Study of Historic Urban Spaces - Case Study of Versailles: (Public Space of Baroque Era)

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Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June 2012 641 Study of Historic Urban Spaces - Case Study of Versailles: (Public

1 Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June Study of Historic Urban Spaces - Case Study of Versailles: (Public Space of Baroque Era) Gaurav Gangwar Abstract--- The advent of technology and specialization has made present situation so complicated that the architects, urban planners and landscape designers have lost the basics of their field. There is need to go for basics of these fields and that is very much possible to go back to study of historical classic examples of built environment. By studying these classic examples in modern context may help to decide the future of these fields. The Versailles is classic example of integration of urban planning, urban design, architecture and landscaping. The Versailles garden is known for its spectacular landscaping related to built mass. The garden was one of the first experiment using geometrical concept in landscaped gardens to visualize the urban spaces on very large scale. The Versailles palace and gardens are not only aesthetically good but showcase of the new trends of integration of architecture and landscape in a urban scale. The variety of spaces of this place and garden shows the richness in its conceptualization of this place by its designers. In this paper the Versailles will be studied only form the urban design angle and focus of this paper will be on landscape garden rather than buildings. T Keywords--- Versailles, Integration, Classic I. INTRODUCTION AND BACKGROUND HE Versailles is rags to riches story among Baroque architecture. In the middle of a field which was once neglected, the palace and surrounding gardens are renowned for their spectacular construction and exquisite detail. The grounds, known generally as le parc were designed by Andre Le Notre who raise the art of garden-craft to a height it has never attained since, and of course had never been reached previously. Although the inspiration for the gardens came from the Italian renaissance, the gardens of Versailles are in a league all their own. Louis XIII had a small hunting lodge on the site, but it was Louis XIV who began to restructure the location into an icon of absolute power and timeless domination. The relationship between Louis the XIII and Louis XIV is exemplified in their treatment of Versailles. Louis XIII was not an effective leader and France did not flourish under his rule. His reign came to an end in 1643 but because his son Louis XIV was merely four years old, his rule did not truly begin until Figure 1: Versailles began as a Convenient Resting Spot for Royal Hunting Parties Passing through the Area. However, Louis XIV Began Using it as his Permanent Residence. II. DESIGNERS The gardens were among the most enchanting delights at Versailles. The original design was by Andre Le Notre, the master gardener of his time. This design was modified and sometimes changed by Jules Hardouin-Mansart on his appointment as First Architect. A rivalry existed between the two, but eventually the integrity of Le Notre s plan was maintained. Lenotre s talents were matched by his opportunities," for his major client was Louis XIV, the "Sun King" of France. In successive designs he perfected the art of tailoring the landscape to / the complete and orderly comprehension of the human eye by making" the features of the landscape visible and distinct. III. URBAN DESIGN ANALYSIS To understand the public spaces of Versailles, we can divide in three parts: Entry portion(town) Château de Versailles(Palace ) Garden IV. RELATIONSHIP OF BUILT TO OPEN The layout of Versailles related a town, a palace, gardens, and a huge park to each other. Gaurav Gangwar, Assistant Professor, Chandigarh College of Architecture Chandigarh, gaurav403@rediffmail.com

Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June 2012 642 change in sensory experience, but perceived as a spatially meaningful

Figure 2: Layout Showing Relationship between Places, Garden and Town The scope of project is limited to only garden except the avenue of town which are having access to Château de Versailles

2 Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June change in sensory experience, but perceived as a spatially meaningful entering experience. Figure 2: Layout Showing Relationship between Places, Garden and Town The scope of project is limited to only garden except the avenue of town which are having access to Château de Versailles (Palace) will be also discussed. V. SPATIAL EXPERIENCE IN VERSAILLES The garden of Versailles is perceived as a series of distinct spatial units. Its different parts are given specific names, and the walks are described as going from one named unit to the next one, as exiting one spatial unit and entering another. Even though they are not surrounded by walls, spatial units are perceived as distinct units because they are perceived as having some sort of limits that distinguish them from their surroundings. Units are understood as such through continuities and discontinuities in particular experiential modalities. The discontinuities define their boundaries as one enters or exits them and the continuities give them internal coherence as one remains within them. The passage from one unit to the next can be made perceptible by the presence of a distinct gateway, such as an archway in an arbour or a couple of dominant vertical element (topiary, vases, statues) on either side of the path, that physically narrows our accessible space as we cross it. But in a more subtle way, it can be made perceptible by a definite change in at least one character, such as a change in the dimensions and proportions of the spatial void (passing from a wide and open environment to a narrow alley; from a broader allee to a narrower one; from an open space with views on several sides to one with no views); in the qualities of the spatial void (the texture and structure of the delimitations; the soil; the presence, the rhythm, or the level of refinement of the ornamentation); the passing from light to shade; the texture of the soil on which one walks; a change in fragrance; a change in sound, its level, quality, characteristics, direction; a kinaesthetic change, such as turning or walking up or down steps. Several sensory discontinuities can happen simultaneously; going from an open allee to a covered one is felt simultaneously as a change in the proportions of the spatial void, in which the view or lack of view of the sky plays an important role; a change in the level of light; but also a change in the temperature felt on the skin; and maybe also a change in the quality of sound. This redundancy reinforces the sense of passage from one realm to another. Thus a sensory discontinuity is not just a VI. ACCESS ROADS From the town side, three main roads converge at the palace entrance at an angle of about 20 to 25. This three-road configuration was a principal means of bringing vista-roads together at one point. Three roads at angles of about 20 to 25 comprise a total viewing field of about 50, well within the human range of vision. Thus the three roads could be embraced as a single view, as in the hunting forests. This configuration, often used by French landscape architects, was given the name patted'oie or "goose- foot," and is found extensively in Versailles. One of the best-known examples of the patted'oie intersection is at the entrance to Rome and appeared almost accidentally as a result of Fontana's plan. Three roads branch out from the Piazza del Popolo creating the framework for a patte d'oie that was not formally finished until the early nineteenth century by French architect, incidentally. Figure 3: Plan of Versailles Showing Three Axes Conversing to Palace at an Angle of 25 Degree VII. GARDEN SPACES A. Main Vista All main landscape features are designed aligning along the principal axes to gain focus of this public space. The axis is also planned for levels which create very interesting views of canal form the Château de Versailles

Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June 2012 643 Figure 4: View towards Canal showing Major Principle Axis Figure 5:

the length from Château de Versailles to starting of canal is approx 3000 but to reduce its scale different pattern of landscaping is done so that user will not get bored to reach to the canal.

Figure 7: View of Vista Showing the Difference in Enclosure IX.

Same vista is being extended to canal area but trees are more of formal in shape (topiary ),vista get widened up to 250 and the height of trees are 45-50 approximate.

The main axis is the center line of the park itself and scans a vista from the center of the palace to the distant horizon.

3 Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June Figure 4: View towards Canal showing Major Principle Axis Figure 5: View towards Château de Versailles showing the Importance of Principle Axis VIII. URBAN SCALE The axis is on monumental scale and the palace seems to be monument.the length from Château de Versailles to starting of canal is approx 3000 but to reduce its scale different pattern of landscaping is done so that user will not get bored to reach to the canal. Vista has been created using the big trees, fountain and levels to focus towards Grand Canal. The angle of vision has been considered for the view to be focused on towards the canal. Figure 7: View of Vista Showing the Difference in Enclosure IX. URBAN ENCLOSURE /MASS The main vista in starting width and 30 0 height trees in one row but 60 height tree in back row creates an enclosure on two sides. Same vista is being extended to canal area but trees are more of formal in shape (topiary ),vista get widened up to 250 and the height of trees are approximate. So it seems that angle of vision has been considered. X. PLAY OF AXIS AND GEOMETRY The park of Versailles a veritable encyclopedia of vista axes some long, some short, some single, and some multiple. The main axis is the center line of the park itself and scans a vista from the center of the palace to the distant horizon. The foreground of this axis, at the foot of the palace, is a series of terraces and fountains. From there it continues as a grassy slope. This droi in elevation allows its distant surface to be better seen, part o which is a cruciform reflecting pool. Even the sky was tied into the composition. The principal design advantage of this art was that it relates an unlimited variety of buildings and places. The park of Versailles contains a zoo, a children's playground, a few adult playgrounds, several small palaces, classical temples and statuary, a mock dairy village, gardens, lakes, innumerable woods, and other o features. Figure 6: Vista is being Divided into Different Parts to Create Interest in such Long Stretch Figure 8: Map Showing Major Axis and Minor Axis in on Part of Verallies

JARDINES DEL PALACIO DE The enclosure is being created by topiary and it changes form the

(a) Figure 9: View of Enclosures in Topiary Garden XII.

two side of walls this space the enclosure get weakened but it may be done intentionally to

(b) Figure 11: View of Petit Trianon EL BOSQUE DE LA COLONNADE A.

4 Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June XI. JARDINES DEL PALACIO DE The enclosure is being created by topiary and it changes form the urban scale i.e. vista to intimate scale. (a) Figure 9: View of Enclosures in Topiary Garden XII. ORANGERIE This is landscape court which is surrounded by three sides but due to slopes on two side of walls this space the enclosure get weakened but it may be done intentionally to extend to the canal part. (a) XIV. (b) Figure 11: View of Petit Trianon EL BOSQUE DE LA COLONNADE A. Urban Enclosure /Mass The space is enclosed by colonnade and the topiary streets are approaching to this colonnade. The scale of urban scale and the diameter of this space is 150 and height of colondae is 30 (approx). Since the ratio of degree of enclosure worked out 1: 2.5 (which is less than min enclosure 1:3). (b) Figure 10: View of Orangerie XIII. PETIT TRIANON The width of avenue is being deliberately created less and the buildings are focused. Figure 12: View of El bosque de la Colonnade

Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June 2012 645 XV.

5 Proceedings of International Conference on Advances in Architecture and Civil Engineering (AARCV 2012), 21 st 23 rd June XV. Figure 13: Plan CONCLUSIONS Lenotre s system of landscape design was a huge visual framework for tying the landscape together by making it completely comprehensible to the human eye and mind. While it has been criticized from a social standpoint for its extravagant cost and oppressive monarchical symbolism, this system can also be defended from a design, as well as a social, standpoint. Versailles as a system of design, it was highly flexible and adaptable. The focal places could as well be the centers of a democratic society as of an aristocratic one, depending on how the concept is used. Indeed, the concept of Versailles was to be used for centuries after by many different societies for many different reasons, just like the grid. The system of land design perfected at Versailles had tremendous influence, and its application be found throughout the world. As a system for designing the total landscape it was unequated, though there have been other, highly useful systems. REFERENCES [1] Veronica Sanchez, Gardens of Versailles. [2] Paul D. Spreiregen, Urban design : The architecture of towns and cities. [3] Arthur B. Gallion and Simon Eisner, The Urban pattern : The city planning and design [4] L. Hilberseimer, The nature of cities. [5] Edmund N, Bacon, Design of cities [6] [7] Experiential analysis of Versailles s methodology to teach spatial thinking Catherine Szanto Ecole d Architecture de Paris La Villette, laboratoire AMP (France)

Periods of Renaissance Architecture

Periods of Renaissance Architecture Early Renaissance (Brunelleschi and Alberti) High Renaissance (Bramante and Raphael) Mannerism (Michaelangelo and Palladio) Baroque (Bernini and Borromini) Baroque 17