Short history

The story of European squares is tied through a continuous historical thread to Greek antiquity where the plateia and then the agora appear. The urban square is specific to Europe, for such a continuity is not present in other cultures, even if they also posses squares, some very large in size. It was Europe that invented the square and developed it as an architectural form, in order to export it across the world, mainly during the colonial period.

Poreč, Croatia
Poreč, Croatia

At first a simple widening of the main road in a Greek polis, the square gains, with time, community and religious functions and is also beautified. From the Greeks, the square is adopted by Roman architects, where the forum is essential in the planning of space. After the fall of the Roman Empire, urban life returns to Europe only around the year 900, when many medieval burgs grow on top of old Roman settlements, maintaining their plans, with the forum becoming a central square, as one finds in Zadar or Poreč, on the Dalmatian coast.

Any medieval town, when photographed by a flying drone, allows one to see the fundamental opposition between margin and centre, for medieval towns are always surrounded by walls. Some, such as Óbidos, in Portugal, have kept these fortifications intact to this day. The square is a wide space, standing in volumetric opposition to city streets, always narrow and winding. Almost always, the medieval square has a cathedral and a fountain. For smaller towns, the role of the fountain is also functional. For larger ones, its role is purely aesthetical, for the presence of the fountain has to do with tradition and ritual.

Óbidos, Portugal

The existence of the walls has had several important consequences for the cities of Western Europe. First of all, limited space meant that, for centuries, the population size remained constant within the walls. When the population size grows, it is preferable that new cities are built, rather than expanding the fortified centre, which is why the Middle Ages excel at founding settlements. Construction always begins with the centre, the square, its spot is the first to be fixed. A second important consequence of walls: the centre always stays the same. In these communities the square is essentially superimposed on the geometrical centre. It was the most protected space. The last place reached by the enemy. Then, there are only a few gates allowing access into the cities. Automatically, all entry roads lead to the central square. Seen from the air, it becomes clear that the square is the centre of the medieval town. The walls visually mark, as clearly as possible, the opposition of the centre to the periphery. Thus, another evolutionary consequence: when, at the dawn of modernity, the walls are torn down, the settlements tend to develop concentrically, rather than linearly, adding more space to a pre-existing structure, a structure still visible in many European cities today.

Valladolid, Spania
Valladolid, Spain

During the Renaissance, Europe inherits medieval cities. She loves these no longer and wishes them to be completely different: within certain limits, Europe imagines a different kind of urban worlds. The age is, however, not famed for the founding of real cities, but of fictitious ones. When theory does give way to practice, it is usually as a result of calamities. On the 21st of September 1561, a great fire engulfs the city of Valladolid. The city’s catastrophe is a real blessing for urbanism. In the empty space, the splendid Plaza Mayor is built, until today one the largest in Spain. It is the first regular square in Europe, yet, unfairly, it unfairly remains little known. Its symmetry and plan can be clearly seen from above. The architectural and urban pattern instituted at Valladolid is taken by many other squares, reaching perfection in 1729, through Plaza Mayor in Salamanca, one of the most beautiful squares in the world. The aerial photograph immediately shows that the square’s perimeter is not a square, but a trapezoid. Seen from a normal perspective, the square is perceived by any traveller as having perfectly parallel and even sides: a subtle optical illusion, carefully calculated to deepen the perspective and thus counter the relatively small space available to the architect.

Salamanca, Spain

Starting with the 16th century, cities still have fortifications, yet they are planned differently. The mission of city planning increasingly passes from the architect-artist to the engineer. The essential moment of change comes in the 17th century and is associated with Vauban. The type of fortification he proposes means stationing a great number of soldier within massively fortified city walls. Star forts rapidly appear across Europe, from Naarden and Bourtange, in Holland, to Almeida, in Portugal, or Alba Carolina, in Romania. These military settlements have a perfect structure, with straight and aligned streets, always leading to a large square at the centre. Seen from the ground, the perfection of the forts can only be felt, especially since the buildings are often austere. They are, however, by far among the most beautiful European settlements which can be photographed from the air, stars set down upon the earth. Nowhere is the importance of the square as a central space made clearer that in their case.

Naarden, Nederland

After the middle of the 18th century and throughout the 19th century, cities reinvented themselves in a way which reflects the military, technological, but also political changes. The self-governing power of urban communities had steadily dwindled, eventually collapsing before the autocracy of the monarchs. The kings bring soldiers in the cities and the soldiers need straight streets. In order to act quickly, but also in order to properly organise their parades. Thus, the self-governing power of the urban communities gradually drops to nothing. Aristocrats increasingly live in their summer palaces, they wish to be closer to governing centres. They build residences in the city. In time, these turn into their main homes. All of a sudden, many become interested in what the city looks like. The consequence? The planning of cities changes drastically. If ancient medieval settlements have a structure based on the needs of the entire community, cities are modified in order to correspond to the taste of the aristocracy. Essential transformations take place in urban aesthetics. When the streets become straight, the perspective opens, people start seeing further, beyond the first curve. From this to theorising the vista there is but a step. The vista, unknown to classical Antiquity, necessitates a much more complex urban vision: monuments and statues must not only be seen up close. Indeed, they are a landmark and can be found at the end of a long, straight street, which allows the square to be seen from a great distance.

Lisbon
Lisbon, Portugal

What used to be a chance effect now turns into something to be studied. Triumphal archways, commemorative columns, statues are built so as to also be beautiful from a distance. From here to the ceremonial axes that will go through the cities, tying squares together, there is merely a step to be taken. Seen from above, Lisbon unveils at once the transformations undertaken under the leadership of the Marquise of Pombal, after the devastating earthquake of 1 November 1755. Lisbon’s squares represent a real system. Wide, aligned boulevards link the Trade Square to Rosio, Rosio to de Figueira, Martim Moniz and the Restauradores, the Restauradores to Praça do Marquês de Pombal, and all of these have impressive monuments at their centre.

In order for the square to exist, buildings alone do not suffice. Cities are a blend of people and buildings, and the relation between these two terms is not as clear as it would seem on first glance. People create the buildings, and the way in which a community sets its story, history, religion, beliefs, the concrete needs of daily life into a space, has remained mostly unclear to this day. Indeed, countless nuances of this complicated process are elusive, and will most likely never be fully described. A square is its architecture, but, at the same time, it is more than its architecture. Its entire past, chained in an invisible-visible system of links to the symbolic imaginary of the community, makes its presence felt in the existence of the square.

Cătălin D. CONSTANTIN

European Squares

The lives of European squares vary from city to city, country to country, culture to culture. In northern Germany, when it is close to midnight and the last solitary travellers are hurrying across the city squares heading towards home, the squares of the Iberian Peninsula are still filled with joy, noise and people who seem to have no work or responsibilities the following day. The crowds usually remain there until the early hours of the morning. Clearly, the liveliest spectacles on the European continent are to be found in the Spanish cities. In the winter, the contrast between north and south is not as sharp, for the northern squares have Christmas fairs while the southern squares are less busy than they are in the summer, but they still win out. The square of a European city, no matter what country it is in, passes from season to season through various rhythms and rituals, manifesting its many different faces. 

Urban squares exist throughout Europe, and the site shows squares across the entire continent. Yet when it comes to European squares, some areas are more endowed than others. Those in the Mediterranean south are superb, due to the climate, but the Baltic coast also has exceptional squares, less well-known than those in the south, but still completely worthy of notice. There are obvious differences between the squares in the north and south, but they can be divided into even more complex groups. If one takes the time to position them on a map, it can be seen that the most beautiful and aesthetically interesting squares, the squares with real stories, tend to be found in specific regions, forming a sort of ‘network.’ Long before the Internet, cities were tied to one another through invisible connections, creating somewhat similar urban systems. Despite their differences, the squares have much in common, from their broader functions to the ways in which they reflect aspects of people’s lives. 

Italy is by definition the land of squares. Almost all of the squares that are considered masterpieces are found in cities north of Rome. It is difficult to find one there that is unknown or lesser-known. For the site, I nonetheless have tried to highlight some of the lesser-known but highly interesting squares in the history of urbanism, such as Palmanova. Or the one in Pitigliano, which is perhaps not so interesting in and of itself, but has a fascinating existence in a narrow space of a tiny medieval settlement perched on volcanic tuff. The number of squares in northern Italy is very high, higher than in the cities, for the cities tend to have systems of squares, rather than single ones. The southern half of Italy, by comparison, has fewer beautiful squares, although there are some noteworthy exceptions.

On the other side of the Adriatic, the squares in the cities along the Dalmatian Coast must be recognised as holdovers from the Venetian era. The Dalmatian Coast is not discussed enough when it comes to squares. These settlements were once Venetian possessions, but encounters with other cultures, particularly south-Slavic ones, allowed local squares to acquire some truly spectacular nuances. Slovenia, Croatia and Montenegro all host such cities, but one can find interesting squares in other Balkan countries as well. 

In central Europe, north of the Alps, and throughout the former Austro-Hungarian Empire, there are also a number of interesting urban squares. The historical squares in this region are a few centuries younger than the Italian ones. Thus, they were greatly influenced by the latter, but they still have their own unique features and personalities. Even within the territory of the former Austro-Hungarian Empire, their distribution is varied, and paradoxically, the most interesting and highest concentrations of squares are not to be found in the powerful centre of Austria. Almost all of the 40 historical cities in Bohemia and Moravia have been declared by the Czech government to be architectural reservations protected by law – with these cities developing around large, beautiful squares. It is an injustice that these squares are so little-known. Settlements from Slovakia, Slovenia, Hungary and Romania contain squares that form part of the same ‘pattern,’ but they are fewer and more far between in these countries. Almost all of these central European cities were originally burgs of the German colonists who arrived in the early Middle Ages. Again, paradoxically, the system of squares in these central European cities is less ‘sophisticated’ than those in Germany proper. Despite the Second World War bombings, several very interesting German squares have been preserved, including medieval ones in the Harz Mountains, among others. Another area containing special squares is the aforementioned Iberian Peninsula. Spain and Portugal are both countries with ‘dynamic’ squares.

But even when squares are ‘cultural imports’ as recent as the 19th and 20th centuries – such as those in the Balkan cities or in the Caucasian countries between the Black Sea and the Caspian Sea – they demonstrate a very interesting synthesis of local traditions and histories. Tbilisi, the capital of Georgia, and an ancient rest stop for caravans travelling on the Silk Road, has the Meidan square or Vahtang Gorgasali. 

This selection, as with any list, is incomplete and does not do this topic justice.