Il fabbricato, pur realizzato nella tradizione tipologica veneta, risulta edificato nell’immediato secondo dopoguerra, con materiali poveri (murature in sasso e mattoni e solai in legno) è privo di una sostanziale importanza documentale architettonica, pur ricadendo per la sua età nell’ambito dei beni tutelati per legge. Pertanto, il progetto di adeguamento funzionale comporterà anche opere di consolidamento strutturale e di adeguamento alle vigenti norme antisismiche, al fine di tutelare e proteggere le vite di coloro che lo affolleranno e abiteranno. Al corpo di fabbrica principale risultano ora addossati il volume dei servizi igienici e quello attualmente adibito a autorimessa, pertanto risulterà necessario provvedere alla loro rimozione per mettere in risalto la struttura configurativa principale. La riorganizzazione funzionale prevista dal bando comporta dunque anche una serie di opere finalizzate all’adeguamento alle norme vigenti in termini di abitabilità e prevenzione incendi.

Vista da sud-est

© Luca Guerra . Published on July 20, 2014.

Nella elaborazione progettuale sono stati adottati i seguenti assunti di base: utilizzo delle strutture verticali esistenti, al fine di ridurre al minimo gli interventi murari mantenimento dell’assetto tipologico esistente (grandi vani affiancati e comunicanti tra loro) Utilizzo dei vani interrati esistenti quali locali impianti e deposito. la chiara distinzione delle parti, per cui ogni nuovo intervento deve essere distinguibile dalla preesistenza adozione di tecnologie che consentano una veloce realizzazione dell’opera

Tavola 1

© Luca Guerra . Published on July 20, 2014.

L’edificio della canonica è al centro della trama di relazioni che si sviluppa tra le attività che in questa si svolgono e la cittadinanza di San Bonifacio e sono proprio queste relazioni con le loro le modalità di contatto tra le varie offerte di aiuto alla collettività che danno in qualche modo forma a questo progetto.

Criteri e impostazione generale della proposta (motivazioni e criteri delle scelte ideative). Per la molteplicità di relazioni che questi intessono gli uni con gli alti, risulta sempre difficile descrivere i criteri su cui si imposta una proposta progettuale, per cui li si elencherà di seguito senza dare loro un valore preminente l’uno rispetto all’altro.

vista da est

© Luca Guerra . Published on July 20, 2014.

Gli accessi Accesso carrabile lungo l’unico lato del lotto a confine con una strada (via Montecuccoli), per cui da qui la possibilità di accedere con automezzi alla area esterna per eventuali manutenzioni e per le forniture necessarie all’esercizio della scuola. Accesso bambini e genitori dal parcheggio esistente e di recente realizzazione posto lungo la via Parini che immette al Parco Alpini, ipotizzando anche l’utilizzo del piccolo porticato del Padiglione (per non chiamarlo casetta) della Associazione Alpini; questi due elementi considerati unitariamente definiscono un percorso d’accesso al lato nord-est del lotto oltre che al posizionamento dell’ingresso alla scuola Materna. Necessità di definire un accesso separato per i bambini della sezione primavera.

Tavola 1

© Luca Guerra . Published on July 20, 2014.

Scelte tipologiche Ripresa della configurazione architettonica più tradizionale (tetto a capanna) che si collega visivamente al padiglione Alpini e al vicino fabbricato della Bonomelli e che costituisce anche l’archetipo rappresentativo della casa per i bambini più piccoli. Questo consente inoltre il posizionamento sulle falde di copertura orientate verso sud-ovest di pannelli solari, mente su quelle opposte di lucernari per la illuminazione naturale dei vani posti più in alto e per la creazione di un riscontro d’aria per la ventilazione trasversale naturale durante i periodi dell’anno più caldi. Assicurare a tutte le sezioni della scuola Materna e al richiesto spazio aggiuntivo per le attività pratiche una ampia visuale verso l’area esterna da adibire alle attività ludico-motorie. Ridurre al minimo indispensabile gli spazi dedicati al connettivo. realizzare un’ampio spazio per le attività libere comune a tutte le sezioni. Continuità tra l’area cortiliva posta lungo la via Cuccoli e quella retrostante. Separare la sezione Primavera dalle altre, per potere dare ai bambini più piccoli uno spazio a loro dedicato. Rispetto della parete fonoassorbente, che non deve essere coinvolta mantenimento per quanto possibile del muro di recinzione esistente, rivolto verso gli spazi pubblici.

Tavola 2

© Luca Guerra . Published on July 20, 2014.

Scelte tecnologiche, economiche e costruttive Utilizzare per quanto possibile i livelli attuali del terreno presenti nel lotto al fine di contenere i movimenti terra ed i relativi costi. Tempi di realizzazione dell’opera contenuti. Strutture puntiforme per conseguire la massima flessibilità possibile. Utilizzo dei vani interrati esistenti quali locali impianti e deposito.

Tavola 3

© Luca Guerra . Published on July 20, 2014.

Vista da ovest

© Luca Guerra . Published on July 20, 2014.

Vista dell'interno

© Luca Guerra . Published on July 20, 2014.

Il progetto, prendendo spunto dal termine “Cittadella”, si prefigge l’obiettivo di generare un’area architettonicamente caratterizzata, delimitata e protetta, quasi un tassello incastonato fra le preesistenze. L’approccio progettuale generale asseconda i luoghi e i manufatti, elimina dal lotto le piccole aiuole, i parcheggi e tutti i segni disorganizzati presenti, inserisce con discrezione il nuovo blocco F, ridisegna il limite est dell’area, mantiene la presenza del muro di cinta sul lato est rafforzandone la presenza e la funzione con la riproposizione formale delle preesistenze. L’intervento, nel suo complesso assume pertanto le connotazioni tipiche del restauro, si sottraggono gli elementi incongrui e le modifiche all’esistente sono di lieve entità, concentrate possibilmente all’interno degli edifici e motivate esclusivamente dal raggiungimento delle nuove funzioni, i prospetti vengono rispettati, i nuovi volumi consentono la lettura dalle preesistenze, distaccandosi da quest’ultime senza cercare di annullarle utilizzando linguaggi formali troppo spinti o realizzando volumi fuori scala.

Tavola 1

© Luca Guerra . Published on July 20, 2014.

Le linee guida dell’intervento sono così riassumibili: le funzioni aperte al pubblico rivolte verso il cortile interno, che diventa così uno spazio di raccoglimento e meditazione e di incontro, con la sala polifunzionale che rievoca il disegno di un tempio e le camere mortuarie appartate e differenziate le funzioni non aperte al pubblico poste sull’opposto lato ovest accessibili dall’interno del complesso e gli uffici al piano superiore. contenere i costi di realizzazione mediante edificazione in superficie senza piani interrati.

Design concept The Daegu Gosan Public Lybrary design is deeply related to the context, differences, order and freedom. It has been modelled according to the surrounding buildings and the alignments present in the area. A large path has been left on northen competition border. On the East side, the library limits follow road orientation with a set back of more than 10 meters from it. On the South,the ground level building limit follows the alignment of the buildings placed on the East side of the road while the upper floor is related with the South side building alignments. Along the West boundary, the building mass has been carved according to building alignments placed on the opposite side of the road. On the North, the site alignments design a small square entrance with flag poles. These alignments design also the inside of the library; from South to North it is divided into 3 parts, with an intermediate strip for stairs and service rooms while main spaces are placed on East side and service spaces on West side. From West to East, the external alignments draw the position of structural elements and use placement.

Vista esterno

© Luca Guerra . Published on July 20, 2014.

The differences are clearly expressed by a rectangular massive block, 4 stories high with narrow vertical windows placed along the West border, in strong opposition with the lower fully glazed non orthogonal design volume placed on the East side. On the West side there is a full integration between roof and vertical walls, while on the East side there is a clear distinction between surrounding walls and roofing.

Tavola 1

© Luca Guerra . Published on July 20, 2014.

There is an internal order with a clear division into 3 parts, while there is a wide freedom in internal circulation. From the main hall it is possible to get in a glimpse all the free user spaces, and to reach them exploring the internal volume raising the stairs.

Tavola 2

© Luca Guerra . Published on July 20, 2014.

Tavola 3

© Luca Guerra . Published on July 20, 2014.

Vista esterna

© Luca Guerra . Published on July 20, 2014.

Il progetto preliminare in oggetto risponde alle richieste del Concorso di Idee in attuazione di una delibera della Giunta Comunale di Cittadella per la realizzazione di una passerella ciclo-pedonale che consenta l’attraversamento in sicurezza della SR 53 Postumia in corrispondenza con la SP 69 (via Zucca).

Tavola 1

© Luca Guerra . Published on July 20, 2014.

L’opera prevista assume e non modifica il progetto della sistemazione dell’incrocio fornito in allegato al bando di gara e si configura come manufatto indipendente, con limitatissimi interventi sul territorio (esili cordoli superficiali), dal carattere permanente, ma eventualmente rimovibile con facilità in poco tempo, con spesa limitata e producendo materiali facilmente riutilizzabili o riciclabili, consentendo inoltre il facile ripristino dello stato originario.

Tavola 2

© Luca Guerra . Published on July 20, 2014.

L’area interessata si configura come agricola con porzioni di periferia esterna scarsamente edificata, tuttavia è fortemente segnata dal traffico presente nella SR 53 Postumia. Su questa non risultano vincoli relativi a immobili o aree di notevole interesse architettonico o paesaggistico e la zona non è soggetta a regime di tutela.

Il progetto prevede la realizzazione di due rampe contrapposte, non allineate in modo da non modificare i luoghi, gli immobili e le alberature esistenti. Le rampe, in corrispondenza dell’incrocio con la SR 53 Postumia, presentano due torrioni, dotati in sommità di struttura luminosa atta a rendere riconoscibile di notte l’approssimarsi della città. La passerella ciclo-pedonale è costituita da due travi lamellari unite dall’impalcato. La struttura portante è in tubo-giunto da ponteggio di seconda mano, i tamponamenti verticali ed orizzontali sono in tavolato di recupero. La passerella, i torrioni e le rampe costituiscono un segno riconoscibile nel territorio.

General design criteria: …the inspiration becomes real through the signs of the place. The sound of the wind over the poplar and sycamores trees get confused with the natural melody of a hurdy-gurdy playing in the distance and giving sense to the melody of the kigyultegy csillag a balton. In this way, the idea for the House of Hungarian Music project begins to take shape. The building is the result of a design process which includes the research of Hungary’s significant cultural aspects, redefining not only specific aspects of the music scene, like musical instruments, but also symbolic architectural elements of this culture. The building is conceived respecting and adapting to the natural environment and maintaining as much vegetation as possible (only removing 5% of the existing vegetation from the area of intervention). The ground floor is transparent, thereby improving the visual connection and the relationship with the natural environment of the Varosliget Park. This is almost 70% of the total built. In response to the specific functions it houses, the upper floor becomes more hermetic. Special uses, like vip lounge, meeting rooms and offices, are located in the building’s southwest area, taking advantage of the sunlight and the views to the park The main lobby, the coffee bar and reading rooms are contained in a parametric morphology that is generated as a result of solar motion (photovoltaic energy). The rhythm of this façade is related to the strains of the musical score of the song: ” kigyultegy Csillag to Balton ” ( see collage). The morphologies of the blocks facing the southeast are inspired in the typologies of local baroque architecture (domestic scale proportions) and the slopes of the mansard roof These blocks are interrelated by small patios which can be used for leisure. These spaces also provide direct sunlight and act as emergency exits. The building has two vertical circulation cores. The technical sectors (drinking water facilities, reuse of rainwater, power sectors, electronics systems, informatics, air conditioning, etc.) are in the 3200 m2-basement. The storage intended for keeping and moving artifacts is also located here. This area is connected with the upper levels with lifts. The parking offers 45 spots (visitors, service staff, garbage removal and load and unload of artifacts). In the ground floor, on the northern area, are located the service staff, the areas for load and unload of artifacts and the emergency exits. The permanent exhibition room is located to the east, next to the service road. A courtyard provides direct sunlight. The exhibition rooms both in the ground floor (permanent) and upper floor (temporary) consist of movable partitions which respond to the multiple uses, type and level of exposition. the special exhibition room is located downstairs, in the southwest, in front of the park. It has a mobile stage made by a mechanical rail system, which allows outdoor performances. The halls which require better sound and silence -the performance hall and the lecture hall along with the deposit for the reading roomare located upstairs. In the northern sector, next to the cores for circulation, are set the workspaces for staff and the storage of moving artifacts. Facing the south, for maximum use of natural light and optimum views to the Varosliget Park, is located the Museum Learning. It is set on two floors, in the ground floor is the access to the documents, books and dining room. In a mezzanine, the reading rooms are strategically located for better relationship with light, best acoustics and best contemplation of the park. Using the same criteria from the ground floor, the temporary exhibition hall is set upstairs. Circulations / Environment relationship: The building is located in the central sector of the park at the intersection of two axes of great importance. The North / South axis on street Olof Palme Mücsarnok which communicates the entire sector. And in southwest / northwest direction from Ötvenhatosok tere towards the future National Gallery. The House of Hungarian Music happens to have a major scale of importance in the sector. The main connections between the park entrance and the building are given by bicycle and by foot, and little vehicular transport. The pedestrian footpaths are closer to the building, on the same block , unlike the trails for bikes that are located on sidewalks parallel to the building generating a more contemplative path. The traffic flow is absorbed by the service road located to the east of the building, which is connected with parking at basement level. The usage of car would aim to bring visitors, technical and service staff, waste shipment (cleaning) and the moving of artifacts for exhibition and technical equipment. Technological Development: The building is designed with a reinforced concrete structure with foundations made with concrete piles. The construction system consists on columns and beams which support the main slabs. The roofs present different kinds: in the case of the Museum of Reading the roof is of wooden frame, in the case of the blocks located to the southwest (lecture hall, performance hall and deposits) the roofs are of metallic profiles and wood. The cores of vertical circulation, showrooms and service’s cores are solved with concrete structure and flat terraces with green roof. (see planimetry) Water facilities, downspouts, electrical, electronic and computerized circuits are located in the gaps between the main structures of concrete and the skin of wood, both inside and outside the building. The systems of frames for windows and doors are of steel, with fixed panels in areas where no direct ventilation is required, but with visual connection to the outside. Generally, the windows and doors opening system are sliding, giving the possibility of direct connection to the outside. The skin of the building is completed with mobile shutters (sunshade) made by slats of natural wood. The floors are combined according to the different uses: concrete and natural wood interior and exterior, providing visual continuity. The interior walls are made of concrete and wooden slats system. The major facilities systems are solved in the basement floor. The wiring system is located in there: control room, switchs room and the substation. The main computer system is divided into breakout rooms in the ground floor and upstairs. Also the air conditioning systems and water heaters are set in the basement. The building both from its adaptability to the biodiversity of the park, such as the location of the building blocks and positioning of morphology depending on sunlight and prevailing winds, meets the standards of self-sustainability and environmental impact reduction. The building generates 18 % of energy thanks to the use of photovoltaic panels on the roof, that is used for service sectors (technical sectors and circulation areas). Thanks to the location of the building blocks and the courtyards, the airflows reduce high temperatures in summer and capture sunlight (increase in temperature) in winter. All of this affects directly the building which becomes more comfortable during all season. The building consists of a system for collecting rainwater, located in the basement (tanks and filters). This system collects water from the decks, and landscaped areas by the natural drainage system, generating 25% of water use for the building service (bathrooms and cleaning). Landscaping: The Park of the House of Hungarian Music in the Varosliget Park is a space that interacts with nature while proposing musical experiences. It has special places for contemplation of the lake, sitting areas in the forest and a space for concerts. Last but not least, it has elements that generate, when interacting with the wind and the visitor, sound effects to promote learning through play sounds. The space invites to follow multiple paths, enjoying the existing forest. These trails are guided by the colors and textures of an herbaceous layer, like understory, defined in organic forms that emulate the leaves of the trees on the ground during the fall. The park has a permanent relationship with the building, both functionally and aesthetically. Three areas can be distinguished: 1) The front of the building and access: The trails, ranging from the main street of Varosliget Park, are blending with the natural terrain and invite to get into the building. The space is designed with brackets for bicycles and urban furniture for everyday use. The interior of the building is connected with the park through the leisure area. 2) Gardens next to the meeting rooms: Woodland with herbaceous stratum. The courtyards are intimately connected with the interior rooms and provide room for students and public , for leisure and recreation. Pools of rainwater infiltration receive water from the roofs of the building. These pools contain herbaceous species that stimulate the water purification, while offering greenness and perfume. 3) Walks and sound experiences: This area seeks an active relationship with the user, the lake and the nature of the Varosliget Park. It proposes trails of free walk and playgrounds that reproduce sounds made by the wind or by the intervention of people. It also has areas for contemplation under the shadow of the existing forest. The vegetation of the park is respected at all times. The ground topographic level is maintained to avoid damage to tree species. The proposal includes herbaceous plants under the trees that define circulation and staying areas. Besides, as an ecological function, the herbaceous tends to slow down the rainwater that falls on the ground, minimizing energy costs in the maintenance and irrigation. The species to incorporate are suitable to the natural climatic conditions in this part of Budapest, so they do not need to involve high maintenance or permanent replacement. The landscape design takes into account the seasonal change, from the colors of blooming in spring, to the ocher colors from autumn. To emphasize these qualities the landscape design includes massifs of trees. The sun exposure is taken into account in relation to the thermal conditioning of the building. Following this premise, the living areas are designed with deciduous species which allow during the winter the sun’s rays pass through and in the summer generate shadow zones. The evergreen species, of lower height, are for framing or for separating areas to pedestrian level.

principal facade

© © cristian ferrera architecture . Published on July 20, 2014.

gland floor

© © cristian ferrera architecture . Published on July 20, 2014.

west facade

© © cristian ferrera architecture . Published on July 20, 2014.

Missing image

1st floor

© © cristian ferrera architecture . Published on July 20, 2014.

concept desing

© © cristian ferrera architecture . Published on July 20, 2014.

facades/technical solutions

© © cristian ferrera architecture . Published on July 20, 2014.

sections/facade

© © cristian ferrera architecture . Published on July 20, 2014.

landscape desing

© © cristian ferrera architecture . Published on July 20, 2014.

west facade

© © cristian ferrera architecture . Published on July 20, 2014.

© © cristian ferrera architecture . Published on July 20, 2014.

library interior

© © cristian ferrera architecture . Published on July 20, 2014.

drawing/desing/concept/facade

© © cristian ferrera architecture . Published on July 20, 2014.

technical solution of principal facade

© © cristian ferrera architecture . Published on July 20, 2014.

© © cristian ferrera architecture . Published on July 20, 2014.

Ristrutturazione totale e ampliamento di una villa unifamiliare di 250 mq sul lago Balaton, Ungheria.

© Piercarlo Crachi . Published on July 23, 2014.

Il progetto prevede una serie sistematica di interventi, anche sulle strutture portanti, il rifacimento dei prospetti con rivestimenti in pietra e intonaco, delle coperture, degli ambienti interni comprese le opere di arredo. L’intervento riguarda anche: la sistemazione a terrazze del giardino di 1200 mq circa (collocato su un declivio naturale), la realizzazione di una piscina di 40 mq, terrazza belvedere di 90 mq circa e annessa pool-house con sauna.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

Architects: SKOPE Location: Rue du Lombard 77, Brussels, Belgium Year: 2013 Photographs: Georges De Kinder Collaborators: COOPARCH-R.U. Interior: Bham Studio Voronoïds: Paradise Architecture Structure: PIRNAY Construction: Entreprise Jacques Delens Etude Energetique: 3E Techniques Speciales: GRONTMIJ

© Georges De Kinder © SKOPE. Published on July 23, 2014.

The new program includes: the seat of Brussels Parliament (PFB : French speaking part) and the restoration of the former Postal Relay (Renaissance 1694) as a polyvalent space. It would have been risky to chose the easy way by the creation of a mimetic building right wing of The Parliament or propose a dissonant solution with a draft bill only contemporary. Skope’s approach was different; inspired by the history of the place while assuming contemporary issues.

© Georges De Kinder © SKOPE. Published on July 23, 2014.

The building is not a simple drawing of facades but a concept overall. The architect Georges Hano, author of the facades and redevelopment inside the Provincial Palace in 1908 (the building next door), was descended from the “Fine arts” architectural current. Architects of SKOPE highlighted this architecture and have been inspired for the design of the extension: Floor Plan • on the one hand, maintaining the volume of the new template in the extension originally designed by the architect Hano, who thought from the beginning to the creation a Provincial Palace with two wings. • secondly, they shelled the design intent of the architect Hano reinterpreted and by calculating the proportion of the facades.

© Georges De Kinder © SKOPE. Published on July 23, 2014.

Ensued creating a simple volume where is applied a facade whose expression is materialized by “voronoïdes” pattern, a mathematical formula close to the fractal distribution and which, on the basis of 5 distinct elements combine infinite variations.

© Georges De Kinder © SKOPE. Published on July 23, 2014.

That’s how history and modernity are synthesized on a site included in the classification site of UNESCO.

© Georges De Kinder © SKOPE. Published on July 23, 2014.

Beyond the architectural concept, it was important for the project to be sober, functional and of course energy efficient. The Brussels Parliament had to be a model of an ambitious public building being an architectural showcase but also an eco-friendly building attending the passive standard.

The relevance of the structure meant to be rehabilitated, the Market, of immense historical importance and an almost mandatory daily passage, and also the existence of numerous green areas, as frequent as the buildings, allied to the functional programme planned for that location (city hall services, commerce, offices, museum and auditorium) defined the project’s basic concept: the approach to the building’s original composition. It was, then, decided to uncover the central patio and bury a part of the programme.

© Rita Burmester . Published on July 23, 2014.

The Central Patio transforms into a big internal “public square” which may have different uses, besides the obvious feature for working as a terrace area, it can also host cultural and sport events.

Before

© Cremascoli, Okumura, Rodrigues arquitectos . Published on July 23, 2014.

The main intervention is based on the construction of a new building (NAC – Contemporary Art Nucleus), “embracing” the old one, able to become a symbol of the city. A box made of glass, the symbol material of Marinha Grande, national capital of the glass.

After

© Cremascoli, Okumura, Rodrigues arquitectos . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Cremascoli, Okumura, Rodrigues arquitectos . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

© Rita Burmester . Published on July 23, 2014.

The project for the competition rises within the former shipyard in the city of Pesaro. The area is characterized by its strategic location near the River Foglia, the tourist sport and beaches with all their services. The goal of the project is the redevelopment of an area that can be highly enjoyed by citizens and visitors which is able to offer a wide range of services thanks to the insert functions.

© Andrea Palmas . Published on July 23, 2014.

© Andrea Palmas . Published on July 23, 2014.

© Andrea Palmas . Published on July 23, 2014.

© Andrea Palmas . Published on July 23, 2014.

Progetto di illuminazione di un palazzo per uffici in Zanzur (Libia), con la partnership di iGuzzini Illuminazione.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

© Piercarlo Crachi . Published on July 23, 2014.

The principal purpose of the project is to create a place, not only for the entertaiment, but also a place which is able to catalyze the territory’s vitality; a place in which manufacturing forces can be able to meet the comunty and create new employment. First of all we locate the possible stakeholders of this new vision; on one hand the fashion firms (the fashion manufactoring is an typical buisness of this area, in fact here we can found many famous fashion brands), on the other hand the schools and the universities which train in the fashion world, by the manufacturing development to the comunication brands. We create a place specialized in the education and development of new figures which operate in the fashion world and transformed the old factory in a FASHION CENTRE.

catwalk

© Gianmaria Rezzadore . Published on July 23, 2014.

We preserved the framework and the external structures of the existing building and we introduced a new compositive rule. We opposed to the ortogonal framenwork the organic shape of the new walls.

axonometric views

© Gianmaria Rezzadore . Published on July 23, 2014.

We divide the main body of the existing building in two parts: the fashion school and the polifunctional area. In the ground fllor the polifunctional area contain: the ateliers for the artigianal production and a big empty space used as a “the covered square” in which organize events or temporary exibitions. In the secon floor of this area, there are offices and meeting rooms for the fashion start up in which brand, buisnessman and the ideas man can meet and develop new enterprises. In the volume in the third floor there is the library that can be consulted by the student and by the citizens. The empty space in the ground floor is the area that distribuite the visitors, also, to the other body of the existing buiding which contain the auditorium. The body in the north side is the part dedicated to the comunity. There is a two level of restaurant and the bridge contain a hotel.

sections

© Gianmaria Rezzadore . Published on July 23, 2014.

polyfunctional area

© Gianmaria Rezzadore . Published on July 23, 2014.

auditorium

© Gianmaria Rezzadore . Published on July 23, 2014.

offices

© Gianmaria Rezzadore . Published on July 23, 2014.

© Gianmaria Rezzadore . Published on July 23, 2014.

Credits

© Paolo Venturella . Published on July 23, 2014.

Architect: Paolo Venturella & Cosimo Scotucci

© Paolo Venturella . Published on July 23, 2014.

City: Quarto inferiore

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

© Paolo Venturella . Published on July 23, 2014.

The project is the result of the competition for the revision of the new Huechuraba Campus master plan, and the definition of the project for its first phase, the Economics and Business Faculty of the Diego Portales University.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

The site is located at the foot of San Cristobal hill, sloping and slightly raised above the Huechuraba valley. With the location of the new campus, the Faculty seeks to build a strong link between its academic development and the professional reality, as it is at one of the most important business centers in the city.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

From the architectural point of view, this presented the challenge of asserting an academic identity in an environment governed by very different rules. Amid buildings that are mostly for office rental, glass boxes lacking a clear identity and designed with a short term logic, the project wanted to build a contrast, a structure with weight that speaks of permanence and stability, to accompany the university in its long-range commitment and transcendence. The density of the volumes, the concrete that lasts and ages, walls to be covered with vines showing the passing of the seasons, a park that matures in years and stone courtyards, combine to consolidate over time. In addition, the project seeks to build a connection beyond its neighbors, with its geographic environment. It takes advantage of the slope to render the courtyards dominant over the territory, and builds terraces at different heights, as well as a roof garden, that connects the everyday life of the project with the distant geography, San Cristobal hill, and Huechuraba valley. These are places that link leisure time with the surrounding landscape.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

The proposed master plan combines four elements for the construction of the project, defining a section in the direction of the slope. The project of the faculty, as a first stage of the total, includes these four elements, advancing in its definition: 1. A basement formed by a linear succession of horizontal planes that builds the courtyards of intensive use, as balconies over the Huechuraba landscape, which houses the public programs of the university. In the first stage, the basement defines three different courtyards, the access square that connects the two main buildings of the faculty, the undergraduate square that connects to future phases, and the graduate square that is directly related to the park. Under these courtyards, the base houses a cafeteria, the school library and the main auditorium of the university.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

2. A large, eight level continuous bar, with neutral architecture, acts as a backdrop against the hill and houses the system of regular classrooms, which require more modular flexibility. For the Business Faculty, this building houses undergraduate classrooms which are organized by an exterior corridor overlooking the courtyards of the project, and linked to a series of raised terraces that cross the building, serving as spatial relief at the higher levels.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

3. On the base, and in front of the bar, the master plan proposes a series of unique buildings that dialogue with the neutrality of the bar, establishing a scenic figure-ground relationship. These unique buildings give a certain rhythm and frame the landscape view from the courtyards. They also contain the most iconic programs of each unit, and their diversity gives identity to each part of the campus. At this first stage it houses graduate classrooms and academic offices. The building develops through a spiral configuration, which links the inclined graduate rooms at half levels, and offices on its upper floors, which organize their circulation around a central light void. This building is elevated, leaving a large open space in its base that connects and articulates the higher program of the building with the courtyards, the park, and the territory.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

4. Finally, a park is defined on the lower area of the site that is intertwined with the base. It builds a safe distance with the existing urban area, and offers an extensive sports program.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

The project is part of a strong desire of the university to build environmentally sustainable infrastructure. The project is designed from the architecture, landscape, and technical facilities, in terms of savings in energy and water, minimizing its impact on the environment, and insuring high standards of comfort for its occupants. The building seeks to reduce solar impact on the shell: the exterior graduate walls are constructed with highly controlled openings, just enough for good lighting and views, and a central void for indirect light, around which the circulation is laid out. Furthermore, the building proposes a system of planters on the north and west facades, to grow deciduous vines that provide shade and humidity during the hot months, and a roof garden that acts as a buffer for thermal insulation. In the undergraduate building, the east facade is constructed from a concrete wall clad in decorated glass reflecting the hill and filtering light into the classrooms through controlled openings. To the west, a large vertical concrete lattice, with perennial vegetation planters, shading the corridor and classrooms. Finally, the building seeks to exploit the breeze from the west in the hot months, to generate cross ventilation in the classroom building and upward movement of air in the central void of the graduate building.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

Project Area: 16644.0 m2

Project Year: 2013

Project Management: Unidad Servicios Externos UDP

Structures: Luis Soler P. & Asociados

Landscape: Francisca Saelzer
Sustainability
Consultant: Edificioverde S.A.

Lighting: Monica Pérez & Asociados

Construction: Bravo e Izquierdo

Technical Inspection: Inspecta S.A.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Duque Motta & arquitectos asociados . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

© Fernando Guerra / FG+SG . Published on July 23, 2014.

Vigo, barrio de la Florida, un cuarto piso de 70 metros cuadrados construido en los años 90 con una disposición en dúplex orientado hacia el este.

© Santos-Diez/BISimages. Published on July 23, 2014.

La disposición original de la vivienda resolvía cada una de las dos plantas de 35 metros cuadrados mediante un distribuidor sin luz natural desde el que se daba acceso a cada una de las funciones que se desarrollaban encerradas en sí mismas, sin conexiones entre ellas.

©Santos-Diez/BISimages. Published on July 23, 2014.

El proyecto, fijo por los condicionantes que suponían el hueco de la escalera y las zonas húmedas preexistentes, busca suavizar o eliminar los antiguos límites de funciones para la ampliar sensación espacial y permitir que la luz natural llegase a las zonas anteriormente ciegas.

©Santos-Diez/BISimages. Published on July 23, 2014.

La distribución se articula con la zona de día en planta baja y el área de noche en la planta alta, ambas compuestas por una franja de dos metros de ancho donde se ubican la escalera, la distribución y los baños y una franja de 3,20 metros de ancho donde se desarrollan los espacios de vida.

©Santos-Diez/BISimages. Published on July 23, 2014.

Buscamos marcar esas dos franjas mediante un distinto tratamiento de materiales. En la franja de servicio, de mayor acento espacial al incluir la zona de la escalera, se resuelve con tableros de Heraklith blancos que rodean toda la caja de escalera buscando enfatizar la abstracción y potencia de dicho espacio haciendo de contrapunto de las referencias espaciales tan marcadas por alturas, ventanas, etc… que nos condicionaba el resto del espacio existente.

©Santos-Diez/BISimages. Published on July 23, 2014.

La franja pegada a fachada en planta baja resuelve con cocina, comedor y salón unidos bajo un mismo suelo de parquet industrial de roble y marcamos dicha unión con un mueble bajo continuo blanco pegado a fachada.

©Santos-Diez/BISimages. Published on July 23, 2014.

La planta alta, posee dos espacios que se separan por dos paneles correderos y que permiten adaptar el uso a distintas etapas a lo largo de la vida en la vivienda. También en esta planta se recurre al mueble bajo continuo pegado a la ventana para marcar la posibilidad de funcionar toda la planta de un modo abierto.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

©Santos-Diez/BISimages. Published on July 23, 2014.

Il progetto doveva ridefinire meglio, e con pochi elementi, l’ambiente dell’ingresso e della sala riunioni. E’ stato pensato pertanto l’ingresso come un ambiente caratterizzato da un arredo in legno che si ripiega sul pavimento, identificando cosi la hall, la sala d’attesa e gli accessi alla sala riunioni e alle stanze di studio.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

Si è voluto con il progetto trasformare il salone, dando meglio risalto alla scala interna, introducendo nuovi e innovativi sistemi di illuminazione, tinte a smalto opaco rivisitazione dell’arredo.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

Appartamento dall’arredo classico e a tratti evidente. Si è voluto meglio caratterizzare il salone con un colore neutro che risaltasse al meglio gli arredi; la sala pranzo con una bicromia vivace. Il tutto usando al meglio smalti opachi.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

Progetto di un mobile da bagno tutto in legno. L’idea base è una sagoma precisa che disegna i vari contenitori con giochi di incastri, volumi e aggetti

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

Si è voluto con forme nette, precise e forti definire un contenitore per blocchi di tufo di un ex molino. Tali forme, anche spigolose, son ben volute quale esempio della rappresentazione e memoria del vecchio molino

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.

© Domenico Sforza architetto . Published on July 23, 2014.