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https://doi.org/10.1016/j.eng.2018.03.013
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176 A. De Risi / Engineering 4 (2018) 175–179
Fig. 1. Salvator Rosa Station. (Photo credit: Luca Pioltelli) Fig. 4. Museo Station displays work by the artist Mimmo Iodice. (Photo credit:
Peppe Avallone)
Fig. 2. Cilea Station exhibits work by the artist Marisa Albanese. (Photo credit:
Peppe Avallone)
Fig. 5. Dante Station exhibits work by the artist Joseph Kosuth. (Photo credit: Peppe
Avallone)
Fig. 3. Materdei Station showcases work by the artist Sol Lewitt. (Photo credit:
Peppe Avallone)
4. Urban renewal
Each urban design has its own history and its own raison d’être.
In Naples, the most emblematic of these is, without a doubt, the
renewal of Piazza Garibaldi. When dealing with the topic of Piazza
Garibaldi in 2005, in consultation with the architect Dominique
Perrault and the municipal administration, the need to establish
a different urban environment at this location was immediately
emphasized. In this case, the area of intervention was unique,
encompassing an entire urban area that was complex in terms of
both size and logistics.
Piazza Garibaldi is significantly important in comparison with The south part is a protected space, and is shielded from the sun
all other Neapolitan squares, and is logistically linked to its posi- by a large permanent canopy structure containing a subter-
tion on a virtual boundary between the historic part of Naples ranean walkway. Here, pedestrian traffic mixes with users of
and more recent development; thus, the piazza acts as an inter- varying origins and destinations (Naples Central Railway Sta-
change hub of transport between the city and suburban areas. tion, Circumvesuviana Railway Station, and Metro Line 2). This
The revitalization of Piazza Garibaldi began with the goal of work- walkway, or commercial gallery, is intended to be an entry to
ing out a proposal that was capable of initiating a complete the ‘‘underworld” of the metro system; it is both parallel to
renewal of the entire urban area, by extending as far as possible and firmly integrated with the aboveground city (Fig. 12). The
the borders of action and reaction for this urban renewal project. Piazza Garibaldi project is thus an emblem of how a great
Given the current administration, which promotes the progres- infrastructure of collective transport can induce a complete
sive limitation of private transportation and facilitates the growth urban transformation.
of public transportation, it may be said that the future of this dis-
trict will depend on the process of strengthening and rationalizing 5. The most beautiful station in Europe
transportation both private and public, as determined by the fol-
lowing concepts: Toledo Station was designed by the architect Oscar Tusquets
(1) Optimization of the public transport network (train, metro, Blanca of Barcelona, and is a masterpiece. In fact, based on a survey
bus, and taxi) by improving the usability of these services by the that was conducted by the prestigious English newspaper The Daily
public, including promotion of bicycle use. Telegraph in major European cities, this station was designated the
(2) Improvement of the road network on the surface, with the most beautiful of all the underground stations of Europe. The
launch of a new platform that is able to manage traffic information. Toledo Station project represents a synthesis of the design strategy
(3) Restructuring of the existing stations and the provision of a used in the Naples metro system.
network of pedestrian links on various levels to ensure good access This station is located between two contradictory sides of
to the new metro stations, and careful relocation of underground Naples: on the one hand, an ancient and problematic part of
and aboveground spaces where necessary. Naples, the Spanish Quarter, which began around 1500 as a mili-
Urban redevelopment on this scale must necessarily be accom- tary camp of the Spanish soldiers occupying Naples; and, on the
panied by a very strong political will, and requires a special archi- other hand, the Via Toledo, a commercial and institutional head-
tectural quality. Piazza Garibaldi already represents an urban space quarters that still bears the name of Viceroy Pedro Álvarez de
that is full of vivacity and movement, and reflects the needs and Toledo, who first built it.
character of the Neapolitan people. This project aims to preserve The general concept of the design is based on the concept of the
and enhance this identity, which is inherent to the place, while ‘‘sea level” that horizontally divides the station interior. Above this
simultaneously attempting to solve more problematic aspects level, the station is visually designed as the inside of an excavation,
related to the congestion of vehicular traffic and the extreme frag- showing the Aragonian wall that was found during construction.
mentation of the public use of these spaces. Below the aquifer level, the user has the impression of diving
The existing station is a concrete monument; the design of the underwater, due to the colors and materials selected by the archi-
extensive coverage of the southern part of the piazza develops as a tect (Fig. 13).
continuation of the old building roof, in an evolution and transfor- All the floors are crossed by a large cone of natural light, as a
mation of the theme abri, meaning shelter and protection. The new periscope is open from the road surface above to a depth of 30 m
structure differs totally in terms of materials and line from the below, allowing people on the surface to admire the immersed
existing superstructure (the elegant work of Pier Luigi Nervi); how- passage of subway users, and creating a ‘‘real” underwater
ever, it preserves the dimensional connotation, which expresses a architecture. Passengers on their way to and from trains will be
very special relationship with the context, the existing structure drawn into the cone of light, which is coated in a mosaic colored
and the new structure have the same height. in various shades of blue; the mosaic is partly lit by natural light
The square is then divided by its two distinct functions (Fig. 11): coming from the surface and partly by the light artwork of Bob
The north part of the square contains a space consisting of gar- Wilson, which consists of LED lights in various intensities of blue
dens, and a belowground square that provides access to Metro and white.
Lines 1 and 2, highlighted by the presence of space for displays
and/or performances by street artists.
Fig. 11. A computer-aided design (CAD) image of the new Garibaldi Square. Fig. 12. The commercial gallery at Garibaldi Station. (Source: Archives of
(Source: Archives of Metropolitana di Napoli S.p.A.) Metropolitana di Napoli S.p.A.)
A. De Risi / Engineering 4 (2018) 175–179 179
Fig. 14. A mosaic by William Kentridge at Toledo Station. (Photo credit: Daniele
Puglia)
Fig. 13. The light cone of the Toledo Station. (Photo credit: Peppe Avallone)