Snake Collection - Giancarlo Zema

April 4, 2013, 8:59 am

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Un giocoso e allegro serpente colorato con una silhouette sinuosa, quasi da cartone animato, è l’emozionante ricordo d’infanzia che ha portato il designer Giancarlo Zema a progettare per il nuovo Brand Origami Furniture una essenziale ma divertente collezione, composta da scrivania e sedia in cartone riclicalto in doppia colorazione. Oggetti ideali per arredare in modo giovane e informale le case e gli uffici più smart ed eco-sostenibili.

Snake Collection by Giancarlo Zema for Origami Furniture

A playful, cheerful and colourful snake with a curvy silhouette, almost like a cartoon. This is the exciting childhood memory that led designer Giancarlo Zema to design, for the new Origami Furniture brand, an essential but fun collection that consists of a desk and chair made of recycled dual-coloured cardboard. An ideal piece of furniture to decorate smart and eco-friendly homes and offices in a young and informal style.

Snake Collection by Giancarlo Zema for Origami Furniture

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Casa Waslazen - Gianni Architetto Santopietro

April 4, 2013, 9:04 am

≫ Next: Canyon Collection - Giancarlo Zema

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Ottimizzare gli spazi in un bilocale di 35 mq

project: Gianni Santopietro render: rendering4you

project: Gianni Santopietro

stato di fatto rilievo fotografico

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Canyon Collection - Giancarlo Zema

April 4, 2013, 9:06 am

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Ispirata dalle scultoree e infinite stratificazioni del Grand Canyon americano, questa ecologica collezione progettata dall’arch. Giancarlo Zema per il nuovo Brand Origami Furniture è composta da seduta, tavolino basso e lampada in cartone riciclato. Forme morbide e sinuose, svelano al loro interno accoglienti nicchie per alloggiare borse, riviste o piccoli oggetti. Pensata per arredare in modo ecologico ed innovativo gli spazi indoor più trendy.

Canyon Collection by Giancarlo Zema for Origami Furniture

Inspired by the sculptures and infinite layers of the American Grand Canyon, this eco-friendly collection designed by architect Giancarlo Zema for the new Origami Furniture brand consists of a chair, coffee table and lamp made of recycled cardboard. Soft and curvaceous shapes reveal cosy niches to keep bags, magazines or small objects. Designed to furnish the trendiest indoor areas in an environmentally friendly and innovative way.

Canyon Collection by Giancarlo Zema for Origami Furniture

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Villa Casati Marocco Viganò - Aristide Cassanmagnago

April 4, 2013, 9:12 am

≫ Next: MSM. Masterplan San Marco - C+S Architects

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Villa Casati, Marocco, Vigano’ in CasatenovoCenni storici

veduta dalla via pubblica

Nella parte nord-ovest dell’antico nucleo storico di Casate, tra le ville Greppi e Lurani, quasi a fronteggiare villa Facchi, in via Castel Barco, sorge questa bella dimora anticamente appartenente ai Casati, feudatari di Casate e certo i maggiori possidenti locali.

scorcio del chiostro

Dall’analisi storico cartografica risalente al catasto di Maria Teresa (1727), già si individua questo bell’edificio d’impianto seicentesco. Pur subendo una mutazione tipologica significativa databile alla seconda metà dell’ottocento, nella parte seicentesca tuttora si evidenziano ricercatezze compositive e formali: in particolare  il colonnato in granito impostato a chiostro tipico delle architetture monastiche;  il porticato aperto verso la corte interna conformato da cinque fornici con arcate semplici ma imponenti nella loro sobria eleganza;  il bel portale d’ingresso attribuibile all’epoca tardo seicentesca;  le proporzioni d’insieme dello spazio del cortiletto interno che suggestivamente richiamano quell’atmosfera intima e raccolta proprie delle antiche dimore  le aperture di regolare dimensione ingentilite da cornici in arenaria.

veduta del cortiletto

Restauro conservativo e funzioni moderne

interni

L’intervento di restauro conservativo, sotto la tutela della Soprintendenza per i Beni Architettonici e per il Paesaggio, è volto a preservare tutte le caratteristiche esteriori dell’originario edificio per riportarlo all’antico splendore. Pur attualizzando le funzioni abitative con moderne tecnologie non invasive negli ambiti della coibentazione, dei sistemi di riscaldamento e dell’impiantistica in generale, la realizzazione mantiene il tenore dell’antica e prestigiosa dimora. Il giardino frontale ospita nell’interrato adeguate e moderne autorimesse il cui accesso è risolto con un viale laterale carrabile, che sfruttando i differenti livelli di quota, permette un accessibilità veicolare al piano.

interni

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MSM. Masterplan San Marco - C+S Architects

April 4, 2013, 9:17 am

≫ Next: Urban Lounge - Alessandra Cianchetta

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The former military structure of the Caserma San Marco’s army square is a huge void at the entrance of Conegliano historical city centre. Avoiding to give answer to the expected programs through conventional solutions, we have considered this masterplan as a great opportunity to regain and activate a non-used marginal space of the city.

The inner courtyard

Photo by Alessandra Bello. Published on April 04, 2013.

Densifying the edge of the plot with social housing and public facilities, the design aims to preserve the square and to engage and activate programs which can involve larger communities more than the neighborhood.

The main idea of the urban renewal design is based on shaping empty spaces, above and below the ground. The notion of void is investigated from at the urban scale as well as at the architecture and detailed scale of the structure of the buildings. Underground, the two-storey parking lot is shaped by the structural design, freeing it from any intruding plants or systems, which are concentrated in the central shaft.

The public square

Photo by Marco Zanta. Published on April 04, 2013.

A system of pillars, which opens up like a tunnel, lets the natural light to go through, provides ventilation and is the support for the horizontal elements, with alternated sections, creating a 16 metres wide free span. Color outlines the parking orientation signing the security exits. The grafic signs, in this project, become spaces and, viceversa, space becomes a grafic solution.

The public square

Photo by Alessandra Bello. Published on April 04, 2013.

The concrete blades with emergency exits are coloured in green, orange and purple and covered by canopies, which are the only outside signs of the underground parking on the outside artificial public space of the new square. Above the ground the void is preserved through materiality.

The social housing from the square

Photo by Pietro Savorelli. Published on April 04, 2013.

The square is entirely covered with the stones of the Piave River and it is crossed by one single path, made of larch boards. This low-cost solution was shared with the people, freeing the space from car parking and allowing different possible uses of it, as concerts or markets.

The ticket office inside the refurbished building

Photo by Marco Zanta. Published on April 04, 2013.

The refurbishment of an existing building houses the ticket office, connected with the underground parking. Even the dense social housing and services is shaped around the void of two courtyards. The houses are served by a balcony and each of them has an entrance either from the ground floor either from the first floor, at the street’s level.

The underground parking

Photo by Marco Zanta. Published on April 04, 2013.

The smaller typologies for young people face directly on the courtyard and are enlightened also by roof windows, while the larger apartments are duplexes entering from the balcony. From the outside the building follows the edge of the plot in continuity with the existing buildings.

One of the courtyards

Photo by Alessandra Bello. Published on April 04, 2013.

From the outside the building follows the outline of the plot, keeping the continuity with the existing buildings.

One of the security exits

Photo by Marco Zanta. Published on April 04, 2013.

The street elevation

Photo by Pietro Savorelli. Published on April 04, 2013.

The street elevation

Photo by Pietro Savorelli. Published on April 04, 2013.

The light-well of the ticket office

Photo by Marco Zanta. Published on April 04, 2013.

Inside view of the ticket office

The ramp of the underground parking

Photo by Marco Zanta. Published on April 04, 2013.

Plans

Schizzo

Sketch

Section

Sketch

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Urban Lounge - Alessandra Cianchetta

April 4, 2013, 9:19 am

≫ Next: Jardins de l’Arche - Alessandra Cianchetta

≪ Previous: MSM. Masterplan San Marco - C+S Architects

The value of this public space depends primarily on its location: a tree-lined path housing a marketplace, from which user-friendly quiet spaces can be accessed. Before a succession of formal interventions was envisioned, the principal consideration was to ensure the fluidity of circulation around the marketplace. Above all, it was important to create the potential for a variety of activities in the public space. The public space is neither a series of closed squares, nor a mere passageway, but a succession of urban environments where a person can choose to stop once, or every day, during a stroll.

Photo: Anna Positano. Published on April 04, 2013.

The aim was to establish a sequence of welcoming, playful areas open to all that would animate the space day and night, in all seasons. The space is framed by the naturally sloping ground and the planted valley. The square has to become a landmark for the surrounding area, a symbol of civic regeneration and needs strong, visual landmarks to put it on the map – both at its two entrances and in the square itself. The overall visibility of the square reinforces its iconic potential.

Photo: Anna Positano. Published on April 04, 2013.

DESIGN CONCEPT Our thinking about the design was based on the idea of the «urban lounge». Having looked at a variety of living rooms, we have chosen to simplify the urban lounge to four basic elements. Order: perspective, emphasized by the pattern and repetition of elements (furniture, curtains …) Textiles: carpets and curtains Lighting: lamps, sconces and mirrors: a luminous atmosphere that unfolds the space Furniture: a range of furniture styles that serve one purpose, to allow people to gather: loveseats, chairs, chairs …

Photo: Anna Positano. Published on April 04, 2013.

Thus, we created a sequence of four thematic areas with different qualities of soil (for example, a ceremonial carpet), but located in an open space without obstructing the view. The identities of this sequence are strongly characterized by the unity of the furniture, or more precisely, the tubular structures that define the space, without being overly imposing. These structures take the form of chairs, benches, and equipment for children’s games, but also act as lighting masts and a lantern.

Photo: Anna Positano. Published on April 04, 2013.

DETAILED SEQUENCE An “urban living room”> a room for dancing> a room for playing> a room for resting. From the beginning of this sequence, the first room is represented by the double presence of an iconic lantern (=gloss) and a water wall fountain (= mirror) that provide a reception area (without overhanging trees): a threshold space for cultural activities, meetings, speeches … Next, we arrive at the ‘ballroom’, or where different patterns of circulation intersect the path. This is the place where people meet when arriving at the marketplace. The third room is a space reserved for games, created for children, offering variations on the theme of tubular furniture previously revealed as benches and lampposts. In this room, they are transformed slightly to support playful activities (gymnastics, climbing, and swinging). The last room is for those who want a rest from the “urban flow”– to sit, talk, eat and read – or for those supervising their children playing nearby. Further along from this room is a partition that becomes a screen for projections during the night: this «lounge space» is geared towards performance (DJ + VJ), with «chandeliers / lanterns» at either end, The main lantern is designed to create visual appeal from the road, as it is not obstructed by trees. It is a tubular structure with a backlit reflective textile that makes it a metropolitan landmark by day or night. Below, a lantern-screen creates a visual echo to the main lantern and serves as a projection screen for films or as artistic lighting.

Photo: Anna Positano. Published on April 04, 2013.

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Jardins de l’Arche - Alessandra Cianchetta

April 4, 2013, 9:38 am

≫ Next: Small buildings and other structures for the future recreation park of the Seine. Carrières sous Poissy. - Alessandra Cianchetta

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AWP, Office for Territorial Reconfiguration (Marc Armengaud, Matthias Armengaud, Alessandra Cianchetta), was named general contractor for the landscaping of the public spaces and follies situated at the foot of the Grande Arche in July 2011. The site, located near the future Arena 92 in the Jardins de l’Arche neighborhood, serves as a space for genuine interchange between La Defense and Seine-Arche.

The urban planners and designers at AWP are also responsible for a guide plan for Defacto that will enhance the urban space of La Defense’s business district. The project site is spatially very complex. The A14 route, metro line 1 and the RER A run underground, while above ground are the existing Jardins de l’Arche landscape project and Jetty. The aim is for the scheme to support the upcoming urban planning changes to the neighborhood: Terrasses de Nanterre, the Arena 92 stadium, residences and hotels.

Each element of the Jardins de l’Arche project, which covers approximately 70,000 m2 and includes a ramp nearly 750 m long, contributes to an improved urban experience. The continuous and fluid ramp allows for a more fluid space, while the extensive garden encourages a re-thinking of the existing landscape as a “sanctuary”, a place that should be protected. New follies, multi-purpose spaces and small-scale buildings increase and “activate” the possible uses of the site. The principal objective is to create an architectural, urban and landscaping continuity between the newly developed and existing urban spaces. Central to the project are the following goals: recreate an exceptional urban offering/provision on a neglected site between the Terrasses of Seine-Arche and La Defense; create an attractive and lively space on the scale of the Parisian metropolis; generate an urban culture and communication between La Defense and the surrounding neighborhoods; reinforce the ties between this area and the heart of the city, by improving circulation and fluidity; reveal and give new value to the inherent architecture within a harmonious urban landscape. This is one of Le Grand Paris’s major public urban spaces. The major priority is that the site creates a link between two sections of the Seine, asserting its presence at their meeting point. This linking superceeds any private or local issues about the space and perhaps even influences the way these issues are addressed.

We’ve approached the site by feeling it out in its nocturnal aspect, searching for a new intensity of landscape that can become a key image for Le Grand Paris. We are approaching the project as one might approach a “place de l’Opera”: Arena 92 is a new type of concert hall. The site is, however, full of constraints, because of its exiguity, the presence almost on site of two signature, ‘heritage’ works (Gilles Clement, Paul Chemetoff & Marc Mimram), and because of the huge expected visitor numbers. A part of the design then may be “virtual,” a luminous, sensitive, interactive, temporary presence…

Our vision at this stage is to develop spatial continuity with as few individual elements as possible, to bring the numerous small urban projects into an integrated, harmonious and stimulating whole (3): a large, contemporary plaza; flux zones that highlight the Jetty and the Jardin de l’Arche; and a common vocabulary across the project, such as spatial and temporal modularity in kiosks and follies, that makes the area accessible to all.

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Small buildings and other structures for the future recreation park of the Seine. Carrières sous Poissy. - Alessandra Cianchetta

April 4, 2013, 9:52 am

≫ Next: New park for LaM, Museum of Modern, Contemporary and Outsider Art, Lille Métropole - Alessandra Cianchetta

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The series of a pavilions with different public functions and programs are part of a future 113 hectare large public green space along the Seine river, in Carrière-Sous-Poissy, at the end station of the RER line A and close the renown Villa Savoye from Le Corbusier. The Park designed by the Paris based landscape architects Agence TER will be a public park and ecological showcase for local residents and a leisure destination for people living in and around Paris. The competition brief included the construction of a visitor’s center, of a restaurant (“guinguette”), of an observa- tory plus about a dozen smaller infrastructure “follies” with different uses. Similar to the popular wooden preschool toys in form of building blocks made of out of colorful wood, this collection of pavilions and small infrastructure «follies» is based on a modular wood system, repeating and combining different sized and different angled timber frames. This approach allows for interesting and unusual constructions, enabling a wide range of possible variations with a very limited number of elements, while at the same type staying very flexible for future adaptions and during the construction phase. This will result in unique atmospheres and spaces for each of the pavilions and infrastructure follies. In addition to that it’s a relatively low priced construction method which enables the integration of local building know how and local companies.

The site of the project is an exceptional one, for its location along the Seine river and for its “in-between”, dual nature (land/water, city/sprawl, wilderness/domesticated nature). The presence of barges, fishing huts and houseboats, which have been so far inhabiting the site has been a powerful source of inspiration. On the other side, the site boundary is characterized by suburban nondescript housing pavilions. The design springs from a process of hybridization between these two existing habitat models: the floating barge and the archetypical suburban house resulting in a new typology emerging in the park and dealing with the site’s memory and identity both spatially and socially, whilst providing a contemporary and forward-looking response. By working along residential neighborhoods and along the river, we are invited by this project to come inhabit a large urban room worthy of Paris’ tradition of great terraced boulevards. This very active strip of land is made up of continuous docks, a large mooring space for barges, pontoons, lookouts, observatories, cantilevered terraces… These small, furtive constructions must stimulate the flow of people over the entire length of the park, and towards the water and city, as well as provide facilities for viewing the landscape: framing/unframing. They will bring an inspirational atmosphere, to encourage new experiences. We want to suggest windows for sharing this new kind of landscape, and bring the surrounding city to life by intensifying certain elements of the landscape plan: inscribe it within an urban strategy. The idea is to create conditions for viewing the space, to allow crossovers that are adapted to the buildings’ uses, users, to the evolution of their surroundings. (AWP-HHF)

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New park for LaM, Museum of Modern, Contemporary and Outsider Art, Lille Métropole - Alessandra Cianchetta

April 4, 2013, 10:17 am

≫ Next: Ideas competition Inspiration Hotel_1st price - Jorge Ruiz Boluda, Paul Dieterlen Escoto, Agustín Durá Herrero

≪ Previous: Small buildings and other structures for the future recreation park of the Seine. Carrières sous Poissy. - Alessandra Cianchetta

The Lille Métropole Museum of Modern Art was built a quarter of a century ago by architect Roland Simounet. An extension to the existing building has now been designed to host the outsider art collection. The museum has from the outset been designed as a harmonious union of works of art, architecture and a magnificent sculpture park (Alexandre Calder, Pablo Picasso, Eugène Dodeigne and others). We won a competition to redesign the park and the museum entrance. This project is based on a reflection on topography and its geometry: a complete redesign of the park through a series of angular terraces and slopes connecting the museum to a newly designed water promenade. The design springs from the desire to clarify, liberate and enhance the legibility of outdoor spaces, strengthening their relation to architecture and sculptures. The landscape is built up through a series of views framing specific scenes and sculptures and through the articulation of different natures, to foreground the perception of a unique environment.

Photo: Yves Marchand & Romain Meffre. Published on April 04, 2013.

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Ideas competition Inspiration Hotel_1st price - Jorge Ruiz Boluda, Paul Dieterlen Escoto, Agustín Durá Herrero

April 4, 2013, 11:35 am

≫ Next: INTERNI - Cesare Rocchi

≪ Previous: New park for LaM, Museum of Modern, Contemporary and Outsider Art, Lille Métropole - Alessandra Cianchetta

NATURE. SOURCE OF INSPIRATION Since the beginning of times, nature has been a continuous source of inspiration, from the simplest of forms to the most complex ones, it has been a reference for all the artistic disciplines that have tried to imitate it, abstract it or simply tried to freely interpret it.

image_exterior ring

VALENCIA´S ALBUFERA. NATURE´S TREASURE The proposal sits in the “Albufera de Valencia”, one of the national territory´s most singular natural areas. The littoral lagoon is separated from the Mediterranean Sea by a thin stretch of sand which allows a continuous exchange of fresh water with the sea. Therefore coexist, bordering ecosystems with very different structures that generate areas of great richness and ecological interest.

image_interior ring

Beyond the ecological value, the Albufera has been and is of vital importance for the Valencian territory, because of its economical sustenance as well for its cultural heritage, being the scenery for numerous writings of novelist Vicente Blasco Ibáñez.

image reference_barracas in the Albufera

THE ALBUFERA. PLEASURE FOR THE SENSES The site constitute a unequal place, it´s a “senses enhancer”: daybreaks, sunsets, storms, flora and fauna diversity, smells, sounds, textures, tastes, changing colors… are all factors that evoke inspiration and concentration, finding ourselves, our essence with our own nature.

image proyect setting in the albufera

THE BUILDING. AUSTERITY AND RESPECT The building takes form as a huge ring shape wooden pier 160 meters in diameter that rise above the Albufera´s water surface. Functionally the building is resolve with two main rings, one with an eight meter section which contains the architectural program and the public areas, and another one, with a three meters section turn to the interior that works a continuous circular path.

plan_program

plant_front view_section

image_model_studio´s exterior

plan_estudio type_plant-section

image_moded_studio´s interior

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INTERNI - Cesare Rocchi

April 4, 2013, 1:12 pm

≫ Next: Alloggio a Barcelona (Barrio Gràcia) - Gianluca Cosmacini, Lluis Brugal

≪ Previous: Ideas competition Inspiration Hotel_1st price - Jorge Ruiz Boluda, Paul Dieterlen Escoto, Agustín Durá Herrero

Alle “anonime” pareti proposte dall’attuale edilizia, vanno contrapposti arredi articolati. Il “tramezzo”, ha violentemente diviso lo spazio, ma ci si deve sforzare di non interrompere la coscienza dell’intera spazialità a disposizione. La prassi di progettare gli arredi “in pianta”, ha prodotto la rinuncia ad una porzione di spazio. La dimensione altezza va recuperata. Le amorfe pareti delle “case dei costruttori” possono assumere massa scultorea, nel loro articolarsi ed interagire con i vani per gli impianti. Lo “spazio scatola” può essere dinamicizzato da arredi, formalmente e funzionalmente complessi.

L'uomo, non ha ancora dimenticato il sentimento d'appartenenza al suolo né l'idea di un habitat che si sviluppa, all'esterno su di esso. Il terrazzo consente la riappropriazione di tale sentimento. Esso, sopratutto nei climi mediterranei, vale il recupero dei giardini perduti.

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Alloggio a Barcelona (Barrio Gràcia) - Gianluca Cosmacini, Lluis Brugal

April 5, 2013, 6:12 am

≫ Next: WHITE HOUSE - BERETTA GIAN FRANCO INGEGNERE

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70 mq con terrazzo e vista sul TIBIDABO

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WHITE HOUSE - BERETTA GIAN FRANCO INGEGNERE

April 5, 2013, 6:23 am

≫ Next: Edificio per appartamenti, attività commerciali e Box. - Pietro O. GRAZIANO

≪ Previous: Alloggio a Barcelona (Barrio Gràcia) - Gianluca Cosmacini, Lluis Brugal

COMPLESSO IMMOBILIARE COSTITUITO DA N°5 UNITA’ ABITATIVE OSSIA N°3 VILLE A SCHIERA E N°2 APPARTAMENTI. SEMPLICI LINEE ARCHITETTONICHE PER UNO STILE MODERNO, PARTICOLARE ATTENZIONE AI DETTAGLI, BENESSERE AMBIENTALE RICERCATO. AMPIE VETRATE, FRANGISOLE AUTOMATIZZATE, TETTO GIARDINO, PORTONE AUTOMATIZZATO E TANTO ALTRO ANCORA. IL BIANCO OVUNQUE.

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Edificio per appartamenti, attività commerciali e Box. - Pietro O. GRAZIANO

April 5, 2013, 6:25 am

≫ Next: Allestimento museale della Casa del Suono nella ex chiesa di S.Elisabetta, Parma - simona melli

≪ Previous: WHITE HOUSE - BERETTA GIAN FRANCO INGEGNERE

Edificio a quattro piani oltre interrato

Esterno Fronte

Esterno retro

Esterno lato nord

Esterno lato sud

Struttura in c.a.

Struttura in c.a. particolare scala

Struttura in c.a. particolare armatura copertura

Struttura in c.a., particolare armatura copertura, compluvio

Struttura in c.a., particolare armatura solaio

Struttura in c.a., particolare armatura scala

Struttura in c.a., particolare getto calcestruzzo solaio

Struttura in c.a., particolare armatura scala

Struttura in c.a., particolare armatura solaio

Struttura in c.a., particolare armatura fondazione

Struttura in c.a., particolare magrone di fondazione

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Allestimento museale della Casa del Suono nella ex chiesa di S.Elisabetta, Parma - simona melli

April 5, 2013, 6:26 am

≫ Next: villa ARA06 - Gianluca Perini

≪ Previous: Edificio per appartamenti, attività commerciali e Box. - Pietro O. GRAZIANO

La Casa del suono è museo e, al tempo stesso, laboratorio sperimentale, strumento di ricerca scientifica e, contemporaneamente, spazio divulgativo aperto al grande pubblico. Lo spazio espositivo trova sede all’interno della seicentesca Chiesa di Sant’Elisabetta, nel centro storico di Parma.

l'allestimento di una delle cappelle principali della ex chiesa a pianta centrale

L’esposizione permanente della collezione Patanè prende posto tra le sei cappelle laterali della Chiesa a pianta centrale anteriore in altrettante nicchie atte a contenere gli strumenti di riproduzione sonora, dal fonografo all’I-pod, e il loro suono.

la reception d'ingresso

L’attraversamento rettilineo verso la retrostante Sala delle Monache incontra nel centro geometrico dell’architettura (segnato dalla presenza di una pedana acustica e da un anello di sedute) la presenza del grande lampadario sonoro sospeso, al centro dello spazio aulico, a riprodurre composizioni di musica contemporanea.

le teche espositive

La seconda sala ospita le esposizioni temporanee e le due stanze acustiche in tela, differenti per colore, dimensione e modalità di fruizione: quella nera per l’ascolto individuale e quella bianca per utilizzi collettivi che potrà, aprendo la parete mobile sul lato corto, divenire parte dell’esposizione permanente con videoproiezioni ed effetti sonori sofisticati.

Questi ambienti sono pensati come grandi casse acustiche, strumenti sonori ad assetto variabile ed aggiornabile nel tempo.

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villa ARA06 - Gianluca Perini

April 5, 2013, 6:28 am

≫ Next: Master Class-Workshop_Kusadasi _ Turchia - Marco Fantini, Stoian Andonov

≪ Previous: Allestimento museale della Casa del Suono nella ex chiesa di S.Elisabetta, Parma - simona melli

progetto villa unifamiliare

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Master Class-Workshop_Kusadasi _ Turchia - Marco Fantini, Stoian Andonov

April 5, 2013, 6:36 am

≫ Next: James B. Hunt Jr. Library - Snøhetta

≪ Previous: villa ARA06 - Gianluca Perini

22_03_13/02_04_13 Partecipazione al Master Class-Workshop presso Kusadasi, Turchia.

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James B. Hunt Jr. Library - Snøhetta

April 5, 2013, 6:44 am

≫ Next: Concorso di Idee per il recupero funzionale del Cinema Turismo di San Marino - Andrea Casadei, matteo maresi, andrea nicolini, Denis Gasperoni, Luca Tabarrini

≪ Previous: Master Class-Workshop_Kusadasi _ Turchia - Marco Fantini, Stoian Andonov

Snøhetta’s Hunt Library design balances the understood pre-existing needs with the University’s emerging needs to create a forward-thinking learning environment. While clearly a contemporary structure within a traditional context of the NCSU campus, the Hunt Library provides a positive platform for influencing its surroundings. Both technical and programmatic innovations are celebrated as part of the learning experience and provide a versatile and stimulating environment for students.

Generous open spaces connect all floors of the library and open stairs emphasize an interactive and social environment alongside more focused study areas. A wide variety of study and learning environments, and technology-focused experimental labs break the now ubiquitous model of the learning commons. “Disruptive” learning spaces with colorful, dynamic furnishings exist beside more traditional study rooms. The design recognizes the power of chance encounters and celebrates the role of physical space in the intellectual stimulation of its users.

The new LEED Silver (pending) project provides spaces awash with natural light, expansive views of the nearby lake and outdoor break and seating areas. The building’s façade of fritted glass and a fixed external aluminum shading system help diminish heat gain while maximizing views and ambient natural light. Robust materials form the interior spaces and unique, brightly-stained wooden stairs help library users orient themselves throughout the building. Ceiling-mounted active chilled beams and radiant panels provide heating and cooling for the interior spaces.

Snøhetta’s integrated architecture and landscape architecture practice also designed the Hunt Library’s surrounding landscape. The design creates a fluid transition between the masterplanned landscape to the Hunt Library’s north with the natural environment of Lake Raleigh to the south, and links the library to the western edge of NCSU’s Centennial Campus. Snohetta’s plan breaks down the larger masterplan into individual diverse experiences, creates outdoor learning environments and teaching spaces for NCSU students, and incorporates rain gardens and green roofs into the building’s infrastructure for storm water management.

The integration of state-of-the-art library technology is highly visible in the building’s design. The Hunt Library’s 5- storey robotic bookBot automated retrieval system is capable of holding two million volumes in 1/9 the space of conventional shelving. The system is supported by Virtual Browse, a user-friendly browsing software which enhances the traditional pleasure of browsing a collection by allowing users to see a virtual shelf of materials classified near the resources found by their initial search. The bookBot effectively reduced the total area of the building by 200,000 GSF, allowing more space for collaborative learning environments and technology.

In addition to the bookBot, innovative building features give faculty and students hands-on experience with the large-scale visualization tools. The Game Lab supports NC State’s Digital Games Research Center by providing an experimental commons to explore collaborative game design and the role of gaming in education. The library’s Teaching and Visualization Lab, the Creativity Studio, a 3D printing workshop and extensive digital media production facilities enable faculty and students with rapid prototyping, modeling, and visualization capabilities. State-of-the-art videoconferencing and telepresence technologies allow collaboration with colleagues across the state and around the world. ROTC students are even able to practice commanding a submarine in a simulation environment developed in partnership with the Navy as a tool to better train cadets.

CREDITS

Design Architect: Snøhetta
Executive Architect: Pearce Brinkley Cease + Lee
Programming: DEGW
Cost: Davis Langdon
LEED Administration: Pearce Brinkley Cease + Lee
Structural Engineer: Stewart Engineering
Structural Consultant: Arup
Civil: Cole Jenest Stone
PME& FP: Affiliated Engineers Inc
Landscape: Snohetta, Susan Hatchell Landscape Architecture PLLC
A/V IT/ Acoustics: The Sextant Group Inc Lighting: Pivotal
Automated Book Delivery System: Dematic
Furniture: NCSU Libraries, Pearce Brinkley Cease + Lee with Another Inside Job
Construction Manager: Skanska

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Concorso di Idee per il recupero funzionale del Cinema Turismo di San Marino - Andrea Casadei, matteo maresi, andrea nicolini, Denis Gasperoni, Luca Tabarrini

April 5, 2013, 6:54 am

≫ Next: A L T E R N A N Z E - Carlo Deregibus

≪ Previous: James B. Hunt Jr. Library - Snøhetta

Dall’analisi dell’attuale situazione dei teatri presenti a San Marino, è emerso che gli stessi hanno le medesime caratteristiche funzionali sebbene di dimensioni differenti. Le simili caratteristiche spaziali fanno presumere un’alternativa di proposte teatrali e musicali pressoché uguali in tutti i teatri. Per dare a San Marino uno spazio che possa essere il più dinamico possibile, e che possa quindi soddisfare l’attuale necessità dello spettacolo e del teatro d’avanguardia in particolare, è nata la nostra scelta progettuale.

Abbattendo completamente alcune gradinate e parte di alcune, abbiamo creato uno spazio volumetricamente e spazialmente molto flessibile.

Attraverso l’utilizzo di un sistema di piattaforme mobili con poltrona incorporata pieghevole, si riescono ad ottenere molteplici configurazioni che possono soddisfare le più svariate esigenze di teatro, musica, cinema, spazi espositivi, conferenze, eventi pubblici, congressi, ricevimenti.

Le configurazioni della sala possono passare dalla soluzione “flat” completamente piatta e libera dalle poltrone, per arrivare alla configurazione inclinata per cinema e conferenze con il massimo numero di posti a sedere passando per molteplici configurazioni intermedie.

Nell’intervento è stata inserita anche una foresteria ad uso degli artisti, cosa quasi obbligatoria per non essere esclusi dai principali circuiti teatrali europei.

Abbiamo spostato l’ingresso in direzione del parco, passaggio quasi obbligatorio per l’accesso al teatro, e quindi anche in direzione della città, aumentando così la visibilità da via Federico d’Urbino.

Dalla stessa via con la costruzione di un ascensore abbiamo garantito un collegamento tra il parcheggio 2a e il teatro.

il teatro greco: non c’è una situazione di frontalita’ e nemmeno di separatezza istituzionale tra lo spazio degli spettatori e quello degli attori. questa è l’idea di spazio teatrale intesa dai registi contemporanei, un’idea di spazio frammentato che ha perso la centralità del teatro all’italiana

“per gli uomini di teatro italiani di oggi il luogo teatrale perfetto è uno spazio sgombro e continuamente riclassificabile, e la migliore scenografia è quella che non c’è”

“risulta moderno lo spazio teatrale medievale la cui principale caratteristica è la frammentazione dei fuochi dell’azione. La spettacolarità medievale ha la caratteristica della multi focalità, della compresenza di tanti spazi diversi, già scenograficamente attrezzati, ma attivati uno alla volta: vi è quindi una frammentazione dello spazio scenico. Questo è terribilmente moderno, perchè invece la struttura del teatro all’italiana comporta una fortissima gerarchizzazione del pubblico”

interno-esterno devono compenetrarsi creando un luogo fruibile anche quando ”chiuso” ; creare una “scena” esterna che dialoghi con la citta’e con chi la vive.

sala prove, amministrazione, piccola foresteria, reparti per la costruzione e il montaggio delle scene; lo spazio per la rappresentazione deve essere libero, modulabile, ricampionabile, il registra ha a disposizione lo strumento e può scegliere di utilizzarlo come vuole.Quindi un grande spazio dove lo spettatore è coinvolto abbracciando la scena.

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A L T E R N A N Z E - Carlo Deregibus

April 5, 2013, 7:12 am

≫ Next: Arena Portoval - Nejc Černigoj, Andrej Černigoj

≪ Previous: Concorso di Idee per il recupero funzionale del Cinema Turismo di San Marino - Andrea Casadei, matteo maresi, andrea nicolini, Denis Gasperoni, Luca Tabarrini

Nel grande percorso pedonale che unisce piazza Ferretto, piazzetta Matter e via Palazzo, la Torre Civica è come una strozzatura: memoria della sua originaria funzione difensiva, ma che ora la rende separata dalla piazza cui dovrebbe appartenere. Per questo motivo il piano terreno, utilizzando le storiche porte presenti a sud e nord, diverrà passante, quasi un residuo di portico che permetterà ad un tempo la connessione alla piazza e l’accesso alla torre. E per rendere abitabile la Torre e la Piazza insieme, tutti i collegamenti verticali rimangono celati, all’interno. Le scale si avvolgono in modo irregolare, così da valorizzare ogni finestra, da rendere ogni squarcio sull’esterno un’epifania: sono scale sfalsate, che consentono un grande risparmio di spazio senza precludere un comodo uso, e saranno realizzate con grande blocchi in legno a definire i gradini, sorretti da una struttura metallica che andrà a riutilizzare i punti di appoggio degli attuali solai. L’andamento erratico della scala consente di variarne la percezione, riflettendo la distribuzione irregolare delle aperture e consentendo inoltre di lasciare liberi molti spazi lungo le pareti, che potranno così essere attrezzate per un uso espositivo. Circondano un ascensore che si alza libero consentendo di salire ai vari piani con sbarco diretto ed eliminando ogni barriera architettonica: l’acciaio brunito dei parapetti ne scherma l’accesso dalle rampe solo ove necessario, senza costituire una troppo ingombrante presenza. Seguendo una strategia progettuale che usa la presenza delle scale come valore aggiunto e significante, i piani divengono momenti di sosta in cui apprezzare particolari scorci, in attesa di arrivare al livello superiore ed alla sua vista.

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