ristrutturazione, valorizzazione ed adeguamento funzionale della Villa storica e del relativo giardino. Il progetto è teso al ripristino dell’organicità dell’insieme architettonico ed ambientale attraverso il rafforzamento dell’asse di simmetria, contraddetto da pochi elementi novecenteschi di espansione della villa quali i portici, la torre ed il torrino.

© Monica Alejandra Mellace . Published on April 13, 2014.

La soluzione progettuale si plasma su tracce e memorie della storia della villa non senza interpretarle evitando la realizzazione di un falso storico nel riproporre le forme architettoniche in stile, ma piuttosto in forme contemporanee dalla consistenza effimera. Le serre esterne sono costituite da semplici telai in legno e ferro entro i quali sono assemblati a secco vetri di medio formato, nelle fasce basse. Sono strutture temporanee, pertanto la loro presenza non compromette il parco. Tipologia di eventi: la struttura è organizzata in moduli polifunzionali e consente di accogliere qualsiasi tipo di evento, a titolo esemplificativo si propongono attività Congressuali, Ricettive, Espositive e Ludiche.

© Monica Alejandra Mellace . Published on April 13, 2014.

© Monica Alejandra Mellace . Published on April 13, 2014.

Hurray! Today, we are going to the museum!

Birdseyeview

© Panni Bodonyi, Sandor Guba, Peter Hamori. Published on April 13, 2014.

Mum told us, this was the museum, where every character from the tales, she tells us in the evenings before sleep, would come to life. And we’ll see the Princess and the Pea and the Little Mermaid and the Snow Queen! And even the house where the writer of the stories was born…

Diagram of the Tales

© Panni Bodonyi, Sandor Guba, Peter Hamori. Published on April 13, 2014.

The entrance is next to the small lake. It seems as if all the visitors were diving under the water! Mum says we have time to take a look at the birthplace of the writer. We take a big, grassy slope where we find a huge dome-shaped building. Mum says it’s full of beautiful wall paintings. We look back from this rooftop and the park looks like a colossal lake, with people walking on the giant water lily leaves!

We enter the museum by the stairs next to the lake: it’s so funny! There is a huge aquarium next to us, full of fish and strange, colorful underwater plants! Isa says she saw a mermaid but I don’t believe her. Downstairs we take off our coats, but Isa and I go right back to the aquarium while Daddy buys the tickets.

Isa and I got a tablet while Mum and Daddy got an app on their smartphones to navigate in the museum. Grandpa asks for a paper map because he doesn’t like all these new machines…

Isa follows the signs on the floor, which is also fun, but I prefer to navigate with my tablet. There is a lot of interesting stuff! In one room, we can even see the lake above us… We have to find some objects, a tin soldier, a pea, a swan’s feather and a leaf of a nettle. If we find everything, we get a big sheet of paper and learn to make paper cuts just like the ones that H. C. Andersen did during telling stories…

A Chinese boy comes up and says, “I’m Ming and my app shows that we will play together in the theatre”. Oh! It’s amazing my tablet also shows this! Two other boys join us. Ming, Mum and I are the three magic dogs from the Tinderbox…

…And now we climb up to the glass tower. The two spiral stairs are funny: both of them are going to the top, from where we can see the people taking picnics or walking in the park.

I love this reality app so much! You can even use it to talk to the flowers and trees in the park!

…In the evening, Mum reads us a new tale, which she found on her new smartphone app that she got at the museum. This tale was not in our book and not even Dad knew it before. As we are listening together to this new tale, I fall asleep while looking at the shadow of the paper cut-out on the ceiling…

Il progetto ricerca una coerenza di lettura degli spazi non solo all’interno del proprio ambito ma anche e soprattutto in relazione alle aree adiacenti. Per questo motivo dalle scelte urbanistiche fino a quelle di dettaglio architettonico si è cercata unità e coerenza con il resto del centro di Bedonia. La scelta dei materiali è orchestrato all’interno di una più generale strategia urbanistica che tende ad organizzare o riorganizzare i percorsi veicolari e quelli pedonali, creando non solo nuovi spazi di fruibilità ma anche nuove dinamiche come per esempio la “promenade commerciale”; una passeggiata che unisce i vari negozi dell’area di progetto per chi proviene dalla Via Garibaldi per poi farvi ritorno con un percorso ad anello.

Vista della piazza da via Garibaldi

© Francesco Adorni . Published on April 14, 2014.

All’interno di questo sistema, che ricerca la massima coerenza con il contesto, si inseriscono alcuni elementi di innovazione dati dal progetto come sviluppo architettonico dell’idea urbanistica. Infatti la volontà di creare una grande piazza come sbocco sia della via Garibaldi che della Via Mons. P. Checchi, si scontra con l’ingombrante presenza della fermata dei pullman, funzione che attualmente non è possibile delocalizzare. Tuttavia il progetto, a nostro avviso, deve considerare anche la possibilità che in futuro tale funzione possa essere spostata, senza che per questo la nuova piazza perda di senso. Inoltre nelle sere d’estate una volta che tutte le corse sono state effettuate, la piazza tornerà ad essere libera e fruibile per le passeggiate, gli incontri o per piccole manifestazioni (bancarelle, ecc…). Insomma la piazza deve funzionare con o senza i pullman ed offrire un ventaglio di possibilità e di risorse che vadano oltre le mere funzioni viabilistiche o i problemi contingenti. La riprogettazione della sosta dei pullman ha dato la possibilità di creare un’area di sosta pedonale che può favorire il commercio locale e la socializzazione. Quest’area pedonale consente inoltre di mettere in relazione il centro storico della città con il nuovo intervento che può essere utilizzato a discrezione dell’amministrazione per manifestazioni pubbliche durante i mesi estivi in cui l’affluenza di turisti è maggiore.

Planimetria di progetto

© Francesco Adorni . Published on April 14, 2014.

Abbiamo quindi sviluppato un disegno delle pavimentazioni e dell’arredo urbano che offra questa flessibilità, sviluppando la vocazione ad una suddivisione per “strisce” delle varie funzioni della piazza e facendo diventare questa caratteristica un segno architettonico che disegna ogni elemento della piazza, dalle panchine agli spazi di sosta dei pullman, dall’illuminazione alla fontana.

Assonomentria. Flussi durante il giorno

© Francesco Adorni . Published on April 14, 2014.

La ripavimentazione di Piazza Sen. G. Micheli porta all’eliminazione di qualche parcheggio a favore della realizzazione di un’ampia zona pedonale che potenzia il ruolo del commercio, tutela il flusso che gravita attorno al polo dell’infanzia e favorisce la creazione di luoghi di socializzazione.

© Francesco Adorni . Published on April 14, 2014.

Ogni pensilina è dotata di pannelli fotovoltaici in copertura per produrre l’energia necessaria al funzionamento delle strisce di LED a pavimento. Per quanto riguarda l’illuminazione pubblica di Via Mons. Checchi non sono stati previsti nuovi interventi poiché allo stato attuale il grado di illuminazione viene già soddisfatto. Per quanto concerne la Piazza Sen. G. Micheli è stata prevista l’installazione di corpi luminosi a pavimento volti alla valorizzazione e all’illuminazione scenografica del contesto. L’illuminazione pubblica viene poi garantita tramite l’installazione puntuale di lampioni che garantiscono il giusto livello di illuminazione evitando inutili sprechi. Sia l’uso di materiali naturali locali che il bilancio energetico dell’impianto di illuminazione (pannelli fotovoltaici + LED) sono frutto di un’estrema attenzione del progetto ai temi della sostenibilità.

© Francesco Adorni . Published on April 14, 2014.

© Francesco Adorni . Published on April 14, 2014.

La decontestualizzazione dei prodotti esposti è la strategia operativa del progetto. La deformazione del suolo individua delle gerarchie nelle fruizioni dei percorsi. Gli uffici di ricevimento assumono una conformazione dinamica grazie alla presenza di un sistema di tende che consente e aprire e chiudere gli spazi La presenza della vasca d’acqua è un riferimento alla natura dei prodotti aziendali

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on April 14, 2014.

Residenza Giulia è un’edificio residenziale di recente realizzazione che si inserisce nel tessuto consolidato del comune di Zanica.

Stato di Fatto

© Marzia Onori . Published on April 14, 2014.

Il contesto che la circonda è fatto di ville e piccoli insediamenti immersi nel verde, ma estremamente vicini al centro città e alle principali infrastrutture di collegamento del territorio provinciale.

Stato Finale

© Marzia Onori . Published on April 14, 2014.

L’intervento è composto da sole sette unità abitative dalle diverse configurazioni: bilocali e trilocali dall’accesso sia indipendente che condominiale.

© Marzia Onori . Published on April 14, 2014.

Il tutto realizzato in accordo alle più recenti normative in materia di risparmio energetico: Classe energetica B –IPE 44,05 Kwh/m2a

© Marzia Onori . Published on April 14, 2014.

Il progetto deriva dalla parziale demolizione di un edificio esistente: la porzione di edificio fuori terra è stata completamente demolita mentre l’interrato è stato riutilizzato ed ulteriormente allargato.

© Marzia Onori . Published on April 14, 2014.

© Marzia Onori . Published on April 14, 2014.

© Marzia Onori . Published on April 14, 2014.

Dalla collaborazione tra l’atelier Figura/Sfondo e lo studio’dragora nasce questa micro giungla urbana di oggetti in cartone riciclato Una sorta di camera oscura dove piante tropicali comuni, tipicamente considerate piante da appartamento, sono affiancate a piante tropicali insolite, con foglie giganti, e a riproduzioni di foglie giganti. Tra queste, vere piante di Alocasia macrorrhiza e finte foglie in cartone della stessa. Piante, quinte, scatole, scatoloni, sacchetti di carta, ma le vere protagoniste sono le lampade in cartone riciclato “Goutte”, di Figura/Sfondo. Sono lampade scultura, interamente realizzate a mano, tagliate a laser ed assemblate artigianalmente.

© Silvia Invernizzi . Published on April 14, 2014.

© Silvia Invernizzi . Published on April 14, 2014.

© Silvia Invernizzi . Published on April 14, 2014.

Le linee guida che si sono perseguite per l’ intervento proposto sono di contenuto impatto ambientale ed energetico , utilizzando materiali e componenti edilizi sostenibili .

giardino d'inverno

© Michele Di Gennaro . Published on April 14, 2014.

Vista notturna senior city

© Michele Di Gennaro . Published on April 14, 2014.

L’intervento, all’interno di una casa monofamiliare su due livelli, inserita in un complesso residenziale di nuova costruzione, ha previsto una totale revisione degli spazi interni a favore di una fruibilità più razionale, flessibile e dinamica degli stessi.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

La scala a sbalzo, come una spina dorsale che collega la zona giorno del piano terra alla zona notte del primo piano, diventa il punto nevralgico del progetto attorno alla quale ruotano tutti gli ambienti che interagiscono tra di loro e si aprono a loro volta all’esterno grazie a nuove aperture che non solo inondano di luce naturale lo spazio ma permettono ad essa stessa di scandire la vita quotidiana degli abitanti.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

Aperture di modeste dimensioni lasciano il posto ad ampie vetrate su tutto il fronte principale della casa, mettendo in relazione l’esterno con l’interno sia dal punto di vista funzionale che da quello della percezione visiva. Lo sguardo non incontra ostacoli e gli ambienti confluiscono l’uno nell’altro senza soluzione di continuità, le connessioni diventano percorsi prospettici anche grazie ai materiali utilizzati.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

Rovere naturale per la pavimentazione di tutti gli ambienti ad eccezione della zona pranzo e cucina dove la pietra nera vuole evidenziare la funzione.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

Anche gli arredi a scomparsa insieme alla luce indiretta a led incassata nel controsoffitto sono pensati come parte integrante del progetto stesso.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

© Barbara Geraci. Tutti i Diritti Riservati.. Published on April 14, 2014.

L’ampliamento dell’attuale stadio calcistico costituisce un’occasione per creare un luogo di richiamo e di aggregazione a livello comunale e sovra-comunale che va ben oltre la mera funzione di offerta sportiva. In quest’ottica abbiamo progettato un complesso sportivo che è prima di tutto un luogo di richiamo: per il popolo degli sportivi, per una gita in bicicletta o a piedi, per un ritrovo di giovani, per portare i bambini a giocare in un luogo protetto e sicuro, per ritrovarsi semplicemente al bar, ecc… Abbiamo scelto di non intervenire se non con una ordinaria opera di manutenzione sulle strutture esistenti (spogliatoi, tribune, ecc…), così da concentrare le risorse disponibili nella creazione dei campi per le attività e di due nuovi piccoli edifici: il primo accorpato agli spogliatoi esistenti, alloggia il bar, la segreteria, la sala polifunzionale e una sala per riunioni oltre ai necessari locali accessori; il secondo alloggia gli spogliatoi per i campi multifunzionali (tennis, calcetto, basket, ecc…).

© Francesco Adorni . Published on April 14, 2014.

Lo spazio tra i due edifici è attraversato dal percorso ciclopedonale che dal centro di Verrone conduce verso la campagna circostante e verso il circuito del Parco delle Baragge ed è stato disegnato come una grande piazza attrezzata. Qui si potranno ritrovare i ragazzi e divertirsi con la pista da skate; i bambini potranno giocare sui giochi e correre nel parco; gli appassionati di bicicletta potranno avere un punto di riferimento e di supporto per le proprie gite; le famiglie potranno affittare le biciclette e partire alla scoperta del Parco delle Baragge; gli sportivi si potranno fermare dopo la partita; i tifosi per i commenti della domenica dopo il match. Edifici che si trasformano in gradinate sono la risposta in termini di architettura a questa visione del centro sportivo come luogo di aggregazione e di vitalità del territorio.

Pianta 1:200

© Francesco Adorni . Published on April 14, 2014.

Il progetto si sviluppa sull’asse ciclopedonale che dal centro del Comune conduce verso la campagna circostante. Questo percorso distribuisce i flussi ai vari edifici fino a dilatarsi nella parte terminale creando una grande piazza attrezzata. a. Gli spazi di aggregazione; vitalità del territorio Gli spazi aperti nascono dalla volontà di creare degli spazi di socializzazione per i giovani, per le famiglie e per gli sportivi. Possiamo quindi individuare una zona, antistante alla zona ristoro, attrezzata con una campo multifunzionale pubblico su cui si affaccia una gradinata da cui guardare le partite o semplicemente fermarsi a leggere un libro. Prospiciente ad essa un’area relax ombreggiata attrezzata, con tavoli da pic-nic e sdraio in legno, si affaccia sul parco giochi per i bambini (appositamente collocato nella parte più protetta dell’area d’intervento. Ai ragazzi viene dedicato un piccolo skate park circondato da aree verdi che affaccia sulla piazza attrezzata con sedute e porta biciclette. In questo spazio aperto gli utenti, oltre a poter usufruire di un servizio di noleggio biciclette, possono trovare cartelli informativi inerenti alle piste ciclabili e ai parchi circostanti iniziando da qui il loro percorso.

Planimentria 1:500

© Francesco Adorni . Published on April 14, 2014.

b. Gli accessi Il centro sportivo è raggiungibile in macchina, a piedi e in bicicletta. Nel primo caso sono stati previsti due parcheggi; uno su Via per Salussola dedicato alla società di calcio, con accesso diretto ai propri spogliatoi, e uno per l’accesso pubblico retrostante alle tribune esistenti. Questo parcheggio, oltre ad ospitare le autovetture degli utenti del centro sportivo e dei luoghi di aggregazione, ha come scopo anche quello di agevolare l’accesso dei numerosi tifosi che gravitano attorno al complesso per le partite domenicali. Il centro è inoltre raggiungibile e percorribile in bicicletta lungo l’asse centrale facendo diventare in questo modo l’intervento un punto di connessione tra il comune di Verrone e la campagna circostante.

© Francesco Adorni . Published on April 14, 2014.

c. Gli edifici Per quanto concerne l’edificato, abbiamo scelto di non intervenire se non con una ordinaria opera di manutenzione sulle strutture esistenti come le tribune e gli spogliatoi. In questo modo è possibile concentrare le risorse disponibili per ampliare l’offerta sportiva del centro. L’intervento prevede la costruzione di due piccoli edifici. Il primo, accorpando gli spogliatoi esistenti, ospita al suo interno la zona bar/ristorazione, la segreteria, la sala polifunzionale, una saletta per riunioni e i necessari locali accessori. Nella pianta rappresentata in figura 4 abbiamo riportato lo schema del nuovo funzionamento degli spogliatoi esistenti. Allo stato attuale vengono utilizzati ad uso esclusivo della società di calcio. Con il nuovo intervento l’intenzione è quella di continuare ad utilizzare questi spogliatoi per gli allenamenti e per le partite della squadra; mettendo però a disposizione questi spazi nelle ore in cui viene affittato il campo da calcio a 7, tenendo presente che la società di gestione si premurerà di non sovrapporre gli orari di utilizzo. Il secondo edificio di nuova costruzione assolve la funzione di spogliatoi a servizio dei campi multifunzionali (tennis, calcetto, pallavolo, ecc..). L’accesso a questi edifici avviene dal fronte verso la piazza per poi uscire direttamente sul fronte rivolto ai campi da gioco. Una volta finita l’attività sportiva l’accesso avviene nella modalità inversa.

Schema degli accessi

© Francesco Adorni . Published on April 14, 2014.

© Francesco Adorni . Published on April 14, 2014.

Particolare costruttivo 1:20

© Francesco Adorni . Published on April 14, 2014.

Prospetti

© Francesco Adorni . Published on April 14, 2014.

El proyecto nace del lugar en el que se ubica, surge de lo alto del Morro de Toix, en Calpe, buscando las mejores vistas, adaptándose a la paisaje del entorno y a las condiciones de la parcela, creando al mismo tiempo una serie de movimientos topográficos. Una casa que mira hacia el paisaje, y al mismo tiempo crea su propio paisaje.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

La fuerte pendiente del terreno incita a abancalar la casa siguiendo la pendiente natural de la montaña, logrando que todos los espacios disfruten de las extraordinarias vistas y posean un espacio exterior contiguo, de manera que el exterior se introduce en el interior de la casa y viceversa.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

La piscina surge como un accidente geográfico natural, arañando la montaña de forma perpendicular a la pendiente del terreno, generando diferentes situaciones con los espacios principales de la casa. El movimiento generado por la vivienda busca la mayor captación solar de la parcela, articulándose en torno a un patio central que abre las estancias principales al sol del sur, y permite la ventilación natural cruzada. La casa se va mostrando a medida que se avanza por ella a través de una espina dorsal de circulación que la atraviesa, creando un recorrido escenográfico por los distintos espacios de la casa focalizando el paisaje exterior e interior.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

El aterrazamiento de la casa permite que cada nivel disfrute de una gran terraza mediante el uso de cubiertas ajardinadas con plantas tapizantes, aromáticas y arbustivas que se funden con la vegetación del entorno y mejoran tanto la inercia térmica como el aislamiento de la vivienda. La casa se diseña en contacto con el terreno para aprovechar la inercia térmica del mismo, ya que así se mantienen las temperaturas más constantes a lo largo del año. Se proponen además otras estrategias como la geotermia horizontal por aire para mejorar aprovechamiento de la inercia del terreno. Este sistema prácticamente pasivo permite precalentar o preenfriar el aire de manera gratuita haciéndolo circular por conductos enterrados.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

Víctor Lledó García, Manuel Lillo Navarro, Juan José Pérez Moncho. Published on April 14, 2014.

II progetto prevede di demolire l’attuale copertura del lavatoio che ne nasconde Ia vista e ne appesantisce le forme. Questa verrà sostituita da una copertura più leggera e più in linea con le forme tradizionali del luogo. Questa doppia falda molto inclinata infatti intende infatti riprendere le forme delle montagne circostanti la vallata.

RENDER_01

© PS2HouseLab . Published on April 14, 2014.

Particolarità di questo elemento, fulcro del progetto, è il fatto che possa assumere diverse posizioni ruotando attorno al perno posto all’altezza della fontana. Con la sua rotazione, passando dalla posizione orizzontale a quella verticale, si trasforma rispettivamente da palco per eventi e spettacoli, a copertura, fino a schermo per proiezioni di film o immagini. Questo permette di attribuire ad un unico spazio, come quello antistante la fontana, in un contenitore di molteplici funzioni che possano attirare e sviluppare I’ interesse dei cittadini e dei turisti regalando un volto nuovo e inaspettato a questa zona del paese. Si prevede inoltre di ampliare Ia porzione di pavimento circostante Ia fontana, creando una nuova pavimentazione in ciotoli su tutto il lotto. Nella parte a ridosso della fontana stessa si prevede invece di pavimentare con lastre di pietra locale di modo cia rendere piu agevole Ia circolazione dei pedoni.

RENDER_02

© PS2HouseLab . Published on April 14, 2014.

Sono previste due panche posizionate parallelamente al lato maggiore del lavatoio. Queste sono internamente cave ed apribili, di modo da poter ospitare al Ioro interno le attrezzature perle proiezioni e le panche per allestire Ia platea quando si renda necessaria. L’accessibilità al lavatoio per le persone disabili è garantito attraverso l’inserimento di due rampe agli estremi del manufatto che ne collegano il piano di calpestio alle zone circostanti.

PLANIMETRIA

© PS2HouseLab . Published on April 14, 2014.

I materiali previsti dal progetto sono pietre locali quali porfido e legni anch’essi locali di modo cia radicare il manufatto aile tradizioni costruttive del posto, dopo un processo eli rivisitazione eli queste in chiave contemporanea. II progetto in sostanza, attribuendo queste nuove funzionalita a un elemento tradizionale cerca di accentuarne Ia connotazione sociale, incentrando attorno ad esso un pezzo eli vita della cittadinanza che potra iniziare a prenderlo, di nuovo, come riferimento.

CONCETTUALE_01

© PS2HouseLab . Published on April 14, 2014.

CONCETTUALE_02

© PS2HouseLab . Published on April 14, 2014.

CONCETTUALE_03

© PS2HouseLab . Published on April 14, 2014.

CONCETTUALE_04

© PS2HouseLab . Published on April 14, 2014.

SEZIONE

© PS2HouseLab . Published on April 14, 2014.

Le quartier de la maille 2, patrimoine du XXème siècle, fut réalisé par André Lefèvre en 1977. Il est caractérisé par la générosité des espaces extérieurs publics et privés, autorisée par des typologies de logement très denses allant de l’immeuble-villas composé de duplex à coursives à la maison à patio. Le présent projet s’inscrit dans ce patrimoine architectural et un projet d’ensemble de renouvellement urbain. Il va permettre le relogement de 23 familles qui habitent déjà dans des maisons à patio et invite à revisiter cette typologie.

© Fabre Mathieu . Published on April 14, 2014.

Soustraite au vis-à-vis, elle induit des modes d’habiter spécifique qui ne peuvent se confondre avec celle du pavillon avec jardin. Elle présente des qualités en matière d’intimité et de surfaces, où intérieur et extérieur forment une unité de vie indissociable. Ce projet s’appuie sur une analyse fine des maisons démolies. Il ne s’agit pas de les reproduire mais de les adapter aux normes et usages actuels.

Photo by Florent Joliot. Published on April 14, 2014.

Afin de permettre une meilleure flexibilité en termes d’usage et d’exposition, chaque logement possède une cours au Sud et une cours au nord. Cette hiérarchisation des patios autorise une mixité d’usages. Elle permet de créer un seuil devant l’espace public, de gérer un espace de représentation où l’on peut recevoir et un espace plus privatif. Plus simplement ils permettent aux enfants de jouer dans un patio pendant que les parents discutent dans l’autre ou de prendre le soleil l’hiver au Sud et de s’en protéger l’été au Nord. Afin de ne pas développer de linéaire de murs inutiles, nous proposons de systématiquement habiter les limites des parcelles par des locaux d’habitation ou de rangement.

Photo by Florent Joliot. Published on April 14, 2014.

Le plan intègre une dichotomie jour/nuit nette, puisque les chambres sont séparées des séjours par un mur maçonné assurant un confort acoustique optimal. Par ailleurs, l’organisation spatiale minimise la taille des circulations dans le respect des règles d’accessibilité, et ce, en vue d’optimiser les surfaces des unités de vie. En effet, les habitants des « Patios » actuels retrouveront ainsi de vastes séjours de 30 m² qui ne seront plus articulés autour de longs couloirs. Tous les séjours sont traversant. Ce dispositif favorise une ventilation naturelle, évite le sentiment d’enfermement que pourrait générer la maison à patio unique et permet de profiter du soleil l’hiver et de l’ombre l’été. Enfin, afin de préserver l’intimité, seul le logement possède des vues sur ses patios. Il est totalement abrité des vues directes supérieures ou latérales. A l’intérieur du logement, l’intimité de chacun est préservée. En particulier, il n’y a pas de co-visibilité entre les pièces de vie et les chambres, ni entre les chambres. La chambre parentale est indépendante.

Photo by Florent Joliot. Published on April 14, 2014.

La structure se compose de murs maçonnés de refends Nord/Sud, traversant les parcelles d’une extrémitéà l’autre, isolé par l’intérieur et enduit à l’extérieur. et de murs de façades Est/Ouest, visible depuis les patios et l’espace public, en structure bois dont la vêture est constituée de bardage en pin doublas thermo-huilé.

Photo by Florent Joliot. Published on April 14, 2014.

La densité du bâti s’accompagne d’une qualité et d’une générosité des espaces extérieurs. Le parti proposé dégage 45% de surfaces non bâties. Ce projet matérialise deux objectifs contemporains en matière de production de logement : une densitééconome de foncier (2 fois plus dense qu’un lotissement classique) et les qualités de vie tant convoitées du logement individuel

Photo by Florent Joliot. Published on April 14, 2014.

Plan du type 4

© Fabre Mathieu . Published on April 14, 2014.

Proyecto y Dirección: María Victoria Besonías – Guillermo de Almeida Colaboradores: Arq. Diorella Fortunati Superficie del terreno: 617 m2 Superficie construida: 201 m2 Año de construcción: En proyecto

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

Proyecto y Dirección: María Victoria Besonias, Guillermo de Almeida. Colaboradores: Arq. Diorella Fortunati – Denisse Gerard Empresa constructora: PROYECTO A4 Arq. Sebastián Piovi. Superficie del terreno: 699 m2. Superficie construida: 236 m2. Año de construcción: En construcción.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

© Besonias Almeida . Published on April 14, 2014.

Nel mondo del finger food, degli aperitivi in piedi, delle cene a buffet, quando i piani d’appoggio mancano fri.end diventa l’accessorio da party che garantisce con una sola mano la degustazione di cibo senza rinunciare all’accompagnamento di un buon calice di vino in luoghi non sempre preposti al rito della tavola.

l'accessorio da party

© Alessia Petriccione . Published on April 14, 2014.

In questo contesto si inserisce fri.end, un accessorio da party, progettato sia in legno che in polipropilene, che consente di trasportare agevolmente con una sola mano quanto occorre per la degustazione di cibi e bevande, permettendo così di avere una “free-hand” per relazionarsi con chi ci accompagna.

il disegno

© Alessia Petriccione . Published on April 14, 2014.

In questi nuovi scenari cambiano anche le forme e il tradizionale piatto circolare viene sostituito da forme più spigolose ed eleganti. Fri.end è ideato dall’accostamento di un quadrato e un calice da vino: un piatto capace alloggiare al centro il calice e disegnato dallo stesso, che posto in orizzontale, ne definisce le aree destinate al cibo. È pensato per un calice dal diametro di 10 cm ma permette di alloggiare anche calici di diametri diversi e una volta sfilato il bicchiere, il piatto resta in equilibrio sul piano. Ha una presa ergonomica che nasce dall’analisi del movimento del pollice che si chiude su bordo superiore del piatto. Così lo spigolo di fri.end viene “agguantato” con la mano come una sorta di presina da forno, piegandosi come l’orecchietta di un quaderno.

il progetto

© Alessia Petriccione . Published on April 14, 2014.

Restava però il bisogno di legarci alla tradizione almeno attraverso il materiale. Le botti di vino in rovere, i taglieri di salumi e formaggi, la “ tafferia” per la polenta: alla base c’era il connubio del cibo e del vino e il legno ci legava ad entrambi. La scelta è stata l’olmo, per le sue caratteristiche estetiche, il colore bruno e fibroso, e per quelle tecniche, la facile lavorabilità e la resistenza a fessurazione, prevedendo anche un trattamento protettivo anti-unto e anti-macchia a base cere naturali.

© Alessia Petriccione . Published on April 14, 2014.

© Alessia Petriccione . Published on April 14, 2014.

Il fascino dell’antico si sposa con la praticità del moderno per dare vita a uno stile che scalda e si rinnova di continuo. E’ questo lo spirito che anima questa ristrutturazione: il sogno di poter dare una nuova vita ai luoghi, di riviverli ! Il vecchio capanno degli attrezzi che interessa questa ristrutturazione è situato in un lotto di terreno destinato ad agrumeto nella periferia della provincia di Reggio Calabria. Il progetto sfrutta le potenzialità di questo manufatto e le traduce in una nuova chiave stilistica promuovendo la commistione di elementi antichi e moderni al fine di generare un nuovo spazio abitabile, un confortevole monolocale su due livelli. La demolizione del vecchio tetto in legno getta le basi per questa innovazione. Il progetto consiste nella rimozione dei vecchi intonaci a cemento al fine di scoprire la muratura originale , trasformando il vecchio sistema strutturale portante in un sistema portato. Viene realizzato a tal fine un cordolo in cemento armato per garantire la stabilità della muratura e vengono poi inseriti quattro pilastri in acciaio all’interno dei muri che sorreggono un tetto in acciaio corten, il nuovo involucro di questo manufatto, che già dal suo esterno comunica quella sintesi tra antico è moderno che domina l’interno progetto. L’accesso alla casa è dato dal vecchio slargo antistante il capanno degli attrezzi, fino ad allora utilizzato solo come parcheggio. Per sottolinearne il carattere privato e consegnarlo alla vita degli inquilini il progetto prevede la sua recinzione così da inserire a tutti gli effetti uno spazio filtro tra la strada all’esterno della casa e i suoi spazi interni, collocati al piano terra, aumentando il senso di privacy e confort di chi vi vive. I 75 mq di cui si compone il progetto si snodano su due livelli; al primo si trova una zona living con cucina, pranzo, soggiorno, bagno, ripostiglio e zona studio; al secondo, su un soppalco posto a 2,50 m dal piano di calpestio, collocato al di sopra della zona pranzo-cucina, la zona notte e un piccolo angolo studio che si affacciano sul living sottostante. Questa suddivisione garantisce la massima luminosità per tutti gli ambienti, grazie all’assenza di parti divisorie e la possibilità di godere visivamente di tutto lo spazio riconquistato dopo l’intervento di ristrutturazione. La divisione degli spazi all’interno è minima; giusto ciò che serve a individuare gli ambienti di servizio a carattere privato: un bagno e un ripostiglio, mente il resto dell’ambiente è libero, fluido, immerso nella luce e nel tempo passato, rievocato qua e là da mobili d’epoca, dalla muratura originale e dalle vecchie porte in legno intarsiato. Il mobile progettato su misura, che delimita la parete di fondo della zona soggiorno, oltre a inglobare la scala che conduce alla zona notte, è esso stesso una scala e, tramite un gradino in pietra posto difronte, permette di uscire dalla casa e accedere al giardino retrostante che accoglie l’agrumeto.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

© Alessandra Palamara . Published on April 14, 2014.

* The site of the competition is charged with historical and symbolic values for the city of Manama and Bahrain. Once the true gate of the city, providing a monumental interface between the Suq and the sea, the site appears today dramatically separated from the historical city and the sea. XXXXXX01 is an attempt to connect these two entities with a continuous architectural landscape. XXXXXX01 creates a delicate balance between the morphology of the place and its surroundings, engaging at the same time with the archaeological stratifications of the site, cultural specificities as well as with environmental parameters. This does not mean that our proposal is a mere connection tissue that can adapt to any boundary conditions. XXXXXX01 presents itself as a strong territorial sign, a well-individuated organism yet composed as a montage of parts, and a superimposition of programmatic and morphological layers. At the same time an iconic object and a loose framework, a territorial mark and an urban strategy, a timeless architecture and a vision for the future XXXXXX01 is a gentle monster whose body is able to carefully compose the monumental and the intimate, thriving metropolitan public-ness and private life.

2

© Matteo Mannini . Published on April 14, 2014.

* The Grid is the true connective element, the ruling modular system of the project. Aligned with the perimeter of the site, it is based on a series of square courtyards which sides are 24 metres wide. The slabs surrounding the courtyard are 8 metres wide. On the ground floor, porticos 5.6 metres tall ensure the continuity of the ground floor, yet marking it with powerful architectural signs. Cores hosting vertical connections and technical spaces are found at each intersection point. The idea of functional zones—besides the necessity to leave sufficient space for different activities— does not make much sense today. It is necessary therefore to conceive the plan as a precise framework that can be articulated in manifold situations. This allows the construction of a ramified territorial structure that offers in a concrete way the highest degree of freedom for a heterogeneously organised society. The regularity of the grid ensures the maximum flexibility of the first floor space, which can host the most various programs and activities: the relocation of the demolished post office, the Children’s Museum, as well as work and leisure space, housing and services. The grid as a timeless and universal architectural feature provides here the necessary shading and protection for the hot climate of the area, becoming a contemporary version of the tightly knit canvas of the traditional Middle-Eastern city.

3

© Matteo Mannini . Published on April 14, 2014.

* The grid not only connects existing city parts, but also new urban episodes: the New Suq, the Square and the Bridge. The New Suq relies of the same plan of the Grid, but differs from it since the interior courtyards are covered with large concrete domes. In this sense, the New Suq escapes the logic of the grid by being at the same time completely subjected to it. The four modules become in this way a unified space, in which thriving commercial activities can take place. The sides of the New Suq are partitioned to host permanent workshops and retail facilities, while the domed spaces host temporary stands and more informal trading activities. Like traditional Middle-East market domes, the topside of the domes of XXXXXX01 are open to moderate their monumentality, and providing a compelling ambiguity between interior and exterior. The Square strives to be not only a dominating element of XXXXXX01 but aspires a dialogical relation to the city of Manama as a whole. Its alignment escapes the site boundaries. Rather, it becomes part of the Bab al Bahrain-Old Suq-Financial Harbour system. The Square is a 21 metres high monumental perimeter building 8 metres thick. Its plan is a square which sides measure 72 metres. On its exterior face it shows a solid, blank wall, which enhances its isolation to the grid-site system and its connection to a larger urban scale. Conversely, its interior is carved with loggias, which establish playful shading effects. While the upper floors host Ministerial offices, the ground floor is conceived as semi-enclosed, well-shaded public living room for the inhabitants of Manama. The Bridge represents the possibility for XXXXXX01 to escape its site boundaries and to grow during time. The Bridge system is based on the same plan of the grid, but its slabs are made of a 1-storey high trusses which uses the core grid as columns.

* The Landscape is a continuous layer of gardens, dunes, and stretches of water, trees and pavilions. “Naturally” vehicles do not penetrate the district but on the underground level. The underground reorganisation of the traffic and parking spaces allows the Landscape to overcome King Faisal Highway establishing an environmental continuity with the financial harbour area, configuring XXXXXX01 as Manama’s main gate to the newly reclaimed lands on the Northern shoreline. The landscape is made of water, trees and sand. The water stretches on the Southern side of the site, alongside Government Avenue, symbolically marking the position of the old shoreline. Sand dunes establish continuity not only on the horizontal plane, but also vertically, providing the main access points to the Children’s Museum and the office spaces. Despite being continuous and independent from the grid, the landscape is framed by the latter. This concept is based on walled gardens that constitute a traditional Middle-Eastern way of life.

The project provides a general strategy for the enhancement of Villa Adriana as cultural heritage by redefining the visiting experience and branding, the construction of a new visitor center and museological interventions in some strategic areas. Each choice is based on synthetic and synergistic responses to the objectives of accessibility, legibility, usability, conservation. In this way, the sum of the specific interventions makes it possible to offer a visitor path accessible to all categories of users that accompanies the visitor in the sequence of memorable scenes that makes the mental image of the villa. This circuit is the strenght-line where tangible and intangible services in support of the visit are concentrated, point of reference and re-orientation.

© Alessandro Frigerio . Published on April 14, 2014.

VISITOR CENTER– Memory, beauty, research find new spaces and occasion for contemplation, studying and gathering respecting the ancient environment. The cultural pavilion is integrated in the strategic plan as a contemporary insert, able to oversee the tutelage and development activities and also increase the vocation of the Villa as a place of production of culture enhancing the economical sustainability of the site. New spaces for visitors, for research, for conferences, for cultural diffusion, will increase the appeal for the Villa creating occasions for its use, with higher standards, all over the year. The new building will be positioned next to the entrance and the parking, in order to make of it the new gate of the site, the starting point for all the routes that take to the upper destinations. The layout is conceived as an open pattern aggregation of few pavilions. On the theater side it has been designed parallel to the frons scaene in order to define a promenade that leads to the monumental stair case of the gyms and to Viale dei cipressi; on the other side it is open to the country side.

© Alessandro Frigerio . Published on April 14, 2014.

A relational space connects the pavillons, it is porous and can be completely open during summer time. The paratactic composition of the pavilions reduces the scale of the building and allows an easier integration with the site. Each pavilion is designed in order to enhance its use, its accessibility, its natural enlightenment and thee energy management. The central common space is a place to have a break, a place to meet academics, visitors or guests. The building technologies are conceived as assembly of components in order to simplify the construction, the extension, even in different moments, or eventually its disassembly.

© Alessandro Frigerio . Published on April 14, 2014.

GREEK THEATRE SITE– The museographic project is based on the required attention to the statical an matterical aspects and the will to solve some problems related to the legibility, accessibility, fruition and outfitting of the site. The general enhancement strategy defines a distribution of the cultural activities ,according to their typology, between the spaces of the Greek theater and Venus temple. The two locations can host cultural events developing the cultural diffusion potentials as well as the business potentials thanks to their proximity to the new cultural pavilion, to the parking and their easy accessibility for the outfitting operations.

© Alessandro Frigerio . Published on April 14, 2014.

The theater will be brought back to its use for open air shows, through a contemporary project that reunifies cavea and scena, recalling its original image. All the design decisions are taken following the principle that any intervention should be identified and reversible. In first place the level of the orchestra will not be modified, since it corresponds to the original level of the stage. The part of the cavea, still buried, will be revealed just for museological reasons, while the rest will be reconstructed leaning on the ruins except for the parts close to the frons sceane. The frons sceane will be reconstructed according to Vitruvios’s proportions, covering the stage and fostering fruition and outfitting. The appearance of the new built parts will recall the roman construction system realized by putting travertine plates on top of a metallic grill, with a 45° orientation, ideally referring to opus reticulatum. On the upper parts the opus reticulatum will be exhibited without any cladding. The cavea will be covered by veils to offer shade and shelter. Two accesses will be provided: one on the west side for spectators, also open while the Villa is closed and connected the cultural pavilion; the other for visitors, connected to the rear stage to admire the cavea, to the entrance to the theater and through a ramp placed in the post‐cavea gallery connected to the level of the summa cavea porticus and then to the system of paths of the Villa reaching the cryptoporticus.

© Alessandro Frigerio . Published on April 14, 2014.

VENUS OF CNIDUS SITE– In the general strategy for the Villa, the area of the temple of Venus acquires a significant role and becomes a relevant landmark during visits and events. As in the theater, the project aims to reach a higher legibility, a new fruition and possibility of outfitting. Reaching the area from the cultural center, through the monumental stair case, recently discovered (or through the ramp) you run into the angular rooms of the palestrae. They can be used to display the relics, coming from the ongoing excavations, specially the sphinx. From here starts the visit towards the temple. At the lower level the ground will be pleated, with grass and stones, to design a parterre that orients the look towards the ninpheus and the temple. This place is appropriate for breaks and contemplation as well as for events and summer time festivals. The façade of the ninpheus will not be modified to maintain the picturesque image of the ruin, with an open possibility to fix the existing water pipes in order to activate the ancient water effects.

© Alessandro Frigerio . Published on April 14, 2014.

Over the buildings of the gardens on the south‐east side, will be provided a system of elevator and stairs inside inhabited walls, together with some deposits for the outfitting material. The loggias connected to the stairs will offer spaces for a break and a different perspective on the temple or the stage. These walls, as in the theater project, are cladded with travertine that gradually reveals the metallic grill towards the top. At the upper level the paths will take to the temple and the Viale dei Cipressi, or through the picnic area towards the Tempe tower. Here could be placed another elevator for disabled visitors.

© Alessandro Frigerio . Published on April 14, 2014.

The temple terrace will require minimum intervention, just to improve its legibility. The paving will be completed to restore the original continuity; the base of the columns will be reconstructed in order to easily read the layout and get oriented through the space. From here it will be easy to reach the Pecile through the historical Viale dei Cipressi. A new paving and urban furniture will improve its use also at night time. GREAT BATHS SITE– The project for the thermal baths integrates measures to reinforce the structure with the enhancement of the legibility and fruition of the spaces. The structural measures proposed are approximate and definitely need to be verified trough specific analysis on site. The entrance to the thermal complex is located over the wide open air gym.

© Alessandro Frigerio . Published on April 14, 2014.

The eastern cryptoporticus will be reinforced trough a contemporary reconstruction of the original porticus, as part of the massive structure needed to contain the soil. The main damages are visible by the springer of the vault of the cryptoporticus. On this alignment will be inserted a continuous steel structure that holds the strain and transmits it to the ground through a frame. The roof of the porticus will also protect the walls from atmospheric agents, will offer new spaces to lay over and will provide an interesting point of view on the roof of the frigidarium.

© Alessandro Frigerio . Published on April 14, 2014.

The vault of the frigidarium is one of the most delicate parts of the project as it combines one of the most picturesque images of the villa, with the most critical structural conditions. Part of the structure collapsed compromising the functionality of the cross vault. The intervention has a double aim: the consolidation of the existing part using carbon fibers technology and the reconstruction of the missing part. This will be done with a three‐dimensional reticular plywood structure. The project wants to solve the structural issues with a design choice which is distinguishable, but integrated and able to partially maintain the visual contact with the sky and the suspension perception. Starting from the frigidarium a system of footpaths imagined for every type of visitors leads through all the rooms of the thermal complex, conveniently designed and set up for the better comprehension of the original technological and functional issues.

© Alessandro Frigerio . Published on April 14, 2014.

CORPORATE IDENTITY– “When the gods disappeared and Christ not yet had come, in the lapse of time between Cicero and Marcus Aurelius, a unique moment occurred where existed just Man, alone.” Flaubert. Adriano is the focus of the visual communication project. The history of the Villa is deeply connected to the biography of its creator, even thinking to historical and contemporary memories and interpretations, that anyway lead back to his human and spiritual story as well as his immortal ambition. Adriano’s face greets and follows the visitor during the whole visit experience and has been translated into the pictographic sign using the texture that is most present throughout the visit, the opus reticulatum. The texture, diffusely used in the architectural project, combines in the pictogram the aura of the emperor with his metastoric image and with the tactile perception of the archeological relics. The color used for the pictogram is purple-red, as it calls to mind the imperial color and the warm tones of the wide surfaces made of bricks, which is the pervading image left to visitors. In the logo the pictogram is combined with the word ‘villAdriana’ again to emphasize the central role of the emperor trough the color and the different fonts. Futura is the font used for all the writings, it wants to be an ideal link through time and stories: Futura has been designed, during the Bauhaus, using essential forms that in capital resembles the roman fonts.

© Alessandro Frigerio . Published on April 14, 2014.

Pictogram, font and texture are combined in different configurations for the different uses: paper, gadgets, but also signs. A system of boards through the villa will show the map and provide the important info. A multimedia 2.0 platform will be accessible with smart phones and tablets in addition to the traditional information approach. Wi-fi will be free all over the villa. Maps, info, learning material, specific itineraries, augmented reality will make the experience complete and customizable.

© Alessandro Frigerio . Published on April 14, 2014.

© Alessandro Frigerio . Published on April 14, 2014.

By changing its status from place of transit to destination, Rogoredo gains a new role in the mental map of citizens, residents and city-users. This is delivered through an urban armature that opens to the metropolitan scale by strengthening the links between the station, the neighborhood and the city. The project offers an urban hub, physical space and digital platform, which has a clear position in the daily agenda, as reference point for rendezvous and event venue. A large permeable block provides a shell for a system of open spaces, where the overlap of private and public spheres fosters contamination and protection. A hybrid building, community and urbanity accelerator that integrates places for trade, co-working, leisure and living spaces through informal space of relations. STRATEGIC FRAMEWORK– The archipelago of fences and fragments that is now the district of Rogoredo requires the identification of an urban armature defining hierarchies and relationships that guide future choices and re-positioning of existing elements within a clearer mind map. The center of this map is the service area of the station, an urban field that the project envisions as a continuum of quality pedestrian public spaces that integrates a renewed station and the related services including hotel, tourist services, commercial activities, work spaces. The station has its façade renewed and integrates high-speed, regional and suburban railway, metro, tramway and parking areas. The five field lines that from here innervate into the neighborhood, with different urban sections and characters, are enhanced in their role as urban armatures: a greater attention to pedestrians and cycling is designed to make it easy and pleasant to orientate and quickly reach the station from any point of the neighborhood. Furthermore, this connection systems effectively relates the main station and the neighborhood to the city and the metropolitan system of the Parco Sud, overcoming the current sense of isolation.

© UP! . Published on April 14, 2014.

The settlements that already stood or will relate directly with the field lines are redesigned or designed according to the strategic framework through rejection of fences, care of the ground floor and active planning for the street fronts. The residential enclaves sprawling in-between the field lines are imagined by strengthening their quality of residences in the green: an intensive planting within these areas could improve the environmental quality of the neighborhood, ideally alluding to the ancient forest of oaks that gave name to the place. Disseminated precise interventions aim at improving and increasing the pedestrian and cycle porosity. The character of Rogoredo, according to this strategy, is fixed in the synergy between high accessibility and quality of public space: different grains and fabrics typologies are related through a clear structure for a metropolitan system with urbanity gradient.

© UP! . Published on April 14, 2014.

URBAN DESIGN– The project is located in an area of hinge between the urban-field of the station, the boulevard that leads to Santa Giulia and Mecenate and the possible expansion to the north. In this strategic position the wide road section of the boulevard hosts the road, car parks, the tramway, a tram stop; it is designed as urban armature integrating green spaces, cycle and pedestrian spaces and returning visibility to Taverna canal, in the wider perspective of an eco-systemic regeneration of the water system of Milan. The southern part is reserved mainly to vehicle mobility, the northern to slow mobility and public spaces. The project promotes the permeability of urban blocks overlapping private, semi-private and public spheres to encourage exchanges and relations, possible contaminations, awareness and care to define sense of belonging. The premise of security is the recognition that anyone should be able to meet and communicate for free and urban space is the radical condition of this communication.

© UP! . Published on April 14, 2014.

The ground floors provide a multi-functional system including commercial, work, community and relational spaces multiplying the possibilities of conviviality. The different scales and quality of open spaces give a specific character, various accessibility and possibility to be equipped for different types of events, offered to the community, the neighborhood or the city. The intention of the project, through its multiple relational patterns, is to produce city-effect, fostering the birth and growth of a new neighborhood community, but also gaining a metropolitan role as place of desire that different populations might wish to achieve.

© UP! . Published on April 14, 2014.

PLAN OF COLLABORATIVE SERVICES– The project focuses on the character of Rogoredo as a meeting place and proposes an integrated services plan that encourages contamination between residents of the new buildings, neighborhood and city -users. The range of services, spaces, activities at different scales and degrees of sharing, promotes short-circuits and relations through hybrid spaces, both physical and virtual/digital. These work as catalysts and accelerators for community and urbanity enhancement and take shape in a digital 2.0 platform for the community and the new neighborhood HUB spaces. The community of residents will use the platform to organize activities, will share common areas for flexible use, buy objects in shared ownership, manage time-banking, interact with other residents of the neighborhood through the forums, GAS , organize initiatives and events, access certain proximity services. The platform aims to facilitate the integration of new residents with the neighborhood and among them and contributes to the organization and management of the community. Residents and city-users can take advantage of a cooperative supermarket and coworking spaces. The cooperative supermarket, in addition to the common sale activity, offers a food court and an area dedicated to local products (from Parco Sud) open to collaborative management by the community. The co-working space provides solutions for various typologies of users intercepting the demand from high-speed rail commuters as well as providing low-cost spaces for young start-uppers or professionals; it strategically binds to the temporary housing and home-office offer. Participation in collaborative activities is encouraged through the management of a system of internal credits. Supermarket and cowo are related through a large living room area, living room of the community where there are a coffee shop, relax and work areas, free wi-fi access: a place of serendipity, interaction and meetings. The HUB is presented as an urban place, easily fitting the map and daily agenda of inhabitants and city-users to simultaneously manage work, shopping and leisure; a reference point for rendezvous. These services, in close relationship with the residences, determine the mixitè and relational pattern that aim to give the place a lively character of urbanity .

© UP! . Published on April 14, 2014.

ARCHITECTURAL CONCEPT– The strategic location and the urban role of the project as metropolitan node requires a leap of scale. The project therefore unifies commercial and residential volumes proposing a large, porous, multifunctional block. This option builds a system of relationships that goes beyond the idea of the fence, the inside/outside and private/public limits and extends to explore a gradient of privacy/publicity that offers multiple relational patterns, supervision and care of spaces: a rich inclusiveness that is not unknown to some Milanese traditional typologies and that here finds a new scale to accommodate new lifestyles. The multiplication of ground levels roots and integrates building and public space by increasing the permeability of vertical sections. Public and community services and businesses build a base on which is wound a residential body. This is designed according to a modular logic revealing a right-cost integration among structural, systems engineering and technology issues to ensure flexibility and typological variability both in the design phase, both along the building life cycle. The building contains a co-operative supermarket, active in involving producers and local associations, a large informal coffee for innovation, co-working services at multiple levels of sharing, special residences to live/work/innovate, community spaces, apartments at the right cost for professionals, young couples, families: a community that lives, works, shares, exchange.

© UP! . Published on April 14, 2014.

The flexible logical design framework of the building allows to vary the typological mix during the design phase choosing among spaces for living, for work or for hybrid home/work solutions. The promiscuity among these functions is a theme rooted in historical typologies and contributes to the definition of the relation patterns and the generation of urbanity . The proposed typological scheme defines a module and a variety of possible interpretations of the theme on a gradient that goes from work to live, from public to private, from maximum sharing to maximum privacy. The concept proposes solutions for different types of users. The ‘residence of innovation’ targets young start-uppers and innovators with low budget for short residencies, workshops, venture weekends and it’s connected directly to the coworking spaces. The living spaces are small studies, where sleep or think, or collective rooms and they are all in close connection with the wide circulation spaces, public spaces for social interaction and work. The ‘workshop houses’ are independent monolevel or duplex units with direct access from the outside or shop-window for the part devoted to work and privacy for the part devoted to housing. They cater to young professionals, artists, craftsmen who can combine production, sale and residence within the same space. The articulation of the open spaces inside the great court and the multiplication of public levels provide more opportunities for direct interaction and showcase .

© UP! . Published on April 14, 2014.

© UP! . Published on April 14, 2014.

© UP! . Published on April 14, 2014.

KAROstART envisions the re-birth of Karosta through art as triggering opportunity to build a new idea of community strongly related to local identity and quality of space. The project proposes an urban re-generation strategy based on the design of a complex relational pattern, opposing monofunctionality. The cultural centre and park is designed to become exchange and sharing node to place the neighbourhood in the mental map of citizens and visitors. To make it more effective the centre is imagined as possible part and cornerstone of a comprehensive project at the urban scale, able to be developed over time.

© UP! . Published on April 14, 2014.

The new cultural centre is rooted in the ground and aims at setting a new ordering principle for civic and cultural spaces. The existent indistinct spatial continuum is turned into a plural place through an operation of thickening and carving the soil: public, semi-public and private open spaces are regulated by new thresholds, defining a spatial gradient of alternatives at human scale perception.

© UP! . Published on April 14, 2014.

.

© UP! . Published on April 14, 2014.

To overcome the present mono functional asset the project proposes to foster mixed-uses opportunities based on morphological, typological and functional, diversification. The aim is enhancing a variety of social profiles capable of generating dense relational spaces and an intense urban experience. To get this the project proposes as methodology an assembling technique: read what is there and disassemble it to understand its relational logic; enter the new items providing an enrichment of the relational networks; provide interconnections and short-circuits through section strategy.

© UP! . Published on April 14, 2014.

.

© UP! . Published on April 14, 2014.

In Karosta the proposed landscape design operation enriches the ground level offering new spaces for public, civic, cultural uses and infecting existing buildings with hybrid residential/commercial/creative/working spaces; but at the same time the current permeability of nature is not eresed and fostered through the strong vertical relations between the urban and park levels.The unique cultural landscape of Karosta centre could be the first step to transform the ghost town in a place to live, open to all the citizens of Liepaja and to the local and international creative community as fertile ground to meet, share, contaminate and act. KAROstART. Karosta can start from art.

© UP! . Published on April 14, 2014.

© UP! . Published on April 14, 2014.

© UP! . Published on April 14, 2014.