Piazza di via Roma
Francesco Steccanella
Concordia Sagittaria
The presence of Concordia Sagittaria, a small town in Veneto’s hinterland, between Venice and Trieste, is already documented as far back as the 10th century BC, with particular reference to the Roman settlement founded in 42 BC. A military cemetery, a bridge, the Decumano Massimo, wells from the imperial age, traces of the theatre and forum including various artistic elements were hence unearthed in different excavation areas.
With the opportunity to pave an area of modern-day city, the idea proposed by designer Francesco Steccanella to create a horizontal sculptural work is triumphant. Supporting it is precisely this precious presence of ancient remains. They themselves become a creative stimulus for the design of a system of public spaces, where the two basic geometrical dimensions have already been defined, the fourth dimension being crossing time, while the third dimension of height plays a fundamental role. Ancient elements are therefore raised on pedestals and the space is furnished with elements in a multitude of materials, combining colombino with wood, gravel and oxidized metals. The use of different materials is backed by evocative intentions, as in the case of the narrow, elongated geometry of the stone elements which echo the dimension of the timber staves of the boats and wharfs to which the town near the upper Adriatic gulf has close ties. The monumental plan hierarchically divides up the walkways, which are paved in different-sized slabs, with ample joints of pale mortar. The execution of the project is by no means facilitated by the combination of sandstone and colombino; the flamed finish of both stones aligns the newly laid materials with the elapsing of time of the excavated elements.
Lastly, the artificial lighting, a sober presence during the daytime, creates a scenographical effect by night with fixtures inserted into the podiums, stone seating and predetermined points in the paving design.
With the opportunity to pave an area of modern-day city, the idea proposed by designer Francesco Steccanella to create a horizontal sculptural work is triumphant. Supporting it is precisely this precious presence of ancient remains. They themselves become a creative stimulus for the design of a system of public spaces, where the two basic geometrical dimensions have already been defined, the fourth dimension being crossing time, while the third dimension of height plays a fundamental role. Ancient elements are therefore raised on pedestals and the space is furnished with elements in a multitude of materials, combining colombino with wood, gravel and oxidized metals. The use of different materials is backed by evocative intentions, as in the case of the narrow, elongated geometry of the stone elements which echo the dimension of the timber staves of the boats and wharfs to which the town near the upper Adriatic gulf has close ties. The monumental plan hierarchically divides up the walkways, which are paved in different-sized slabs, with ample joints of pale mortar. The execution of the project is by no means facilitated by the combination of sandstone and colombino; the flamed finish of both stones aligns the newly laid materials with the elapsing of time of the excavated elements.
Lastly, the artificial lighting, a sober presence during the daytime, creates a scenographical effect by night with fixtures inserted into the podiums, stone seating and predetermined points in the paving design.
