CONTENTS

Introduction
Chapter-wise review
Perception about the book
Intention of the book
Conclusion
References

BOOK REVIEW: CAMILLO SITTE: CITY PLANNING ACCORDIND TO

ARTISTIC PRINCIPLES

INTRODUCTION:
The book CITY PLANNING According to Artistic Principles is written by CAMILLO SITTE. The
book was originally published in German and was first published in United States, 1965. The book
was written in 1889 taking into reference Medieval and Renaissance period. CITY PLANNING
according to Artistic Principles is not purely an attack on the modern planning systems of the
time, but an attempt to define a unity between modern and artistic methods through the creation of
suitable public space. CAMILLO SITTE travelled extensively throughout Europe visiting cities in
Italy, France and Germany as well as his native Austria. Through his travels, he observed how
these cities had developed and established a set of principles by which he believed cities should
be planned. These ideas were based primarily on the plaza and associated public space.
There are places like public squares, beautiful vistas, town views etc. in whose presence we feel
very happy and lively. We would like to hang on to such places more often whose beauties do not
fade away with time because then and then only we would be able to endure it for longer span.
The uncontrollable liveliness of the place is primarily a gift of nature but it also depends on the
temperament of people. A city should be designed to make its people secure and happy and lively.
It should not be taken as technical subject merely. In mathematical century subject of city planning
became almost purely technical which reminds us that this solves or caters to just one aspect
while artistic aspects are not considered here at all. In this book ancient and modern cities will be
analysed in purely artistic manner which aims at finding escapism from modern block system in
order to save the beautiful old parts of the towns from being demolished and to bring forth
something in spirit of old masterpiece.
CHAPTER 1: THE RELATIONSHIP BETWEEN THE BUILDINGS, MONUMENTS, AND THEIR
PLAZAS
In this chapter Sitte has magnificently explained the relationship between the buildings,
monuments, and their plazas. In Renaissance and Middle ages period the plazas used to remain
trafficked with people, public celebrations took place, plays were put on, also they were used for
various legal and practical purposes. Also the public squares were emancipated according to the
different communities, various legal and practical purposes and hence we can clearly see the
distinction between the ecclestical and secular authority. Here he also suggests that it is not
necessary to investigate picturesque beauty of the old towns for modern purposes but this should
not prevent us from studying all the features of planning cities. In this way we can determine what
might still be salvageable and retainable as a heritage or as the beauties of the old towns.
CHAPTER 2: THAT THE CENTRE OF PLAZAS BE KEPT FREE
Sitte emphasized that the centre of plazas must remain permanently vacant, simply because of the
desire to leave the line of vision free and not blocked by monuments. Otherwise, in his opinion, not
only would such monuments interfere with the view of buildings but the buildings would present the
worst type of background for the monuments. He also criticized the way of building churches or
public buildings in the centre of the plazas, because they spoiled the view of the plaza and there
would be no adequate space distance to see the faade of the building very well. Simply he called
this as representing a lack of judgment.
CHAPTER 3: THAT PUBLIC SQUARES SHOULD BE ENCLOSED ENTITIES
During olden times ancient forums were rigorously closed off from the outside. This tradition
persisted for a long time during Medieval and Renaissance period and it is largely this feature

which makes for a harmonious effect of plazas. In the old plazas we see the streets opening up on
to the plaza. In those times only one street would open up at each point while second one would
branch off further back on this street out of the sight of the plaza. Each of the three or four corners
of the streets enters the plaza at a different angle and this occurred so frequently with different
variation of its own that consciously or sub-consciously it became the principle of old city planning.
CHAPTER 4: THE SIZE AND SHAPE OF THE PLAZAS
According to Sittes classification there are two categories of city squares, the deep type and wide
type, and to know whether a plaza is deep or wide the observer needs to stand opposite the major
building that dominates the whole lay out. So the classification is not about dimensions but is
dependent on the relationship between the plaza and its surroundings.