VILLA IL ROSETO | ANDARE PER GIARDINI

THE GARDENS OF PIETRO PORCINAI

The garden was created between 1962 and 1965 by Pietro Porcinai for the loyal Benelli family, surrounding a 16th-century building that was significantly altered in its structure and its relationship with the surrounding land, thereby transforming its overall image. The house was originally elevated above the surrounding terrain, accessible by two staircases; however, the construction of the hanging terrace brought the garden to the level of the residence, altering the perceptual and visual relationship between the villa and its surroundings.

The design process to achieve the complex final solution was long and demanding, as evidenced by the progressive series of drawings produced by the Studio in the early 1960s.

The Roseto garden is one of Porcinai's most renowned works and enjoys considerable critical acclaim, particularly abroad, as it represents a splendid synthesis of elegant modernity and proud tradition. Many have seen in the crisp design of the Roseto the finest legacy of the Italian formal garden, combined with technical perfection and a bold use of both mineral and vegetal elements that make it an entirely contemporary creation.

The defining feature of the entire project is the construction of the hanging garden, aligned with the main façade of the residence. Drawing inspiration from the layout of Renaissance villa gardens, Porcinai designed a formal section in direct relation to the main house and an agricultural part that blends seamlessly into the surrounding countryside. The terrace, a true belvedere overlooking the magnificent landscape, is in fact the roof of a large underlying space that serves various functions. The space, covered by broad, lowered vaults supported by reinforced concrete pillars, serves as a filter zone for the main entrance, a garage with several parking spaces, and a meticulously detailed banquet hall. The flooring, made of black and white pebble mosaic, is splendid, as is the treatment of the curvilinear surfaces, etched with essential designs similar to those used on the plaster of walls in the small streets near Arcetri. The relationship between the two levels, in a subtle interplay of functional, material, and perceptual references, is facilitated by several circular openings, integrated into the formal design of the terrace, which allow the passage of air and light. A spiral staircase, traditional in materials but extremely modern in design, protected by a thick hedge of Buxus sempervirens with a circular layout, connects the levels, allowing access to the upper area. At the base of the staircase, with its wrought-iron railing, a circular fountain made of pietra serena stone completes the "well" design, surrounded by climbing plants, cascading greenery, and shade-loving blooms.

Another link between the two levels is provided by several Quercus ilex and Platanus acerifolia trees, which, planted at the lower level, rise above the terrace, creating a masterful perceptual illusion.

In the creation of the terrace, Porcinai combined traditional materials and cultivation techniques (sandstone paving, pebble pavements, grassy surfaces, topiary art) with a highly modern and abstract design, entirely built around infinite references to the circular form. The agricultural section is a refined reference to the surrounding landscape: Olea europaea, Quercus ilex, and Cupressus sempervirens are accompanied by aromatic shrubs of the Tuscan tradition and a rose garden, conceived in harmony with the property’s name. The tennis court is protected by a screen of evergreens reminiscent of the formal hedges of Renaissance gardens, while the pool is set into the ground at a slightly elevated level, with changing rooms located beneath it.

The construction of the hanging garden extends the observer's view from the main residence outward, reaching the bell towers and spires of Florence’s historic center, which were previously difficult to discern except from privileged vantage points. The complex blends gracefully into the surrounding landscape, minimizing the impact of stronger elements like the tennis court and the pool, which are carefully screened with vegetative barriers and level changes, discreetly and elegantly concealing them from both nearby and distant views.

VILLA IL ROSETO A PIAN DEI GIULLARI

I GRANDI PAESAGGISTI DEL 900

PIETRO PORCINAI

Un’importante capacità di Pietro Porcinai era quella di individuare i reali problemi e comprendere le procedure idonee, precorrendo sempre i tempi grazie ad una pre-veggenza fondata su basi tecniche sperimentate. Oltre al suo precoce ed innato talento naturale e alla sua intelligenza professionale, Porcinai aveva inoltre maturato una specifica formazione all’estero, in notevole anticipo rispetto ad altri, senza dubbio rimanendo influenzato dalla cultura paesaggistica di quei paesi, in particolare Germania e Belgio, dove aveva fatto pratica di tecniche colturali presso alcuni vivai specializzati. In Italia il percorso della sua formazione si intrecciò con un periodo cruciale dell’arte dei giardini: infatti, proprio nel 1924 Luigi Dami pubblicò II giardino italiano, dimostrando il primato italiano nell’arte dei giardini.

La natura autoctona e caratteristica del giardino italiano, nel riappropriarsi del suo primato in un campo diventato oggetto di studi di stranieri, soprattutto anglosassoni, culminò nella famosa Mostra del Giardino Italiano del 19311 a Firenze, dove si tese alla valorizzazione di un grande passato, senza tuttavia tentare di aprire la strada alla ricerca di nuove forme moderne nell’arte dei giardini. Presidente della Commissione esecutiva’ della mostra fu Ugo Ojetti, sostenitore di un’architettura monumentale e in stile. Nell’ambito della manifestazione furono riproposti dieci modelli ideali di giardini, in una sorta di percorso storico dell’arte dei giardini italiani, concepiti come piccole creazioni scenografiche in cui era presente anche il giardino paesaggistico all’inglese, anche se giudicato estraneo alla tradizione classica nazionale.

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