonists of their own will. The instruments
of negotiated territorial planning become part of the category of inclusive decision-
making tools, regarding inclusive actions for the protection and enhancement of the
territory, aimed at developing sustainable landscapes of areas particularly important
or sensitive, based on understandings and agreements, with contract value, between
local communities and institutions (Fig. 9.5).
• To define a replicable strategy, the articulation of a Landscape Contract process
is defined an experimental way composed of the following steps:
• Sharing a document of intent containing the reasons and the general objectives,
the specific object of the criticality Contract and the working methodology,
shared among the actors who take part in the process. The signing of this
document by the stakeholders initiates the activation of the PC (Fig. 9.6).
9.5 Construction and Setting Requirements of the Landscape Contract in the Umbrian… 259
Fig. 9.5 Selection of the territorial limit for areas of interest for the landscape contract of
Trasimeno Lake, in the overlap between the visual basin and the hydrographic basin
• Development of an appropriate integrated preliminary cognitive analysis of the

landscape, environmental, social, and economic objects of the contract, such as
the production of a monograph area or landscape characterization, which involves
also environmental (including qualitative analysis of key ecological functions),
territorial and socioeconomic (making the knowledge system) features, collection
programs (policy framework), the preliminary analysis of stakeholders and
existing networks among them. Among the purposes of analysis, there is the
definition and/or enhancement of operational objectives, consistent with the
objectives of the existing schedule, to which subscribers must commit.
• Elaboration of a strategic document that defines the scenario, referring to a time
horizon of medium to long term, integrating the objectives of the district planning
and more generally of a large area, with local development policies of the
territory (Fig. 9.7).
• Definition of a Programme of Action (PA) with a well-defined and limited (gen-
erally 3 years) time horizon, after which, on the basis of the results of monitoring
it will eventually be possible to update the contract or approve a new PA. The PA
must indicate, in addition to the objectives for each action, the relevant stake-
holders, the respective obligations and commitments, the timing and methods of
implementation, the needed human and economic resources, as well as its finan-
cial coverage (Fig. 9.8).
• Implementation of open and inclusive participatory processes that allow the
sharing of intents, commitments, and responsibilities among the objects partici-
pating in the contract.
Fig. 9.6 Landscape contract of Trasimeno: perimeter, 2015
• Signing a formal commitment Act, which defines the shared decisions in the
participatory process and sets out the specific commitments of the contractors.
• Activation of both a control system and a regular monitoring of the contract for
the verification of the implementation during the various phases and activities,
the quality of participation, and the consequent deliberative processes
(Fig. 9.9).
Fig. 9.7 Landscape contract of Trasimeno: physical–natural resources, 2015
• Information to the public: the data and information on Landscape Contracts must
be accessible for the public, as required by the Directives specifications, by using
a huge variety of communication tools and making the best use of the Web chan-
nel (Fig. 9.10).
Fig. 9.8 Landscape contract of Trasimeno: ecological net of Umbria Region, 2015
Fig. 9.9 Landscape contract of Trasimeno: historical road system, 2015

Fig. 9.10 Landscape contract of Trasimeno: views and conical views, 2015
9.6 Co-Design for the Public Realm: The Umbria Region Atlas of Objectives 265
9.6 C
o-Design for the Public Realm: The Umbria Region
Atlas of Objectives
Because of the potential existing in the contract shared and co-design and the neces-
sity to create tools able to guide the contracts process, the “Landscape, Geography,
and Territory” Office of the Umbria Region has promoted, with the support of the
University of Perugia, an “Atlas of Objectives,” which aims to provide participatory
processes, particularly about river, lake, and landscape contracts, a territorial, envi-
ronmental, and landscape framework for sharing addresses and objectives
(Fig. 9.11).
The Atlas provides a unified, organic, and methodological contribution on a
regional scale that puts in place a system and carries on the consistency of Landscape,
River, and Lake Contracts, both activated and to activate in the region. The Atlas
aims to promote a greater knowledge of the predictions introduced by existing plans
and programs on regional-scale accidents either potentially or directly on the
choices of the contracts. Thus, the Atlas is structured to be a representative document,
able to describe the territorial transformations in place and forecast in the sub-basins
of the Tiber, declined to territorial areas of reference and landscape unit. It also
intends to contribute to the sharing of addresses and measures to allow to the River,
Lake and Landscape Contract projects, which are initiated and started at the regional
level, the achievement of water quality objectives, soil protection, flood safety,
Fig. 9.11 Map of regional landscape: maps of historical and cultural resources (1999) for the
Objective Atlas, 2016
Fig. 9.12 Map of regional landscape: maps on physical–natural resources for the Objective Atlas,
2016
ecosystem quality, and agricultural context, redevelopment and enhancement of

landscape and environment, economic development, and public awareness.
The Atlas also intends to provide a reference about the essential requirements
(minimum) from a point of view focused on the method and contents of the contract,
providing the essential elements for being able to assess and monitor over time the
correctness and fairness of processes, so that the exercise of an oversight and address
role turns out to be assisted (Fig. 9.12).
The Atlas contents have been defined through a Technical Roundtable, coordi-
nated by the Umbria Region through the “Landscape, Territory, and Geography”
Office, and composed by representatives of the various regional structures holders
of the issues discussed in it, academics, and other subjects of the institutions
involved in the processes of construction and study of the River Contracts.
The technical table, through comparative structure, participation, and sharing,
was composed by several professors of the University of Perugia, of the Departments
of Civil and Environmental Engineering, Physics and Geology, Food and
Environmental Agricultural Sciences, Mathematics and Computer Science, and
Political Science, respectively, who have worked closely with representatives of 11
regional services involved (Landscape, Territory, Geography Service – in charge of
the scientific coordination for the preparation of the Atlas, Infrastructure for mobility
service, tourism and integrated promotion services, Museums and superintendence
of library materials service, Geological and seismic service, Water resources and
hydraulic risk service, Civil protection service, Forest, economics and mountain
territory service, Agricultural policy, crop production and local development
9.6 Co-Design for the Public Realm: The Umbria Region Atlas of Objectives 267
service, Digital technology infrastructures and information system integrated with

the Board Service) and with representatives of ARPA Umbria.
The Technical Board worked on four Thematic Working Groups:
1. Enhancement of historic and cultural, physical-natural and social-symbolic

resources, local development.
2. Geology and geomorphology, defense against risks and water safety, hydro-
geomorphology and dynamic risk of riverbeds, water runoff, water quality,
natural systems.
3. Land use and management, physical and immaterial infrastructure, productive
environment.
4. Criteria, methodologies, and tools for information processing, communication,
and participation.
It is useful to highlight that the Atlas has among its main aims to provide the foun-
dation for the development of integrated analysis, prepared by the proponents on the
environmental, social, economic, cultural, and managerial (human capital) themes
(Fig. 9.13). This development should meet the local implementations required for
each sub-theme identified from the Atlas, wishing to intervene against the reference
issue, whereas, if the objectives of the single Contract do not have close relationship
with some of the topics covered in the Atlas, it is sufficient that the proponent
describes, for each area of study, the results of the conducted regional analysis.
The analysis should also be finalized to the definition and/or enhancement of
operational objectives, consistent with the objectives of the existing schedule and
Fig. 9.13 Map of regional landscape: maps on social–symbolic resources for the Objective Atlas,
2016
with the most general direction of policy options at the global, European, national,
and local level, to which the underwriters of contracts will commit.
Following the prevailing approach in the community logic, the path should be
structured according to the principles of the Project Cycle Management (PCM)
(European Commission-Europe 2004), the cyclical project management, which is
inevitably correlated to the Logical Framework Approach (LFA) (Cracknell 2000).
The peculiarity of these instruments is the implementation of an integrated approach
among the different project phases, in the systematic definition of the relationships
of cause and effect that are transformed into means and ends, where the strategy is
the beneficiaries, fully incorporated in the action planning. In fact, if the contract is
defined as a dynamic process finalized to the achievement of the ultimate objective
within a fixed period through the use of resources, fixed and limited in time. By
employing these tools and methodologies it is possible to promote the management
participatory project, its evaluation, and constant reprogramming in a more effective
way (Fig. 9.14).
In particular, the path toward the Atlas aims to clarify, for each of the four the-
matic focus, the following points:
• Introduction to the theme
• References that represent the beginning of the cognitive framework’s definition
• Analysis of European, national, and regional programs and strategies from the
point of view of the interests of the focus
Fig. 9.14 Map of regional landscape: maps on valorization and local development for the
Objective Atlas, 2016
9.7 Integration Between Atlas and Contracts 269
• Construction of the strategic scenario, in which the general objectives of regional

planning are reflected in the purposes of each contract
• Indicators and quality criteria
As for the relationship with the landscape, starting from the knowledge base
already identified in the Regional Landscape Plan (Umbria Region 2012), plans and
programs were analyzed to highlight the assimilated objectives at the regional level
by the European and national legislation. By paying attention to the issues of the
Regional Strategic Framework 2014–2020 (Umbria Region 2014), the medium-
term objectives were achieved, in particular by checking the integrated approach
related to the local participative development, integrated territorial investment,
plans of joint action, and sustainable urban development. The analysis of the relevant
objectives of the focus themes in the National Funds, in particular in the Funds for
Development and Cohesion (FSC), was juxtaposed to the specific objectives of the
Structural Funds, in particular, the European Regional Development Fund (Italy,
Por_FEARS), the European Social Fund (Por_FSE), and the European Agricultural
Fund for Rural Development (PSR).
The strategic scenario is configured with the definition of the available tools for
land use planning, which are introduced by the new “Consolidated local government
and related matters” of the Region (Umbria Region 2015), such as the Regional
Strategic Program (PST), the Landscape Plan regional (PPR), the Provincial Territorial
Coordination Plan (Italy, PTCP), the General Regulatory Plan (Italy, PRG) munici-
palities, and the Sector Plans provided by national and regional standards.
Quality criteria and indicators are connected to the logic of the Project Cycle
Management (PCM) (European Commission-Europe 2004), but also the monitoring
indicators provided within the specific working group (WG) on the Recognition of
River Contracts at national and regional levels. This logic is declined then con-
cretely in the objectives and indicators for the Global Strategy Agenda 2030 to
sustainable development, as endorsed by the UN with the recent resolution “A-RES-
70-1” (United Nations 2015), which are then compared with more specific indica-
tors of focus developed by the Agency for Territorial Cohesion for National Strategy
of the Inner Areas (Agenzia per la Coesione territoriale 2015) (Fig. 9.15).
The Atlas represents also an occasion of co-design and not only for the academic
support: also if it is now is a provisory and static book,2 it is designed to become
interactive and an open tool for the citizen, that can improve the information and
contribute to knowledge democratic and to co-design the landscape strategy.
9.7 Integration Between Atlas and Contracts
The strategic contents of the Atlas of the Objectives are expressed as the foreshad-
owing of an overall vision of the territory. The results that could be reached in the
contracts’ framework, evaluated as a neuralgic part of the projects, should be based
http://www.umbriapaesaggio.it [2018].
2
Fig. 9.15 Government of the territory and participation in the Landscape Contract, the Objective
Atlas, and the following ITI (Territorial Integrated Intervention) on Trasimeno Lake
on this vision. In the “Consolidated government land and related matters” regula-
tion (Regione Umbria 2015), it is explained as “Region is pursuing the optimal
structure of the regional territory, according to the principles of land use’s contain-
ment, re-use of existing buildings and urban regeneration, enhancement of the land-
scape, historic centres and cultural heritage.” Any strategy has to be built on the
implementation of these principles, which are an inescapable foundation in the cen-
trality of the land value, defined as a non-renewable resource that provides impor-
tant functions such as food subsistence and regulation of environmental processes.
The interventions that should be included in the participatory contracts have to sat-
isfy the principle of reducing the consumption of land, interpreted as a phenomenon
associated with the loss of an important environmental resource, resulting from the
occupation of originally agricultural, natural, or semi-natural land, mainly attribut-
able to the increment in artificial covering of land, related to settlement dynamics.
9.7 Integration Between Atlas and Contracts 271
• “Critical Landscapes,” where in particular it is necessary to work on identity

Emergencies with the active preservation of identity and environmental values.
Thus, starting from the thematic classification of article 38 of the Umbria
Regional Landscape Plan (Regione Umbria 2012), the analysis of the major
landscape change processes can be considered as a part of a concrete strategy to
be developed around the dropout processes, the ecological fragmentation, the
dynamics production facilities, and the processes of urbanization, densification,
and saturation.
• The identification of the problems, which should be related to each other in a
diagrammatic tree that shows cause-and-effect relationships, allows identifying
the steps that can be ascribed in the following areas:
• Restoration and landscaping of urban peripheries; on Corridors of Development
settlement, with environmental and landscape redevelopment of existing settle-
ments, the regeneration of Brownfield sites and relocation of incongruous works,
integrated redevelopment of the infrastructural corridor; on Industrial Space
Craft, with environmental restoration and landscape of the existing spaces,
recovery and redevelopment of abandoned or under-used spaces, the landscape
integration of new settlements; the incipient Landscapes, in prevention of the
risk of impairment of landscape resources.
• “Landscape of Abandonment, linked to Settlements and historic landscape prox-
imity, where it is possible to think about a landscape–environmental regeneration
of the historic settlements of the plain, the redevelopment of the proximity of the
hilly landscapes historic centres, the revitalization and enhancement of scenic
rural villages, and the redevelopment of the proximity territories of the historic
landscapes and the main urban areas.
• “Common landscapes,” in Rural Territories where the interventions must aim to
redevelop the proximity of the urban landscape, to boost agricultural multi-
functionality as the landscape of the territory, to appreciate the landscapes that
permit high-quality production, and also rural landscapes with historical value,
finally, to maintain the rural landscape value; in the wooded areas, where they
promote the development of forestry systems with high natural value and
biodiversity, the forestry multi-functionality as hydrogeological defense of the
territory, the prevention of the risk of deterioration for forest landscapes, the
enhancement of the forest regional landscapes; for Cave, with a sustainable
management and landscape recovery of extractive activities.
• “Networks of landscapes,” where they can be identified as the Large Naturalness
Networks, where promoting landscape upgrading of water networks and
integrating landscape of great natural systems; New Infrastructures of Road,
where hiring the landscape values in the design of road infrastructure, promoting
a context-sensitive design, and the context itself, and finally strengthening and
enhancing the minor roads for hiking purposes; the Infrastructure for Energy,
where promoting new plants in existing and programmed settlements, and pre-
venting the risk of deterioration of rural landscapes.
• “Transregional landscapes,” where the specific objective is their integrated
management.
9.8 Two Selected Paradigmatic Results
The complexity of the prepared strategy, the richness joint to the holistic landscape
mosaic and the corresponding high production of processed data, condition the
impossibility of having synthetic results. It would be necessary to promote all
product data, which corresponds to a detailed critical analysis and interpretation of
the landscape, enriched by the participatory process itself, which at present has not
yet been undertaken. Thus, it is possible to submit two selected paradigmatic cases
that involve cognitive tools related to the urban planning, which explain some clear
design tendencies, and one of the possible strategies that can become the subject of
debate and action of participation, manifested, however, as a government of the
concerted, active, dynamic, and knowledge-based territory.
A: Urban Zoning
Even if the contract does not represent an additional level of planning, it is a land
management mode that cannot be separated from a uniform interpretation of the
analyzed territory (Newson 1997). In this context, a nodal role arises on the
interpretation of territorial development provided by the land use plan, which,
according to the “Consolidated government land and related matters” (Regione
Umbria 2015), that “establishes the urban planning for the development and
transformation of the territory, defining the set-up conditions for the realization of
sustainable local development, as well as identify the areal elements, linear and
point of the area subjected to restrictions and lays down detailed rules for
environmental enhancement and landscape” (Fig. 9.16).
The simplicity of these elements, which clearly must be read in a uniform way
throughout the country, clashes operationally with the fact that such plans are
generally developed independently by each administration, with significant formal
non-uniformity, providing that wants to be overcome with the proposal of a unique
legend for the different plans spread on the territories.
In this Act, the basic criteria that address the design are defined: in fact article 2
states that “The Region is pursuing the optimal structure of the regional territory,
according to the principles of land use containment, reuse of heritage existing
housing and urban regeneration, enhancement of the landscape, historic centres
and cultural heritage, according to sustainable development policies in an integrated
strategic vision, synergistic and consistent with European programming lines,
national and neighbouring regions, as well as defining rules and environmental
sustainability criteria to be applied to territorial governance tools.”
9.8 Two Selected Paradigmatic Results 273
Fig. 9.16 Uniform representation of the different urban plans for Lake Trasimeno Landscape
Contract
On the basis of the structure of planning instruments contained there for config-
uring, with similar objectives, this instrument of investigation and planning, with
the aim of promoting integration among the different scales of design, is in the two-
way sense of integrating the data already developed by project activity, as well as to
set up a survey logical structure useful to guide the development of future planning
instruments (Fig. 9.17 and 9.18).
In particular, it is proposed as a first classification for the standardization of the
reading, an interpretation of the structural part of the PRG, which, in accordance
with the regional law (Regione Umbria 2015), “identifies, in reference to a shared
understanding of socio-economic development and spatial and through lands’
identification, the structural components of the territory”. In such elements, the
following breakdown is proposed:
• Settlements for equipment and public services, public use, or general or collec-
tive interest (including the territorial and functional allocations of land for ser-
vices and equipment and supra-municipal interest)
• Existing settlements that are characterized by historical and cultural value
Scattered settlements in the territory constituting the agricultural heritage char-
acterized by historical, architectural and cultural value include the following:
• Existing settlements mainly residential
• New settlements predominantly residential
• Productive settlements and services for existing and new forecast
• Productive settlements and abandoned services
• Farming areas
• Wooded areas
It points out the probability of an eventual upgrade of the inherent class produc-
tion sites and disused services, whose transformative dynamism, marked even more
by the current crisis, leads to the presumption-related monitoring tools.
From the analyzed data emerge primarily the difficulty of identifying data for all
the foregoing classes, in particular for the case study of Passignano where the plan
is still in progress and did not permit obtaining a conformal representation and accu-
rate data.
The territory in question, clearly excluding the water, turns out to be character-
ized by an agricultural use prevalence (48%), more than the forest (45%), whereas
among the urbanized areas more than half are predisposed to services (4%). The
figure, town by town, shows its variability, with Magione, Castiglione del Lago, and
Tuoro having more built-up areas, a predominantly agricultural one and the forest,
in particular, Piaciano, Magione, and Tuoro, otherwise a strong presence of wooded
areas in Piegaro (almost 80%). The impact of these data must be related to the abso-
lute value of the affected area, where the town of Castiglione del Lago has a leading
role, administering 44% of the concerned territories. It highlights the strong impact
of productive areas and services on the residential zones, in a 3:1 ratio, a condition
that leads to high incidence in absolute terms, considering also that the two sectors
are comparable in all the other towns. Finally, it is interesting to analyze the
Fig. 9.17 Public proprieties of commons in Lake Trasimeno Landscape Contract

Fig. 9.18 Open-map systems for the direction of territorial and landscape information. (Academic
design by E. Bettollini, 2016)
d istribution of the buildings, the relationship among the existing buildings, the his-
toric town, scattered constructions, and the new buildings: in relative terms there is
a building in Paciano and in the concerned territory of Città della Pieve, although
Castiglione del Lago is important for the portion of the bounded scattered construc-
tions (Table 9.1).
B: Public Property
The Landscape Contract aims to develop the territory that is interpreted as common
good, and for that reason, it cannot be separated from the identification of those
which are the municipal administrations’ lands, cadastral data that give rise to pub-
lic goods which are primarily the heritage of the community. It is logical assuming
that each project or investment of public funds should primarily address these areas.
Although the information is not exhaustive of the entire public patrimony as it
does not collect the estates of State Property, the Region, the University, the health
reality, the civic uses, the commonalities, and all the bodies connected to the public
sphere, in this way the area is already photographed in a very interesting way. Such
properties can be intersected with classes of urban zoning to be able to understand
the corresponding possible projects.
From the analyzed territory data, it appears that the particles are 3.956, for a total
of just over 630 hectares (ha). The distribution of those is not uniform on the basis
of the administered areas of the municipalities involved, it emerges as the 37% of
the surfaces are concentrated in Tuoro, while Castiglione del Lago, which counts
44% of the usable area, accounts for 17%. The average size is 1.750 m2 on the par-
ticle, fairly uniform in the three municipalities with the exception of the two
extremes of Paciano (3.244 m2), and especially of Tuoro (5.138 m2). It is interesting
to note that there are 27 owned parcels of different municipalities from those which
administer the territory. The average income from farming land is quite uneven,
with an average of 3.800 euros, which included the highest extreme in Tuoro (10.850
euros) and the lowest in Piegaro (1.340 euros). There are 393 buildings, of about
250 m2 on the average surface within a perimeter of 70 m2, which suggests that it is
the average of at least two-story buildings; it is 104.838 m2, a considerable figure
distributed mainly in the municipalities of Castiglione del Lago, Magione,
Passignano, and Città della Pieve, municipalities that collect 75% of the areas con-
cerned (Table 9.2).
278
Table 9.1 Division of territories of Trasimeno Lake in the standardized urban classes
1 2 3 4 5 6 8 9
Administration Surf. (m2) Surf. (m2) Surf. (m2) Surf. (m2) Surf. (m2) Surf. (m2) Surf. (m2) Surf. (m2)
Castiglione del YES 13019923.3 YES 228,194.011 YES 669,570.948 YES 2,805,355.98 YES 660,971.603 YES 1,991,578.74 YES 76,016,935.51 YES 15,309,370.49
Lago
Città della Pieve YES 788,692.674 YES 206,078.76 NO 0 YES 432,701.487 YES 372,643.82 YES 59,516.789 YES 16,000,755.98 YES 13,301,160.98
Magione YES 1,224,748.23 YES 184,526.105 NO 0 YES 2,118,464.23 YES 766,673.351 YES 397,532.713 YES 31,058,042.05 YES 16,373,878.31
Paciano YES 351,634.303 YES 3852.589 NO 0 YES 172,159.165 YES 175,785.644 YES 53,726.777 YES 10,802,051.39 YES 4,529,698.278
Panicale YES 543,369.425 YES 91344.789 YES 3887.196 YES 267,758.499 YES 101,678.75 YES 252,864.161 YES 29,753,445.92 YES 19,445,252.05
Passignano * YES 12754.672 YES 18810.987 YES YES NO 0 NO 0 NO 0 YES 18,714,318.11 YES 20,455,744.32
Piegaro YES 218,808.729 YES 35023.658 NO NO YES 98258.672 YES 31690.386 YES 185,118.59 YES 4,000,043.076 YES 14,445,430.35
Tuoro sul YES 1528290.9 YES 224,710.132 NO NO YES 590,395.152 YES 303,081.699 YES 163,444.468 YES 18,567,975.45 YES 11,377,742.44
Trasimeno
9 Landscape and Social Participation: The Umbrian Region’s Atlas of Objectives…
Table 9.2 Subdivision of particles (parcels) and public buildings in the municipalities of Trasimeno Lake
Castiglione del Città della
Administration Lago Pieve Magione Paciano Panicale Passignano Piegaro Tuoro TOTALE
Surfaces 1,129,873 722,526 707,620 570,984 307,126 301,456 222,392 2,338,109 6,300,086
9.8 Two Selected Paradigmatic Results
No. parcels 674 636 837 176 392 414 385 455 3969
Average-area/ 1676,369,436 1136,04717 845,4,241,338 3244,227,273 783,4,846,939 728,1,545,894 577,6,415,584 5138,701,099 1766,256,244
Parcels
No. parcels in 1 8 2 3 13 27
other
administrations
Agricultural 4,737,893,175 3,945,440,252 2,074910394 2,403,239,796 2,674,183,673 2,423,350,649 1,347,090,909 10,85,630,769 3,807,802,068
income
% for surface 0,00592223 0,023186459 0,013575739 0,035489295 0,006086572 0,00760193 0,011695994 0,071380348
Global surface 190,785,060,2 31,161,550,49 52,123,864,99 16,088,908,15 50,459,600,79 39,655,193,09 19,014,373,46 32,755,640,23 432,044,191,4
279
9.9 Selected Paradigmatic Strategies
Among the different categories of landscapes strategically identified, the results

processed for the first paradigmatic class are introduced with some considerations
that actually, at the present, represent a first synthesis which follows the research
carried out in preparing the knowledge framework by the university group. It is just
a section of an organic strategy wherein this element stands at the same time as a
basis for further investigation, without however compromising the profuse action
autonomy.
These activities can be defined as the plan to enhance the image of the lake, a
path that starts from the assumption that landscape is the result of perception,
“spoiled” by a contemporary world wherein the primacy of vision has led to
rewriting the communication logic. The values of the places are strictly related to
the accessibility of information, the ability to look not physically but culturally.
Thus, the first definition of smart territory must be a territory able to tell its own
stories (Geddes 1915), not only with new facts (Rossi 1995; Boesiger and Girsberger
1967) but by dialogue among the stratification of signs (Filippucci 2015) that are
established in the landscape design. Certainly, with a reticular narration
(Giandebiaggi and Paltrinieri 2007), connected to the complexity of identity itself,
the objective of the plan is connected to seeking to support the identification of
places of identity (Filippucci 2012). Critics landscapes then become the central
theme, spaces that may remain unsolved because either dumb, for the overdose of
images impoverishes their content of truth (Wender 1997), or cryptic, lost in mazes
of representation (Purini 2008), or harbingers of narrative distortion for the idea of
a world reduced to image of stories unwanted and image embalmed (Pozo Municio
2002, p. 25) underlying the dynamism of building interests.
With a view to enhancing the image by means of a participatory process, you can
assume the following activities.
A: Drafting an Open Map
The landscape is a mosaic characterized by elements placed on multiple levels,

layered and intersecting with each other, where each one of them is important.
The analysis should bring out different themes, to show it, at different scales,
according to many interests. The open map3 of the network can provide a dynamic
representation of information, integrating into the process of implementing and
updating of maps the same population affected. The point is to start from a purely
functional knowledge base to promote the value of the concerned area, useful to
http://www.openstreetmap.org [2018].
3
9.9 Selected Paradigmatic Strategies 281
promote attractiveness and structured routes. This situation triggers a virtual

mechanism for promoting and enhancing the inducing of citizens, manufacturers,
and merchants to be present and active in the territory. Such data can be further
analyzed and compared until you reach the representation of relationships and
denoting indicators. The design then, in its virtuality, allows it to move in space
but also in time, a study of an evolution of historical imagery maps and interpreta-
tions, that the multimedia can resubmit (Bianconi 2008). An example of use of the
open map is the drafting of a participatory map that implements a tourism network
which connects with a Hospitality Plan Widespread (Dall’Ara 2015) to increase
the tourist offerings, identifying, through the analysis of the investment map, with
both traditional instruments, actions that are necessary to the success of the plan
(supplementary plan missing services, targeted incentives, etc. ...). By its very
nature, a Plan for Widespread Hospitality is a possibility of sustainable local
development that can be managed in a collaborative manner between public (enti-
ties that subsidize and support the project in the form of integration of services,
incentives for participation in the POD, provision of organizational and software
tools) and private (business people and private citizens who are committed to
respect what they have signed in the POD). Another interesting application is
mapping the territory as a function of its accessibility: open map projects with this
theme have already been successfully launched by the German community of
OpenStreetMap4, which is drafting the dedicated tag systems. From a campaign to
capture data on the accessibility of the typical places of the territory (historic
centers, museums, accommodations, tourist attractions ...), you can get targeted
indications for an abatement plan of architectural barriers, which can also make
the system with widespread hospitality plan (e.g., providing incentives for the
accommodation and tourist services for those who will intervene to ensure the
usability of spaces and services according to the principles of Universal Design)
(Argentin et al. 2004).
B: Representation of New Points of View
New technologies can be substantial to represent, or re-submit, the image of the

place. Passive detection systems increasingly today reveal with unusual points of
view the riches of our rich landscapes. The hypothesis is then detected, through the
integrated support of aerial drones and drone nautical Galileo ARPA5, what one
perceives from the Lake and from the inclusion of such data in a number of
environmental surveys. This process, to be proposed through the use of dynamic
recovery tools (e.g., GoPro), is aimed to create 3D models from the cloud, derived
http://www.openstreetmap.de/karte [2018].
4
http://www.arpa.umbria.it/pagine/galileo-il-robot-acquatico-di-arpa [2018].
5
from the pictures, useful for the promotion of tourism as well as for a study on
colour. The integration of an infrared camera can support an integrated analysis on
the energy state. The same images could be used to make navigable visions that can
show (perhaps with an app) these points of view, with stations from the shores of
lake correspondents. The process might also be functional to the detection of the
particular environmental aspects and for the identification of any anthropization
damage.
9.10 Landscape and Policy
Landscape topics show the necessity of a specific policy and representation field; in
the centrality of vision, it represents one of the most interesting areas of application
for participation process and co-design. Referring to Vitruvius (De Architectura, I,
2) transposition of Firmitas into the environment, Utilitas to the territory, Venustas
to the landscape, it follows that the core business is the participation process,
because environmental and territorial themes must be subject to a specialist
competence and a top-down approach, but in this approach, the centrality of
perception, at the center of landscape definition, represents an innovative strategy.
The failure of a town planning marked by zoning that has hurt deeply dissociating
territory compartmentalizes the fragile separation of the city in the territory; its loss
leads to a cultural pluralism that expires in approval, in the “loss of place” (Relph
1976), elements which contribute to the loss of meaning and recognition that lead to
“a tragic formlessness” (Augè 1992).
It remains a basic identity of the landscape, linked to the eye, then connected to
its limits, those boundaries that determine the form and must be sought, because in
the perception there is always the need to establish separate units (Arnheim 1954;
Kepes 1944). Hence the drawing of a man-made space, so that for Aristotle the ideal
measure of the urban space was an area “that can be under the gaze of the individual”
(Mumford 1961). The city adapts to the needs of man, even to the perceptual
requirements, so in fact if history has seen the rise of city walls that were drawing
the shape it is also to give a sense of ending at the site, to distinguish inside from
outside to circumscribe the action figurative, related to defined units (Lynch 1960).
The idea is of a vision of the city “for parts”, and not “to pieces” (Alexander 1964)
because it was not a simple breakdown, as its form is not derived from the addition.
Located at the premise of the plan the threshold range, following the rules of per-
ception, is the first complex task to define the field of action where to promote a
contract.
This condition is found in the choices and strategies undertaken in the Regional
Landscape Plan (Regione Umbria 2012), which moves from the conception of the
landscape as a whole context, the nature of trans-scale, integrating locally specifically
the historical and cultural characteristics, ecological-nature, settlement, social, and
9.10 Landscape and Policy 283
symbolic territorial generating specific identity profiles. Consistently, in the organi-

zation of content, the plan refers to three landscape scales that correspond to three
different perceptions:
• “Memory perception, in which the idea of the landscape and its characteristics is
the result of a mental processing, subjective and often shared, that, on the basis
of several of territory images acquired in time and space, gives rise to a synthetic
figure land identification landscape with the identification of the 19 regional
landscapes.
• “Distant perception, for vast portions of the territory, inside of which is readable
complexity and the interweaving of natural and anthropogenic character of the
territory: from that reading comes the identification of large-area landscapes
where articulation of regional landscapes.
• “Close perception,” commensurate with the scale of the rhythms of daily life of
the local landscapes.
In the centrality of perception, the landscape theme that you are addressing has
in essence to its definition the strategy itself and the basis for determining the
necessary boundaries.
From research then comes the opportunity to present a flow (at least national), to
standardize the different contractually pactional forms and ascribe them within that
class. The implementation of the European Landscape Convention (Council of
Europe 2000), the need to protect and preserve our territory, which means
participating in an active co-design process (Enserink and Monnikhof 2003), even
reinventing them, in the sense of restoring meanings, redefining relationships,
understanding them and communicating them again, here to find a new way for the
civic community that lives there. Because the landscape “gives us our identity. And
only when we understand our places, we will be able to participate creatively and
to contribute to their history” (Norberg-Schulz 1980) (Fig. 9.19).
Fig. 9.19 View of Passignano from the lake and proposal for rethinking the image of lake cities
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Urban and Landscape Perspectives

Fabio Bianconi · Marco Filippucci

Aims and Scope

More information about this series at http://www.springer.com/series/7906

Urban and Landscape Perspectives

Library of Congress Control Number: 2018965462

© Springer International Publishing AG, part of Springer Nature 2019

The volume is the result of the combined work of the authors.

Strategie Sperimentali per la pianificazione alimentare,” developed by the University

Fig. 1 Vitruvian triad and

the first part is Territory–Landscape–Environment (T-L-E), in the second one

pal statute. The challenge is to find, in different forms of representation, narrative

Part I Landscape and Labour

Part II Landscape and Place

Part III Landscape and Community

8 Landscape and Production: Food Strategy in Amelia Territory......... 219

Additional Reading.......................................................................................... 287

Landscape and Labour

Landscape is a transversal theme floating between the virtual elaboration of percep-

Abstract In the center of perception, the landscape is connected to materials in

Keywords Cataloguing · Materials · Work · Photography · Infrastructure

© Springer International Publishing AG, part of Springer Nature 2019 5

1.1 Tangible and Intangible Landscape

The anthropized landscape is characterized by two integrated elements, the vis-

1.3 Research Project “Paths of Modernity”

Through the research project “Paths of Modernity,” it was possible to investigate

p. 99), dictated by a “classic Mediterranean of metaphysics aesthetics” (Patetta

Fig. 1.15 Tracks of

Abstract In the centrality of perception, landscape is connected with colours, cen-

© Springer International Publishing AG, part of Springer Nature 2019 29

Keywords Architectural survey · Cataloguing · Chromaticism · Identity ·

2.1 The Colour of Landscape

Landscape, in its definition (Council of Europe 2000), is connected to perception

source of landscape variety (Shuttleworth 1980, pp. 61–76; Stamps 1990, pp. 907–

Among research activities, a proposal called “DYELAB. Natural experimentation

now, innovation of creative districts speaks of sustainability ethics and responsible

resources is an expression of a culture of work, based on social cohesion and dia-

Our proposal, not financed, was composed of a series of European workshops,

Fig. 2.10 Images of Deruta and its colours

2.3 Colour Plan Through Research and Project

The urban landscape is developed in a stratification of signs and colours. There is

2.4 The Case Study of Colour Plan in Deruta Territory

Through a redevelopment project of the individual facades capable of preserving

As a premise of the description of the detection actions undertaken, it is appro-

Fig. 2.16 Analytical data

It is fundamental to combine to a punctual colour choice, being aware of the

Appleton J (1975) The experience of landscape. Wiley, London

Hermann L (1999) Color harmony workbook. Rockport, Gloucester

Abstract In the centrality of perception, landscape is connected to natural elements.

Keywords Natural elements · Generative modelling · Optimization ·

© Springer International Publishing AG, part of Springer Nature 2019 57

Fig. 3.1 Garden painting

Fig. 3.3 Detail of Paul Klee’s “Tree Nursery” (1929). (https://commons.wikimedia.org/wiki/

3.2 Survey, Analysis, and Modelling of Trees

in selecting pruning choices, or opening to make a comparison among different

As already explained by Myneni (1991, pp. 323–344) and Mariscal et al. (2000,

3.3 OLIVE4CLIMATE: A Strategy of Olive Tree

Fig. 3.7 Digital model in

started in the PRIN Project 2010–2011 (201049EXTW_009) CARBONTREE –

Fig. 3.8 Exemplification of parametric instruments (Grasshopper)

Generative modelling, intended simply as a tool for visualizing the representa-

3.4 Architectural Survey of the Olive Tree

Fig. 3.11 Analysis of leaves: irradiation and classification

Part I Landscape and Labour

Part II Landscape and Place

Part III Landscape and Community

8 Landscape and Production: Food Strategy in Amelia Territory......... 219

Additional Reading.......................................................................................... 287

1.1 Tangible and Intangible Landscape

1.3 Research Project “Paths of Modernity”

2.1 The Colour of Landscape

2.3 Colour Plan Through Research and Project

2.4 The Case Study of Colour Plan in Deruta Territory

3.2 Survey, Analysis, and Modelling of Trees

3.3 OLIVE4CLIMATE: A Strategy of Olive Tree

3.4 Architectural Survey of the Olive Tree

3.5 Light and Form in the Olive Tree

3.6 Virtual X–Ray Machine for Tree Analysis

3.7 Future Development of the Analysis

4.1 Landscape, Image of the City, and Transformation

4.2 Perugia and the Ecclesial Polarities

4.3 Ecclesial Polarities and Social Development

4.4 Confiscation and Transformation of Ecclesial Polarities

4.5 Comparison of Two Different Streets

4.6 Landscape and Meaning

5.1 Landscape and Rural Space

5.2 Cataloguing of Rural Assets

identification of architectonical elements that indicate the historical path taken by

5.4 Landscape and Rural Architecture in the Area of Amelia

5.5 Scheduling of Classes in the Amelia Territory Case Study

5.6 The Structure of Cataloguing Schedule

6.1 Drawing the Next Smart Landscape

6.2 Italian Call for Project in Requalification of Urban Area

6.3 Fontivegge Project Storytelling

7.1 Ambiguity in Landscape