This proposed monumental frame — a raised grill on pilasters —establishes a scale not made explicit in any surrounding structure.This scale, many times larger than the pedestrian scale, is singled outfor emphasis for no apparent architectural or urban reason.Furthermore, the seven-storey high frame is made to fit tightly withina restricted space between historic buildings. Proponents of thisproject refer to it as “light and airy”, but its sheer size andnon-adaptive design fail to harmonize in any way with its surroundings,and might actually make it perceived as cramping the sensitive space itoccupies.

Its stated intention is to function as an exit for the Galleries, yetthis frame appears to be strictly decorative — a sculptural object —adding little functionality to the existing space. The grill’s owndesign remains undecorated and industrially austere, thus, itsparticular geometry clashes with the existing geometry of its locationas defined by both the surrounding buildings, and by open-airsculptures exhibited in Florence. Any tension between incompatiblegeometries creates an irresolvable mathematical conflict, whichconfuses visitors to the plaza and could make them uneasy to be there.This abstract sculpture will dominate the conflict because of its size.Existing representations do not reveal the pedestrian’s directexperience of this frame, and how that might affect the positiveexperience of what is already there. There exists a misunderstandingboth among the public and the government officials who have promotedthis project, as to both its utility, and its fundamental disharmonywith the historic city center.
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