Criticizes the regular and obsessive order of the new squares, confronting it with the irregularity of the medieval city. A square should be seen as a room: it should form an enclosed space;
Criticizes the isolated placement of Churches and monuments, and confronts it with how monuments were formerly presented to the viewer;
With examples from Italy, Austria and Germany, he defines a square typology, an enclosed squares system of the ancient times. He studies from a psychological viewpoint the perception of the proportions between the monuments and its surroundings, opposing the fashion of very wide streets and squares, and the dogma of orthogonality and symmetry;
He fears that Urbanism would have become a mere technical task without any artistic involvement. He acknowledges an antagonism between the picturesque and the pragmatic, and states that these restrain the works of the artists. The building of another Acropole would become impossible, not only because of the financial means, but also the lack of the basic artistic generating thought;
He stated that an urban planner should not be too concerned with the small design. The city should only take care of the general streets and structure, while the rest would be left to private initiative, just as in ancient cities;
He Provides an example of his theories at the end of one of his books in the form of the redesign of Viennas Ring, a circular avenue.
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2016-03-02
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