Where do you discover the soul of a city, or find that ineffable insight which reveals what Thomas Wolfe calls 'the secret heart of darkness'? Not in the effusions of contemporary architects more eager for glittering prizes than the echoes of posterity, nor the relics of earlier cultural incarnations, selectively preserved to complement and burnish politicians' chosen contemporary narratives. Perhaps in the gritty functional spaces - railway stations, bus termini - cathedrals to the belief 'I move, therefore I am'. Maybe in the ragged outer edges where city gives way to suburb and the tendrils of ribbon development reach for the next town.
Of course there is no single answer. To know a city requires synthesising all of these different facets. The tourist haunts, the exploration of the fringes as Will Self has famously done for London, uncovering buried layers quiescent under the familiar or persisting in ghostly parallel, as Robert McFarlane recounts in The Old Ways.
My time in Florence was limited and further curtailed by unexpected illness so as usual I adopted a pick 'n' mix approach whose only virtue was a complete lack of expectation, a guaranteed foil to disappointment.
From the eminence of Piazza Michelangelo, infested with the trinket sellers that gravitate towards all tourist honeypots, Florence lies at your feet, as my host Leyla had foretold. High enough to provide a view yet close enough to identify landmarks, the piazza offers Google Earth zoomed to perfection. Cupped by the surrounding hills, the city's patchwork of burnt orange, yellow ochre and hot pink is an artisan quilt settled in the folds of the landscape and pinned to the valley by the Arno and its tributaries. As the sun sets, the colours grow richer and the shadows tilt the picture into 3D. Purchased with the lives of the exploited and oppressed, like most World Heritage Sites, the creation of this gorgeous vista is less of a marvel than its preservation. In any country the appetites of rapacious developers for an extra storey here, some infill there, is rarely resistable especially when sugared by so-called planning gain. And yet here in Italy, a byword for corruption in Europe, no building in view from the piazza exceeds the height of the Renaissance palaces, and, from street level, no architectural dissonance is evident.
For a truly unglossed account of any city, pay attention during the tiresome transfer from airport to city centre. Arriving for the first time at Budapest, which formed with Vienna and Prague the nineteenth century cultural nexus of central Europe, on the way from the airport I was startled to be confronted by a disjunctive Tesco, sqatting amongst the dusty villas and a beachhead for the multinationals.
The bus journey to Pisa airport slices through Florence's layers. As we progress from the preserved centre through dreary suburbs to the outer penumbra, the familiar attributes of modern life assert themselves: a shopping mall, factories, even a Hilton hotel forlornly banished to the city's margin. And then, cresting a hill, in a self-parody of the Tuscan stereotype appear endless olive groves and vineyards. In another field, a crop more curious than triffids has established a colony. A thousand or more photovoltaic cells tip their faces to the sun, silently harvesting photons, more valuable than the olives or grapes they replaced and signalling the crushing ascendancy of technology over agriculture. When forty percent of arable land in the US is sacrificed to the insatiable demand for ethanol, forcing price increases in foodstuffs, even the use of land for renewable energy production seems liminal.
We reach Pisa. Standing tall, if not proud, in the skyline the famous leaning tower cannot be overlooked, in any sense. A treasonous thought teases me: maybe Florentines regard the result of Pisa's experiment with the skyscraper as an awful warning, and their moratorium on high rise and architectural innovation owes more to caution than conservation.
© David Thompson 2012
Of course there is no single answer. To know a city requires synthesising all of these different facets. The tourist haunts, the exploration of the fringes as Will Self has famously done for London, uncovering buried layers quiescent under the familiar or persisting in ghostly parallel, as Robert McFarlane recounts in The Old Ways.
My time in Florence was limited and further curtailed by unexpected illness so as usual I adopted a pick 'n' mix approach whose only virtue was a complete lack of expectation, a guaranteed foil to disappointment.
From the eminence of Piazza Michelangelo, infested with the trinket sellers that gravitate towards all tourist honeypots, Florence lies at your feet, as my host Leyla had foretold. High enough to provide a view yet close enough to identify landmarks, the piazza offers Google Earth zoomed to perfection. Cupped by the surrounding hills, the city's patchwork of burnt orange, yellow ochre and hot pink is an artisan quilt settled in the folds of the landscape and pinned to the valley by the Arno and its tributaries. As the sun sets, the colours grow richer and the shadows tilt the picture into 3D. Purchased with the lives of the exploited and oppressed, like most World Heritage Sites, the creation of this gorgeous vista is less of a marvel than its preservation. In any country the appetites of rapacious developers for an extra storey here, some infill there, is rarely resistable especially when sugared by so-called planning gain. And yet here in Italy, a byword for corruption in Europe, no building in view from the piazza exceeds the height of the Renaissance palaces, and, from street level, no architectural dissonance is evident.
For a truly unglossed account of any city, pay attention during the tiresome transfer from airport to city centre. Arriving for the first time at Budapest, which formed with Vienna and Prague the nineteenth century cultural nexus of central Europe, on the way from the airport I was startled to be confronted by a disjunctive Tesco, sqatting amongst the dusty villas and a beachhead for the multinationals.
The bus journey to Pisa airport slices through Florence's layers. As we progress from the preserved centre through dreary suburbs to the outer penumbra, the familiar attributes of modern life assert themselves: a shopping mall, factories, even a Hilton hotel forlornly banished to the city's margin. And then, cresting a hill, in a self-parody of the Tuscan stereotype appear endless olive groves and vineyards. In another field, a crop more curious than triffids has established a colony. A thousand or more photovoltaic cells tip their faces to the sun, silently harvesting photons, more valuable than the olives or grapes they replaced and signalling the crushing ascendancy of technology over agriculture. When forty percent of arable land in the US is sacrificed to the insatiable demand for ethanol, forcing price increases in foodstuffs, even the use of land for renewable energy production seems liminal.
We reach Pisa. Standing tall, if not proud, in the skyline the famous leaning tower cannot be overlooked, in any sense. A treasonous thought teases me: maybe Florentines regard the result of Pisa's experiment with the skyscraper as an awful warning, and their moratorium on high rise and architectural innovation owes more to caution than conservation.
© David Thompson 2012