Digital desecrations - paradisiartificiali

August 10, 2014, 3:10 pm

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... our digital desecrations.

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Digital desecrations - paradisiartificiali

August 10, 2014, 3:13 pm

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... our digital desecrations.

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Ex canapificio - KellerArchitettura Antonio G. Martiniello

August 11, 2014, 12:17 am

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In un ex canapificio ottocentesco e’ stata progettata una cada unifamiliare inglobando nelle vecchie mure del vecchio opificio.

Foto d'insieme

Esterni

Cantiere

Interni

Cantiere

Esterni

Foto inserimento render progetto

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Rigenerazione della città di Rosarno - Andrea Liconti

August 11, 2014, 3:01 am

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Ogni anno nella cittadina di Rosarno, l’associazione A di Città si impegna nella realizzazione di un workshop di tipo internazionale, che vede la partecipazione attiva non solo dei cittadini, che vengono chiamati a partecipare alle attività’ principali, ma anche dei collettivi e di studenti che liberamente possono farne parte.

Calcio di inizio nel campo di calcio realizzato

Qual’e’ il compito di questa associazione: cercare di creare una coscienza tra i Rosarnesi, che possano rivalutare il territorio e averne cura, ma oltre a questo fare dei ragionamenti su alcuni punti della città’ detti “critici” perché’ caratterizzati da discariche abusive o zone di spaccio.

Stato di fatto

Il paese di Rosarno e’ un paese che risulta essere caratterizzato da problemi non poco gravi, e spesso risalta alla cronaca per questioni legate a malvivenza o altro.

stato di fatto

Ma pochi paesi come Rosarno sono cosi belli, pochi paesi come Rosarno hanno una popolazione che accetta cosi di buon grado un cambiamento o una mano da qualcuno di esterno.

Fasi lavorative

Il workshop era diviso in diverse parti tra cui quella Cantiere, che aveva il compito di realizzare dei veri e propri progetti sul posto, che potessero andare a rivalutare la zona di Via Sandulli, via centrale del paese, ma completamente vuota e non vissuta dai cittadini e con la presenza d uno dei tanti eco-mostri sparsi sul territorio calabrese, un ponte, mai finito.

Fasi lavorative-condivisione

E proprio al di sotto di questo ponte, che crea una sorta di “stanza” all’aperto che si e’ concentrato il progetto a cui ho preso parte.

Stato di fatto

Dopo alcuni giorni di analisi si decise di realizzare un campo da calcio, un campo gioco per i diversi bambini, che usavano quel posto come luogo “ludico”, ma che risultava essere fortemente pericoloso. Dopo la prima giornata di progettazione attiva e grazie poi all’autofinaziamento fatto dagli studenti partecipanti e grazie all’attrezzatura dei vari collettivi provenienti da tutta Italia e Francia, si comincio’ a realizzare il progetto denominato poi “Sutta u Punti”, che vuol dire proprio “Sotto il ponte”.

Porte realizzate in legno

La progettazione e la realizzazione avvenuta in una settimana, ha visto un posto totalmente abbandonato trasformasi in qualcosa di vivo e attivo, dove i bambini possono giocare e divertirsi.

Panche in legno realizzate per bambini

Il progetto, come visibile dalle foto, prevedeva innanzitutto una fase di bonifica.

Fasi lavorative

L’area di progetto infatti era già’ caratterizzata da ammassi di rifiuti e sporcizia accumulatasi con il passare degli anni.

Installazioni artistiche

Inoltre alcuni cumuli avevano causato la completa otturazione di alcuni condotti fognari. Per questo e’ stato necessario spalare e rimuovere sporcizia, fango e terra.

fasi lavorative

Le fasi di bonifica non comprendevano soltanto la mera pulizia igienica, ma anche la rimozione di possibili pericoli per i bambini che avrebbero giocato nell’area, come la rimozione delle armature metalliche sporgenti dal muro, o rimozione di bottiglie di vetro rotte, e qualsiasi altro elemento di possibile pericolo.

Il campetto quasi finito

Il workshop prevedeva anche alcune installazioni da parte di artisti provenienti da quasi tutta l’Europa. Uno di questi era questa sorta di graffito “ruvido” realizzato con una sorta di rinzaffatura del muro e una successiva colorazione del cemento grezzo, che crea cosi questa sorta di graffito in rilievo.

Il campetto finito

Il progetto, dopo la fase di bonifica, ha visto la tinteggiatura dei muri fino all’altezza di circa 2 metri, la realizzazione di alcune sedute in legno ricavato da pallet, la realizzazione dell porte, di una rete da pallavolo smontabile, di un canestro ottenuto dal riciclo di una ruota di bici, e il restauro delle panchine in ferro gia’ esistenti. Infine la pulizia della pavimentazione per la successiva verniciatura delle strisce del campo da gioco.

Bambini giocano

Inoltre nel muro interno, e’ stato realizzato uno schermo bianco, pensato come una sorta di schermo che potesse essere usato come elemento di proiezione di filmati o altro. Tutto finalizzato al gioco per i bambini, e tutto utilizzando elementi già’ presenti sul territorio e classificati ormai come spazzatura.

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Confessionale Parrocchia di Vipiteno - Christian Moser

August 11, 2014, 3:06 am

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realizzazione di una stanza confessionale e di una postazione radio per la stazione “Radio Maria” nel perimetro della torre della Chiesa parrocchiale di Nostra Signora delle Paludi a Vipiteno

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Nuovo giardino privato - Milena Matteini

August 11, 2014, 3:19 am

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Si tratta di un piccolo giardino realizzato intorno all’ampiamento e alla ristrutturazione di un edifico esistente, in cui sono definiti con chiarezza compositiva i vari spazi di accesso, di parcheggio, zona pranzo, corte interna e il giardino vero e proprio concepito in forme geometriche semplici per colloquiare con i nuovi corpi edilizi. Il dentro e il fuori diventano un tutt’uno. E’stato conservato un grande albero di cedro per rispettare il paesaggio, che diventa raccordo fra la vegetazione e la nuova architettura. Fra il progetto del 2008 e la realizzazione nel 2011 è intercorso un lungo lasso di tempo perchè l’aerea del giardino era occupata dal cantiere edilizio. Completato nel 2011 è stato fotografato recentemente perchè occorrono sempre alcuni anni per ottenere una maturità di vegetazione.

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4x30 House - CR2 architecture, FGMF Architects

August 11, 2014, 3:20 am

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Encrusted in a row of narrow geminate houses, the story began more as a challenge rather than as an architectural project. How make the entire program of a house fit in that 4×30m lot, relying on a few illuminated surfaces?

Even though the object is deceptively simple, the answer came across a lot of research. From the tiny Japanese and Dutch houses, we have borrowed more than the certainty that it would be possible to take advantage of the little space in a creative manner: some examples would also induce certain implosion of the program of the small-bourgeois house. The architectonic proposal ends a logic a bit aligned to the conventional space for the stereotype of a middle-class family in São Paulo and turns to integrated spaces and eliminates others considered “mandatory.” The occupation of the lot was one of the major factors for the development of the project. The search for natural illumination and ventilation conditioned the emphasis on the central garden, cut in the constructed volume in order to create three façades generously bathed in light. United by a footbridge around the garden, two blocks of different sizes organize the functions of the house and require residents to enjoy the green on all displacements. The larger block focuses the living room and kitchen on the ground floor and the bedrooms upstairs; the smaller one contains supporting environments such as service area, office and vertical circulation of the house.

That choice has followed the intention of perverting the limits of the garden with retractable glass doors in order to fully integrate the living room with the external space. At this point, a conceptual crossroad: if the living room is opened onto the garden, the only option for the kitchen was facing the façade. The width of the lot and the garden-living room relationship implied, therefore, that the entrance of the house should be through a service space, and the solution found was going against the initial impulse of hiding it. Highlighting it in its form and, integrating it spatially passed from an obstacle to a project opportunity. The lowering of its floor in 75cm, besides increasing the headroom, has brought two important consequences. The first was the creation of an “elevated” passage, so that the entrance of the house would not exactly be through the kitchen, but through a circulation axis which extends throughout the house, setting it into an immediately identifiable logic. The second was the strange continuity between the level of the living room and the dining table, built on the island with built-in oven. Lowered, the kitchen offers itself to the visitor by an unused perspective. Integrated into the living room by the table-floor, by the bench that overflows from an environment to another, by the materials and details, the kitchen becomes part of the same space, but the lowering of the level highlights the differences between the programs.

Hovering over the gaps of the different heights of the living room and the kitchen, a large white object floats. Highlighted from the circulation axis, the cobblestone covered in aluminum wainscot transgresses the limits of the front façade and moves away from the left gable, allowing the visualization of a hydraulic tiling panel. The volume accommodates two suites, accessible by the expanded mesh footbridge that stops to create generous headroom over the entrance passage. In this linear ‘atrium’ and through the expanded mesh footbridge, there is the notion of continuity of the art panel signed by the artist Fabio Flaks. It occupies the entire gable, escorting the horizontal circulation on each floor, and refers to the large panels that were a characteristic feature of good modern architecture in Brazil. With an intentional prolongation, this panel is presented to the street and defines the entrance of the house, while a discrete glass slab allows the external observer to catch a glimpse of the continuity of the piece of art, which is offered as part of the urban landscape. Fully open, the permeable floor garage is also an exercise of generosity with the landscape of the city, often attacked by high walls reflecting the security paranoia and delusions of privacy that negates the very urbanity.

On the box of the bedrooms, a large deck occupies the top floor and creates a new area of enjoyment, framed by a strip of green roof. The solarium provides access for maintenance of air-conditioning and water heating equipment, but is primarily a recreational space that complements the garden on the ground floor. For the couple who lived in an apartment, every square inch outdoors corresponds to a great achievement.

In spite of being distant from the usual armed concrete, the metallic structure used is extremely simple. Slender metallic beams cross the space and rely on pillars built into the side gables. The concept of dry construction is also suitable in other employed systems, such as drywall and cementitious boards, wood panel flagstones, metallic passageways, large casements and floors made of rubber, resin or floating deck floors. Overall, this is an efficient building house, fast and accurate, with no waste and reworks. The materials used are as recyclable as the house itself, which can easily be adapted over time or simply disassembled when needed.

The tiling panel, of simple design, composes together with the polyurethane resin floor and the aluminum of the box a scenario of great simplicity and whiteness, only broken by the exuberance of the garden, on the one hand, and by the force of the black gable, on the other hand, which protects the interior from being seen from the street, on the opposite side. The obsession for the white color is not purely form, although the search for a simple space was a premise of the start-up: it is, above all, a strategy to reflect light internally, leading it to all points of the house.

The garden also plays a role in the efficiency of the house. In addition to allowing a permeable area superior to the required by law, the grassy area has a Surinam cherry tree and a bright green wall which cool naturally and create a low pressure zone. The air, cooled, crosses the living room toward the kitchen window, renewing the air and assuring appropriate thermal conditions for most of the year. In the winter, the external screen, which protects the façade from the sunset, can be collected so that the sunlight helps to warm the environment.

In addition to the retractable screen, other elements such as expanded mesh brises, the green roof, the top floor deck which shades the metallic roof tile, the use of thermal-acoustic insulation on the seals and double-glazed windows in the bedrooms ensure a thermal performance which is above the average.

The result, in the end, is a small house in size but large for the integration and continuity of its spaces, for the use of light and the flexibility of a less rigid program than a conventional house.

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Confessionale Duomo di Bressanone - Christian Moser

August 11, 2014, 3:45 am

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realizzazione di una stanza confessionale all’interno della torre della Cattedrale di Santa Maria Assunta e San Cassiano a Bressanone

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Théatre et cinémas Durance - Philippe Gazeau

August 11, 2014, 3:49 am

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A multi-purpose theatre with demountable blue seating for 350 people or standing room for 900, served by an all-over technical ceiling grid that enables varied reconfigurations between stage and spectator spaces. The main auditorium is filled out by a rehearsal hall that is also equipped with a ceiling grid. Adjoining them, a double-height volume houses five dressing rooms for the players and a foyer on its lower level, with administration premises above.

All the new volumes are contained in a large stepped carcase in untreated concrete, with one out-slanting lower wall. The carcase is cut by two big horizontal picture windows and capped by a raised metal roof that unfolds like a hood in three sloped planes. In the gap between the lower volumes, mineral and largely encased, and the light-weight metal roof, the theatre exposes its internal mechanics and technical equipment, asserting its function as a cultural machine.

The theatre extends an existing cultural centre built twenty years ago in neo-Provençal style. New and old are joined by an external corridor defined by wire mesh, prolonged by a narrow enclosed passageway that marks transition between the hall of the old wing and the atmosphere of the new playhouse. The new auditorium has a capacity of 350 seated, using demountable stands of blue flap-seats in different configurations, or 900 standing. It features a continuous active ceiling grid covering the entire floor area, with catwalks on the sides, an arrangement that ensures maximum flexibility in rearranging stage and audience space.

In the main auditorium, one wall top is cut away to open a panoramic screen, 13,5×3 m, which frames views of nearby rocky outcrops, revealing the flat site’s picturesque surrounds as they read from within the theatre. This live monitor displays a direct crossover between inside and out. A purpose-designed rehearsal hall the same size as the main stage adjoins the auditorium, enabling a troupe in residence to work without monopolizing available space.

Players and personnel have their own access/exit on the side opposite to that of the public entrance. It opens to a double-height volume with the players’ dressings rooms and foyer on the lower level and the administration premises above. A prop storage reserve adjoins the stage spaces, with access from the rear delivery bay. Defined in two folds, the roof’s three oblique planes cover all the technical equipment and installations serving the stage spaces and other interior volumes. It is like a hood lifted over a motor, exposing side-views of the theatre’s machinery.

Flying a kite through the windy skies delicately balances the heady delights of controlling the elements. It offers the pleasures of being able to guide this delicate and colourful sail through impeccable trajectories and audacious arabesques to brush against, reveal and finally define a motionless, heavier and imperfect world. There is always the fear of a sudden shift of the wind or a fatal lack of control that will immediately result in the kite plummeting to the ground and ending this escape from the real world’s gravity. The Château-Arnoux auditorium is located in the heart of a reality that is as dull as it is tedious, that of a Paris dormitory town. The problem of their design is somewhat like the delicate and risky art of kite flying. In these difficult urban situations, the solution is not to impose a successful graft or insertion but rather to attempt a perilous immersion, a skydive into the reality of an environment that has nothing to gain by absorbing the new object. The innovative architectural apparition must, in a certain manner, remain alien to its environment. This attractive, fragile and strange apparition must avoid being tempered by its local context if it is to have any effect on it and break through the indifference and boredom of the local residents.

Located outside the small town of Château-Arnoux on a plateau overlooking the magnificent Durance valley, the site for the Château-Arnoux cultural centre immediately reveals itself as being disappointing. The anarchic town planning around the town’s entry points has completely submerged the magnificent countryside. This disenchantment is further increased by the post-modern neo-Provencal architecture of the existing building to which the auditorium will be attached. Given this context, the extension needed to take advantage of all opportunities offered to powerfully stand out to become the site’s first reactive project. Paradoxically, the opportunity was presented by the neoregionalist regulations imposing sloped roofs and the level of their gutters when taken against the total height of the constructions. The regulations permitted the installation of the auditorium’s imposing volume on condition that it be covered by a monumental roof with low hung sides. An atypical and particular interpretation of the regulations allowed the auditorium volume to be entirely separated from its roof and to incorporate a great height between the two elements. This transformed what otherwise might have been a normal roof into gigantic wings floating well above the average height of the surrounding structures.

An astonishing and sparkling beacon in its environment, the floating roof discovers and reveals the entire in- situ finish concrete case of the auditorium and its high level technical entrails. These close up and distant views allow the extension to radically stand out from the existing building against which it is virtually attached. Inside, the black box of the auditorium and the horizontal window set above the stage create a “camera obscura” effect throwing the attractive external landscape into perspective. This is in reaction to the existing context which had reduced the surrounding countryside to insignificance. The new auditorium is a tool able to direct the public’s attention and focus onto the beauty of the site, once again making it into a permanent grandstand attraction.

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Fruity! - Julia Ackermann

August 11, 2014, 3:56 am

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The interior design shows an exciting interaction between the tile and the vinyl flooring in wood look. The request of the customer was to create a space that is not only in keeping with the philosophy of the fruit, but rather connect the feeling of lightness and physical well-being.

The color of the fruit is reflected in many elements and details. So also the lamps and rocking chairs were adapted to the shade. The rocking chairs should take up the feeling of freedom. The color-coordinated upholstery on the wall illustrated the shape of a wave- a sign of the constant movement.

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55 LOGEMENTS - Philippe Gazeau

August 11, 2014, 3:56 am

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Une image optimiste et valorisante du logement collectif. L’installation de petites unités d’une dizaine de logements, les maisonnées, de part et d’autre de la voie nouvelle crée un dispositif en plots qui aère le plan urbain. Ce type d’implantation éclaircit la rue, et engendre des ouvertures et des transparences entre l’intérieur des îlots et l’espace public.

L’alternance de pleins construits, «les maisonnées», et de vides paysagers fait que la rue n’est plus une infrastructure qui borne et sépare mais devient un lieu partagé de relation entre espace public, habitat collectif et vie privée. Cette implantation a également une conséquence bénéfique pour l’orientation des logements et la variété des vues.

Les plans verticaux des prismes infléchis et déformés suivent le déhanchement du tracé de la voirie. Le projet réutilise de manière contemporaine des matériaux faubouriens traditionnels : la brique et le zinc. La matière épaisse d’un vrai double mur en brique se désintègre en surface dans un patchwork de noirs, de rouges et de blancs éclatés. Le zinc des toitures se plie et se déplie pour produire des faîtages asymétriques aux silhouettes inattendues.

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Ecole Normale Superieure - Philippe Gazeau

August 11, 2014, 4:14 am

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As an integral part of the urban block forming the site of the Ecole Normale Supérieure, the extension project is located in a courtyard to the rear of the entrance and the main buildings. This rear courtyard is a platform overhanging one of the three streets running around the university. Thanks to this highly particular urban layout, the new building reveals itself either as a roof terrace pavilion on the courtyard side or as an eight storey building giving onto the street. Consequently, the extension is placed in an intermediate situation, between two levels and between two elevations, much like a passage built between the upper level of the school and the lower level of the street, between the neo-classical elevations giving onto the courtyard and the buildings on the other side of Rue Rataud, between the private space of the school and the public space of the street. The new project triggers a physical and visual relationship by and through the void that it fills. It generates a unique architectural and urban space that, rather than seeking insertion or integration, develops urban interference and intrusion. This type of incursion simultaneously allows the project, as an autonomous contemporary object, to fairly brutally reveal the breaks and discordances of the concerned urban setting while also being its indispensable mediator.

The building has 8 storeys on the street side and 6 on the courtyard and school main entrance side. It is the superimposition of different surface strata, whose reference level is that of the courtyard. Further back and narrower, the three upper storeys house rooms. The courtyard level is the same as the cross-concourse, which is as transparent as possible, the light calling you into the arts library above, and the sciences and maths libraries below. Both of these are on a double level, with a mezzanine.

Through this horizontal stratification, it is a question of finding vertical dimensions, in order to give air to the dense shelving used for storage and also consultation and to make the distribution clearer. These verticals are deployed along the glass façades, on the street at the lower levels and on the top double level.

The building would appear to be clothed in a thick cloak of light, which blurs the edges and contributes to distorting and softening the perception of its scale. This guiding line is highlighted by a screen made of high vertical strips made of polished stainless steel sheets sandwiched between two glass sheets, with neither frame nor rim. These “shutters” (220 cm x 90 cm) can be swivelled and are fixed to the façade by moulded cast aluminium clips. They filter or provide more natural light. Few materials are used, these being crude concrete, zinc- plated aluminium sheet facing and false ceilings, aluminium sheet guardrails, plum carpeting. The books can now be consulted day and night by the boarders and researchers in this reading wing of the Rue d’Ulm.

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Cumulus - Cécile Meersman, Anaïs Outurquin

August 11, 2014, 4:21 am

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What could be more sensual than an unexpected touch, suddenly tickling, reaching and enveloping us, caressing our arms, neck, and nose?

The project takes advantage of the materiality of the feathers – light, swirling, and sometimes prickly – revealing bodies and architecture as they touch them.

The installation operates as an amplifier of space, showing the invisible: the viscosity of the air, the bodies that pass, and the architecture that remains.What is sensuality, if it does not the have to with the body, substance, and touch?

The sensuous curtain reveals furtive silhouettes, between dream and reality.

The sensory experience that takes place makes us lose our sense of orientation. As one gradually sinks into the silky fog, how can one still tell North from South, or the entrance he took? And it is at this point that the visitor is more likely to enjoy the sensuality of the architecture, far from any intellectual reflex: what counts is the body, the matter, the architecture, the feeling, the touch, the experience.

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Le Bois Habité 2 - Philippe Gazeau

August 11, 2014, 4:28 am

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The programme in the context of the Zac de la Courrouze, at Rennes
The BH2 programme is located at the north-east end of the ZAC mixed development zone, in the “Bois Habité” area. It is bounded by the Rue Claude Bernard to the east, and by the Boulevard de Cleunay to the north.

The immediate vicinity:
To the south of the programme there is a recent housing estate made up of small collective housing units of between R+1 and R+3. There is a difference of about one metre between the levels of the existing housing estate and the land. To the west of the land, the existing sports ground is being kept, and included in the public parkland bordering the operation, and linked to it by footpaths. To the north, the shale wall left standing defines a solid, enclosure-type boundary with the Boulevard de Cleunay. On the other side of the Boulevard de Cleunay there is a railway line, which is a source of noise pollution near to the land. To the east, the shale wall demolished during the work to widen the Rue Claude Bernard will be rebuilt along the new boundary. As former military wasteland occupied by large workshops, the current land is flat overall and the landscape elements and the vegetation existing on the land are of no particular interest.

This project offers morphological and typological diversity around a large shared garden. The great height of some of the buildings means that ground can be made available for a garden that federates all the constructions. The free layout obtained through the “campus” concept is used to optimise the environmentally-friendly quality and performance of the adopted solutions, and in particular the layout of the constructions with respect to their orientation, the treatment of the well exposed frontages, and the urban composition with respect to the urban landscape both in the immediate vicinity and further afield.

The taller tower block is located in the northern part of the land and does not cast a shadow on the other buildings. Its position on the edge of the site justifies the building’s outline as a tall signal. The two high-rises share a semi-underground car park and are joined together by its terrace roof forming a common plaza. The terraced houses are set on this walkway slab. This architectural and urban arrangement made up of the two towers and the terraced housing forms a constructed sequence between the large central garden and the landscaped area of the former stadium. These two broad open landscaped spaces leave a clear view from the lower housing units.

Each building offers a particular typology suited to its location, orientation and height, so as to get the best out of it in terms of housing unit comfort. The freer layout of the two tall buildings makes for highly effective optimisation of the orientation and exposure of the frontages. The north front is the narrowest exposed surface area and the south front is the widest. In the two tower blocks, whose south fronts are spiked with protruding boxes, the living rooms of the housing units open up broadly to the south of the ZAC through loggias/terraces. These excrescences are veritable outside extensions to the living space, protected on the sides with walls up to half-height to cut down noise, wind and sunlight.

The treatment of the three other facades and the top is handled in different ways from one tower to the other, taking into account their height and site location and with respect to the surrounding landscape: The North tower block, the taller one, is the most imposing in the distant urban landscape, in particular from Rennes city centre. This is why the top section is different, the last two floors having special volumetry: pulled back from the main body, creation of a kind of parapet walk. These architectural arrangements assert the desire to turn towards the city and its centre, even though due to the orientation and the noise pollution from the railway line the north facade is less opened up and more height is given to the south facade, thereby giving the tower a rather unusual skyline. The tower’s main body is wrapped on the north, east and west facades in a smooth, shiny mantle of vertical metallised ribbed cladding covering insulation on the outside of the building structure, in contrast with the more sculptural, mineral appearance of the south facade. On the ground floor, the tower fuselage is set on a brick base on the plaza ground or on the slightly sloping ground of the grassy areas. The South tower block, which is lower and less slender in its proportions, has a dissymmetrical fuselage, thinner to the east on the inner garden side, broader to the west on the ZAC park side. This differentiation between the east and west facades is also emphasised in the colour of the casing of vertical ribbed cladding which wraps around and insulates the north, east and west facades. The treatment of the south facade, and the ground floor base, are the same as on the first tower block. The rake on the fuselage is continuous all the way up to the sloping ridge. Any different treatment on the last two storeys would have had the effect of making the tower look stockier, being less tall than the other.

The volumetry of the six housing units at the foot of the tower blocks is similar to a typology of houses grouped in threes. They are one-storey houses with sloping roofs opening widely onto the ZAC park, with an east-west exposure so that the two towers bookending them to the north and south will not spoil the view or block the sunlight. Along the Rue Claude Bernard the housing units between the central garden and the old shale wall left standing have continuity of scale with the existing programme to the south, and a degree of volumetric freedom with respect to the other buildings in the operation.

It is a predominantly horizontal construction comprising a strip of terraced, superimposed duplex apartments. Sited at the interface between the street and the inner garden, the small block is set away from the noise of the street and the new shaft, opening up broadly onto the garden. On the second floor level, a succession of gabled volumes, slightly set back from the main R+1 building, produces an effect of houses set on a shared terrace roof. Likewise, on the west side, on the ground floor of the private gardens, the coloured boxes of the kitchens projecting out from the linear volume give a homely scale to the whole.

The two ends of the small block have been given unusual volumetric treatments, with corner articulation for the north part, and the operation’s entrance door for the south part, according to their special siting with respect to the urban context and their position in relation to the other buildings.

The building materials and colours.
We chose to restrict the number of materials used, chosen for their aesthetics and durability, and their ability to blend together inside the operation and with their nearby urban setting, as well as their potential technically to meet the targets of passive insulation and long-term economy set for this project. The colours associated with these materials tend to set them off against each other, and to emphasise to a greater or lesser degree certain special features linked to use (loggias) or to volumetric and architectural expression (the tower facades). The facades on the north tower are covered on the north, east and west sides from the first to the eighth floors with vertical corrugated metallised cladding, and the same cladding for the last two floors. The ground floor base is lined with black brick. The entire height of the south front is in surface coated concrete, its taupe colour verging on rust, likewise on the outer faces of the terraces – projecting loggias. The inner faces of the loggias are in brighter colours, greens, yellows, pinks and reds, to make these “outdoor rooms” feel more like part of the home. On the top floors the solid breast walls on the projecting boxes are replaced by coloured glass guard rails. For the cladding covering the south tower, the colours are treated dissymetrically: dark green on the inner garden side, metal grey on the west side. The south facade is handled in the same spirit as the other tower.

The sloping roofs over the volume of the stairwell on both towers are fitted with solar panels. The duplexes on the top floor are used to build all the technical aedicules into the tower volumes (on the non accessible landing). Only the stairwell volume is extended to offer easy access for maintenance of the roof and solar panels. The six housing units at the foot of the two towers are sheltered by surface coated concrete shells in the same colour as the towers. Their sloping roofs consist of dark green steel deck. The kitchens projecting out on the west side are covered with dark green and anthracite ribbed metal cladding.

The small block on the Rue Claude Bernard uses the same materials and colours. Surface coated concrete for the first two floors, metal grey cladding for the second floor houses, dark green and anthracite for the projecting kitchens on the west side ground floor. The south side of the slopes on the two roofs on the houses on the terrace roof are completely covered and sealed by a set of built-in solar panels. The north slopes are made from dark green steel deck. The rendering from the facade to the corner extends that of the rebuilt shale wall.

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BELMONTE HOTEL - Lillo Giglia

August 11, 2014, 5:59 am

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Il progetto svolge una ricerca tesa all’identificazione tra il viaggiatore-turista e lo spazio che lo accoglie: un intreccio complesso tra realtà, fruizione e progetto. Nel progetto si evidenzia la sorprendente flessibilità che la progettazione degli alberghi ha assunto negli ultimi anni, assorbendo mutazioni nei costumi e nelle abitudini, nelle richieste, nei ritmi e nella forma. L’architettura di questo luogo, visto anche il ruolo assunto dal viaggio nella vita contemporanea, si presenta come sensore in grado di registrare le dinamiche di trasformazione economiche e culturali della società. Il Belmonte Hotel diventa così espressione dell’individualità solitaria del viaggiatore ma anche dell’incontro e dello scambio; diventa indicatore sociale, segnale di sviluppo e di rinnovamento negli interventi di trasformazione edilizia e urbana della città; rappresenta, soprattutto nei suoi spazi interni, l’evoluzione del gusto e dello stile di vita contemporanei e diventa il luogo idoneo ad esprimere quel glocalismo che ben interpreta l’essenza del luogo. La rimozione totale di un fatiscente e dimenticato edificio, una volta stalla, nel pieno del centro storico di Favara in prossimità di Piazza Cavour, lungo una stretta via tra vecchi edifici ottocenteschi, genera un grande vuoto urbano. L’impianto generale dell’hotel è molto semplice, funzionale e ricopre per intero il lotto a disposizione: un piano terra che funge da filtro urbano, due piani di stanze e solarium sulla terrazza. Il piano terra è nettamente aperto verso la strada; lo spazio in comune è costituito da un’unica sala (reception/ristorante con annessa cucina) sobriamente elegante, calda e confortevole che si conclude su una corte stretta che fa da fondale luminoso al ristorante; la luce, disegna e misura tempo e dimensioni. La scala di collegamento tra i vari piani, in pietra serena ad unica rampa, posta al centro dell’edificio, costituisce il fulcro dell’impianto distributivo sia del piano terra che degli altri due livelli; questa posizione ha facilitato in modo del tutto naturale la suddivisione degli spazi interni. Il piano primo e il piano secondo mostrano la stessa identica distribuzione, con una lobby centrale davanti all’uscita dell’ascensore ed un corridoio (che funge da spazio espositivo) dal quale si diramano le quattro camere. La parte basamentale della struttura fuoriesce di circa 60 cm rispetto al livello strada e nell’immagine generale del prospetto risulta essere come uno zoccolo su cui poggia l’edificio. Il piano terzo, viene servito da un’ ampia terrazza/solarium utilizzata soprattutto nei periodi caldi della stagione; da essa è possibile ammirare diversi scorci del centro storico, nonché, un’ inusuale vista dell’imponente cupola della Chiesa Madre. Il prospetto, relativamente anonimo, di un bianco candido, ossequioso dell’intorno, è una reinterpretazione in chiave contemporanea dell’originario; sono state mantenute le vecchie bucature e soprattutto si è tenuto conto della presenza dei vecchi portali costituiti da poderosi blocchi di pietra locale. Questi una volta rimossi, sono stati ricollocati nella loro originale posizione, dando un’ulteriore ricchezza alla facciata; questa operazione ha conferito un forte richiamo alla memoria storica del passato, ma nello stesso tempo ha permesso di lavorare nel contemporaneo, facendo attenzione alla cura dei particolari e al dosaggio in modo sapiente dei materiali tradizionali ed innovativi. Tale lavoro può identificarsi come un’operazione vera e propria di bourrage, diffusa in molte città europee, che permette all’interno di contesti storicizzati di mantenere intatta la continuità del fronte urbano, e al contempo di dotare il nuovo edificio di tutti gli adeguamenti funzionali, tecnici e prestazionali necessari per un’ottimizzazione degli spazi e del relativo uso. È, soprattutto, un adeguamento a una nuova immagine che pur restando “discreta” vuole dichiarare il carattere attivo dell’edificio, aldilà dell’appartenenza ad un contesto sociale e urbano decisamente connotato e vincolante. L’edificio è dunque un esempio di un perfetto ed integrato inserimento di architettura contemporanea all’interno della città storica.

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Parco eolico Atella (Pz) - Luigi Iannone, Claudio Schiavone

August 13, 2014, 12:53 pm

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Il progetto consiste nella realizzazione delle opere strutturali per l’esecuzione di un parco di mini eolico nel comune di Atella (PZ).

Parco mini eolico e fotovoltaico

Modello fondazione

Sollecitazioni

Dettaglio dima di ancoraggio e ferri di armatura

Armatura plinto di fondazione

Armatura completa

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Nuovo edificio polifunzionale. Rimini - Luca Cruciat Architetto, Cecilia Bione, Maria Mancini, Massimo Ranieri

August 13, 2014, 2:23 pm

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Nuovo edificio polifunzionale. Rimini

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Residence L&N - Open Studio Pty Ltd

August 13, 2014, 7:14 pm

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The project is an extensive renovation and addition to a single storey Victorian house on a tight block in North Fitzroy. After living in the house for some years, the clients wanted a warm and relaxed family home and also wanted to accommodate grandparents who visit regularly

After demolishing the old additions at the rear of the building, a new volume was built to occupy the full width of the site. The new design contains living, dining, kitchen and a semi-independent bedroom area. This is a flexible space that can be occupied as two separate areas, or as a generously sized family home. A series of full height glazed doors open onto a private and secluded rear garden. The timber floor and roof are extended and make an ideal outdoor room where walls of old and new brickwork are left exposed

Under Construction

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Residence R - Open Studio Pty Ltd

August 13, 2014, 7:35 pm

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An inner city studio converted from an old stable in the mid 90s is updated to increase natural light and create a bright space. To minimise structural changes, existing openings were replaced with simple windows and the interior painted pure white. A large (3.6×2m) glazed pivot door opens effortlessly onto the rear courtyard and immediately establishes a strong connection with the small courtyard garden

Location

Under Construction

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Residence K&S - Open Studio Pty Ltd

August 13, 2014, 7:40 pm

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The brief was to transform a traditional two-storey Victorian terrace house into a generous, contemporary family home filled with natural light. Local heritage controls prevented alterations to the street facade and front rooms. The original facade was restored, painted white and the rear elevation was opened up and extended

The configuration of the floor plan is both cellular and open-plan. While the interior spaces are based on the original independent rooms, the new interventions create a sequence of interconnected areas with distinct qualities. A new, natural and waxed black butt floor throughout the house expresses continuity, while the modulated floor levels and ceiling heights create a different quality for each room. The restrained, well-proportioned spaces achieved in the design add a sense of serenity to this house

Because of the southern orientation of the main living space, alternative sources of natural light are used to achieve a bright and warm interior and also to capture the changing light qualities throughout the day. A new central courtyard opens up the core of the house, creating new internal and external views throughout as well as achieving a sense of transparency

Brickwork bridges the relationship between the new elements and the original building and provides a continuing sense of solidity. New work is subtly distinguished from the original by using a dark coloured brick and modern detailing

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