Proposta operativa per la sistemazione del verde ornamentale del Golf Club La Castelluccia (RM) in previsione del XIII Italian Pitch & Putt Open – ottobre 2015

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

© Cristiana Costanzo . Published on January 10, 2015.

“E’ preciso compito dello Stato riequilibrare il mercato attraverso l’esercizio di una missione regolatrice che consenta ad ogni generazione di apportare la propria visione al dibattito architettonico contemporaneo”. Jean-Louis Cohen – Introduzione ai Nuovi Album dei giovani Architetti e Paesaggisti francesi.

© Cristiana Costanzo . Published on January 10, 2015.

Dal 2009 il portale interattivo NewItalianBlood.com promuove un Premio di Architettura e Paesaggio con lo scopo di far conoscere e mettere in rete l’eccellenza dei progettisti italiani under 36.

Il Premio NIB, patrocinato da quest’anno dall’InArch, dall’Inu e dalla Triennale di Milano, si ispira al lungimirante programma statale francese “Nouveax Albums des jeunes Architectes et Paysagistes” organizzato dal Ministero della Cultura e della Comunicazione transalpina che individua e promuove i talenti nazionali favorendo la loro integrazione nel mercato del lavoro.

In assenza di un auspicabile programma nazionale di promozione e sostegno ai nostri talenti, il Premio NIB costituisce un riconoscimento annuale e una preziosa occasione di visibilità, incontro e confronto per i giovani Architetti, Paesaggisti e dal 2013 Designer. E’ una selezione dei più promettenti 10 progettisti o studi (con almeno un partner italiano) under 36, operanti in Italia o all’estero, ambasciatori di qualità sui quali uno Stato attento dovrebbe investire per portare la cultura e soprattutto le aziende italiane ad affermarsi, in patria come all’estero.

New Italian Blood www.newitalianblood.com

The building acts as landmark in the cityscape of roof slopes, bell towers and domes.

interior exhibition dome

© Francesca Torzo . Published on January 10, 2015.

The building is an icon: a crystal in daylight, a lantern during the night. It offers an experience of plurality of scales that belongs to cathedrals’ iconography, offering a narrative geography where artists and visitors can share an experience: grandeur and intimacy.

wintergarden

© Francesca Torzo . Published on January 10, 2015.

The building is developed on one floor: it offers a shared ground with the city. The architecture is an ensemble of individuals composing a unity: a deep nave with niches, secret gardens, three domes, galleries, passages. It is the framework for a multiplicity of parcours.

the gallery and the gardens

© Francesca Torzo . Published on January 10, 2015.

Construction is outspoken and the size of elements sets the pace. The winter garden and the secret ones are a pause in the pace.

© Francesca Torzo . Published on January 11, 2015.

The building: a light-coloured metal mantle, a smooth floor, a timber construction covered with textile, folded ceilings and wide skylights.

L’allestimento del giardino dell’istituto Comprensivo Verga si inserisce nel più ampio progetto di contrasto alla dispersione scolastica Fuoriclasse, attuato da Save the Children Italia ONLUS in alcune città italiane (Bari, Crotone, Milano, Napoli e Scalea). Il programma didattico prevede una serie di attività educative sui temi del diritto allo studio, della legalità e della cittadinanza responsabile, incentrate sulla partecipazione attiva dei ragazzi e delle ragazze sia in orario scolastico che extrascolastico. Lo studio Factory Architettura di Roma ha progettato e realizzato per il programma Fuoriclasse l’allestimento temporaneo del giardino scolastico di via Carabellese, nel cuore del quartiere Japigia di Bari. Il progetto individua come luogo ideale per le attività all’aperto previste dal programma didattico un gruppo di alberi “di giuda” (Cercis siliquastrum) posti in un’aiuola al centro del giardino. Una pedana di legno rossa viene collocata al di sotto della copertura naturale formata dalle chiome, che caratterizzano la superficie con un gioco vibrante di luce e ombre. Lo spazio del giardino viene delimitato da superfici verticali rosse che rivestono le recinzioni, creando anche qui un effetto dinamico grazie al nastro leggero che vibra con il vento. Alle superfici verticali e orizzontali si sovrappone la comunicazione grafica che guida il visitatore: i simboli delle attività previste (la coltivazione degli orti e la creatività delle attività didattiche) e le parole tratte dalla Carta dei Diritti del bambino dell’ONU, organizzate in un percorso che conduce al centro del giardino. Qui una panca angolare rossa segnala il punto in cui si accede alla pedana: la superficie rossa piega formando una rampa che invita a salire sul nuovo piano di calpestio. Una serie di arredi mobili (panche e tavoli su ruote) possono essere collocati liberamente nello spazio e sulla pedana per le attività didattiche.

Vista generale della pedana verso la piazzetta centrale

© Mariella Annese . Published on January 10, 2015.

Vista generale

© Mariella Annese . Published on January 10, 2015.

Vista dei giardini da destinare a orto

© Mariella Annese . Published on January 10, 2015.

Il muro degli orti

© Mariella Annese . Published on January 10, 2015.

Il muro di sfondo visto dall’ingresso della scuola

© Mariella Annese . Published on January 10, 2015.

Il percorso diagonale verso la piazzetta centrale con la grafica a terra e gli arredi

© Mariella Annese . Published on January 10, 2015.

La panca rossa nella piazzetta centrale

© Mariella Annese . Published on January 10, 2015.

Vista generale della pedana dalla piazzetta centrale

© Mariella Annese . Published on January 10, 2015.

Vista generale della pedana dai campi sportivi

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con il simbolo della creatività

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con la grafica e gli arredi

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con la piazzetta e il muro degli orti

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con la rampa e gli arredi mobili

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con le sedute mobili

© Mariella Annese . Published on January 10, 2015.

Scorcio della pedana con le sedute mobili

© Mariella Annese . Published on January 10, 2015.

Gli arredi mobili sulla pedana e il muro degli orti

© Mariella Annese . Published on January 10, 2015.

la prima riunione sulla peana

© Mariella Annese . Published on January 10, 2015.

Opere in ferro

© Mariella Annese . Published on January 10, 2015.

Cancello e parapetto del vano tecnico

© Mariella Annese . Published on January 10, 2015.

Cancello

© Mariella Annese . Published on January 10, 2015.

Parapetto. Scorcio

© Mariella Annese . Published on January 10, 2015.

Schemi compositivi

© Mariella Annese . Published on January 10, 2015.

Schema funzionale

© Mariella Annese . Published on January 10, 2015.

A pavilion is known as a small architecture. Set apart in a landscape, somehow isolated, it holds a secret sense of quietness and delight. A pavilion suggests temporariness and fragility. We invite visitors to rediscover their own time through experience.

© Francesca Torzo . Published on January 10, 2015.

© Francesca Torzo . Published on January 10, 2015.

© Francesca Torzo . Published on January 10, 2015.

© Francesca Torzo . Published on January 10, 2015.

© Francesca Torzo . Published on January 10, 2015.

© Francesca Torzo . Published on January 10, 2015.

Le projet aménage une grande place rectangulaire au coeur du village de Saint-Romain, qui fait face au bâtiment scolaire et à la salle de gymnastique. L’aménagement proposé permet une mixité et simultanéité des différents usages sur la place; elle peut selon les besoins être utilisée comme terrains de sport, comme place de jeux, comme parking ou comme place de fête lors de manifestations villageoises. Le mobilier urbain et les infrastructures sportives mobiles lui confèrent une grande flexibilité.

© Michel Bonvin. All rights reserved.. Published on January 10, 2015.

La place est organisée en longueur, d’ouest en est. Elle est bordée au nord par un bâtiment d’un niveau qui contient les services liés à la place (wc publics, local grillades et buvette, dépôts et espaces couverts). Au sud, la voie de circulation et les places de parc semi permanentes sont traitées en pavés – gazon, et bordées d’une rangée d’arbres.

© Michel Bonvin. All rights reserved.. Published on January 10, 2015.

Un espace de rencontre et de détente est aménagéà l’est, avec un sol en gravier stabilisé. Ce jardin public est agrémenté de jeux pour enfants et d’une plantation d’arbres denses, qui termine la place à l’est.

© Michel Bonvin. All rights reserved.. Published on January 10, 2015.

© Michel Bonvin. All rights reserved.. Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Plan de la place et aménagements

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Vue perspective du projet

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Michel Bonvin. All rights reserved.. Published on January 10, 2015.

L’espace de jour est situéà l’étage, sous la forme d’un unique espace ouvert, et d’un grand meuble sur la paroi nord, qui contient l’escalier, la cuisine et les espaces de rangement.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Au niveau inférieur, partiellement enterré, on trouve les deux chambres à coucher et la salle de douche.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Le volume existant de la grange est conservé dans ses dimensions, sa matérialité et sa composition (étage inférieur en pierre sur laquelle se pose l’ossature bois). Les planches de façade en mélèze d’origine sont conservées, et reposées sur la nouvelle ossature en bois.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Deux grands vitrages éclairent l’espace jour en façade sud; un système de claies permet d’obturer intégralement la façade lorsque la grange est inoccupée, restituant ainsi son identité d’origine.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Les travaux se limitent à la rénovation intérieure de l’appartement supérieur en duplex. Ils sont l’occasion d’améliorer les aspects énergétiques et thermiques du bâtiment par la pose d’une isolation périphérique intérieure, l’isolation de la toiture et la pose de nouvelles fenêtres à triple vitrage. En parallèle le chalet se raccorde à la centrale de chauffage à bois du village (chauffage centraliséà pellets).

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Le plan d’origine n’est que peu modifié, mais le projet apporte diverses améliorations telles que l’agrandissement de la mezzanine sur le séjour, la création d’un nouvel escalier, d’une nouvelle cheminée à feu ouvert, ou l’ajout d’un sauna.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Un soin particulier est apporté aux surfaces et matériaux; après un sablage complets des boiseries existantes, les parois son revêtues de lames horizontales larges en sapin tripli teinté. Les portes, le mobilier, la cuisine ou la cheminée, chaque élément est dessiné et réalisé sur mesure et s’intègre dans un ensemble cohérent.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

© Hervé Savioz architecte epf sia . Published on January 10, 2015.

Si tratta di uno studio | ricerca progettuale relativa ad un negozio di ottica ed ai suoi espositori in plexiglas atti a contenere gli occhiali…questi ultimi sono immaginati come delle vere e proprie architetture leggere che si innalzano nel cielo, da cui il nome della pubblicazione…”ArchiGlas”…

Render_1

© Architetto Giacomo Procino . Published on January 11, 2015.

…Ad Maiora…Arch. Giacomo.

Render_2

© Architetto Giacomo Procino . Published on January 11, 2015.

Render_3

© Architetto Giacomo Procino . Published on January 11, 2015.

Render_4

© Architetto Giacomo Procino . Published on January 11, 2015.

The Messak-Settafet, located in the south-western Fezzan [Libyan Sahara], is a plateau cut into the Lower Cretaceous Nubian sand-stone. Dissected by a dense net of wadis, its dominant and distinguishing feature is the black colour of the desert patina. The sharp scars of the wadis are the scene of an impressive rock art gallery, dated between 7000BC and 2000BC. Since 2000, an Italo-Libyan Archaeological Mission was commissioned by a leading oil company to conduct an investigation on the site, the Messak Project to which the Open Air Museum Mathendush belongs. The architectonic arrangement consists of a building and a visit path, with the aim to define a respect area for the art heritage and to protect a cultural identity. The hidden memory of the proposal lives in a route in the desert and a caravansary. The built area is defined by a low wall with a rectangular plan, proportioned by logarithmic ratio. Here a series of additional low and high walls, arranged on “L” shape along the perimeter, create the space for services, the exhibition room and the tuareg handcraft market. The project uses traditional materials and construction knowledges, translating them through modern technologies into a precision of manufacture: stone blocks, rammed earth walls, wooden roof plots, tents are all ingredients of a chromatic and tactile orchestration with the context. The first site survey took place in January 2011, then the civil war took place.

Photo by Gion von Albertini. Published on January 11, 2015.

Photo by Gion von Albertini. Published on January 11, 2015.

Photo by Gion von Albertini. Published on January 11, 2015.

Photo by Gion von Albertini. Published on January 11, 2015.

Photo by Messak Project archaeology team. Published on January 11, 2015.

© Francesca Torzo . Published on January 11, 2015.

Memoria descriptiva La vivienda se implanta en el terreno paralela a la calle, buscando el horizonte y la óptima orientación. Se eleva 50 cm. sobre el nivel del terreno para generar mejores perspectivas del campo adyacente al emprendimiento. Está pensada como vivienda de fin de semana, generándose a partir de un sector social con grandes paños vidriados. Hacia el contrafrente se busca el sol del amanecer y las perpéctivas largas. Hacia el frente se busca privacidad dominando los llenos sobre los vacíos en la composición de la fachada. A ambos lados de este sector de encuentro se ubican los sectores privados, separando la suite principal de los dormitorios de huéspedes para generar mayor flexibilidad e intimidad en la vivienda. El blanco con el que se resuelven todos los revoques exteriores de la casa, permite que esta valla cambiando según la incidencia solar pasando de un blanco muy intenso en la mañana a un color más cálido por la tarde al recibir el sol del oeste.

© Meneghetti arquitectos . Published on January 12, 2015.

Información Técnica Autores: Arq. Juan Pablo Meneghetti / Arq. Juan Sebastián Meneghetti / Arq. Ezequiel Pandiani Colaborador: Arq. Lucas Meneghetti Ubicación: Open Door, Pcia. De Bs. As. Superficie Cubierta: 260 m2 Superficie Semicubierta: 60 m2

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

© Meneghetti arquitectos . Published on January 12, 2015.

L’ambito di progetto si configura come un’area residuale collocata tra il nuovo edificio destinato a scuola materna ed elementare, e il margine del sistema urbano consolidato La ridefinizione topografica del suolo consente la fruizione di uno spazio originariamente indifferenziato ora destinato al gioco dei piccoli, divenendo allo stesso tempo un occasione per il progetto di un frammento di paesaggio

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

© ARCHIPLAN STUDIO // Diego Cisi e Stefano Gorni Silvestrini Architetti . Published on January 12, 2015.

L’obiettivo del progetto è la rifunzionalizzazione di un locale del centro storico di Casciana Terme, precedentemente utilizzato come sede di associazione in un negozio di parrucchiere da uomo. L’intervento ha cercato di soddisfare le specifiche esigenze del committente, il quale data la sua esperienza ha fornito precise indicazioni tecniche per il proprio spazio di lavoro. Inoltre le richieste della committenza sono state:

01_interno

© gianni benincasa . Published on January 12, 2015.

un progetto a basso costo, riutilizzazione di alcuni sistemi di arredo già in suo possesso realizzazione del progetto in tempi brevi. Il locale esistente si presentava come uno spazio rettangolare che si sviluppava in lunghezza e costituito da una sala principale ed una secondaria posta nella zona retrostante. Il progetto ha suddiviso l’area principale in spazi con diverse funzioni: la parte retrostante, a cui si accede tramite una porta scorrevole, è stata destinata ai servizi e ad un piccolo magazzino. L’intero ambiente è caratterizzato da un grande controsoffitto che oltre ad garantire un suggestivo effetto di luce, ospita i vari sistemi impiantistici del negozio.Infine è stata studiata la nuova insegna realizzata in cor-ten.

© gianni benincasa . Published on January 12, 2015.

la zona d’ingresso è stata adibita a sala d’attesa, vetrina e cassa; la zona di lavoro è stata dotata di n.2 postazioni di taglio ed n.1 postazione di lavaggio; questa zona è fronteggiata da un’area adibita all’esposizione di prodotti ricavata nel sistema di nicchie in cartongesso che caratterizza tutta la parete sinistra del locale;

© gianni benincasa . Published on January 12, 2015.

© gianni benincasa . Published on January 12, 2015.

insegna

© gianni benincasa . Published on January 12, 2015.

Nuovo showroom Sessa nel centro storico di Salerno.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

© Gennaro Giaquinto . Published on January 12, 2015.

Ein turmähnliches Gebäude erweitert die alte Schule nach Westen und schließt die langgezogene Aufreihung der öffentlichen Gebäude an der Prack-zu-Asch-Straße ab. Hier werden alle zusätzlichen Nutzungen des Schulkomplexes untergebracht: Sporthalle, Mensa, Bibliothek und weitere Lehrräume. Das markante Volumen des neuen Kopfbaus unterstützt den Charakter des öffentlichen Baus im Wohnquartier. An der Stelle des alten Kindergartens wird ein offener Platz geschaffen, der bis zur Burgstraße reicht und somit das Schulgelände zum Dorf hin öffnet. Der Neubau reagiert auf die Heterogenität der Umgebung. Von Norden aus betrachtet, wirkt er wie ein viergeschossiges schmales „Haus“, das die dicht an der Straße liegende Bebauung an der Prack-zu-Asch-Straße fortsetzt. Nach Westen fällt das Dach nach unten und lässt das Gebäude niedriger erscheinen: ein verglaster Baukörper mit einer vorgelagerten Loggia für die neue Dorfbibliothek. Nach Osten hin steigt der Neubau wieder zu einem dreigeschossigen Bau hinauf, übernimmt sodann die Höhe des Altbaus, um damit einen klaren Abschluss des Pausenhofes nach Westen hin zu schaffen. Neubau und renovierter Altbau werden als zwei ungleiche Zwillingsgebäude behandelt. Form und Materialisierung der Dächer beider Baukörper sind ähnlich. Sie beziehen sich explizit auf das Walmdach mit Schindelabdeckung des nahe liegenden Ansitzes Angerburg. Diese gemeinsame Matrix wird jedoch unterschiedlich „verformt“, um sich den unterschiedlichen Grundrissen von altem Schulgebäude und Anbau anzupassen. Eine ähnliche Gestaltung der Fensteröffnungen, der Wandoberflächen und Wandverkleidungen verstärkt die Verwandtschaft zwischen beiden Baukörpern, die Eigenständigkeit des Neubaus bleibt dennoch bewahrt.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Die Primar- und Sekundarstufe werden im ersten Obergeschoss respektiv im zweiten Obergeschoss untergebracht. Die alten Klassenräumen werden dem pädagogischen Konzept der Schule angepasst: neue und breitere Türen sowie innere Fenster schaffen eine bessere Verbindung mit den Nachbarnklassen und Lernwerkstätten und ermöglichen klassenübergreifende Lernformen. Jeder Klasse sind Terrassen oder Lese-Erker vorgelagert. Es werden keine Flure geplant. Jeder Raum außerhalb der Klasse ist als möglicher Lern Ort konzipiert. Die Klassen sind Inseln eines Archipels, zwischen denen sich die Lehrwerkstätten mäanderhaft durchziehen. Ein Netz von Blickbeziehungen verbindet geschossweise alle Räume miteinander.

Inquadramento

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Die hohe Kompaktheit der vorgeschlagenen Lösung ermöglicht nicht nur, dass Unterrichtsräume, Sporthalle, Mensa und Bibliothek unter einem Dach vereint sind, sie lässt auch ein Großteil des Geländes unbebaut und bietet somit viel öffentlich nutzbaren Außenraum. Das Dorf erhält eine großzügige, öffentliche Platzfläche, die Raum für vielfältige Nutzungen, auch außerhalb der Schulzeiten, bieten wird. Der Pausenhof ist als Glied einer ununterbrochenen Abfolge von öffentlichen Freiräumen konzipiert, welche von dem Eingang der neuen Pfarrbibliothek bis zum Park vor dem Musikpavillon reicht. Somit wird die Schule kein vom Dorfleben abgeschottetes Quartier, sondern ein Teil davon. Als Kontrapunkt zum befestigten Pausenplatz, wird ein Großteil der Außenfläche als natürlicher Grünraum behandelt. Umgeben von hochstämmigen Bäumen, wie eine Lichtung im Wald, öffnet sich in der Mitte des leicht nach Süden ansteigenden Geländes eine freie ebene Fläche für die Ballspiele. Rund herum bieten sanfte Böschungen erhöhte Ausblicke über das Spielfeld und gleichzeitig definieren sie kleine Rückzugs- und Begegnungsbereiche.

Pianta livello piazza

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Pianta ultimo piano

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

sezione trasversale

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Il nostro obbiettivo è stato quello di trasofrmare una residenza al suo interno, adattando il luogo al suo nuovo proprietario, come una sorta di vestito su misura. La metamorfosi del luogo è avvenuta mantenedo inalterate alcune caratteristiche materiche come laterizio e legno, ma creando allo stesso tempo un’innovazione nello spazio, ottimizzando i costi.

Zona Giorno

© Maurizio Bertelli . Published on January 12, 2015.

Zona giorno

© Maurizio Bertelli . Published on January 12, 2015.

Camera 1

© Maurizio Bertelli . Published on January 12, 2015.

camera 2

© Maurizio Bertelli . Published on January 12, 2015.

Cucina

© Maurizio Bertelli . Published on January 12, 2015.

Vista doppio volume

© Maurizio Bertelli . Published on January 12, 2015.

Doccia in camera

© Maurizio Bertelli . Published on January 12, 2015.

Um einen ungehinderten und optimalen Ablauf der notwendigen Funktionen zu gestatten, sind alle Bereiche der Mensa ebenerdig organisiert. Es handelt sich um einen flachenBaukörper bestehend aus einem massiven Dachvolumen, das einen gläsernen Pavillon fast schwerelos überspannt. Die rechteckige Grundform des Daches definiert mit Klarheit die städtebauliche Kante zwischen dem Platz vor dem Restaurant „Mikado“ im Westen und der zentralen Allee des Schulcampus im Süden. Von der Dachkante nach innen versetzt, zieht sich die Glasfassade wie in transparenter Vorhang mäanderhaft entlang den nach Südwesten gerichteten Fassaden hin. Somit entstehen zwischen Mensa und Platz geschützte Terrassen und kleine Höfe, die das Speisen im Freien erlauben. Einschnitte “korrodieren” die klaren Umrisse des Daches und lassen das Sonnenlicht tief in das Gebäude fallen. Im Innern wird das zwei Meter hohe Dachvolumen punktuell ausgeholt.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Trichterförmige Oberlichter schneiden die flache Untersicht des Daches und unterteilen den großen Speisesaal in kleinere Bereiche. Die pyramidalen Trichter werden mit akustischen Paneelen verkleidet, welche mit einer textilen Überspannung versehen sind. Die verwendeten Stoffe sind für jedes Oberlicht unterschiedlich und verleihen dem Raum eine chromatische Vielfalt, welche optisch die Unterteilung des Saals kennzeichnet. Die hohe Dachkonstruktion beherbergt eine intensive Dachbegrünung – mit der Zeit werden Kletterpflanzen von oben das Volumen des Daches bedecken. Das Dach wird aus Sichtbeton mit gestockter Oberfläche realisiert. Im Beton werden Pigmente beigemischt, welche einen warmen Farbton verleihen – ähnlich wie beim nahegelegenen Schülerheim und der Kletterhalle. Zwischen dem neuen Mensagebäude und der Kletterhalle entsteht somit eine baustoffliche Verwandtschaft. Gleichzeitig bildet der Neubau einen formalen Kontrapunkt zu dem Sportbau: Der plastischen Verformung der Baumasse, die aus der Natur übernommen zu sein scheint (als ob geologische Verschiebung es verursacht hätten) steht das rationale, horizontale Zeichen der Mensa gegenüber. Im Nord-Westen, zum großen Parkplatz hin, ruht die Dachkonstruktion auf einem geschlossenen Gebäudeteil, wo die Lageräume und die Anlieferung untergebracht sind. Dieser massive “Fuß” ankert das Dach am Boden, schützt den Speisesaal vor dem Autoverkehr und bildet zusätzlich einen klaren Abschluss des gesamten Campus. Vom Parkplatz aus erscheint die Mensa als ein langgestrecktes Bauwerk, welches ein Ruhepol in der heterogenen und bewegten Umgebung darstellt. Der Abdruck der unterschiedlich tiefen vertikalen Holztafeln der Schalung verleiht der Nordwest-Fassade eine stark strukturierte Oberfläche. Es bildet sich ein Relief, das auch auf der Untersicht des Vordaches fortgesetzt wird und empfindlich auf jede minimale Änderung der Lichtstimmung reagiert.

Inquadramento

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Pianta

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

Sezioni

© Cez Calderan Zanovello Architetti . Published on January 12, 2015.

What?
Cut Paw Paw is a renovation and extension to a double fronted weatherboard home in Seddon, Victoria, Australia.

© Peter Bennetts . Published on January 12, 2015.

Name?
Cut Paw Paw is the name of the parish in which the house presides, and a name that the owners liked very much. It’s a weird name, hence we like it too.

© Peter Bennetts . Published on January 12, 2015.

Why?
Construction sites are fascinating and often very beautiful. When wandering the street and stumbling upon an anonymous house in construction we all get excited by the possibilities. We all imagine what the finished building could be like. The site holds so much promise when there is nothing more than a timber or steel frame. It is a jungle gym, a relic, and a skeleton full of play and imagination. Often it is when a building is at its most beautiful.

© Peter Bennetts . Published on January 12, 2015.

All too soon the excitement, the imagination and the potential comes crashing down as the reality of the finished building becomes apparent. When the anonymous house is roofed, clad and finished it is often a disappointment as the banality of the McMansion emerges. The beautiful skeleton that held such potential and required such imagination has been buried beneath the ordinary, the obvious and the banal. The home will not again be interesting until it eventually begins to crumble and decay.

© Peter Bennetts . Published on January 12, 2015.

Cut Paw Paw is a structure that is deliberately incomplete. Derek and Michelle, the owners, asked that the house be “ridiculously inside-out”. To accomplish this we not only employed tested and successful ideas such as sliding walls, bifold doors and decks, we also left the building incomplete. The central space, between the dining area and the studio, is an unclad frame within and surrounded by garden. It is both inside and outside. It is both a new building and an old ruin. It is both garden and home.

© Peter Bennetts . Published on January 12, 2015.

Sustainable?
Like all of our building, sustainability is at the core of Cut Paw Paw. Rather than simply extruding the existing structure we have run the new form along the southern boundary so that it is soaked in sunlight. The openings and windows have been designed to optimise passive solar gain, thereby drastically reducing demands on mechanical heating and cooling. All windows are double glazed. White roofs drastically reduce urban heat sink and demands on air conditioning. We have a pond on the face of the larges north facing opening. While providing a home for fish and plants, the pond also serve as a mechanism to passively cool the house through natural evaporative cooling. Water tanks and solar panels have their place as they do on all of our projects. High performance insulation is everywhere, even in the walls of the original house.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Peter Bennetts . Published on January 12, 2015.

© Andrew Maynard Architects . Published on January 12, 2015.

© Andrew Maynard Architects . Published on January 12, 2015.

Intervento di progettazione e realizzazione nuova filiale

© ARTUFFICIO . Published on January 12, 2015.

© ARTUFFICIO . Published on January 12, 2015.

© ARTUFFICIO . Published on January 12, 2015.

© ARTUFFICIO . Published on January 12, 2015.

© ARTUFFICIO . Published on January 12, 2015.

© ARTUFFICIO . Published on January 12, 2015.

The new building for the power station control centre of Tiroler Wasserkraft AG in Silz is a massive, tower-like, free-standing building. The dominant building on the site was and still remains the old turbine building. Various additions reduced the impact made by this building, with the result that the high-energy processes on the power station site were no longer externally legible. Through the formal idiom it employs the new building attempts to depict these processes.

Photo: Rasmus Norlander. Published on January 12, 2015.

In terms of height, width and axial orientation the new building relates to the turbine building. Its shape takes up and continues the existing spatial direction of the turbine building. A new, clear and expressive volume is made that conveys a sense of the energy processes on the power station site. The control centre now marks the spatial centre of the power station site and connects the neighbouring volumes to create an urban structure. The materialisation and the colour of the new building relate to other structures in the area of hydraulic engineering. Concrete is the ideal material for providing sufficient resistance to the enormous force of water used to generate energy. Like no other material it conveys a sense of security and longevity. The brown colour of the smooth exposed concrete surfaces – achieved by the addition of iron oxide pigment – refers to the dynamic components of the generation of power. Pressure pipe lines, turbines and transformers are all made of metallic materials produced from iron ore.

Photo: Rasmus Norlander. Published on January 12, 2015.

The idea behind the control centre is based on stacking the individual functions vertically, with each functional unit organised on a separate floor level. This clear hierarchy simplifies the administration of the access and security areas and allows a linear networking of the infrastructure. In terms of the amount of space needed the control centre area with the control room is a special case. The need for extra height in the control room allowed the development of an expressive and yet logical building volume. The building’s emphatic verticality is given an additional horizontal moment and creates a powerful gesture towards the north.

Photo: Rasmus Norlander. Published on January 12, 2015.

In response to the user’s requirement for glare-free offices, the east and west facades have no openings. These solid panels form a load-bearing external envelope that is thermally detached from the internal walls and the floor slabs. The solid concrete parapets on the south and north facades function as upstand or downstand beams and serve to structurally strengthen the floor slabs. The connection between the internal and external construction is made by means of stainless steel inserts and stainless steel shear dowels.

Photo: Rasmus Norlander. Published on January 12, 2015.

The foundations consist of a one-metre-thick foundation slab dimensioned to deal with the eventuality of an earthquake, which is additionally anchored by tension piles. Built according to the low energy construction method, the new building is insulated on the inside. A ground water well supplies the energy required for both the heat pump and the cooling plant. Thanks to the relatively high internal heat loads resulting from the technical appliances only a small amount of heating energy has to be supplied. The visitor centre is a narrow, elongated building that forms the boundary to open space. It has full-height glazing towards the road. A continuous strip of high-level glazing in the back wall allows visual contact with the power station complex to the south.

Realisation 2012-2014


Credits
Baumanagement Oswald (construction management, planning of building services and electrical services), ZSZ Ingenieure, Maurer und Partner (control room design), Weithas Bauphysik, K&M Brandschutzplanung, Comparex Austria (IT planning), Teindl Ziviltechniker (geology , hydrology), Zumtobel Licht, Fröschl AG (concrete construction), Luzian Bouvier (building services), Airtech (ventilation), Fiegl&Spielberger (electrical services)

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

Photo: Rasmus Norlander. Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.

© Bechter Zaffignani Architekten . Published on January 12, 2015.