“Se in un bosco troviamo un tumulo lungo sei piedi e largo tre, disposto con la pala a forma di piramide, ci facciamo seri e qualcosa dice dentro di noi: qui è sepolto un uomo. Questa è architettura” A.Loos

© QAYIN ARCHITETTURA . Published on September 16, 2014.

Un monumento, un segno elementare, atemporale, riconoscibile, un’ indispensabile manifestazione del nostro essere uomini, del nostro bisogno di memorie, di segni oltre il tempo. Un monumento contro la morte e alla morte. La traccia definisce il confronto e il collegamento tra i due attori, il cimitero della Misericordia e quello comunale. Una figura rettangolare imposta la struttura compositiva, facendosi cavità del sepolcro e coperchio della tomba. Un’asola d’ombra di 60 cm di altezza separa, da fuori, il prato dalla tomba, un’asola di luce, all’interno, separa l’invaso dal mondo. Due grandi scalinate provenienti dai due cimiteri e cinque tagli incisi nella terra realizzano l’incontro scalare tra l’uomo e il grande sepolcro, il paesaggio progressivamente si annulla e si entra dentro il monumento stesso. L’avvicinamento si realizza attraverso prospettive centrali che, dalla luce al buio, conducono a una quota di -3.20 m, dove sono collocati i loculi, gli ossari, le sei cappelle private, una cappella pubblica e un tempio crematorio. Tre fonti d’acqua e due soglie, quelle della e del tempio, terminano le prospettive, tre cipressi accompagnano il lento cammino in discesa inquadrando le colline a nord. L’Architettura prende lo spazio della terra, la terra si fa Architettura. Il grande spazio ipogeo ospita, lungo le pareti laterali, i milleottocento loculi, tutti uguali, scavati nel terreno senza alcuna gerarchia. Una cappella quadrata, leggermente ribassata, segna una nuova soglia e rivela una croce in acciaio illuminata da un taglio di luce in alto. Al Tempio crematorio, totalmente interrato, si accede attraversando due grandi nicchie e scendendo una scala. Nella sala del commiato, totalmente spoglia, la luce penetra dall’alto attraverso un’apertura quadrata che lascia passare la pioggia. In basso una vasca, delle stesse dimensioni, ospita il pulpito per il saluto definitivo. Tre tagli verticali sulla parete di fondo, conducono agli ambienti di servizio e ai locali per la gestione amministrativa. La grande pietra tombale si prevede realizzata mediante una piastra nervata in calcestruzzo armato di 3.20 m di altezza e rivestita interamente in lastroni di travertino bianco montati a correre. Unica decorazione, i nomi dei defunti incisi nel calcestruzzo all’interno dei cassettoni.

Introduction With this project, YAC challenges young designers and architects to redevelop a part of Negrar Valpolicella winery from an aesthetic and functional point of view in order to create a unique context in an area dedicated to the wine production. The existing building, subject of this contest, is geometrically fragmented and irregular in the external fronts. So, there is the need to harmonise the current building in a unique way. The project goal is not to try to hide the winery production zones, but to give value to these areas without forgetting the rural tradition of the Valley. In the end, YAC asks to consider the possibility to raise a building reflecting an interest in the value and culture of the wine process, both in the farming setting and the finished products. The building will become a research and test place also attended by local undergraduates.

General view

© Valentina Rossi . Published on September 16, 2014.

The project : settlement pattern strategy The “historic” building appears to be geometrically fragmented and irregular in the external aspect due to the production chain’s need of expansion over the years. Specific attention has not been paid to the materials and the external front final choices. So, most of the current building casing seems to be now a common industrial element made of concrete. The main project goal is to connect the different spaces and at the same time to give the chance to the building to be in contact with the surrounding context. This is the reason why the idea of giving back a “green zone” to the territory is born. This “green zone” is a vineyard situated along the highway ramp, which is used by the tractors to arrive in the service area and it also connects the different parts of the building on level +1: the new eastern part with the existing part in the West. The vineyard has been created in order to show the occurring activity inside the building through its main raw material. It also gives to the visitors the chance to acquire information about what happens before the production process and it allows the researches and undergraduates to implement the agrarian studies acquired in the laboratory. Another planning input derives from the need to modernize the entire wine making process leading it on the same level of the contemporary practice. This way is based on the fall grapes wine making, no more mechanically strained. All the following processes happen in the natural way (as a cascade). This method prevents the vinasses alteration and the not successful finished product. From the idea to the drawing, one of the most important and interesting project’s needs has not been ignored: the necessity to transform the building into a single element maintaining the peculiarities of the single spaces (different to each other for end use, type, architectural and aesthetic features). The “new part” is now the continuation of the “old part”, particularly for what concerns the building height structures (the new pillars model on the higher plane follows the existing pillars model on the lower plane). Although they have a strong vision and aesthetic effect, the chosen architectural shapes are simple in order not to weigh too much on the existing structures.

General view

© Valentina Rossi . Published on September 16, 2014.

The project: functional assignment The recommendations stated in the competition announcement have been followed for the inside spaces organisation. Subsequently, the choices have been determined by different factors: close proximity of spaces for practical – functional reasons, building orientation, historic origin of the inner spaces organisation. The northern building area (indicated as “free area” in the competition announcement) has been chosen as service zone because it is characterized by some negative conditions, such as the lack of natural solar radiation. In order to realise the fall grapes wine making without digging under the level -1 and occupying only the space where today there are the silos, the project advancement has interested the levels -1, 0 +1, respectively at the quota -4.90 m, -0.20 m, +4.60 m (this process needs a considerable difference in height between the origin and the end). An highway ramp (slope 15%) allows the tractors to arrive in the wine grapes unloading (maximum height of the process). In this point (quota +4.60m), there is a service area with grapes picking tanks covered by a roofing. Some stairs and a lift (for the workers and the disabled visitors) also permit to arrive in this area from inside the building. In this way, all the people can watch this production process phase. At level 0, quota -0.20 m, under the grapes picking tanks at level +1, there are the destemming machinery. They are inside a room with a glass wall, so that the visitors can see from outside what happens inside without disturb the workers job. A storehouse part is also positioned at level 0 (quota -0.20 m) always in the northern area of the building, under the service area and near the existing bottling. At level -1, quota -4.90 m, there is the same inner spaces arrangement. Here, however, instead of the destemming machinery there are the wine presses. These machinery are the last components of the fall grapes wine making process. The vine is spread from this point to the barriques or silos (for the different wine types) through suitable channels. All around these spaces, there is the other part of the storehouse. On this level, however, there is a covered loading area, so the lorries, coming from the street, go down from -1.30 m (winery access area) to -4.90 m. The central area of the project, in the eastern zone, is the most awkward part of the entire plan. It is the winery cornerstone, especially created for the visitors who are there (Valpolicella Negrae winery) for recreational, wine and food, cultural reasons. The eastern winery front is the part of the building visible from the street, so it should attract the tourists, the wine and food passionate people or anyone who wants to discover new things about wine production and to taste some of the better products of the Valley. The level 0, entry quota -1.30 m, has been studied as it was the business card of the winery, always respecting the customer dictated limits. As soon as the people go into the winery, they can begin the itinerary from wherever they want. On the right side there is the wine museum, where people can examine the historic, cultural, and artistic aspects of this age-old product. The museum itinerary finishes with a sensory experience, where people can begin to activate their own five senses, which will be satisfied at the end of the winery itinerary, especially in the tasting room and in the shop. The winery can be traversed in different ways. The main itinerary, after the museum stop, leads the visitors to the tanks, where the vine ferments. The project plan does not change this place (as it is written in the competition announcement). The tanks area is accessible by everyone: visitors, workers and undergraduates. The last ones have the chance to increase their studies in the laboratory situated near the tanks. The lab is reachable through a separated existing entry in the South front and there are also the service need spaces (changing room, wc, relaxation area). The laboratory does not receive the natural sun light from the East and the West, so it has a very big skylight on its roof which allows the lab to catch natural sun light and air. In addition to this, the people in the garden (at level +1) can see what happens in the lab. The visitors can reach level +1 (landing place quota +4.40 m) through the stairs and the lift situated at the end of the museum itinerary (the stairs and lift position in the plan has been chosen to connect, if necessary, level -1 and level -2 with the rest of the building too). Also at level +1, as for the under one, the itinerary can continue in different ways. Through a soft ramp the visitors can go into the fruit storehouse in the existing part of the building. During some months of the year, this space is not used for production reasons, so it can be utilized for cultural and artistic events. Then, the tourists can go out in the service area (quota +4.60 m) and from this point they can go down following the fall grapes wine making process, that has been illustrated earlier. However, the visitors can go through a sensory itinerary. They can go ahead inside of the glass aisle, arrival point of the stairs and lift from the level 0, and then they can walk in the vineyard and see its features. From there, the following space is a filter zone: visitors’ viewpoint on the fruit storehouse, in the months of the year when it works; fruit storehouse entry, when there are events and crossing point to the tasting room. The latter is divided in two parts: an inner space with furniture inspired by the wine activities (barriques, pierced legs table…) and natural cladding (cleft stone) and an outside space (equipped garden, where the people can taste the vine and at the same time they can watch the raw material of this product: the grapes). The natural materials have been used also for the outside space furniture and cladding (the flooring and the furniture are made of wood and natural fibre). In this way, the visitors can live a natural experience as if they were in a natural wine area. Inside the tasting room there is also a little kitchen, where the operators prepare food for wine tasting. Then, the visitors can go down to the shop, situated under the tasting room, where they can buy the finished products, whose production phases and details are now very well known. In the shop, as in the tasting room, the furniture draw inspiration from the wine activities. The tasting room has been positioned at level +1 in order to enjoy both a vast inner space and a little garden. This is a reserved place which allows everyone to taste the vine quietly, far away from the noisy street and in a private dimension. The tasting room is also linked to the shop, which has a direct access from the main building entry. In this way, the visitors can go to the shop directly without going through the rest of the building. The reason for the fruit storehouse plan position is historic and functional. Indeed, at the beginning, the rooms with natural air turnover, above houses and winery, were used as fruit storehouses. These places were, in this way, quickly and easily reachable by the workers. In this project, the choice of the new fruit storehouse position derives also from the existing fruit storehouses position. In this way, these spaces are near to each other, linked and easily manageable. The best preserved part of the building is the southern one, where there are the offices. The project wants to preserve it and to ingrate it with the new proposal, instead of demolishing it and building a new one. As requested by the customer, inside of this part of the building the spaces have been reorganised and the new offices (spaces for administrative and directional activities) have been reallocated. The offices, as the laboratory, have a reserved access, different from the visitors one, so the various activities do not mingle and do not cause interference. The administrative and directional activities have been situated at the level 0, +1, +2 of the existing building, while the level -1 and -2 have been left as the present situation, both for the structure and the purpose in order to respect the competition announcement limitations.

Garden view

© Valentina Rossi . Published on September 16, 2014.

The project: aesthetic features intervention During the years, the existing building has been subjected to various changes and extensions, but it has been always treated sparsely, particularly for what concerns the materials and the external front final choices. For this reason, the new project aims at redeveloping not only the volumes, but also the aesthetic aspect. Every inner space, where different works happen, has been characterized by a diverse external cladding. In this way, people can understand what kind of work happens in a specific space by the overall building external view. In order to realise this purpose, the materials, the colors and the claddings have been chosen to be drawn close. An eco-friendly aptitude and the use of local materials (Km 0) are the values followed in the choice of materials and claddings. The type applied to the new parts of the building is the same chosen for the existing parts, with the same purpose. For the fruit storehouses (new and existing), for example, the final choice is a cladding composed of regular perforated cor-ten panels (the module is the same used for the windows dimensions). The run of the panels holes, as a cascade from on high to down, has been studied to remember the ancient way the grapes were withered in the fruit storehouses (Amarone production way). In the highest cladding point, there is a cor-ten stripe (this stripe is darker than the other cladding parts) to remember the winery wood stick, from where the grapes climb down. The outer vision of this part of the building is very striking, especially in the evening hours when outside the space is dark, but inside the rooms are all illuminated. However, in the current fruit storehouse the light and the air are controlled only through mechanical systems which regulate the delicate balance between temperature and humidity in the best way. This aspect is necessary for the production of the best wine. For the tasting room and the shop there is much more freedom of choice. For these rooms, the designed space is intensely illuminated by the natural sun light and there is a continuous visual contact between inside and outside spaces. The best material for these ideas is certainly the glass. The tasting room and the shop have been linked to each other through a great tripped glass wall supported by some steel pillars in order to look like a unique big space. The glass wall and steel pillars inclination evokes the run of the vineyard (espalier method) .This way is ordinarily widespread in the land near Verona for the grapes growing, that is appropriated to Amarone production (one of the best products of the Valpollicella Negrar winery). The glass wall has also a decorative stone base , the same just existing in the offices building (cleft Lessinia stone), so the East front and all the winery have a visual and material continuity. The Lessinia stone has been chosen also for the building low ground (the area under the fruit storehouse) and the service area parapet (from level 0 to level +1) . While the existing cladding is cleft Lessinia stone, the new one is Lessinia stone plate (between the low ground windows, in the East front, the cladding is clef Lessinia stone, like the offices). For the offices building, the cladding materials are the original one. Another improvement has been done for the new and existing storehouses. These spaces have an horizontal profile (they are vast but not very high). So the chosen cladding shoots for break up the repetitiveness and monotony of the all front look. A treated wood panels system is proved to be the best solution. The panels are composed by various thickness and height horizontal slats, set next each other in the irregular way. The project: eco-friendly solutions The materials choice and the volumetric forms of the new project are derived, not only from aesthetic causes, but also from eco – friendly values. These ideas are implemented in the new building shape, from inner spaces functional assignment to the materials and claddings choice. The glass wall inclination, in the eastern front, wants not only cause an awesomeness , but also be valuable in the energy meter. This inclination, indeed, fosters the direct solar radiation to the inner spaces during the winter months, when the sun is low-rise and its intensity is feeble and it doesn’t foster it, during the summer months, when the sun is high and its intensity is raised. In addition the tasting room and shop exposure to East, allows to have a glass wall greater than the other fronts because the hours number during the day, in which this front is subjected to direct solar radiation, is minor than the others fronts. Others devices have been included in the project, always in the East front, to limit the natural solar exposure of the building, where it should be damaging. They are the perforated cor – ten cladding fruit storehouse (described earlier) and the portico, that protects the entry area. The portico is formed from the fruit storehouse at level +1 and the low ground steel pillars. To produce clean energy and limit the building environmental impact, a photovoltaic system (oriented to south direction) has been positioned on the fruit storehouse flat floor. In the West direction, indeed, between existing and new part of the building, at level +1, there are a vineyard and a garden roof. These external spaces have an educational, recreational and sensory purpose, but they have also a very important job, about energy saving. They work such as a natural cooling and decrease temperature system (vegetable kingdom typical feature) and they protect the new fruit storehouse and tasting room glass walls (in the West front) by the direct solar rays. The new glass walls are also protected by the flat floor that sticks out from the under wall and that creates efficient shadow zones.

Night view

© Valentina Rossi . Published on September 16, 2014.

The project: architectural barriers In the existing building there are many altitude gaps, that cause accessibility problems to anyone, especially to disabled people. To make the building accessible and usable by everyone, various interventions (on the basis of national rules) have been designed. In the East front there is an altitude gap, between the outside space (quota -1.30 m) and inside space (quota 0.00 m), due to the current loading area. In this area (in the project plan) there is the building main entry. From this place, people can go to the museum, to the shop and to the others inner rooms. So a staircase, in part travelable and in part accessible such as a break area, and a ramp (slope 8%), that run along the big glass wall, have been collocated in the East front to pass this altitude gap. An external access ramp to pass the altitude gap between outside and inside offices space is just existing currently. There isn’t, indeed, a lift, that leads people to the all offices building levels. This lift, that has been added in the new project and the other one, near the laboratory, in the building centre area, have been situated in a valuable position to reach, if necessary, also the level -1 and -2 (not current competition subject). Little ramps have been situated also in the inner existing parts of the building, always to pass the altitude gaps. They are for example between stairs and lift landing at level +1 (quota +4.40 m) and the existing fruit storehouse (quota +4.60 m), between the storehouse at level 0 (quota -0.20 m) and the existing bottling (quota 0.00 m). These ramps are useful to facilitate the move wares operations, but also people walking. With these ideas, all the architectural barriers have been passed and the new winery has become accessible to everyone.

Eco-friendly solutions

© Valentina Rossi . Published on September 16, 2014.

Level -1

© Valentina Rossi . Published on September 16, 2014.

Level 0

© Valentina Rossi . Published on September 16, 2014.

Level +1

© Valentina Rossi . Published on September 16, 2014.

Level +2

© Valentina Rossi . Published on September 16, 2014.

aa Section

© Valentina Rossi . Published on September 16, 2014.

bb Section

© Valentina Rossi . Published on September 16, 2014.

Project ideas

© Valentina Rossi . Published on September 16, 2014.

Siamo nell’entroterra veneziano tra Venezia e Treviso nella direzione nord-ovest in corrispondenza della strada Moglianese. L’esistente si identifica come un edificio residenziale all’interno di un’urbanizzazione di tipo abitativo degli anni ‘70 senza particolari pregi. Unico elemento caratterizzante del volume esistente è dato dalla grande falda unica di copertura che con orientamento nord-sud si prolunga come elemento che assorbe e connota l’intero edificio. A contrasto con questo elemento formale dominante il nostro progetto di ampliamento è pensato come una sorta di più corpi-volumi ad identificare le varie destinazioni di utilizzo; ognuno con copertura rigorosamente di tipo piano. Tre volumi a identificare tre funzioni diverse e distinte evitando elementi unificatori e di connessione volumetrica. - Il primo volume è quello del piano terra a forma trapezoidale con copertura piana la quale diventa ampia terrazza per il piano superiore. Terrazza di cui sentiva fortemente l’esigenza in quanto l’esistente ne era totalmente privo. Detto volume risulta molto permeabile verso il giardino visto la presenza di due grandi vetrate scorrevoli. - Il secondo volume è una sorta di torre chiusa ed ermetica a contenere l’ascensore di collegamento ai cinque diversi livelli cui è munito l’edificio. - Il terzo volume è quello più articolato e dal punto di vista formale più caratterizzante, in quanto totalmente a sbalzo e sorretto da due pilastri obliqui. La funzione di questo elemento per volontà della stessa committenza è quella di torretta panoramica, (oltre a bagno supplementare a servizio dell’ultimo piano) dove poter ammirare il panorama privo di urbanizzazioni fino a quasi i confini con la città di Treviso. L’ampliamento è stato realizzato in classe energetica “A plus”. Infatti l’impianto di climatizzazione è a pavimento radiante con generatore di energia del tipo chiller in pompa di calore munito di inverter con rendimento superiore al 400% alimentato da pannelli fotovoltaici per una potenza nominale di 6 kWP. L’isolamento delle murature è stato attuato con pannello coibente in polistirolo espanso da 10cm e i serramenti hanno una Trasmittanza inferiore ad 1,5 kW/mq.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

© Versuro Gianpaolo . Published on September 16, 2014.

Attico

© CORFONE+PARTNERS . Published on September 16, 2014.

© CORFONE+PARTNERS . Published on September 16, 2014.

Progettazione preliminare di un piano integrato di intervento comprendente residenze unifamiliari e plurifamiliari, strutture polivalenti comunali, parchi pubblici, uffici amministrativi, polo scolastico, polo commerciale, centro wellness ludico-sportivo, cinema multisala, potenziamento viabilità e parcheggi pubblici, suddivisi in due aree di intervento, nel territorio di Albano Laziale (Roma).

Planimetria Generale degli Interventi

© Amedeo Pedata . Published on September 16, 2014.

Planimetria Area di Intervento 1

© Amedeo Pedata . Published on September 16, 2014.

Planimetria Area di Intervento 2

© Amedeo Pedata . Published on September 16, 2014.

Questo tavolo risolve il problema del sostegno sullo spigolo del tavolo che condiziona, normalmente, la praticità della seduta sulla panca. Si compone in realtà di due elementi quadrati ed accostati che ne moltiplicano le possibilità di variazioni ed utilizzo. Misure: 84×168 cm (chiuso) 84×228 cm (aperto) H 75 cm

© M12 architettura design . Published on September 16, 2014.

la panca/contenitore

© M12 architettura design . Published on September 16, 2014.

tavolo e panca

© M12 architettura design . Published on September 16, 2014.

estensione laterale

© M12 architettura design . Published on September 16, 2014.

le possibili combinazioni

© M12 architettura design . Published on September 16, 2014.

fly table.

© M12 architettura design . Published on September 16, 2014.

Il progetto ha l’obiettivo di dotare l’area destinata a attività socio-educative estive, di un nuovo nucleo servizi per renderla meglio fruibile dal punto di vista igienico sanitario. Il nuovo manufatto è interamente realizzato in legno per meglio integrarsi al contesto naturale esistente; le caratteristiche costruttive sono pensate per un facile assemblaggio a elementi e una conseguente possibile rimozione futura Il nuovo corpo prevede 4 box ad uso bagno con apertura verso il lato più protetto a bosco, una zona aperta di lavandini sul lato opposto e uno spazio chiuso di deposito/magazzino a servizio dell’area esterna.

© Andrea Guiglia . Published on September 16, 2014.

Serie di sedie e sgabelli in legno e lamina metallica.

timo seat

© M12 architettura design . Published on September 16, 2014.

fronte della sedia timo

© M12 architettura design . Published on September 16, 2014.

retro della sedia timo

© M12 architettura design . Published on September 16, 2014.

lo sgabello timo

© M12 architettura design . Published on September 16, 2014.

To Andrea Tognon Architecture was commissioned the design of a “luxury” version of the Max&Co. concept store to be built at IFC Hong Kong. Here some images of the ongoing project.

© Andrea Tognon Architecture . Published on September 17, 2014.

© Andrea Tognon Architecture . Published on September 17, 2014.

© Andrea Tognon Architecture . Published on September 17, 2014.

© Andrea Tognon Architecture . Published on September 17, 2014.

© Andrea Tognon Architecture . Published on September 17, 2014.

© Andrea Tognon Architecture . Published on September 17, 2014.

Il progetto che proponiamo vuole essere una vera macchina per la messa in scena dell’arte. Il sito in cui si inserisce è di grande qualità e l’immediata prossimità ai giardini comunali ne fa una chiara scommessa di riqualificazione urbana. In una volontà di forte rottura architettonica con il palazzo esistente del XVIII secolo, il nostro progetto impiega materiali volutamente contemporanei, ispirandosi ai colori esistenti tra gli edifici più comuni della città di Cagliari.

© Patrick Corda . Published on September 17, 2014.

La base del nuovo edificio monolitico s’ispira per la sua presenza ai Nuraghi sardi. Il volume sfalsato ricorderà la potenza della Torre dell’ Elefante. Il volume esterno contrasta con l’interno che si caratterizza per una ludica dinamica degli spazi. Si tratta di un guscio monolitico che protegge i tesori del museo disposti lungo un percorso fatto di viste prospettiche frammezzate da mezzanini sporgenti tra i differenti livelli.

© Patrick Corda . Published on September 17, 2014.

Considerando le differenti opzioni, il posizionamento del nuovo edificio permetterà di creare una piazza-corte associata al museo, generando uno spazio di esposizione esterna che potrà essere ultimato attraverso la riqualificazione delle grotte in una prospettiva di continuità del percorso espositivo. Le rare aperture sull’esterno sono disposte in modo da minimizzare gli impatti della luce sulle opere; ciò nonostante, esse garantiscono la lettura del volume costruito. Così, per esempio, sulla piazza-corte interna del piano terra alto, una grande curva vetrata svela il ristorante verso l’esterno. Allo stesso modo, di notte, la luce del ristorante creerà un punto essenziale per la lettura del volume.

© Patrick Corda . Published on September 17, 2014.

Il nostro progetto si compone di 4 livelli collegati da un ascensore panoramico e da diverse scale che, attraverso passerelle e piani ammezzati, servono l’insieme dei livelli: - piano terra basso (livello parcheggio/carico-scarico merci): esposizioni modulabili, auditorium, sanitari, locali di riserva, depositi, locali tecnici. - piano terra alto (livello entrata giardino comunale): mezzanino d’esposizione, libreria, ristorante, sanitari, accesso piazza-corte esterna. - piano primo: mezzanini d’esposizione, sala modulabile - piano secondo: uffici, biblioteca, sanitari, terrazza vegetalizzata non accessibile, chiosco tecnico.

© Patrick Corda . Published on September 17, 2014.

Il livello di performance energetica per la costruzione sarà un tema privilegiato. Si propone un’opzione che consiste nel creare una galleria tecnica tra l’interno della grotta e il nuovo edificio al fine di usufruire del rinfrescamento naturale della grotta in estate e del calore in inverno. Tale galleria passerebbe di sotto la piazza-corte e permetterebbe di diminuire i costi di condizionamento dell’edificio.

© Patrick Corda . Published on September 17, 2014.

Il progetto di ampliamento della galleria comunale d’arte che presentiamo ha l’ambizione di diventare una vera e propria tappa nel cammino culturale attraverso la città di Cagliari, diventando una nuova piazza d’incontro per i cagliaritani.

© Patrick Corda . Published on September 17, 2014.

© Patrick Corda . Published on September 17, 2014.

© Patrick Corda . Published on September 17, 2014.

The building was placed in a garden property of a large villa. The goal was to create privacy, preserve the garden and house two families in a spacious loft apartment. We decided to move the sleeping area on the ground floor and devide the courtyard using water, to have privacy for all. The living area was moved on the first floor and exposed almost exclusively with large windows, so the feeling is being surrounded by trees.

© Andrea Tognon Architecture . Published on September 17, 2014.

Progettazione di un tavolo in legno massello per il concorso indetto dalla Riva 1920 SpA “Accendi la tua idea”

© Alessandro Fornasari . Published on September 17, 2014.

particolare

© Alessandro Fornasari . Published on September 17, 2014.

© Alessandro Fornasari . Published on September 17, 2014.

Tavola Tecnica

© Alessandro Fornasari . Published on September 17, 2014.

Il progetto è la prima tappa di un processo di trasformazione urbana di Tubre il cui obiettivo era la rivitalizzazione del paese attraverso il mantenimento delle strutture pubbliche nella sua area centrale. Con la costruzione della nuova scuola si è creato un luogo denso nel centro del paese. L’edificio scolastico, la palestra ed il restaurato ex albergo Schwarzer Adler, in cui sono ospitate le associazioni del paese, definiscono spazialmente una piazzetta rettangolare. I tre edifici sembrano toccarsi negli angoli, solo strette fughe vengono lasciate aperte per permettere di scendere dai giardini, dalle terrazze e dai viottoli superiori alla piazza. Il volume, le proporzioni ed i materiali del nuovo edificio si rifanno agli edifici tradizionali del luogo: una casa con tetto a due falde, con ruvide murature intonacate e ampie, candide, lisce cornici di intonaco bianco attorno alle finestre. Rispetto alle case vicine, la scuola ruota di 90° rivolgendo il timpano alla piazza per segnalare la novità di questo spazio pubblico nella struttura filiforme del paese. Piccoli adattamenti e spostamenti deformano lievemente l’elementarità del corpo geometrico dell’edificio. La facciata S-E si piega per seguire l’andamento in curva della strada, il lato a N-E si spinge nella piazza coprendo parte della palestra per rafforzarne la chiusura spaziale. Le due falde della copertura hanno inclinazioni differenti, verso N-O il tetto scende più ripido per migliorare l’irraggiamento del cortile della pausa posto a nord della scuola.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

Photo: Nicolò Degiorgis. Published on September 17, 2014.

San Valentino in Campo è un paese composto da due parti: un agglomerato residenziale cresciuto negli ultimi decenni tra i tornanti della strada che conduce a Nova Levante ed un piccolo insediamento storico arroccato su una stretta “penisola” che si protende verso la Val d’Ega attorno alla Chiesa di San Valentino. Accanto alla parrocchia sono stati costruiti gli edifici pubblici del paese, la casa delle associazioni, la scuola e l’asilo così che nel tempo si è venuta a creare di fronte al quartiere “privato” residenziale una cittadella delle attrezzature collettive.

Photo: Günter Richard Wett. Published on September 17, 2014.

Il progetto della nuova scuola astronomica e scuola elementare offre la possibilità di rafforzare il centro del paese ed di migliorarne il rapporto con il quartiere residenziale. Per accordarsi alla struttura minuta del paese le funzioni previste vengono suddivise in due edifici. In questo modo scuola e planetario saranno identificati ognuno con un proprio edificio. La precisa disposizione dei due corpi di fabbrica genera, a partire dal parcheggio, una sequenza di spazi aperti di natura differente. Di fronte alla scuola astronomica, nel cui basamento troverà posto l’ambulatorio medico, si forma un piazzetta dalla quale attraverso un passaggio coperto si raggiunge la terrazza della mensa. Il dislivello che separa il parcheggio dalla piazza del paese superiore verrà superato da un’ampia rampa. La “torre” della scuola ed il corpo allungato del planetario si avvicinano tra loro senza tuttavia toccarsi, tra i due corpi di fabbrica rimane una fuga aperta, uno stretto “vicolo” che apre la piazza verso ovest, verso la terrazza della mensa e l’osservatorio astronomico al di là della valle.

Photo: Günter Richard Wett. Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

Photo: Günter Richard Wett. Published on September 17, 2014.

© Cez Calderan Zanovello Architetti . Published on September 17, 2014.

Ristrutturazione, progettazione ed allestimento di showroom di una azienda produttrice di elettrodomestici. Il committente necessitava di uno spazio espositivo che mettesse in risalto le caratteristiche dei propri prodotti e di uno spazio per dimostrazioni funzionali. Il progetto ha interessato la ristrutturazione e progettazione interna di parte di un edificio, con il mantenimento di parte dei solai in putrelle e volterrane al piano terra, con eliminazione di solaio di sottotetto per la creazione di uno spazio adatto all’ esposizione ed con una nuova struttura di copertura in capriate di ferro stirato e lamiera grecata. Si è scelto di mantenere le vecchie travature in acciaio del solaio demolito quale testimonianza della precedente struttura. Il corpo scala collega la galleria espositiva col piano terra adibito a sala riunioni e con il soppalco ospitante i servizi igienici che affacciante sullo spazio espositivo a tutta altezza. Si è scelto di mantenere la scala preesistente e di ricoprire con lamiera di acciaio le pedate e la fascia centrale della galleria espositiva quale dimostrazione tecnologica dell’ azienda. Le facciate esterne sono state mantenute nel suo aspetto originario e l’ intorno riqualificato con area pavimentata a porfido e a giardino.

Galleria centrale

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Spazi laterali

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Galleria centrale e soppalco

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Particolare di trave in ferro preesistente

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Particolare capriata in acciaio

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Vista galleria dal soppalco

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Particolare pedate ricoperte in lasmiera

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

Mantenimento scala preesistente con parapetto in acciaio e vetro

© STUDIO SACCHETTI ZANICHELLI . Published on September 17, 2014.

The main focus in the design of the summerhouse was to create a careful and functional engagement with the dramatic and beautiful topography of the site. Partly submerged in the steep terrain of Langitangi (“Long-Peninsula”), the elongated building’s horizontal figure presents itself in the landscape as a geometrically accentuated topographic contour line. The building’s placement on the peninsula was specifically chosen in order to create a varied dialogue between the structure and it’s context. The rough concrete and the low, cantilevered roof endure the windswept site, while the building thoughtfully shelters in- and outdoor spaces from the barren landscape. Inside, the summerhouse is laid out as a linear sequence of spaces following a path parallel to the sites topography. This design shapes each space as a separate entity, each offering a uniquely framed view of the picturesque nature outside.

© Kristinn Magnússon . Published on September 17, 2014.

The building is located on the banks of the glacial river Hvítá, in the south-western part of Iceland
Size: 210m2
Building lot: 54.000 m2

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

The Corderie to go and visit the islands of Sant’Erasmo, Mazzorbo and Vignole. These islands of the Venice Lagoon are the paradigms of a new relation between peri-urban agriculture and cities – by contrast, they both make the lacks and needs of the contemporary city strikingly evident. Sant’Erasmo and Vignole are desirable lands with great potential. They have lost the economical resources to preserve their identity, and they are waiting for a forthcoming transformation. Mazzorbo is an example of the recovery of public semi-abandoned properties, that today can generate new practices and economies related to agriculture and to the care of common areas.

© DONTSTOP Architettura . Published on September 17, 2014.

During the day, “Green Gold Islands” will look at rural areas as resources and concrete possibilities for the development of new economic models and lifestyles, linked to the rediscovery of agriculture as an agent of territorial development. The explorative walk into the islands becomes an opportunity to meet and exchange knowledge and experiences in the field, a stimulus for reflection.

© DONTSTOP Architettura . Published on September 17, 2014.

The rural land is at the centre of the discussion: not a residual theme anymore, it is understood as a commons, and a resource of global interest. After boarding at Fondamenta Nove we will sail to Vignole island to visit the local company “L’Orto di Vignole.”

© DONTSTOP Architettura . Published on September 17, 2014.

Afterward we will continue the trip towards Sant’Erasmo where we will reach by bike the local farms ”I Sapori di Sant’Erasmo” and “La Maravègia”. There, we will encounter the producers and owners of the companies. After one stop at Torre Massimilana and the nearby beach, we will board again, to sail to Mazzorbo. In Mazzorbo we will discuss the on-going projects of the company Venissa and the “Consorzio Venezia Nativa”, epicentres of territorial transformations in the Mazzorbo / Burano system. This station will host a concluding discussion, where the experiences will be wrapped up.

© DONTSTOP Architettura . Published on September 17, 2014.

The research projects that will be presented explore themes related to agriculture as an engine for territorial development in the frame of “Feeding the Planet, Energy for Life” Expo Milano 2015, that in the Venetian territory will address the topic of water.

© DONTSTOP Architettura . Published on September 17, 2014.

© DONTSTOP Architettura . Published on September 17, 2014.

© DONTSTOP Architettura . Published on September 17, 2014.

© DONTSTOP Architettura . Published on September 17, 2014.

© DONTSTOP Architettura . Published on September 17, 2014.

Il volume della nuova mensa scolastica si colloca nella parte nord dell’area di progetto al livello della strada di Via Karl Wolf. Tale scelta nasce dalle seguenti considerazioni di carattere urbanistico: la nuova costruzione deve essere facilmente visibile, riconoscibile e accessibile dall’interno del complesso scolastico così come dalla strada al di fuori di esso; allo stesso tempo non deve però nascondere gli edifici scolastici ma concorre con essi alla composizione di un fronte armonioso e bilanciato verso la pubblica via. La mensa deve inoltre offrire ai suoi fruitori spazi di qualità che sfruttino al meglio la luce naturale e valorizzino le visuali sul paesaggio circostante.

© Bruno Detassis . Published on September 17, 2014.

La mensa scolastica nasce da una composizione a incastro di due volumi parallelepipedi di proporzioni molto diverse: un volume a pianta rettangolare basso e oblungo (di dimensioni circa 48×11m) e un volume a pianta quadrata di lato 20m a doppia altezza; ad essi corrispondono funzioni diverse: gli spazi di lavoro, di servizio e del personale nonché l’ingresso per gli utenti si collocano nel corpo rettangolare, la grande ed ariosa sala da pranzo nel corpo quadrato. L’edificio si dispone parallelamente rispetto ai volumi esistenti della scuola; la parte più bassa è quella più vicina alla strada risultando in questo modo una costruzione estremamente discreta rispetto a Via Karl Wolf; il volume della sala da pranzo, rivolto quindi verso gli edifici scolastici ad est, gode così di maggior privacy; esso rivolge uno dei fronti verso nord e grazie ad un’ampia vetrata a doppia altezza porta lo splendido panorama delle cime del Gruppo del Tessa nella sala da pranzo.

© Bruno Detassis . Published on September 17, 2014.

Sia gli utenti che il personale accedono all’edificio entrando dal corpo basso: gli studenti accedono dal lato corto a sud il quale viene “scavato” risultando così facilmente riconoscibile ed accogliente; il personale entra invece sul lato opposto a nord, dove si ricavano esternamente alcuni posti auto ad esso riservati.

© Bruno Detassis . Published on September 17, 2014.

La hall d’ingresso e la distribuzione del cibo agli studenti si configurano come spazi piuttosto lineari ma comodi in modo da prevenire la formazione di code d’attesa disordinate. Il magazzino, anch’esso all’interno del volume rettangolare più basso, ha diretto accesso alla strada di servizio interna all’area che corre parallelamente a Via Karl Wolf, risultando in questo modo direttamente raggiungibile dai fornitori. Internamente il magazzino è collegato alla cucina la quale, a sua volta, è a diretto contatto con la zona di distribuzione del cibo ed il locale lavaggio.

© Bruno Detassis . Published on September 17, 2014.

La porzione di volume del corpo quadrato che sormonta il corpo rettangolare ospita lo spazio destinato agli impianti tecnologici. La sala da pranzo è caratterizzata dalla presenza delle travi reticolari in legno che sorreggono la copertura e la parte a sbalzo del volume necessitando così di un numero limitato di pilastri all’interno della sala. I due volumi sono nettamente distinti anche nei materiali e nei colori: il volume più basso viene rivestito da pannelli sandwich bianchi utilizzando un sistema a facciata ventilata che garantisce alte prestazioni energetiche all’involucro; la pannellatura, estremamente resistente e duratura, viene interrotta sul lato strada da alcune finestre quadrate di dimensioni variabili disposte casualmente sul fronte; queste, con il contributo di una fila di lucernari disposti in copertura, garantiscono la necessaria illuminazione naturale agli spazi del personale, alla cucina e al magazzino. Sul lato opposto la pannellatura cede il posto ad una facciata vetrata che porta luce alla hall d’ingresso degli studenti e alla distribuzione del cibo.

© Bruno Detassis . Published on September 17, 2014.

Il volume quadrato è invece composto nella parte più bassa da una facciata vetrata continua, mentre nella parte più alta da un tamponamento coibentato cieco in lamiera di acciaio colore antracite. Il gioco di cromie è completato dall’utilizzo del giallo; esso, già utilizzato sulle facciate del principale corpo scolastico esistente per le tendine frangisole, viene ugualmente impiegato nella nuova mensa per le tendine parasole esterne sul fronte sud, nonché per gli imbotti di porte e finestre e per rivestire completamente l’andito d’ingresso degli studenti. L’intervento risulta quindi molto elegante e pulito nel contrasto tra il bianco e il nero senza esprimere rigidità o severità grazie all’utilizzo del giallo che introduce nell’intervento note di vivacità, certamente appropriate alla funzione, entrando contemporaneamente in stretta sintonia con l’esistente. L’utilizzo del giallo inoltre è ampiamente diffuso anche all’interno, negli arredi e in una fascia muraria che dalla hall d’ingresso si sviluppa come un nastro fino alla sala da pranzo.

© Bruno Detassis . Published on September 17, 2014.

Il progetto proposto ben si presta alla necessità di realizzare in due tempi la mensa e le sistemazioni esterne; in una prima fase infatti la costruzione della mensa e dei suoi spazi esterni connessi risultano funzionare perfettamente senza ulteriori interventi; in una seconda fase l’edificio potrà essere arricchito dalla realizzazione della piazza esterna sopra al parcheggio e del boulevard di collegamento tra i due accessi pedonali alla scuola, che conduce direttamente all’ingresso della mensa. La soluzione proposta consente inoltre: di ottimizzare gli spazi di parcheggio e di manovra, garantendo la stessa quantità di posti auto attuale; di spostare la fermata dei servizi pubblici in posizione più centrale rispetto gli edifici scolastici, lungo il nuovo boulevard; di conservare infine gli accessi e le rampe carrabili esistenti.

© Bruno Detassis . Published on September 17, 2014.

© Bruno Detassis . Published on September 17, 2014.

“Stöðin”, a roadside stop in the Icelandic countryside, is a conjoined restaurant, drive-through, convenience store and gas station. Icelandic culture is in many ways shaped by American influences due to the 65-year long presence of an American army base in the country. Stöðin addresses this cultural relationship by incorporating architectural elements from the American diner that contrast the traditional Icelandic building method of in situ cast concrete. The exposed concrete of the exterior bestows the diner with a permanence unknown by its American counterparts creating a friction between its streamlined aesthetics and the rustic materiality’s gravity. An elongated bar-desk transforms into seating arrangements and characterizes the semicircular restaurant, which offers generous panoramic views of the scenic fjord Borgarfjörður while the curvilinear form allows for a smooth circulation of cars outside.

© Kristinn Magnússon . Published on September 17, 2014.

Interior walls are either white painted drywalls or in fare faced concrete. Ceilings are either suspended or in fare faced concrete. Floors are polished and lacquered concrete or laid with recyclable linoleum. All main interior elements such as the elongated bar, chairs, diner-booths and the suspended lights in the restaurant are especially designed for the building and locally produced in Iceland.

© Kristinn Magnússon . Published on September 17, 2014.

The application of Icelandic building methods and the use of locally extracted and manufactured materials contribute to an environmentally responsible and a resource-efficient approach. The fair faced concrete of the exterior requires minimal maintenance and has proven its durability in the harsh Icelandic climate. The cantilevered roof provides shading in the restaurant from the high summer sun, while the panoramic windows offer natural heating from the low winter sun.

© Kristinn Magnússon . Published on September 17, 2014.

Size: 312 m2
Building lot: 4.840 m2
Year compl.: 2012

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© Kristinn Magnússon . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

© KRADS . Published on September 17, 2014.

Sitting on a small site in a gated community on the outskirts of Bangalore, Lateral House has been built for a young family who wanted the house to mirror their sensibilities of honesty, simplicity and independence. Their daily commute through the chaos of the city made them yearn for a house which also provided them refuge. The lateral house became their realm, their fortress. It blocks out the outside, making connections internally with the elements of the city that seems to be forgotten; the sky, light, breeze and nature. These elements mix in balance and benevolence through the house to create the playful and dynamic realm they wish to haunt. The house has been conceptually developed into imaginary concentric lines of varying privacy, starting from the outside to the inside. These lines become experimental interfaces to manipulate volume, space and proportions. The interplay between the lines become the basis for the shifts in spaces, as they get deeper and more private in the house.

Photo: Tina Nandi. Published on September 17, 2014.

The entry volume of the house at the higher level is robust and guarded. The bricks on its face act almost like a mirror to the outside, seeming to say a lot but the same time say very little. The car park in a line under the volume, and a pedestrian ramp pierces into the fortress as a gesture of cautious welcome. As the ramp gets higher, it leaves the car park below and reaches the entry porch. This is where the main door of the house is located. Above this, unknowingly the visitor is surrounded by a courtyard at the upper level, where windows wrap around to see whose come. Thus, the visitor stands at the centre of the house, but still remains on the outside. As you enter the house, the square-ish living space is framed by the low roof of the study above, the light from the study illuminates it. This is the public space of the house. It opens into the guest bedroom, dining, public garden and kitchen. At the mid-level above is the study, which one can see but only as much as allowed. A look up will show the layers above without revealing much, this is layer one.

Photo: Tina Nandi. Published on September 17, 2014.

The staircase weaves up and as it climbs, it slowly becomes the element which expands the space and reveals the other layers. The second layer includes the study, and the family guest bedroom. This space combines with the courtyard above the car park and becomes the second layer of spaces. The study and the bedroom overlook the courtyard and at this level, the upper corridor is also seen, but the private bedrooms are withheld from view. Another flight up, and the staircase becomes a longer rectangle from the square than it started from. This level opens into the family bedrooms and the private spaces of the house. The corridor looks through the study below the courtyard and the small private garden becomes a space for sitting and contemplating.

Photo: Tina Nandi. Published on September 17, 2014.

This becomes layer three. This layer combines beautifully with layer two to create an elevated social bubble which hovers over the public spaces of layer one. The children’s bedroom overlooks onto the courtyard while the master bedroom overlooks on to the road. This space becomes the heart of the house, very robust and yet transient in its nature. It gets everyone together, yet pushes for perconal privacy.

Photo: Tina Nandi. Published on September 17, 2014.

The courtyard above the entry becomes the centre of this space. A private space, which is visually hidden from layer one and the outside. The house breathe through the space and it makes the house impervious to development close to it as it captures the elements and seeps it into the house in various measures. The bricks again leave the courtyard creating shadows and caricatures of the elements outside. The Lateral House experiences every day and every moment in its difference. It’s aloof premise is converted into extreme sensitivity towards what’s around. The light changes, the breeze changes, the internal reflection changes as per the condition outside. The house breather much like an individual as it sustains ideologies and beliefs on which it is based.

Photo: Tina Nandi. Published on September 17, 2014.

The white exterior and interior of the house enhance its shades. The bricks projecting in a grid on the external faces do the same but in a more surreal exchange. The grid of the bricks is derived from the internal space of the courtyard is expressed almost in a code on the outside, as a mark of the house ’s nature. The Lateral House is also self-sufficient in terms of usage of energy as it uses natural light in the days and circulates the air through the stack-effect reducing almost all use of mechanical means to stimulate the conditions inside. It’s gardens are grown with recycles rain water as it collects and sends it back into the ground. Thus in conclusion, the Lateral House embellishes itself with simplicity and subtle beauty.

Photo: Tina Nandi. Published on September 17, 2014.

Area: 3600 sqft
Location: Uttarhalli, Bangalore
Duration of Construction: August ‘11 to January ‘13
Cost of Project: Rs. 48,00,000 (Forty-eight Lakhs)

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

Photo: Tina Nandi. Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.

© Gaurav Roy Choudhury . Published on September 17, 2014.