3.2.1 Types of Public Squares

Maurits Voorhorst in his Dutch book ‘Logische Ruimte, eenduidige en authentieke stedebouw’ (‘Logical Space, unambiguous and authentic urban design’) described squares. He determines the event square, the spatial square, the traffic square and the urban square. (Voorhorst, Irregular Squares, 2012)

The event square: a square that’s designed for intensive use at events, but is empty when there’s nothing to do. Every city needs a place for events, but people do not feel pleasant on a big and empty event square.

The spatial square: a square in front of a building to create a view to the building. These (mostly little) squares give historical centres it’s typical identity as they act as appreciation spaces for the structure.

The traffic square: cross points and parking areas dominate traffic squares. These areas are primary designed for the practical use and not for the spatial effect of the urban volume.

The urban square: a square where people meet each other, interact and connect, want to stay on, eat something or just sit down on a bench or wall. (Voorhorst, Irregular Squares, 2012)

Two of the most influential theories were outlined by Paul Zucker and Sitte. From his work on squares Zucker was able to distinguish five archetypal forms: the closed square where the space is self-contained; the dominated square where the space is directed towards the main building; the nuclear square where space is formed around a centre; grouped squares where spatial units are combined to form larger compositions; and the amorphous square where space is unlimited. (J.C.Moughtin, 2003)

For Sitte, enclosure was taken as the prerequisite of the square and he concluded that there were only two types of square in formal terms, the character of either being determined by the nature of the dominant building. The two categories of square distinguished by Sitte were, “the deep type and the wide type . . . whether a plaza is deep or wide usually becomes apparent when the observer stands opposite the major building that dominates the whole layout”. For Sitte both the amorphous square and the space formed around a central object being outside his definition of the subject matter would have little meaning for him. Grouped squares on the other hand were the object of much attention by Sitte. They were, however, not thought by him to be a generic form but more simply one manner in which squares could be related to each other and to the urban fabric in general. (J.C.Moughtin, 2003)

3.2.1a THE CLOSED SQUARE

A simple geometric figure is the primary elements like a square, rectangle, circle, triangle is usually the shape in plan of a closed square. Its walls are defined by a large array of façade of a single building or series of structure. This makes the building as an individual entity or a common spatial quality experienced from the square giving the space a sense of enclosure. The only significant opening in this typology is the road that leads to it and the sky. The squares approach to enclosure is the handling of its corners. If there are more open corners, the sense of enclosure is reduced, the more built or complete it is, the greater feelings of being enclosed. The interior ground could be developed in many ways including street furniture, sculptures, pavements, greenery etc. This is a self-contained pace.

Figure 38: Representation of a closed square (Author)

A continuous surface should be created by the buildings around an enclosed space and present an architectural unity to the spectator. To maintain continuity, the influence of the mass of individual buildings has to be minimized. If there is a repetition of individual styles of building or house facing the enclosure, the effect of continuity is enhanced.

The degree of enclosure is influenced by other essential qualities of squares and their surrounding buildings. These include the design of the roof line of the enclosing buildings, the height of the enclosing buildings in relation to the size of the space, the degree of their three-dimensional modelling, the presence or absence of an architectural unifying theme and the overall shape of the space itself.

Figure 39: Degree of enclosure influenced by i) roof line ii) height of enclosing building to size of space (Author)

Plaza Mayor, Madrid

Figure 41: Plan of Plaza Mayor, Madrid (Author)

Figure 40: Plaza Mayor facades (https://heritagehotelsofeurope.com)

Figure 43: Plaza Mayor, Madrid (Google)

Figure 42: (Plaza Mayor at evening (Wikipedia)

Buland Darwaza, Fatehpur Sikri, Uttar Pradesh

Figure 44: Plan of Fatehpur Sikri, Uttar Pradesh (Author)

Figure 46: View of the closed square ( https://amazemytrip.com)

Figure 45: Arcade (https://www.tripsavvy.com)

Other Examples of Closed Squares-

Figure 47: Meenakshi temple, Madurai (https://traveltriangle.com)

Figure 48: Horniman Circle, Mumbai (UDRI)

However delightful squares abound; they take shapes that come to terms with the demand of site, the practicalities of a long- term building process and a multiplicity of individual ownership decisions.

3.2.1b THE DOMINANT SQUARE

This square diverts the view to a particular building or an entity like a sculpture/monument. The dominating element usually controls the space of the square before it, the space is directed towards the main element. The dominant feature may be a church, a palace, a city hall or an open vista which acts like a magnet to attract the perspectives of the square creating a motion and tension between the open space and the dominating element. Direction of streets which opens into the square creates an axis to the main element.

The dominant feature forces the visitors to move towards and look at the main element. The structure doesn’t have to be monumental; it could also be a gate or an arch which can dominate the entire square.

Figure 49: Representation of a dominant square (Author)

The ideal distance for viewing one dominant building at the end of a plaza lies somewhere between equalling the height of the building and twice that dimension. (J.C.Moughtin, 2003)

Notre Dame, Paris

Figure 50: Understanding Notre Dame as a Dominant Square (Author)

Figure 51: People pulled towards the main element- Notre Dame (https://www.thenation.com)

Figure 52: Activity around Notre Dame, (Author)

Gateway of India, Mumbai

Figure 53: Understanding Gateway of India as a Dominant Square (Author)

Figure 55: People attracted towards Gateway of India (Wikipedia)

Figure 54: Dominant Structure (https://photocontest.smithsonianmag.com)

Other Examples of Dominant Square-

Figure 57: Charminar, Hyderabad (Wikipedia)

Figure 56: A Fountain acting as the main element- Fontana di trevi, Italy (tripadvisor.in)

Figure 59: Main element can be a void or natural element, Maria Theresa Street, Innsbruck (commons.wikimedia.org)

Figure 58: Main element bein g a Gate, Brandenburg Gate, Berlin ( Britannica)

Figure 60: Dominating element is a broad river, Praca do Comercia, Lisobon (www.travel-inportugal.com)

3.2.1c THE NUCLEAR SQUARE

The spatial unity of public squares is not necessarily dependent on the architectural or natural boundaries. Indeed, any element which is very strong and large enough in size to form a focus within a space of a square by acting as a nucleus (the central and most important part of an object, movement, or group, forming the basis for its activity and growth.) for that space may result in an artistic wholeness in direct contrast to the apparent non coordination of the surroundings. Element produces a sense of order and integration.

Figure 61: Representation of a Nuclear Square (Author)

It is powerful enough to charge the space around with a tension that the impression of the square will be evoked, it will tie the heterogenous elements of the periphery into one visual unit.

Dimensions of the nuclear square are restricted as the visual effect of the central monument is naturally limited.

Trafalgar Square, London

Figure 62: Understanding Trafalgar Square as a Nuclear square (Author)

Figure 63: Trafalgar Square, London (london.gov.uk)

National War Memorial, New Delhi

Figure 64: Understanding National war memorial square as a Nuclear Square (Author)

Figure 65: National War Memorial, New Delhi (Google)

Other Examples of Nuclear Square

Figure 67: Piazza del santo, Italy (Wikipedia)

Figure 66: Place de la Concorde, Paris (Britannica)

But a nuclear square is not created with each statue, obelisk, or fountain placed in a square. These focal points might only contribute to the furnishing of the square while the spatial classification of the square is determined by other features. For example, Plaza Mayor, it is a closed square, even though it contains a centrally located statue.

3.2.1d THE GROUPED SQUARE

While a city is designed, urban squares are often developed in spatial relationship to one another. Dynamic contrasts of successive spaces may be ordered to create a planned sequence in the drama of the urban space. Each unit “separated square” represents a self sufficient unit and a part of a larger composition. The grouped squares were axially oriented in numerous Roman and Baroque examples. Squares may be grouped without direct physical contact through the use of a linking device such as a street, a church or an arcaded passageway.

Figure 68: Representation of a Grouped Square (Author)

Imperial Fora, Rome

Figure 70: Understanding Imperial Fora as a grouped square (Author)

Figure 69: Imperial Fora, Rome(www.teggelaar.com)

Other Examples of Grouped Square

Figure 75: Piazza and Piazzetta, Venice (www.teggelaar.com)

Figure 74: Palazzo Podesta square, Italy(www.viator.com)

Figure 73: Palazzo Poedsta square plan (Google maps)

Figure 72: Piazza delle Erbe, Italy (Wikipedia)

Figure 71: Piazza delle Erbe plan (Google maps)

3.2.1e THE AMORPHOUS SQUARE

These types of squares are formless, unorganized or have no specific shape and are from an aesthetic point of view. They usually possess no particular form or a typology.

Place de l'Opera, Paris

Figure 76: Place de l'Opera square, Paris (en.parisinfo.com)

Figure 77: Place de l'Opera Building, Paris

Place de l’Opera could not become a Dominant Square inspite of the monumental façade of the Opera Building. Presence of small structures like the entrance to the Metro are scattered all over the area. Such squares are from a surveyors point of view.

Other Examples of Amorphous Square

Figure 79: Scolly square, Boston

Figure 78: Golden Temple, Amritsar

Conclusion

The classification of squares based on their spatial form is a method of comprehending the way in which a particular space is made into an artistic whole, that it is articulated by a combination of physically determining elements. Every space is shaped according to the functions that are performed in it, or conversely, the shape of the space attracts certain functions.

It is seen that one square could actually have two types of squares’ elements. For example, St. Peteres Square, Rome, when looked at from the entrance point it is a Closed Square bounded by the lateral colonnades and the basilica façade. The tall obelisk acts as a main element, making it a Nuclear Square. The monumental Basilica makes it a Dominant Square.

Hence, these should just be a starting point rather than a rigid assertive system.

Figure 80: St Peteres Square acting as multiple squares (Author)

Apart from this, squares could also be termed by Time- Some squares change function according to the time or season, for example, Manek Chowk.

Waters Edge- Due to the growing demand for such spaces, it is possible in near future, something like a waters edge could be termed as a square too.

Therefore, squares could have multiple identities.