Why Harmony Embraces Imperfection [Rome]

Why Harmony Embraces Imperfection [Rome]

Arti Harchekar

Many times when I give my background for a session, I rarely talk about where I went to school. As soon as I mention that I have a Master of Architecture from Notre Dame, I get an "Ah that makes sense." So I suppose IYKYK, and if you don't then maybe this post will give you a glimpse. The graduate program includes a semester of study in Rome, Italy, and integrates design studios, history classes, as well as sketching and painting. Central to the teaching method is understanding the place by designing for that place, which is informed by centuries of urban refinement. During a course taught by David Mayernik, our assignment was to understand which came first the architecture or the space in a pre-selected area. As you delve into trying to answer this question, you begin to understand that it is not that straightforward. Maybe one building came before the space, then the piazza, and then the remainder of the building wall embellishing the space we experience today. The point is to understand that urban design is a continuous process. Cities do not emerge from a single vision but evolve over time through contributions from multiple designers. Each new architect or designer, the "second man," must engage with what came before. The role of the "second man" is presented by Edmund Bacon (yes, Kevin Bacon's father) in the Design of Cities. The "second man" is not just a follower but an active participant in shaping urban form. They can enhance the original vision or reinterpret it to create new directions in urban design. A successful "second man" respects historical context while introducing changes that make sense for the present and future.

Let's look at the evolution of the Spanish Steps in Rome. To answer the first question, Louis XII of France began constructing the Trinita dei Monti at the top of the hill in 1502. The present Renaissance church was built in its place and consecrated in 1585 by Pope Sixtus V. The church opens onto the Piazza della Trinita. In the 1600s, construction of the Piazza di Spagna began. At the time it was a vibrant cultural center, attracting artists and travelers across Europe seeking inspiration from the city's classical ruins. During this time, an important city plan gave fountains a prominent role in the center of the main squares. In 1620, the scenographic project of the Fontena della Barcaccia was entrusted to Pietro Bernini, and completed by his son, Gian Lorenzo. Its position within Piazza di Spagna is in line with the Via dei Condotti and tangent to the continuation of Via del Babuino.

What was the imperfection? Before the construction of the staircase, Trinita dei Monti and Piazza di Spagna were connected by two steep and muddy roads placed along the slope. These roads were only passable by foot. The place embraced the imperfection, understanding that it didn't need to be completed at that time. The stage was set for the "second man" to one day fill that void. Both the church and the piazza had the courage and self-acceptance to continue their contributions to each place by accepting the imperfection. This allowed the community to connect with the places and the people within them in meaningful ways. Such acceptance requires shifting our mindset toward growth rather than earning approval or setting unattainable standards.

In 1660, a French diplomat died leaving part of his fortune for the construction of the Steps. Cardinal Mazarin and Pope Clement IX took an interest in the project, but soon after they died and the funding fell through. The project lay dormant until Pope Clement XI renewed interest in the early 18th century. A design competition was held in 1717 and won by Francesco de Sanctis. Construction of the Steps began in 1723 and was completed in 1725.

What do the Steps do for the space and for us? In addition to being a natural transition between levels, it is a volume that is integral to the place where people gather and where energy is reflected through sunlight and air. The levels provide places to sit, a place to look at other people while also being seen, and a place that increases face-to-face contact when people are together. The Steps give a high point to comprehensively understand the space and the city within the Piazza della Trinita, extend opportunities to rest, wrap the building wall at the perimeter of the outdoor room, offer curved moments to break up its angular objects, and hug the Piazza di Spagna below. They welcome a harmony that includes imperfection, appreciating the beauty of real cities and people. We find beauty in the elegant solution as it represents our inner happiness. Perfectionism, unlike striving for excellence, is a fear-driven defense mechanism rooted in avoiding failure and shame. It often leads to dissatisfaction, self-doubt, inaction, and burnout rather than personal growth and worthiness.

Your Brain on Island Architecture [U.S. Virgin Islands]

Your Brain on Island Architecture [U.S. Virgin Islands]