Proposta progettuale per la costruzione di tre ville monofamiliari indipendenti, da realizzarsi all’interno di un lotto sito in località Grancetta di Chiaravalle (AN).
© Paolo Imbalzano Architetto . Published on February 28, 2015.
© Paolo Imbalzano Architetto . Published on February 28, 2015.
© Paolo Imbalzano Architetto . Published on February 28, 2015.
© Paolo Imbalzano Architetto . Published on February 28, 2015.
Professionista antincendio iscritto nell’elenco del Ministero Interno-Dipartimento VVF abilitato D.M. 05/08/2011 (ex. L818/1984)segue pratiche antincendio, SCIA, richiesta e rinnovo CPI (Certificato Prevenzione Incendi), documentazione VVF, progetti antincendio, asseverazioni antincendio.
© Umberto Vigilante ARCHITETTO . Published on February 28, 2015.
ORIGAMI, the project for the Oikos Pavilion, is composed by two nested and structurally independent elements that generate one single volume and that communicate a single concept of space, coherent with the proposed topic of the competition “Architettura d’Ingresso”.
© Enrico Dalla Pietà . Published on February 28, 2015.
These two designed elements, nested one into each other, are part of a single ephemeral volume that unfolds and opens, allowing a permanent connection between the interior of the pavilion and the exterior. This intangible contact is turned into physical by the multiple openings of the structure and the several Oikos products embedded into the pavillion.
© Enrico Dalla Pietà . Published on February 28, 2015.
Moreover, the two entrance spaces, the inner one and the outer one, blend also due to the visual contact granted by the inclined surfaces of the pavilion. The colors used for the two elements, grey and red, are the same as those used in the Oikos logo. The strong visual identity of the two elements emphasizes the perception of entry space, since they bring to mind the concept of crossing a border, that might be more blurred or more sharp depending on the area of the pavilion.
© Enrico Dalla Pietà . Published on February 28, 2015.
The main truss structure is composed by aluminum ball joints and tube profiles that allow multiple configurations and a broad formal freedom. This structure, being anchored by threaded bolt without welding, is easily dismantable and movable at the end of the event. An additional layer of square aluminum profiles is added to the main one to anchor the wall panels. The track system allows the positioning of panels of different sizes, according to where they have to be placed within the structure.
© Enrico Dalla Pietà . Published on February 28, 2015.
The two nested pavilions are designed in order to provide two different experiences inside of the exhibition, therefore the wall panels of the inner pavilion are characterized by the use of a “Oikos” red colored glossy finish, while the wall panels on the outer pavilion are characterized by the use of a “Oikos” grey colored matte finish. The top and side part of the walls that enclose the space are closed by translucent panels that allow the insertion of a recessed and energy efficient led light. In this way, the light projected from the top perimeter of the pavilion formally recomposes the cut volume of the pavilion itself.
© Enrico Dalla Pietà . Published on February 28, 2015.
The only surface that is not cut diagonally or vertically is in fact the element that extends from the outer pavilion and that forms a hybrid space. This space can ideally gather and guide the visitors to the main entrance of the pavilion. In this hybrid space it is designed the installation of one or more screens that can promote and show the quality of all Oikos products. Although this is formally the main entrance to the pavilion, it’s multi-entrance design allows a better fit into the exhibition space and a total openness aimed to gather many visitors.
© Enrico Dalla Pietà . Published on February 28, 2015.
© Enrico Dalla Pietà . Published on February 28, 2015.
Indlu, that means “hut, house” in Zulu language is a low-impact project that allows the visitor to immerse in the natural landscape of the surrounding park.
© Enrico Dalla Pietà . Published on February 28, 2015.
It consists in a system of cabins, located in front of the Muntshe Hill within the Kruger National Park, that may be used not only to have a rest and observe the park wildlife from an elevated and sheltered point of view, but also can be utilized as learning and working spaces.
© Enrico Dalla Pietà . Published on February 28, 2015.
The structure of the hut consists of wooden elements that define the spaces where the different activities may be performed. In particular, the lower level enables the visitor to enjoy the surrounding nature from a semi-sheltered outdoor space, enclosed solely by the pillars of the wooden structure; the upper level, accessible through the rope ladder, consists in an indoor sheltered space.
© Enrico Dalla Pietà . Published on February 28, 2015.
This upper level is enclosed partially by opaque wooden elements, aimed to isolate the inside from the excessive sunlight and to protect from wind and rain. It also embodies a rainwater collection system.
© Enrico Dalla Pietà . Published on February 28, 2015.
The remaining sector of the upper level is enclosed by a tight mosquito net, that establishes a permeable border with the park, allowing the visitor to enjoy an immersive experience and, at the same time, a constant air circulation to prevent overheating.
© Enrico Dalla Pietà . Published on February 28, 2015.
© Enrico Dalla Pietà . Published on February 28, 2015.
Ampliamento di un’unità abitativa L.R.T 24/2009, progetto Dicembre 2012. Realizzazione working-progress
Ampliamento di un' unità abitativa, Prospetto longitudinale
© Michela Bistocchi . Published on February 28, 2015.
Ampliamento L.R.T 2009, Prospetto Ovest; in primo piano la porta-finestra dell'ampliamento
© Michela Bistocchi . Published on February 28, 2015.
Fotografia della tavola di progetto
© Michela Bistocchi . Published on February 28, 2015.
PUC3_Comune di Stroncone
Refurbishment and transformation of the public wash-house in a library.
© Studio Associato Officina 8 . Published on March 01, 2015.
Upgrading of the park Madonna del Colle.
© Studio Associato Officina 8 . Published on March 01, 2015.
Accessibility to the old town.
© Studio Associato Officina 8 . Published on March 01, 2015.
PUC3_Comune di Ferentillo
Pedestrian cycle bridge.
© Studio Associato Officina 8 . Published on March 01, 2015.
Pedestrian cycle bridge.
© Studio Associato Officina 8 . Published on March 01, 2015.
Pedestrian cycle bridge.
© Studio Associato Officina 8 . Published on March 01, 2015.
Nel 1996 fu indetto un concorso d’idee per la realizzazione del nuovo polo espositivo di Brescia, da situare in una vasta area ad occidente dell’agglomerato urbano.Il programma era ambizioso e dimensionalmente notevole; si pensi soltanto alla enorme superficie da destinare a parcheggi e alla previsione d’una linea di metropolitana leggera che collegasse il complesso al centro cittadino. In opposizione alle tipologie allora correnti, questo progetto intendeva porsi il fine di realizzare un nuovo fatto urbanisticamente rilevante (il Castello del XX Secolo) a contraltare e con la medesima qualificante rilevanza ambientale del Castello rinascimentale che caratterizza ad oriente la città, utilizzando anche stilemi formali e materiali del tutto alieni dall’imperante lessico hi-tec che purtroppo informava e informa tuttora gli interventi del genere.
Pianta generale del complesso
© Claudio De Santis . Published on March 01, 2015.
Prospetti schematici
© Claudio De Santis . Published on March 01, 2015.
A continuous thread moves across a series of elements that are entwined to shape planes and lines that draw a new lecture of the public garden.
Drawing lines. detail
© x-studio . Published on March 01, 2015.
The intervention creates a series of personal spaces, spaces of transition, contemplation and reading which are discovered by walking through the garden. The pieces work as three-dimensional structures interposed between sunlight and interior space delimited. The thread creates new spatial experiences through planes as regulators of light, filters that sift natural light from the outside. Through its transparent walls anyone can explore the installation, discovering new spaces, shadows, and frames. The light dilutes their apparent solidity, and leads them to become pieces that illuminate from within and melt into the garden. Drawing lines is presented by the Cleveland Public Library and Land studio and it is displayed during the Aha! Festival of Light.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
© x-studio . Published on March 01, 2015.
Pergola, giochi e pavimentazioni in ghiaia sono tre stilemi propri del giardino rinascimentale italiano. La prima viene riletta utilizzando una comune tubatura idraulica funzionale alla crescita della specie vegetale scelta, Cucurbita moschata var. Trombetta di Albenga, una zucchina tipica degli orti familiari della costa della Liguria. Per la pavimentazione si prevede, attraverso l’utilizzo di inerti di reciclo edili con colorazione a contrasto (chiaro/scuro), la realizzazione di un disegno simmetrico a stanze chiuse, che vuole essere un rimando al tradizionale lavoro degli artigiani del nostro paese.
© STUDIO QRZ . Published on March 01, 2015.
L’aspetto ludico è rappresentato dal sonoro, questo è costituito da una serie di emissioni acustiche innescate dalle vibrazioni generate dall’interazione fisica tra i visitatori e l’installazione. I suoni emessi vengono catturati e diffusi dalla scultura sonora generando emozioni e straniamento. L’articolazione di questi elementi ordina lo spazio dell’installazione. La percezione di un disegno in pianta esplicitamente formale, simmetrico lungo l’asse maggiore, viene contraddetta una volta all’interno della struttura.
© STUDIO QRZ . Published on March 01, 2015.
L’infilata dei tubi verticali, il libero sviluppo della componente vegetale, la diffusione sonora dislocata rispetto all’origine dell’imput, tutto vuole comunicare una sensazione di disordine spaziale. L’ospite, che si muove lungo percorsi non definiti e sempre nuovi, rappresentati da una linea spezzata , è invitatoa vivere un esperienza percettiva multisensoriale che condiziona la fruizione stessa dello spazio.
© STUDIO QRZ . Published on March 01, 2015.
© STUDIO QRZ . Published on March 01, 2015.
© STUDIO QRZ . Published on March 01, 2015.
© STUDIO QRZ . Published on March 01, 2015.
This house was transformed from a 1970s home into a modernist villa. For the additions and alterations the interior walls were removed and an atrium and moat were created around the hall and dining room, with a curtain of water falling past a cut-out in the atrium wall.
© Nico van der Meulen . Published on March 02, 2015.
The outcome of the architectural design is a contemporary home with a double volume living space that opens seamlessly on a 13×6m lanai area. The water feature in the atrium adds the sound of flowing water to the living rooms and is visible from almost everywhere in the living and kitchen areas. The kitchen forms the hub of the home with an open space that is ideal for gatherings.
© Nico van der Meulen . Published on March 02, 2015.
Situated next to the kitchen is the breakfast room and atrium that allows morning light into the area. The integration between the indoor and outdoor spaces is also seen in the bedrooms and bathrooms that open onto the balconies and atriums whilst the guest bedroom opens directly onto the garden.
© Nico van der Meulen . Published on March 02, 2015.
The original structure was north-facing, and due to the established gardens surrounding the site it was easy to create the privacy needed for the main bedroom and bathroom to seamlessly flow out onto a huge balcony.
© Nico van der Meulen . Published on March 02, 2015.
The interior design by M Square Lifestyle Design was done subtly in order to underscore the architecture using more or less classical materials that included travertine, rusted steel, glass and wood.
© Nico van der Meulen . Published on March 02, 2015.
M Square Lifestyle Necessities created interiors reflecting opulence and the latest in interior décor trends using brands such as Tom Dixon, Molteni &C, Ligne Pure and Foscarini.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
© Nico van der Meulen . Published on March 02, 2015.
Il Museo Ornitologico nasce come “concept” dall’osservazione di un involucro com’è il “guscio d’uovo” di un uccello e dal suo contenitore il “nido”.All’interno di questo spazio formalmente caratteristico si organizzano gli spazi museali.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
© Piero Speranza . Published on March 02, 2015.
In continuity with the ruins of an old wall, located on a slope, wedged into the castle hill, the project focuses on the delicate relationship between the tradition and the contemporaneity, the old and the new, the history and the landscape, trying to transmit to the whole community the value of their heritage and the importance of his protection.The project’s idea is to identify the new museum as a peculiar entity, that synthesizes in itself some of the foundamental elements of the traditional landscape of Montemor. Therefore the analysis done on the landscape became essential to understand the space’s quality.
Board
© Alessandro Ponti . Published on March 02, 2015.
The architectural solution refers mainly to four elements of the landscape that are reintepreted to realize an innovative idea of museum. In this sense, the shape is connected to the intensive farming of Montemor: this type of cultivation is organized around a central well that provides the necessary water to irrigate the whole ground with a particular system of rotation irrigation. At the same time the site museum is designed with a circle shape around a central patio that becames the main lighting source as necessary as the well in the cultivation. The position of the museum reminds to the quarries, so it is wedged into the hillside: in this way it tries to blend in with the landscape, creating a constant with the ruins of an existing wall. In this way it should underline a continuity between the old and the new with the respect of the past and the riconoscibility of the two period: the museum do not touch the ruins in order to make recognizable the different parts. The illumination system is also designed following the natural grid of the olive cultivation. An ortogonal scheme of skylights and spotlights allows the right lightning of the spaces in relationship also with the function’s distribution. At the end, the entrance corridor studies a system to ensure a comfortable passage during the day: the high temperatures and the presence of the Sun are mitigated thanks to the shadow projected by the walls of the corridor dug in the ground. A similar concept is present in the system of the tree-lined avenue that is a essential element in this landscape.
© Alessandro Ponti . Published on March 02, 2015.
Translate a natural element in an architectural feature seems a good way to begin the delicate operation to create a new public space,responsable to give some important values, such as the rediscovery of a territory’s identity and his conservation. Effectively some Past’s principles , for example the territory’s conservation and protection , which now have been partly forgotten, are a foundamental part of this project. The plan’s organization becomes a mechanism, like the gears of a clock, holds together a number of elements that create a unique experience of the museum. It allows the community to regain possession of those cultural values. The plan translate in the architecture the importance of the relationship between the past and the future.In effect the smooth curves, that characterize the exhibition part, ends with the last major exhibition, through a large window, of surrounding landscape.At the same time, the fluid path of the museum creates a complexity of functions and activities in order to increase the number of visitors and extend it to multiple age groups.
© Alessandro Ponti . Published on March 02, 2015.
In conclusion, the musuem becames a landmark because of the propotion of some cultural and foundamental values, in wich the communnity could identify. So even if the museum is not in a prominet and visible location, it stands out for its substance and for what it proposes.
"patio atmosphere"
© Alessandro Ponti . Published on March 02, 2015.
"site in the hill"
© Alessandro Ponti . Published on March 02, 2015.
Diagram of the functions
© Alessandro Ponti . Published on March 02, 2015.
Section
© Alessandro Ponti . Published on March 02, 2015.
Il progetto insiste su un lotto a forma irregolare, situato al centro dell’isolato triangolare tra corso Regina Margherita e via Fiocchetto, al limite del centro storico di Torino, in una zona di cerniera con la zona di otto novecentesca della città oggetto di grandi trasformazioni. Sull’area era presente la costruzione realizzata a fine ottocento e destinata a Teatro Popolare Torinese, pesantemente bombardato durante la seconda guerra mondiale. Il progetto prevede la conservazione dell’antico fronte scenico su via Fiocchetto, unica traccia originale del Teatro, trasformato in residenze su due livelli. Sul fronte opposto, sul Corso Regina, in un volume staccato dal precedente, ma in continuità con il filo edilizio del Corso, un nuovo fabbricato che unisce alla ricerca formale, alte prestazioni di confort energetico e benessere (classe energetica A).
© Beppe Giardino . Published on March 02, 2015.
Mentre il fabbricato storico, libero su quattro fronti, affaccia sulla tranquilla via Fiocchetto, il fabbricato sul Corso, prospetta su una via di grande traffico, fonte di rumore ed inquinamento, ma affaccia anche sull’antistante parco dei Giardini Reali e, trovandosi in un punto alto della città, gode di una vista dominante sull’intera area urbana fino alla collina ed all’intera catena montuosa delle Alpi. La combinazione dei fattori negativi del rumore e della vista panoramica eccezionale, hanno indirizzato il progetto verso la scelta di un volume chiuso, interamente vetrato verso le viste spettacolari, dotato di serre bioclimatiche e rialzato rispetto al Corso di circa 12 metri. In tal modo, ci si è staccati dal livello strada, lasciando penetrare sotto il fabbricato aria e luce all’interno del lotto, fino al fabbricato storico conservato, si è mantenuto il grande volume del teatro con il suo fondale scenico, ora abitato, le serre completamente vetrate esposte a sul creano un ambiente acusticamente protetto, di transizione tra l’esterno e l’interno, dal quale si può godere della magnifica vista in una casa molto efficiente.
© Beppe Giardino . Published on March 02, 2015.
Al fine di evitare il surriscaldamento estivo delle serre bioclimatiche esposte a sud, è stato creato un sistema a doppia pelle ventilata antistante le serre, che sfrutta l’effetto camino dell’aria proveniente dal lato nord, ed un sistema di schermature fisse e mobili di protezione solare.
© Beppe Giardino . Published on March 02, 2015.
Mentre la pelle sud è completamente vetrata e costituita da un triplice strato di serramenti fissi ed apribili, il lato nord è caratterizzato dalla presenza di una massa compatta e spessa, con poche aperture irregolari, utili a garantire il massimo dell’inerzia e dell’isolamento garantendo nel contempo l’illuminazione delle zone notte, pelle facciata-tetto rivestita esternamente in zinco-titanio. Il rivestimento della parete nord, caratterizzata da una forma a calotta, è suddiviso in scaglie piane irregolari graffate le une alle altre, che rivestono completamente la forma sferoidale e si “piantano” in profondità verso l’interno per creare gli sfondati e le aperture vetrate delle finestre irregolari.
© Beppe Giardino . Published on March 02, 2015.
Crediti
Progetto 2008
Realizzazione 2011-2013
PROGETTO e Direzione dei Lavori: Arch. Luciano Pia – Torino
Progetto e Direzione Lavori Opere Strutturali: Ing. Giovanni Vercelli –Torino
Progetto e Direzione Lavori Opere Impiantistiche: Ing. Andrea Cagni -Torino
PROGETTISTI DEL PAESAGGIO: LINEEVERDI (Dott. Agr. Stefania Naretto, Dott. Agr. Chiara Otella)- Torino
COMMITTENTE : DE-GA S.P.A . – Torino
IMPRESA ESECUTRICE: DE-GA S.p.A. – Torino
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
Le case tra gli alberi A Torino ha messo radici una nuova casa. Ha strutture in acciaio come alberi di una foresta. Piante che immergono le loro radici in terrazzi dai profili irregolari. Specchi d’acqua attraversati da passerelle. E sui tetti, rigogliosi giardini. L’intera costruzione è concepita come una sorta di foresta abitabile, una casa sugli alberi come quella che tutti i bambini sognano e, a volte, costruiscono. Il progetto nasce dall’esigenza di realizzare un edificio residenziale di completamento dell’isolato urbano, già caratterizzato da disomogeneità ed affacci eterogenei.
© Beppe Giardino . Published on March 02, 2015.
L’intervento si pone l’obbiettivo di edificare il perimetro su fronte via, con un filo edilizio compatto, ma nello stesso tempo di realizzare un filtro di transizione tra lo spazio esterno delle vie e lo spazio interno edificato. Il fine ricercato dal progetto è di creare uno spazio di transizione fluido e morbido che smorzi il brusco passaggio dal dentro al fuori e sia fruibile sia dall’interno che dall’esterno. Questo passaggio morbido e mutevole nel tempo, è accentuato da un uso mirato del verde e dei materiali utilizzati che ne favoriscono la transizione, creando nel contempo un “blocco edificato” definito e compatto, ma permeabile, mutevole e vivibile. E’ un edificio speciale, perché vivo: cresce, respira e cambia nel tempo perché i suoi terrazzi sono costellati da 150 alberi ad alto fusto che, insieme alle 50 piante nella corte, producono ogni ora circa 150.000 litri di ossigeno, mentre nella notte assorbono circa 200.000 litri di anidride carbonica all’ora. Inoltre abbattono le polveri sottili provocate dalle autovetture, proteggono dal rumore, seguono il naturale ciclo delle stagioni, crescono giorno dopo giorno, creano un microclima ideale all’interno dell’edificio mitigando gli sbalzi di temperatura in estate ed inverno. I listelli di legno massello che pavimentano i terrazzi irregolari filtrano i raggi del sole in estate, mentre in inverno lasciano penetrare la luce all’interno delle abitazioni. Il rivestimento in scandole di larice delle facciate, crea una superfice morbida e vibrante.
© Beppe Giardino . Published on March 02, 2015.
Le strutture metalliche alberiformi che contornano l’edificio nascono dal piano terra e crescono fino al tetto, sorreggendo gli impalcati lignei dei terrazzi; intrecciandosi con la vegetazione costituiscono la facciata dell’edificio, unica nel suo genere. Uno degli obiettivi dell’intervento è il raggiungimento di una buona efficienza energetica. Per questo sono state adottate numerose soluzioni integrate: isolamento “a cappotto” , pareti ventilate, protezione dall’irraggiamento solare diretto, impianti di riscaldamento e raffrescamento che utilizzano l’acqua di falda con il sistema a pompa di calore, recupero delle acque piovane, stoccaggio e riutilizzo per l’irrigazione del verde. Il fabbricato ospita 63 unità immobiliari, tutte diverse tra loro e dotate sui due lati di generosi terrazzi di forma irregolare che avvolgono la vegetazione.
© Beppe Giardino . Published on March 02, 2015.
L’ultimo piano, coperto da tetti verdi privati, è organizzato con unità di taglio maggiore. Il sistema del verde è differenziato: fioriere sui terrazzi, giardino-corte, verde verticale in facciata, verde pensile nella zona del soppalco dove si affacciano i loft, verde pensile in copertura. Le fioriere ospitano, a seconda delle dimensioni, alberi o arbusti. Anche le altezze a disposizione sono diverse e vanno da 2,5 metri di altezza a oltre gli 8 metri. Sono state scelte principalmente specie decidue, per permettere l’irraggiamento solare nel periodo invernale. La scelta delle essenze, sebbene differenziata in base alle diverse esigenze, è stata fatta per assicurare una varietà di portamento, fogliame, fioritura e colore. Quando tutto il verde sarà nel pieno rigoglio, sarà come vivere in una casa sull’albero. Si può sognare una casa, oppure si può abitare un sogno.
© Beppe Giardino . Published on March 02, 2015.
Crediti
LUOGO: VIA CHIABRERA 25, TORINO
PROGETTO e Direzione dei Lavori: Arch. Luciano Pia – Torino
CRONOLOGIA:.inizio lavori 2010, fine lavori 2011
DATI DIMENSIONALI. Sup. terreno 3570 mq; sup. residenziale 7500 mq
Progetto e Direzione Lavori Opere Strutturali: Ing. Giovanni Vercelli -Torino
PROGETTISTI DEL PAESAGGIO: LINEEVERDI (Dott. Agr. Stefania Naretto, Dott. Agr. Chiara Otella)- Torino
COMMITTENTE : GRUPPO CORAZZA, MAINA COSTRUZIONI, DE-GA S.P.A.
IMPRESA ESECUTRICE: DE-GA S.p.A. – Torino
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Beppe Giardino . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Luciano Pia . Published on March 02, 2015.
© Beppe Giardino . Published on March 03, 2015.
© Beppe Giardino . Published on March 03, 2015.
© Beppe Giardino . Published on March 03, 2015.
The challenge founded on this project is to define the social, visual and architectural principles that we have to apply when implementing an important cultural center for Bamiyan and all region as this. Socially, according to UNESCO data, the afghan population is too much young, with an average around 16 years old, which reflects the human losses with conflicts that this country been suffering throughout the years. A so young population need to express themselves, fortify their culture and enjoy moments of pleasure. Visually, this rich and heritage landscape must be preserved and exalted. The strong color of earth and this close approach with the natural elements certainly need to be turned in architecture. So architecturally, this building must be an attractive one, principally on the usage perspective, people need to find a relationship with this center and fill like part of their culture, as a place to express their need for cultural affirmation. In addition, the use of local materials must be priority both to identify local origin of the building and language as a sustainable strategy. CONCEPT On a macro view, the large terrain with this strategic viewpoint to the entire valley is the highpoint, conceptually. On this open landscape, the city of Bamiyan present scattered buildings that compose the human occupancy of the land. On this way, we consider that all this extension of the terrain also must be part of the building, creating an integrated open space. The buildings were disposed over the terrain aligned with two primary crossing paths. One south/north that distribute the program, and one east/west that mark the entrance. Between this buildings and axes, open spaces were created where several types of occupancy may appear, such as cultural events, films, drama, etc., according to usages and relationships with the landscape. Besides, to scattering the program under the terrain, a mesh of 5 meters unit distribute adobe pillars between buildings, open spaces and circulation areas. These pillars demarcate the human occupancy as an integrated area, creating shaded spaces and incorporating different usages for the entire complex such as zoning, structure, ventilation duct, lighting post, and thermal mass when incorporated to buildings. Viewing the architectural complex from the valley or Buddha cliff, the earth pillars present a rhythmic composition, visually highlighted and integrated with surrounding landscape but with abstract formal design. So as an open space we present a democratic design for the Bamiyan Cultural Center, were all usages of the program compose a public space that has a social function of meeting, education, leisure and enjoy. DESIGN Program • All sectors and buildings were disposed surrounded by open public spaces, that spaces can be used according to adjacent buildings usage or on free format; • The two principal crossing paths guide the visitors through the architectural complex; • The public program was disposed to have the major relationship with the valley landscape; • The more privative program and loading areas were treated as squares and spaces separated by landscaping; Materials • Local material were priority on design; • The earth material create the color of landscape, buildings and pathways, this material is project basis. Also have bioclimatic properties (thermal mass) on local architecture; • The wood material, also local, has the major durability on a dry climate like this and express the natural and visceral approach of the inhabitants with landscape. Sustainability • Democratic design, public and open spaces for cultural expression; • Local materials; • Low carbon emission materials; • Water management; • Natural illumination for buildings; • Photovoltaic energy generation; • Geothermal use for natural ventilation (average temperature around 7 oC); Bioclimatic strategies • Shaded open spaces; • Water tank and vegetation landscaping for microclimate; • Use of earth thermal mass on buildings; • Natural illumination for buildings;
Exterior View
© André Prevedello . Published on March 02, 2015.
General View
© André Prevedello . Published on March 02, 2015.
Internal View
© André Prevedello . Published on March 02, 2015.
Tea House
© André Prevedello . Published on March 02, 2015.
Plan
© André Prevedello . Published on March 02, 2015.
Detail
© André Prevedello . Published on March 02, 2015.
Il progetto ha riguardato la ristrutturazione della sede storica di Comelit Group s.p.a. situata a San Lorenzo di Rovetta, in provincia di Bergamo.
Fronte principale
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Planimetrie dello stato di fatto e di progetto
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Lo stato di fatto era costituito da due edifici distanti tra loro una decina di metri, posizionati a quote differenti e dal linguaggio architettonico eterogeneo. Il fabbricato più recente era distribuito su due livelli: quello alto ospitava gli uffici dei dirigenti e gli uffici operativi oltre che i laboratori di prova e collaudo ed il piano inferiore altri magazzini. Il fabbricato più vecchio era costituito a sua volta da due parti: una palazzina per uffici di 3 piani ed un magazzino ad un unico piano.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Il progetto è partito dalla razionalizzazione dei percorsi e dei collegamenti tra le diverse funzioni distribuite nei due edifici ai diversi livelli. Per far ciòè stato ideato un nuovo elemento di connessione che tenesse conto delle diverse quote dei fabbricati esistenti, collegandole tutte tra loro e rendendo facile ed agevole spostarsi da un ufficio all’altro. Questo elemento è stato ricavato nello spazio tra i vecchi edifici attraverso la realizzazione della nuova hall vetrata di ingresso e della sua scala circolare.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Il prospetto è costituito da due ali, rivestite con doghe orizzontali in zinco-titanio nero, convergenti verso lo spazio centrale vetrato della hall; il volume della vecchia palazzina uffici è invece messo in evidenza grazie al rivestimento in intonaco bianco.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Vista della hall vetrata di ingresso.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
L'ingresso pedonale è stato studiato in modo da diventare il primo biglietto da visita per i clienti in arrivo.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Lo spazio tra i due corpi di fabbrica, originariamente diviso in due parti non comunicanti tra loro e poste a quote diverse, è stato portato ad un solo livello, per ricavare un giardino interno.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
All'interno della hall è visibile il corpo scala circolare in acciaio e vetro, vero e proprio fulcro del progetto oltre che l’accesso ai nuovi spazi per l’accoglienza degli ospiti e per il relax dei dipendenti.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Lo studio delle luci esterne rende la nuova sede suggestiva anche di sera.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
© Studio Associato Capoferri Barzasi . Published on March 02, 2015.
Concept: Functional and decorative rationalization: -A regulating layout which creates distinct spaces -Each space is associated with a function -Each function is defined by a unique decorative ambiance
Photo by Luc Boebly. Published on March 02, 2015.
By applying this principle to furnishing we reinterpret the use of classic decorative elements to present them in absolute terms:
Photo by Luc Boegly. Published on March 02, 2015.
“Decorating becomes Architecture”
Photo by Luc Boegly. Published on March 02, 2015.
We want guests to live a new experience in a remarkable space, while at the same time feel reassured by the use of traditional motifs and materials. To my mind, a hotel room should offer release from your daily life while conjuring up the tranquility of your “home sweet home.”
Photo by Luc Boegly. Published on March 02, 2015.
The room is divided into six spaces each marked by a different decorative ambiance. Each ambiance is representative of the function associated with that space. 1- The Entrance – graphic space 2- The Office – wood space 3- The Dressing Room – monochromatic space 4- The Sleeping Area – padded space 5- The Relaxation Area – floral motif space 6- The Bath – mineral space
Photo by Luc Boegly. Published on March 02, 2015.
By the interplay of materials and motifs, this architectural principal makes it possible to compose distinct contextualized atmospheres. It offers endless possibilities and adapts to the diverse needs and high standards of the hotel industry.
The Black Maria is structure acts as a place of meeting, based around discussion, performance and moving images. The structure hosts a month long series of talks, screenings and events curated by London based artist Richard Wentworth and GRUPPE.
Photo by John Sturrock. Published on March 02, 2015.
Richard Wentworth invited GRUPPE to design, build and curate the structure as a result of the talk he gave in their structure and lecture series “Putting Things Together Taking Things Apart” for the Swiss Art Award 2012.
Photo by John Sturrock. Published on March 02, 2015.
Opened on the 16 February 2013 for a month, the Black Maria comprises a collection of spatial elements of varying sizes that recall an early film studio of the same name. The structure will be installed in ‘The Crossing’, the atrium hall that joins the historic Granary Building to the new Central St Martin’s Building. The hall is located between the offices of the Guardian Newspaper, Central St Martins, Kings Cross Station and Eurostar. GRUPPE see the location as the ideal conditions to create a place of exchange. Black Maria sits at one end of The Crossing, facing the larger part of the hall as a kind of inhabitable billboard with a staircase auditorium behind it. The talks happen “within” the billboard, allowing for different kinds of audience on either side of it: a more intimate audience within the structure; and another potentially much larger audience outside the structure. The billboard makes use of a large door to allow events to be either closed and private, or open to the hall and public. Black Maria recalls the vital but forgotten timber scaffolds used to build King’s Cross’ industrial past, and building site hoardings used today. In a related sense the Black Maria is a support structure for the community activities in the hall.
Photo by Richard Wentworth. Published on March 02, 2015.
The project was built between the 14th of January and 12th of February 2013.
The capacity of the structure is 120 seated people inside and approximately 200 people outside.
The Black Maria hosted around 50 events over 30 days. Among the great variety of events in the structure were screenings, discussions, lectures, theatre, workshops, fashion shoots and performance.
Size: 8.5m x 9m x 15m
Year: 2013
Location: The Granary Building, King’s Cross, London
© GRUPPE . Published on March 02, 2015.
Credits
Project by GRUPPE and Richard Wentworth
Built by GRUPPE and Lars Wagner
Engineering by Marcel Aubert
Construction team: Lorenzo Iandelli, Boris Raux, Thomas Oa, Adeeb Ashfaq, Gabriel George, Matt Clark , Niall Gallacher, Tom Emerson, Tom Lobo Brennan, Astrid Smitham, Tarik el Fassi, Nemanja Zimonjic, Esther Vonwil
Photo by David Grandorge. Published on March 02, 2015.
Photo by David Grandorge. Published on March 02, 2015.
Photo by David Grandorge. Published on March 02, 2015.
Image by Astrid Smitham. Published on March 02, 2015.
Image by Astrid Smitham. Published on March 02, 2015.
© GRUPPE . Published on March 02, 2015.
© GRUPPE . Published on March 02, 2015.
© GRUPPE . Published on March 02, 2015.
© GRUPPE . Published on March 02, 2015.
Photo by Richard Wentworth. Published on March 02, 2015.
Photo by David Grandorge. Published on March 02, 2015.
Photo by Richard Wentworth. Published on March 02, 2015.
Image by Astrid Smitham. Published on March 02, 2015.
