Il Comune di Pärnu (Estonia) ha bandito un concorso per realizzare un importante hub all’interno di un ‘area ad alto traffico, che servirà come snodo di trasporti in cui i treni ad alta velocità e le strade di grande comunicazione si incontrano, per proseguire verso il cuore dell’Europa. The City of Pärnu has launched a competition to build a major hub in a “high-traffic” area, which will serve as a transport hub where high-speed trains and city roads meet, to continue toward the heart of Europe.

©ITALIANAPROGETTI. Published on January 15, 2015.

L’idea progettuale per il Terminal consiste in un ponte pedonale posto a 9 m di altezza, che oltre ad essere a servizio della stazione, svolge la funzione di collegamento tra la città e il suo parco, per essere parte integrante della vita quotidiana della comunità locale. L’interno del “ponte stazione”è stato studiato con aree volutamente separate, ma allo stesso modo integrate tra loro, composte da un primo nucleo che contiene uffici del personale, locali tecnici, biglietteria e servizi; una parte centrale con sala attesa – accoglienza e informazioni, ed un ultimo nucleo dedicato al ristoro e ai locali commerciali. L’accesso al terminal avviene alle sue estremità mediante collegamenti verticali, costituiti da gruppi scale e ascensori, rispettivamente collocati dal lato città in una zona verde, e dal lato parco nella nuova piazza. L’accesso alle banchine dei treni, avviene direttamente dall’interno del terminal. _The design concept for Terminal consists of a footbridge at 9 m high, which in addition to being at the service station, acts like a link between the city and its park, to be an integral part of the daily life of the community local. The interior of the “railway bridge” was designed with separate areas integrated with each other, made up of a core group that contains staff offices, equipment rooms, and ticket services; a central part with waiting room – welcome and information, and a final core dedicated to a food plaza and stores. Access to the terminal is at its ends by means of vertical links, consist of groups stairs and elevators, placed one in a green area, and the other in the new green park’s external square. Access to the train tracks, takes place directly from within the terminal._

©ITALIANAPROGETTI. Published on January 15, 2015.

La creazione del terminal ferroviario è un’ottima opportunità per connettere tale zona con il resto della città e proiettandola virtualmente verso località attualmente lontane, proprio grazie alla funzione stessa insita nella natura del nuovo sistema ferroviario. Nel progetto è stata data grande importanza all’area verde circostante cercando di salvaguardare e allo stesso tempo valorizzare gli elementi della natura, tramite percorsi studiati e immersi nel verde, tramite un green bridge che fa da collegamento ciclo-pedonale con il resto della città di Parnu e con un sistema di spazi per attività ricreazionali quali lo skateboard, il parkour, la bici e un attracco nautico sul fiume. The creation of the new railway terminal is an excellent opportunity to connect this area with the rest of the city and projecting it virtually to places currently away, thanks to the function inherent in the nature of the new rail system. The project gives a great importance to the surrounding green, trying to preserve and at the same time enhancing the elements of nature, through paths studied and immersed in the green nature, with a green bridge that links the pedestrians and bicycle with the rest of the city of Parnu and with a system of spaces for recreational activities such as skateboarding, parkour, bike and boat dock on the river.

©ITALIANAPROGETTI. Published on January 15, 2015.

Sia le soluzioni costruttive adottate che i materiali scelti per il progetto del nuovo terminal ferroviario della città di Parnu, sono pensati nell’ottica delle necessità di risparmio energetico e della economicità generale del progetto. Both the construction solutions adopted and the materials chosen for the project of the new rail terminal in the city of Parnu, are designed in view of the need for energy saving and cost-effectiveness of the overall project.

©ITALIANAPROGETTI. Published on January 15, 2015.

ITALIANAPROGETTI web siteeRRequadro web site“

©ITALIANAPROGETTI. Published on January 15, 2015.

©ITALIANAPROGETTI. Published on January 15, 2015.

In order to exemplify the philosophy and potential of the Dream Your City, the exhibit displayed aspects of our DREAMHAMAR project in Hamar, Norway.
The exhibition included a re-creation of the pattern that was painted on the main square in Hamar by the art collective Boa Mistura, a video wall showing some of the urban actions and workshops that took place, and images of some of the objects/tools that were used to promote engagement in the community. The exhibition incorporated a trampoline, as a recreation of the action playhamar which placed one one in the middle of Stortorget.

© ecosistemaurbano . Published on January 15, 2015.

Manifesto of the exhibition:
As architects and urban designers who approach the city as a complex and multi-layered phenomenon, we realized that in recent years a deep transformation had occurred in the way architects interact with city-related issues.

© ecosistemaurbano . Published on January 15, 2015.

Ecosistema Urbano is working on the research and development of tools that provide new opportunities for interaction and participation, enhancing creativity and incorporating new technologies so that different groups can participate in different ways.
In our practice we have learned – by doing – that knowledge and creation are becoming hybrid and widespread phenomena which are transforming traditional, closed and fixed structures into open and extremely flexible networked configurations.

© ecosistemaurbano . Published on January 15, 2015.

Knowledge, creation, learning, society, culture, urban and architectural design: all these fields are getting closer to a network structure.
This trend of high connectivity network creation and complex dynamics is an intrinsic feature of today’s world, and we believe that this model is revealing itself to be more suitable and efficient, particularly when it comes to innovation. It also creates a new field of research and study that we have named ‘network thinking’ and defined as a network approach to the creation, design and development of projects, ideas, and strategies.

© ecosistemaurbano . Published on January 15, 2015.

We believe that the only way to engage in networked urban design is to incorporate citizens’ wishes and stimulate them to become active agents in the process, rather than passive recipients of the final product. We believe in the inner creativity of individuals, and in the power of collectivity. A new design for public space can provide a unique opportunity to empower citizens and plant the seed for a collectively envisioned future.
By defining spaces or platforms to support interaction and experimentation, Dream your City aims to inspire cities worldwide in the creation of new means of collective communication and interaction for rethinking and transforming urban life.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

L’intervento prevede la realizzazione di tre unità immobiliari a seguito del cambio di destinazione d’uso e ristrutturazione di un annesso agricolo situato nei pressi della frazione di Stiacciole-Istia d’Ombrone. L’edifico preesistente, realizzato dall’Ente Maremma nel 1968, faceva parte di un più ampio complesso destinato originariamente ad allevamento zootecnico ed in seguito a centro per attività equestri.

Facciata sud-est veduta notturna

© Mangiavacchi Architetti . Published on January 15, 2015.

Le tre nuove ville, collegate da portici ma completamente indipendenti, si articolano con una pianta ad “H”, quale aggregazione di due volumi principali – il blocco soggiorno-notte e quello cucina-pranzo – collegati da un corpo baricentrico d’ingresso. Il diverso trattamento materico di quest’ultimo ne evidenzia la funzione di area di snodo e distribuzione, dove le vetrate schermate dai listelli frangisole in cotto lasciano trasparire la scala di collegamento con l’interrato ed il sottotetto e, sopra la porta d’ingresso, la passerella, anch’essa vetrata.

Pianta piano terra

© Mangiavacchi Architetti . Published on January 15, 2015.

La zona camino, altro elemento focale della composizione, si protende all’esterno, come una sorta di abside semicircolare, sottolineata da feritoie verticali.

Prospetto N-E cilindro dell'area camino

© Mangiavacchi Architetti . Published on January 15, 2015.

Dalla sommità del cilindro si dipartono due travi reticolari triangolari in legno lamellare a sostegno del tetto a capanna. La principale si estende fino alla capriata che sorregge il portico d’ingresso, appoggiata, a sua volta, su pilastri con motivo ad albero. I fabbricati, adagiati sul declivio naturale della collina, sono sfalsati trasversalmente e nella quota di imposta di m.1,50, al fine di contenere al minimo la reciproca introspezione.

Veduta d'insieme

© Mangiavacchi Architetti . Published on January 15, 2015.

L’assenza pressoché totale di aperture sulle facciate laterali garantisce ulteriormente la necessaria riservatezza. Sul fronte e sul retro, invece, lo spazio abitativo si proietta all’esterno, amplificato dalle superfici di portici e pergolati, aprendosi al panorama della valle dell’Ombrone. Sulla corte tergale chiusa su tre lati, quasi un accenno di atrium, si affacciano gli ambienti domestici, memoria di antichissimi modelli abitativi di cui permangono, a poca distanza, le tracce del primo esempio conosciuto (casa ad impluvium a Roselle). Anche la scelta dei materiali si richiama alla tradizione costruttiva locale: intonaco, legno, laterizi ed il paramento murario in pietra, scoperta allusione alla prospiciente Porta Grossetana di Istia.

Portico d'ingresso e prospetto N-E

© Mangiavacchi Architetti . Published on January 15, 2015.

L'area d'ingresso con scala e passerella

© Mangiavacchi Architetti . Published on January 15, 2015.

Il doppio volume sul soggiorno

© Mangiavacchi Architetti . Published on January 15, 2015.

Soggiorno e zona camino

© Mangiavacchi Architetti . Published on January 15, 2015.

Zona pranzo cucina

© Mangiavacchi Architetti . Published on January 15, 2015.

Spazi di una costruzione dell’inizio del ‘900 recuperati per coniugare il concetto dell’open space all’interno di un edificio storico nel cuore di Torino. La realizzazione del progetto ha consentito di recuperare il volume di tre ambienti delimitati solamente dai muri perimetrali esterni e dai muri portanti dell’intero edificio. Attraverso tre ambienti in collegamento diretto tra loro si ritrovano le funzioni del vivere quotidiano, non sempre direttamente percepibili, grazie ad un’architettura costituita da soluzioni che privilegiano la sensazione della scoperta. Gli ambienti così definiti non sono esclusivamente i contenitori delle funzioni associate ma diventano l’ispirazione e lo stimolo per compiere abituali funzioni in modi differenti dall’abitudine. Un’architettura che in parte si trasforma per seguire l’idea di chi la abita, rimanendo con esso, viva.

Vista dell'area living dall'ingresso

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista della libreria posta sul retro del lungo divano

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista della zona living dal retro della zona conversazione

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista della zona conversazione

Photo by Carlo Carossio.. Published on January 15, 2015.

Angolo lettura nella zona living

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista complessiva dell'ambiente centrale che ospita le funzioni di cucina, con isola centrale, lavanderia, zona pranzo, servizio igienico ospiti oltre ad accogliere numerosi volumi adibiti ad armadio lungo la parete che separa questo ambiente dalla zona notte.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista dell'isola centrale della cucina con top in cristallo estratto per essere utilizzato come tavolo per colazione o pasti veloci. La chiusura del top scorrevole nasconde la piastra di cottura, il lavandino, il rubinetto ad estrazione e la cappa di aspirazione a scomparsa.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista dell'isola centrale della cucina

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista dei volumi che contengono la colonna forni, frigo, dispense e lavanderia sul lato nascosto verso la parete di fondo.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista della cassaforte originale incassata nello spessore del muro portante che separa la zona centrale dalla zona notte.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista del camera da letto, dello scrittoio e del bagno delimitato da un 'unica parete trasparente che porta illuminazione naturale fino al punto più nascosto dell'appartamento.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista dello scrittoio posto a livello leggermente superiore rispetto al pavimento, e posizionato tra le spalle del letto e l'affaccio del bagno principale delimitato da una cortina trasparente.

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista dell'interno del bagno illuminato da luce naturale

Photo by Carlo Carossio.. Published on January 15, 2015.

Vista frontale della camera da letto con l'affaccio del bagno sullo sfondo e lo scrittoio posto alla testa del letto

Photo by Carlo Carossio.. Published on January 15, 2015.

Madrid Chair responds to the concepts of city and public space as participatory environments, where every citizen can change its configuration to generate adequate comfort conditions at every single time.

© ecosistemaurbano . Published on January 15, 2015.

Madrid Chair is an interactive urban furniture that allows infinite combinations. Each user / citizen can create his/her own configuration depending on the desired use of the public space (talking, resting, eating, sleeping, playing…). Each piece is defined geometrically as a truncated tetrahedron (4 equilateral hexagons+ 4 equilateral triangles). This geometric configuration creates two types of contact surfaces (hexagon or triangle) and hexagonal faces can be connected to create complex configurations of multiple pieces.

© ecosistemaurbano . Published on January 15, 2015.

Through a little twist of the joints, the faces of the hexagons matches together to form chairs, benches, stages or even more complicated structures for shows or the like. The piece is hollow and can be filled with water to prevent its displacement, creating fixed combinations, or having more weight to be used as an element of stability when stacking blocks vertically. Madrid Chair it is manufactured in MDPE (Medium Density Polyethylene powder) through Rotational moulding technique providing lightness and greater durability in the product.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

L’opera è a Pré Saint Didier, località della Valle d’Aosta dominata dalla maestosità del Monte Bianco. L’interno, sviluppato su due livelli di cui quello superiore è un sottotetto, appartiene ad un edificio che contribuisce a comporre un esteso comparto residenziale in corso di costruzione ai margini del capoluogo. Nell’attesa del completamento dei lavori del comparto rielaboriamo il progetto legittimato considerando la richiesta del committente di comporre l’intero esiguo spazio disponibile a favore della fruizione massima di sei persone. In quell’esiguo spazio, la prima proposta di isolare gli ambiti utilizzando partizioni verticali di cristallo sabbiato o verniciato viene osservata ‘poco appropriata ad un interno di montagna’. Per il medesimo motivo viene successivamente esclusa l’ipotesi di ‘una soluzione totalmente bianca’ della casa, soluzione che avevamo caldeggiato per convertire i disarmonici toni di colore del legno dei serramenti e dei soffitti, ai quali stavamo accingendoci ad associare l’ulteriore apparenza cromatica del pavimento, pure programmato di materiale ligneo. L’opera si connota infine attraverso la decisione di plasmare la scala e gli arredi con l’identico legno di quercia appartenente alle tavole selezionate per rivestire i pavimenti, abbinato alla lacca bianca stesa sui soffitti di larice, sulla faccia interna dei serramenti e su tutte le partizioni verticali. Il rigore compositivo consente all’interno di esprimere la ricca variabilità delle dotazioni abitative e la propagazione di soluzioni schermanti vela i riferimenti del repertorio tecnologico.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

© simone tripodi

© andrea trebbi . Published on January 15, 2015.

sezione orizzontale del piano giorno

© andrea trebbi . Published on January 15, 2015.

sezione orizzontale del piano sottotetto

© andrea trebbi . Published on January 15, 2015.

Rhapsody in White / Attic_Česká street_Bratislava_Slovak Republic The flat is located at the top of the block of flats from 1920´s is situated close to the Center of the Capital of Slovakia – Bratislava. It belongs to some of the older neighbourhoods of Bratislava, formerly known as „Ziegelfeld“. that has an interesting historical context, being a mix if industrial and residential nature. This imprint of historical feeling is still present there. Long before the begining of the construction we found a space in the attic of an apartment house, that was not in very good condition. For a long time the attic had served as a pigeon’s nest and a place for drying clothes, which resulted in lowering the quality of space and construction. What followed was cleaning the space and analysing the condition of truss and bearing structures. Due to unsatisfying results, some of the original beams were replaced by new and together they form the truss, which is essential part of the design. Upon the old truss, a new one was built, also containing a layer of insulation. The whole roof is covered by sheatings made of steel withstanding seams in the color of anthracite. With new roof standing, the authors had an Idea, that white color will be essential element in the whole apartment, visually enlarging its spaces. And at the top of it, white color will help to unite different shapes of connected spaces throught the interior. Also to improve the cubature of space, dormers were built in several rooms. The disposition of the two floor´s flat contains of entry, a connected space of kitchen and living room, bathroom and corridor with technical support of the flat. There are also three bedrooms, which function can be changed over time to fulfill the everchanging requirements of he family. Stairway, located in one of these rooms leads to the upper floor with inserted „Space module“ with high visual aproach. This chill-out zone also visually interacts with the living room through a opening in its wall. There is also a balcony oriented to the inside of the block. Part of the reconstruction of the Attic of the house was also a lift , which has noticably improved mobility of all residents (especially the elderly) of the block. Design of the Attic on Česká street in Bratislava is trying to deliver the charm of an old Bratsilava quater with very simple and functional design and good sense for architectural values of surroundings and structure.

Photo by Ondrej Synak. © at26. Published on January 15, 2015.

project name: Rhapsody in White / Attic_Česká street_Bratislava architect: at26 client: Peter Kukučka location: Česká street, Bratislava, Slovakia work started in: 2010 work finished in: 2013 main structure: mixed structure plot (m²): 92 total area (m²): 92 number of floors: 2 status: completed works

Photo by Ondrej Synak.© at26 . Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

© AT26 . Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Photo by Ondrej Synak.© at26. Published on January 15, 2015.

Da una decina d’anni, una coppia isolata di edifici rurali nella campagna di Castelfranco Emilia è ristrutturata e convertita all’uso abitativo attraverso la formazione di quattro unità residenziali sviluppate su due livelli, dotate di giardino privato. La proprietà di una delle quattro unità manifesta l’insoddisfazione e il disagio di vivere lo spazio conviviale che occupa il piano terreno della loro casa e la determinazione di quella proprietà a volerlo rielaborare ci persuade ad accettare l’incarico, pur se consideriamo la parzialità dell’intervento come un’espressione limitante a designare il significato e il valore di qualsiasi prestazione in materia di architettura. La sagoma planimetrica del piano terreno è rettangolare, ma la sagoma dello spazio conviviale è ulteriormente ristretta dalla presenza di un bagno con antibagno, locali, però, da non comprendere nel programma di revisione. L’ambiente è aperto, pure se una debole soluzione di diaframma arcuato tenta inutilmente di accennare la separazione dell’area di cucina. L’esigua superficie, oltre a quell’area di cucina e alla coppia di branche di scala che conduce al primo piano, contempla la presenza di un camino per legna da ardere, di uno spazio-libri, del pranzo privato e del pranzo conviviale, degli imbottiti, degli impianti televisivi, tutte prerogative, mi viene raccomandato, da riconsiderare. Tra esse decido che il solo camino, in ragione dell’innesto nella sua canna fumaria, resti inamovibile. L’opera finita traduce l’esito di un proficuo confronto con la coppia di committenti e verifica la completa corrispondenza alle esigenze dalla stessa manifestate. Il ricomposto sviluppo della scala interna, anticipata dal rialzo di un paio di livelli, fonda il disegno della rinnovata area diurna e schiude differenti opportunità compositive nelle quali il ricco repertorio delle funzioni da predisporre riesce ad articolarsi con disinvoltura pur nell’oggettiva limitatezza dello spazio disponibile ad accoglierlo. Il personale concetto sull’immobilità di un’opera di architettura, anche di interni, trova supporto, proprio nell’esiguità di questa; gli imbottiti sono eventualmente gli unici esemplari rimovibili pure se la loro sagoma e la loro dimensione non può che individuarli in nessun altro luogo che non sia quello in cui sono stati pensati.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi

© andrea trebbi . Published on January 15, 2015.

© leonardo gentili

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi . Published on January 15, 2015.

© andrea trebbi . Published on January 15, 2015.

CheBanca! Filiale di Verona Il progetto per la nuova filiale CheBanca! di Verona, situata nel centralissimo Corso di Porta nuova della città scaligera, riorganizza e ottimizza l’immagine esistente del gruppo bancario implementando il concept funzionale ed il layout interno degli spazi lavorativi. L’accesso alla filiale avviene direttamente dal piano stradale attraverso l’imponente tunnel di ingresso che contiene l’area self costituita da due Atm evoluti sempre fruibili dagli utenti durante l’intero arco della giornata; la vetrina rappresenta l’interfaccia con la città, loghi e promovetrina veicolano l’immagine della banca verso l’esterno mentre al tempo stesso il paesaggio della città diventa sfondo principale delle attività bancarie. Gli ambienti sono suddivisi su tre diversi livelli di privacy; il primo è rappresentato dalle postazioni cassa studiate ergonomicamente per permettere di ospitare gli operatori ed i clienti secondo la filosofia del side by side banking, entrambi i soggetti si dispongono sullo stesso lato del tavolo per favorire la trasparenza e la condivisione. La filiale si sviluppa in profondità articolandosi nelle aree tematiche open space: area d’attesa, area bimbi, cafè corner, edicola finanziaria, ecc.. Le gole luminose, caratterizzate dai Led posizionati nella controsoffittatura, accompagnano il visitatore nell’esplorazione dello spazio. Qui trovano posto, inoltre, gli elementi rappresentanti il secondo livello di privacy; salette chiuse sul perimetro permettono di ottenere l’adeguato isolamento per le attività di consulenza, la vendita di prodotti finanziari ed in generale di approfondimento. I moduli consulenza, così come le postazioni cassa, sono elementi stand-alone, realizzati fuori opera, aggiornabili tecnologicamente qualora ci fossero mutamenti dei servizi erogati. Al termine del percorso all’interno dei locali troviamo gli spazi di back office e riservati; in questa area cosiddetta di terzo livello si articolano gli spazi degli uffici singoli (direttori, consulenza, telemarketing, ecc.) oltre alle sale per riunioni e video conference. In questi spazi l’isolamento garantito permette lo svolgimento di attività riservate. I locali della filiale si chiudono con gli spazi tecnici quali bagni, spogliatoi ed area pantry, funzioni riservate agli operatori della filiale.

Foto 1

Simone Bossi. Published on January 15, 2015.

Foto 2

Simone Bossi. Published on January 15, 2015.

Un casa unifamiliare aperta agli amici, con vari bungalow circostanti per ospitare tante camere da letto. Facile da montare e da manutenere. Base in C.A. al suolo, pareti scorrevoli che si aprono verso l’esterno con il clima mite delle isole greche.

© Laura Pistoia . Published on January 15, 2015.

© Laura Pistoia . Published on January 15, 2015.

An innovative, experimental, evolving pedagogy needs a spatial support that promotes real interactions and synergies between users and their environment.

Render by Carlos Mazón. ©Carlos Mazón. Published on January 15, 2015.

The atelier school works like a stage where students are protagonists of a constantly evolving story, they are the actors, but also produce “the scene”, in a space where they are continuously learning by doing.

© ecosistemaurbano . Published on January 15, 2015.

Spaces are expandable and transformable, having “in between” zones without pre-defined uses, creating unexpected and inspiring situations.

© ecosistemaurbano . Published on January 15, 2015.

The bioclimatic functioning has an educational role, with the students as responsible for their seasonal changes. A design adapted to climatic conditions that first relies on passive environmental control techniques to minimize power consumption.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 15, 2015.

© ecosistemaurbano . Published on January 16, 2015.

Il presente progetto, giunto al livello definitivo, è stato sviluppato nell’ambito della procedura di gara promossa dalla Amministrazione Comunale di Nerviano (MI) per l’individuazione di soggetto che fornisse Progettazione e Realizzazione della nuova scuola primaria del capoluogo. Il nuovo edificio si inserisce nel lotto già occupato dal plesso scolastico che dall’asilo giunge appunto fino al grado della scuola primaria. Le problematica di vetustà ed inadeguatezza della attuale struttura hanno portato il Comune a scegliere di demolire integralmente l’edificio esistente edificando un nuovo volume ispirato a canoni più moderni sia tecnologicamente che distributivamente parlando (Linee guida MIUR.

Fronte sud interno

© bc studio _ Ilaria Bizzo Stefano Cornacchini . Published on January 15, 2015.

Vista con prospetto sud di scorcio _ I° Lotto

© bc studio _ Ilaria Bizzo Stefano Cornacchini . Published on January 15, 2015.

Testata di ingresso

© bc studio _ Ilaria Bizzo Stefano Cornacchini . Published on January 15, 2015.

L’idea di coniugare voci architettoniche diverse (legno e metallo) e di poterne verificare la potenzialità espressiva, ha fatto sì che nascesse un progetto legato per certi versi a forme geometriche dal linguaggio astratto, ottenendo grazie alla diversa articolazione spaziale differenti prospettive da cui possa essere ammirato. Osservando l’oggetto, si ha la sensazione che possa trasformarsi in ogni momento, tanto appare dinamico e apparentemente instabile allo stesso tempo.

© Gaetano Campana . Published on January 15, 2015.

Una sottile allusione alle straordinarie sculture di Fausto Melotti, opere se possibile definite come rappresentazione dello spazio degli aspetti invisibili della realtà, oggetti leggeri, e anti-monumentali, caratterizzati da un linguaggio astratto e in stretto rapporto con il tema del ritmo musicale.

Contrappunto è un tavolo realizzato in legno massello di ciliegio (può essere previsto l’utilizzo anche di altre essenze di riforestazione), con l’ausilio di elementi marginali in metallo. I dati dimensionali complessivi sono così definiti: altezza 75 cm, larghezza 120 cm, lunghezza 240 cm. Il top e i setti verticali in legno massello hanno spessore 4.8 cm.

I due setti si intersecano formando una parte del sostegno del top; essi vengono alloggiati all’interno di quest’ultimo mediante degli elementi metallici opportunamente sagomati. Il “ribaltamento” del setto longitudinale viene intercettato dal profilo a “C” metallico (allusione ad una prosecuzione in negativo del setto trasversale).

Ulteriori elementi di sostegno sono la gamba metallica posta su uno dei vertici del top che con il suo esile diametro fornisce un senso di leggerezza strutturale; contrapposto ad essa, a fronteggiare il vuoto, un sottile piede metallico.

1_Position in the Area For the Information Pavilion position we chose a place in the longest lane called decumano. The area results to be barycentric respect to the two main accesses of the exhibition and is near “piazza Italia”, “padiglione Italia” and other service pavilions. I decided not to put the structure in front of any pavilion, avoiding covering the visibility and the access, to set the structure in front of the area which is already occupied by the fruits & legumes and spices clusters. Clusters are thematic spaces in which the Countries which don’t have possibility to create their own pavilion are grouped by a common theme.

© Andrea Tanganelli . Published on January 15, 2015.

The access to these 2clusters is right and left respect to the new structure. The pavilion insert itself in a symmetric way between the pillars wheel base sustaining the decumano tensile structure.

© Andrea Tanganelli . Published on January 15, 2015.

2_CONCEPT The idea is to have a structure which is pretty visible from distant positions thanks to its dimensions and color, and that at the same time can accommodate and protect visitors from the external crowd as if it would be a sort of shell. The pavilion shape is narrow and long and develops itself in longitudinal sense with the lane in such a way to occupy as less space as possible in the passage height.

© Andrea Tanganelli . Published on January 15, 2015.

The walls curve supporting the main visitors flux along the lane. The curving shape recalls the tensile structure covering cardo and decumano. Combined with the pavilion there is a totem sited in the opposite side of the lane and underlines the presence of the Information Area. The space between pavilion and totem becomes a sort of square where people could meet without interfere with decumano’s passage flux.

© Andrea Tanganelli . Published on January 15, 2015.

3_Functions and itineraries The pavilion is symmetric and the entrance- exits are 2: one in the direction of decumano and the other in the direction of the clusters. As requested, the pavilion is divided in 3 areas: Information area, Souvenir shop area and business center. The totem with a bench and the square are part of the same system.

© Andrea Tanganelli . Published on January 15, 2015.

The information area is a half-open space; overlooked by the elliptic reception desk, which provides for several work spaces with several operators. The wall which parts it by the other two areas, is provided with 4 ATM machines by one side. Mobile phone charger stations together with information touchscreens are sited by the other side. In the high part of the sidewalls there are video walls showing expo live events. The Souvenir Shop area has 2 entrances: a cash desk is located at their core. The display systems are sited along the bent walls. In the core of the Souvenir Shop there are tables and cases for souvenirs exhibition.

© Andrea Tanganelli . Published on January 15, 2015.

The business area has only one central entrance. Laterally along the bent walls develops a bench, tables and chairs. In a central position a high table with stools and two sofas find its place. In the walls nearby the entrance are located PC stations, Xerox machines, and various instruments available to business area users. In the part above the entrance are located screens showing expo events and news. Externally to the pavilion, entrances are equipped by a long bench for a rest. The Totem is a structure supporting signage and is also a support for solar panels (turned to south) with function to charge the “phone charger stations”.

© Andrea Tanganelli . Published on January 15, 2015.

4_Structure, Materials and Sustainability The pavilion structure is made by beams and wood pillars with not treated surface. In the cover, the beams are protruding respect to the shape, while on the ground the beams are located under the floor itself. The floor is made with wood boards. The free space underneath the floor allows the electrical system passage. On the platform on the floor and on the covering beams there are elements in not treated iron. Externally the pavilion is covered by rough wood slats colored in red. Internally the walls are covered by big rough natural wood panels.

© Andrea Tanganelli . Published on January 15, 2015.

The walls and roof are made with multiply solid wood panels the boards are linked each other by wood screws. All the materials are 100% dismantling and recyclable. External lighting foresees strip leds under the benches and on the external edge walls. Spotlights are recessed into the cover beams, to illuminate the internal areas and the external prospect.

© Andrea Tanganelli . Published on January 15, 2015.

© Andrea Tanganelli . Published on January 15, 2015.

© Andrea Tanganelli . Published on January 15, 2015.

Questo progetto nel centro storico della città di Palma di Mallorca prevedeva la ristrutturazione di una parte dell’ultimo piano di un palazzo nelle immediate vicinanze della Plaza Major e la divisione in due nuovi appartamenti.

appartamento 1

© Andrea Morini . Published on January 15, 2015.

appartamento 2

© Andrea Morini . Published on January 15, 2015.

pianta

© Andrea Morini . Published on January 15, 2015.

facciata

© Andrea Morini . Published on January 15, 2015.

dettaglio cucine

© Andrea Morini . Published on January 15, 2015.

Questo progetto voleva recuperare un cinema abbandonato anni ‘70 e riportarlo in vita

Vista dell'entrata

© Andrea Morini . Published on January 16, 2015.

pianta

© Andrea Morini . Published on January 16, 2015.

Sezione

© Andrea Morini . Published on January 16, 2015.

Progetto urbanistico di un interporto con spazi commerciali, terziari e una struttura alberghiera in Extremadura (Spagna).

Vista a volo d'uccello

© Andrea Morini . Published on January 16, 2015.

Situazione

© Andrea Morini . Published on January 16, 2015.

Riqualificazione di un’area nelle vicinaze del entro di Ciutadella de Menorca.

Vista a volo d'uccello

© Andrea Morini . Published on January 16, 2015.

vista della nuova strada

© Andrea Morini . Published on January 16, 2015.

Modello

© Andrea Morini . Published on January 16, 2015.

Las nuevas instalaciones para el Hotel Boutique Termales de Santa Teresa, es un encuentro y dialogo entre naturaleza y geometría. La Naturaleza conformada por agua, piedra y árboles, fue la clave para conceptualizar el uso de materiales, como la creación de una estructura lógica que soporte la cubierta que albergara a todos los usuarios, todo hecho por medio de mano de obra local.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

Desde un punto de vista formal, fue lograr una armonía entre cabañas existentes con características apropiadas para el entorno y no diferir en apariencia con la nueva construcción del nuevo Hotel.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

Al mismo tiempo, se dibujan las primeras líneas a través de un entorno que dialoga constantemente con las piscinas de agua termal existentes, esto con el fin de poder lograr una interacción entre usuario y agua.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

Photo by Doris Trejo. Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

GPEO

© G P E O . Published on January 16, 2015.

a continuous museum
The museum as a liminal condition between landscape and the city. We propose a linear and horizontal museum, conceived from inside out. Organizing the exhibition space on one floor. We propose a project that despite having two separate museums, imagine one as an extension of the other. The buildings construct the boundary between the park and the city, creating a continuous exposition space, a grid ordering the continuity between interior and exterior spaces. The grid defines all identical rooms, where the human dimension relates to the scale of the landscape; rooms delimit an intimate space, where one enters into symbiosis with the artworks. The grid also draws the open space and public space organization. The museum rooms grid becomes an apparently isotropic multidirectional space, able to allow a great flexibility. The grid system can be divided and opened all the time, according to the exhibition requirements. Somewhere the sequence of rooms, within the regular grid, is interrupted by open air patios and other open empty rooms with water surfaces and rest areas. These spaces become real breaks along the exhibition path, bringing landscape and natural light inside the museum, for example in the hall the patio brings light in the basements. Both museums are strictly related to the boulevard and the green area. This connection takes place with a inner covered walk that crosses the commercial areas, define the entries and organize people flows through the exposition spaces. The porch, overlooking the existing garden, outlines the entire building. It is the outer extension of the main foyer: a transitional space establishing a relationship between the exterior and the interior, connecting the main museum spaces. It is meant to be opened to the city for special occasions in order to permit public events. The Dòzsa Gyorgy boulevard it’s conceived as an extension of the museum, where the street becomes an exposition space. The grid, is defined by two systems of mutually perpendicular walls. Simple geometric shapes are cut into the walls, each museums is characterized by a system of different walls cut. In the photography museum walls are cutted in the corners in order to create system of diagonal crossings which consent large empty surfaces where to hang photos to. . In the architecture museum instead the cuts are places in the centre of the walls. This in order to ensure a prospective system that guarantees a continuous vision of the exposition gallery, and the stands for model and drawings can be placed in the centre of the room. Through the incisions in the walls, the room space expands, revealing the apparently endless dimension of the museum. Some of the museum activities are placed in two high buildings that are meant as landmarks that underlines the entrance to the parc.

© Ian+ . Published on January 16, 2015.

architectural concept
We use a primary geometry, the grid, as a source of variability. A geometry that we alter by creating relationships with things which are less visible. The artistic and communicative phenomena use the everyday communication language, such as words, sounds or images, to produce messages which have, or to which is attributed, aesthetic or artistic value. Spaces which will accommodate these phenomena must conform to certain compositional features, which can best deliver the content meant to be conveyed. The first degree of interaction takes place within the exhibition space, which turns into the main container, thus becoming a key subject for the museum design development and the related exhibition paths. We carried out a “fragmentation” process through the use and repetition of modular spaces; their combination creates a “space within the space”, consenting visitors to lose the perception of a coercing container space. Our main purpose is to put the visitor in the conditions to use freely all the available space, without being forced within the classical linear paths, which often leads to an indistinct and dreary passage of the exhibition areas, not connected at all to individual perception. Flows must turn into an instrument of knowledge, and the actions performed by visitors must collaborate to enrich the content. In parallel, according to the exhibition requirements, the regular grid allows a flexible subdivision of the space into rooms and/or galleries. The container merges with the shown object and at the same moment it is crossed, moved or opened to gain access to the content. The exhibition rooms are illuminated by roof skylights; natural light is controlled through shading systems to avoid direct light hitting the artworks. The natural light combined with the structural system defines a spatial matrix that acts on the continuous space defined through its abstraction. The 25 rooms for each museum, 8 by 8 meters wide, are articulated into a system: each pair of rooms forms a section that can accommodate different exhibition themes.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.

© Ian+ . Published on January 16, 2015.