The station hall and municipal offices form a new landmark in Delft. The complex is located above a new underground train station, with the municipal offices accommodating one thousand employees. When the station is operational, the old railway viaduct that divided the inner city of Delft will make way for an extension of the city centre, a park and canal.

© Mecanoo . Published on March 02, 2015.

Designed without an apparent front or rear, the glass building is compact and flexible. Incisions in the glass volume echo the networked structure of laneways in the historic city and admit daylight deep into the building. Lowering the roof line at the corners reduces the building height to enable a gradual transition to the surrounding buildings.

© Mecanoo . Published on March 02, 2015.

The use of clear glass at ground level facilitates a close connection between inside and outside. Here, the public zone with the station hall and public lobby is differentiated from the private section with the municipal offices made from transparent and molten glass elements.A ceiling of curved white horizontal strips adorned with a historic city map in (Delft) blue arches above the public lobby and station hall (in collaboration with Geerdes Ontwerpen). The halls are separated by a glass wall and two volumes that house the public counters, consultation rooms and technical services of the municipal offices, and the commercial functions of the station hall.

© Mecanoo . Published on March 02, 2015.

The facilities are organised so that travellers can immediately glimpse the historic city from the station hall. Measures including a geothermal heat pump and an optimal facade design featuring highly insulated glazing enable a 35% reduction in energy use from prescribed requirements.

© Mecanoo . Published on March 02, 2015.

The building accommodates solar panels on the roof that can generate a minimum of 20% of the building’s energy needs.

© Mecanoo . Published on March 02, 2015.

© Mecanoo . Published on March 02, 2015.

© Mecanoo . Published on March 02, 2015.

© Mecanoo . Published on March 02, 2015.

© Mecanoo . Published on March 02, 2015.

© Mecanoo . Published on March 02, 2015.

Flagship is a simple yet powerful approach to the ideas of weightlessness and transparency, as a physical condition and as well as a cultural experience. Inspired by the golden era of sailing ships, the concept was materialized by using 240 flags made from Sunbrella´s fine marine fabric combined with a transparent glass structure. In addition to lighting and color effects, the spatial rhythm created by the flags and glass offers strong perspective views throughout the building. The flags enable a clear view of the surroundings at the bottom, with a vertical progression that provides a necessary protection from the elements. The lower strips also allow sitting /lounging around the building’s facades. Thus, Sunbrella’s Marine 60’’ Natural (6004-0000) was selected due to its tensile properties, resistance to the elements and shading qualities. The pavilion provides a solution for an over exposed coastal site, creating a dynamic atmosphere of light and shadow whose appearance varies with the time of day and weather. Taking advantage of Sunbrella´s fabric recycling program together with the 100% recyclable glass structure, this project ensures that most of the construction elements are reusable.

© Joao Araujo Sousa . Published on March 02, 2015.

© Joao Araujo Sousa . Published on March 02, 2015.

© Joao Araujo Sousa . Published on March 02, 2015.

Studio di fattibilità per la realizzazione di una facciata.

Concept

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Sketch

© Alessandro Tamburello . Published on March 02, 2015.

Memorandum

Piscina Interior

© Elisabete saldanha . Published on March 02, 2015.

Looking to create your own place to live, we proposed the recovery of a house, stable and a grove of oaks, chestnut and cork trees, situated on a farm, near the City of Guimarães. The program was created to meet current needs, maintaining its original characteristics.

Jardim Interior

© Elisabete saldanha . Published on March 02, 2015.

The adjustments were to meet the original morphology of the propriety, consisting in terraces that led the house orientation and provided it with a direct access to the outside, on all floors, except the tower.

Exterior Poente

© Elisabete saldanha . Published on March 02, 2015.

The building is south oriented, arranged in an “L” shape and organized in 4 floors. The ground floor is an interior extension of the main living areas of the 1st floor, is related to the main entrance area of the house that is made through the staircase and porch that stand out from the facade for its grandeur and elaborate stone masonry.

Escada caracol

© Elisabete saldanha . Published on March 02, 2015.

The first floor connects to the ground floor through a spiral staircase with a strong decorative nature, which leads to a social use. The living rooms extend to the outside on the South, where the pool is the leading element, preceded by terraces and a lounge area that complements the inner social areas.

Quarto

© Elisabete saldanha . Published on March 02, 2015.

The second floor corresponds to the private areas. The tower hosts an office / library, going up from a living room on the 2nd floor. In this living room there is a strong interaction between the restoration and the contemporary intervention, marked either by the restoration of ceilings and wainscoting, or trough new solutions that favors and promotes rehabilitation and how it was conducted. The tower has a privileged view over the landscape, operates as a viewpoint that provides an aerial view of the gardens at a lower bound, in “land art” style.

Bar

© Elisabete saldanha . Published on March 02, 2015.

The interior is characterized by decoupling the outside. All the historical elements of the building were preserved and restored and even replicated, with a view to create an identity where the duality between the past and the present coexist in the same space. On one hand there are elements that preserve and recreate the building’s historical memory, on the other hand were assumed minimalist traits that are identified with the new users. This Results in rich interior details and solutions in an interaction between the two languages without giving up the essential user comfort.

Sala Jantar

© Elisabete saldanha . Published on March 02, 2015.

The annex retains the main features of the original building where there were stables. It now hosts a workshop that privileges the visual contact with the cars that are in the garage, as a source of inspiration to the design developed. It also keeps, whenever possible, a relationship with the surrounding landscape.

Garagem

© Elisabete saldanha . Published on March 02, 2015.

Construction area: 1500,00m2 + 510,00m2 Floors: ground floor + 3 Use: Housing and agricultural Annex Type: 4 bedrooms Propriety area: 28 695.00 m2 Implantation area 434.00 m2 Annex Implantation area 118.50 m2

Corredor

© Elisabete saldanha . Published on March 02, 2015.

Technical information Architects: Elisabete de Oliveira Saldanha Location: Guimarães, Portugal Preparation of design work: Elisabete Saldanha, Filipe Santos, Paulo Castro Design Furnitur: Elisabete Saldanha Area: 1500.00 m2 Project year: 2008– 2014 Construction Company: Mota-Engil Specialized companies: Carpentry: MachadosL.da Locksmiths:IRF Inacio Rosas e Filhos L.da Stone: Peixoto e Antunes

Fachada principal

© Elisabete saldanha . Published on March 02, 2015.

Photographs: FG+SG | Fernando Guerra

Sala Musica Exterior

© Elisabete saldanha . Published on March 02, 2015.

IMAGES

Sala Musica

© Elisabete saldanha . Published on March 02, 2015.

| http://ultimasreportagens.com/full/836.php

http://press.fernandoguerra.com/lr/ur836/

Memorandum of Tagilde

Escada Torre

© Elisabete saldanha . Published on March 02, 2015.

Looking to create your own place to live, we proposed the recovery of a house, stable and a grove of oaks, chestnut and cork trees, situated on a farm, near the City of Guimarães. The program was created to meet current needs, maintaining its original characteristics.

Piscina Interior

© Elisabete saldanha . Published on March 02, 2015.

The adjustments were to meet the original morphology of the propriety, consisting in terraces that led the house orientation and provided it with a direct access to the outside, on all floors, except the tower.

PIscina inteior II

© Elisabete saldanha . Published on March 02, 2015.

The building is south oriented, arranged in an “L” shape and organized in 4 floors. The ground floor is an interior extension of the main living areas of the 1st floor, is related to the main entrance area of the house that is made through the staircase and porch that stand out from the facade for its grandeur and elaborate stone masonry.

Quarto

© Elisabete saldanha . Published on March 02, 2015.

The first floor connects to the ground floor through a spiral staircase with a strong decorative nature, which leads to a social use. The living rooms extend to the outside on the South, where the pool is the leading element, preceded by terraces and a lounge area that complements the inner social areas.

Sala Estar

© Elisabete saldanha . Published on March 02, 2015.

The second floor corresponds to the private areas. The tower hosts an office / library, going up from a living room on the 2nd floor. In this living room there is a strong interaction between the restoration and the contemporary intervention, marked either by the restoration of ceilings and wainscoting, or trough new solutions that favors and promotes rehabilitation and how it was conducted. The tower has a privileged view over the landscape, operates as a viewpoint that provides an aerial view of the gardens at a lower bound, in “land art” style.

Sala Estar II

© Elisabete saldanha . Published on March 02, 2015.

The interior is characterized by decoupling the outside. All the historical elements of the building were preserved and restored and even replicated, with a view to create an identity where the duality between the past and the present coexist in the same space. On one hand there are elements that preserve and recreate the building’s historical memory, on the other hand were assumed minimalist traits that are identified with the new users. This Results in rich interior details and solutions in an interaction between the two languages without giving up the essential user comfort.

Sala Jantar

© Elisabete saldanha . Published on March 02, 2015.

The annex retains the main features of the original building where there were stables. It now hosts a workshop that privileges the visual contact with the cars that are in the garage, as a source of inspiration to the design developed. It also keeps, whenever possible, a relationship with the surrounding landscape.

Quarto

© Elisabete saldanha . Published on March 02, 2015.

Construction area: 1500,00m2 + 510,00m2 Floors: ground floor + 3 Use: Housing and agricultural Annex Type: 4 bedrooms Propriety area: 28 695.00 m2 Implantation area 434.00 m2 Annex Implantation area 118.50 m2

jardim interior

© Elisabete saldanha . Published on March 02, 2015.

Technical information Architects: Elisabete de Oliveira Saldanha Location: Guimarães, Portugal Preparation of design work: Elisabete Saldanha, Filipe Santos, Paulo Castro Design Furnitur: Elisabete Saldanha Area: 1500.00 m2 Project year: 2008– 2014 Construction Company: Mota-Engil Specialized companies: Carpentry: MachadosL.da Locksmiths:IRF Inacio Rosas e Filhos L.da Stone: Peixoto e Antunes

Fachada Sala da Musica

© Elisabete saldanha . Published on March 02, 2015.

Photographs: FG+SG | Fernando Guerra

Fachada Poente

© Elisabete saldanha . Published on March 02, 2015.

Fachada Principal

© Elisabete saldanha . Published on March 02, 2015.

bar

© Elisabete saldanha . Published on March 02, 2015.

Escadas

© Elisabete saldanha . Published on March 02, 2015.

Sala de Musica

© Elisabete saldanha . Published on March 02, 2015.

Sala Estar II

© Elisabete saldanha . Published on March 02, 2015.

Ville singole

© Mario Tagliaferri . Published on March 02, 2015.

© Mario Tagliaferri . Published on March 02, 2015.

Altri disegni

veduta a volo d'uccello

© Claudio De Santis . Published on March 02, 2015.

The sun shines upon the sand stone cliff, leaving a faint yellow contrasting the dark caves engraved in the past hundreds of years by hands. In face of the beautiful nature and historical richness, the Bamiyan Cultural Center is an attempt to praise what nature provides us: the soil that grows us food, a ground to stand on and a roof to rest under. The Bamiyan Cultural Centre is a humble experience for the visitors to connect to the natural soil. Across the Buddha Cliff, Bamiyan Cultural Center symbolizes the 3 Bamiyan valleys, where different ethnical groups, of different culture and opinions will be welcomed and respected under one big roof.

Bamiyan Cultural Centre is an attempt to re-establish the relationship with the ground

© 1TO. All rights reserved.. Published on March 03, 2015.

• Archaeological Significance The design concept of the Bamiyan Cultural Center (BCC) originated from archaeological significance of the place. With a history that stretches over two thousand years, the silkroad hub was once a cultural and religion exchange center. To emphasize the uniquely Bamiyan identity, BCC is an attempt to make architecture disappear, instead of making architecture the identity.

• Relationship to the ground Afghan has a close relationship to the ground, which they rest, cook, and create artifacts from. The BCC is thus inspired to keep the relationship of the ground to the building, and pay special attention to the different character of mud to be applied to the construction.

• Traditional typology Pakhsa wall Qala compound is inspired the spatial organization of the BCC. The larger rectilinear periphery defines the building, while quarters are provided with courtyards that bring closeness yet still lively, and village like compound.

Rebuild Identity In order to enable Bamiyan to move forward into the future, the Bamiyan Cultural Center plays an important role in rebuilding the identity of the place, of the culture, and the people. The pressing issue is to create jobs that help to pull the people of Bamiyan out of poverty, which needs to begin with healing the harm done to their identity. Through educating the locals with their own historical uniqueness, facilitates researchers and archaeologists to research, as well as providing an exhibition hall that preserve and display their pride. Meanwhile, the center will also provide ground to boost pride of their local culture, by providing space and assistants to artists and experienced craftsmen to train the next generation with their tradition, providing a well-designed auditorium for performance, lecture and conference etc. The open park on the upper level will provide an open space for idea exchange between people of all culture and all opinions. The Bamiyan Cultural Center will facilitate Bamiyan to search and recover her own identity that will lead them to a bright future.

Diagram of how the building can impact local economy by identifying culture and material sourcing

© 1TO. All rights reserved.. Published on March 03, 2015.

Under the big roof The qala compound is binded together with one roof, which flushes with the upper ground of the site, which together serves as a large park for the public. The building is divided into 5 quarters, namely Performance, Exhibition, Educations, Research and Private. Each quarter has its own courtyard that is connected by a main passage throughout the building. Users will access each space through the courtyards, to encourage idea exchange and participations to different activities in the center. The quarters and roof organization enables the building to be flexible in spatial arrangement as well as easy to be extended in the future.

Lobby Entrance

© 1TO. All rights reserved.. Published on March 03, 2015.

20km production radius The project aims at using material that can be found locally within 20km travel distance. Using locally founded material not only help to ease the limited transportation, but also help to create jobs and training needed for Bamiyan to progress forwards. The BCC is a brick wall & structural concrete roof construction, together using pottery and fabric as the secondary façade and interior partition. The building will be built mainly out of hollow brick, which has better insulation property while using less material. During the construction, locals will cooperate with NGO focusing on earth work, in order to train and improve building techniques. The brick wall weaving technique will create two types of masonry patterns: solid wall and light wall that allows low cost brick buildings to be well lite throughout the day. Pottery has a long history in Afghanistan, of which has a unique turquoise color glaze above it. It will be used as a light shading device in the public area. The use of pottery is important to bring out the essence of Afghanistan culture as well as nurturing traditional craftsmen. The traditional carpet is taken from local herds, carpet weaving has long been a natural self-sustaining products. It can be used as soft partition for space like workshop exhibition, conference room, which enhance the spatial quality, while empowering women with job and be self-sustainable.

Floor plan

© 1TO. All rights reserved.. Published on March 03, 2015.

Sustainability Base on the limitation of the infrastructure in Bamiyan, the building design focuses local source building material and passive energy saving that maximize day light, encourage natural ventilation, using high thermal mass material, good insulation. The project also actively harvest solar energy, water collection/ recycle system. In the building, each space has a light wall that is connected to a courtyard, providing natural lighting in the interior. A top opening is also installed in order to adjust opening for lighting and ventilation purpose The hollow masonry is a good insulating material that is efficient in heat gain, along with the air gap of the brick wall. The bricks and the concrete roof have high thermal mass, that store heat during the day to keep cool, and release heat at night, keeping the interior temperature stable. The depth of the concrete beam and the pottery lighting device controls the amount of sun light entering the building over different seasons. Despite the precipitation is not very high, the building takes its topographical advantage by collecting rain water from the upper ground to the lower ground. Together with recycling grey water, the building will be able to reduce water usage. Despite the recent solar farm installation in area, the north part of the site will have solar panel installed to harvest sustainable electricity.

Long Section

© 1TO. All rights reserved.. Published on March 03, 2015.

Corridor connects courtyards of each quarter

© 1TO. All rights reserved.. Published on March 03, 2015.

Workshops establishing local culture

© 1TO. All rights reserved.. Published on March 03, 2015.

Design strategies

© 1TO. All rights reserved.. Published on March 03, 2015.

Exhibition Hall

© 1TO. All rights reserved.. Published on March 03, 2015.

Site Plan

© 1TO. All rights reserved.. Published on March 03, 2015.

View from Buddha Cliff

© 1TO. All rights reserved.. Published on March 03, 2015.

Sustainability Diagram

© 1TO. All rights reserved.. Published on March 03, 2015.

Short Section

© 1TO. All rights reserved.. Published on March 03, 2015.

Concept inspired by the archaeological significance in Bamiyan

© 1TO. All rights reserved.. Published on March 03, 2015.

Proposta per la viabilità Siciliana

ALCUNE SUGGESTIONI INIZIALI

© Giuseppe Barca . Published on March 03, 2015.

The big and nice dormitory for foriegn students in kish island designed by 4 corners studio design . the square is near by 16.000 meter and the site position is near the seaside. site slope is zero . i use diffrenet terrace for dormitory . because students can see the hole of island and the beautiful vie of sea . the main material is expose concrete . i use vertical wooden louvers for window to break the sun light … all of room and bedroom have good light and view .

© siavash akbari . Published on March 03, 2015.

© siavash akbari . Published on March 03, 2015.

© siavash akbari . Published on March 03, 2015.

© siavash akbari . Published on March 03, 2015.

© siavash akbari . Published on March 03, 2015.

Il progetto si inserisce all’interno dei lavori di adeguamento dell’Idrovia Ferrarese alla classe 5 dei nuovi standards europei in fatto di navigabilità; le nuove esigenze di tracciato modificano la curvatura esistente del canale, dando vita ad un’isola racchiusa tra il vecchio ed il nuovo alveo, da destinare ad attività di svago per la comunità locale. Il nuovo ponte si inserisce proprio tra le due sponde, a cavallo dell’inizio dell’isola: presenta due archi a via inferiore di luci di 44 e 78 metri, i quali scavalcano rispettivamente il vecchio canale fluviale ed il nuovo di maggiori dimensioni. L’opera, con i due archi asimmetrici ed i pendini inclinati vuole richiamare le ali di un uccello in volo, considerato che queste zone hanno una grande varietà e ricchezza di fauna aviaria tra cui si ricorda il bellissimo airone cinerino a cui si ispira il ponte.

Fotoinserimento su ortofoto dell'intervento

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

L’impalcato presenta una larghezza di 15m ed è sorretto dalle due travi di bordo, collegate tra loro da trasversi metallici posti ad interasse pari a 3 metri circa. I trasversi sostengono la soletta in cemento armato fibrorinforzato gettata in opera su lamiera grecata. Le sottostrutture del ponte sono costituite da una pila e due spalle realizzate in cemento armato, tutte fondate su pali di grande diametro aventi lunghezza differenti. Parte integrante del progetto saranno la realizzazione della passerella ciclo-pedonale di collegamento all’isola (sulle cui sottostrutture verrà sistemato il ponte carrabile provvisorio durante le fasi di cantiere) e la sistemazione a verde della nuova isola, nonchè tutti gli interventi di mitigazione ambientale previsti.

Rendering prospettico del nuovo ponte

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

Phoenix taking off at Comacchio

Rendering prospettico del nuovo ponte

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

The Ferrara waterway, connecting this historical town with Comacchio on the Adriatic Sea is being upgraded: section widening and straightening as well as higher clearance has called for the replacement of most of the existing bridges. When approaching Final di Rero the waterway needs to be bifurcated to straighten a sharp bend leaving a dumpling shaped island between the new navigational channel and the existing one to be used as mooring stretch. The new bridge fall just on the upstream vertex of the new island, calling for a double span of 40 and 80 metres circa. The situation was clearly suited for a bow string solution. The proposed design, by inclining the hangers yield an asymmetric funicular of the two arches that while retaining structural efficiency gift the structure with the distinguish look of an heron taking off. Since the symbol of the Comacchio’s fauna are these beautiful Cenerino herons stretching their slender wings across the water.

Airone cenerino

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

Fotoinserimento del nuovo ponte

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

Progetto di Stand aziendale per conto di Pratic f.lli Orioli SpA Udine. Dimensione: 320 mq (16 mt/20 mt )

Immagine per invito clienti

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

Ideazione e progettazione di stand aziendale

bozza preliminare

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

© Gilberto Toneguzzi . Published on March 03, 2015.

Un piccolo spazio da abitare, dove ogni elemento funzionale trova una propria collocazione. Elemento dominante è il pavimento originale recuperato, scoperto sotto uno strato di piastrelle poi eliminate. La nuova distribuzione degli ambienti dialoga con la tessitura delle vecchie cementine, dando luogo ad un interessante gioco di sovrapposizioni.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

© Luigi Bartoli . Published on March 03, 2015.

IDEE PROGETTUALI La struttura della copertina è stata concepita come somma di tre livelli ben distinguibili: il primo livello riguarda lo sfondo, optando per un effetto “vedo non vedo”, per dare maggior importanza al livello successivo. Il secondo livello, appunto, è il “cuore” della copertina, in cui vengono stilizzati i confini territoriali (con linee più o meno marcate), in maniera tale da creare una serie di tracciati, percorsi e profili che convergono, ed esplodono, in varie forme dal disegno organico. Il terzo livello, individuato dalle aree in trasparenza, risulta essere la parte più“vicina” al lettore, nel quale si individuano “informazioni” contraddistinte da diversi caratteri di comunicazione: le figure (o “simboli”), indicano le varie tipologie di attività presenti sul territorio, le scritte (i titoli della guida), e i loghi (attinenti agli enti competenti).

Copertina

© Alessandro Tamburello . Published on March 03, 2015.

IDEE COMUNICATIVE L’idea comunicativa principale è stata quella di esasperare il concetto di “centralità”, sommando i tre livelli sopradescritti, individuando in uno spazio limitato, tutte le attività ricettive e le peculiarità del territorio. L’attenzione ricade sul “groviglio” centrale, che, oltre ad evocare la forma del cuore del corpo umano (con tutte le suggestioni connesse), indica il punto di arrivo dei vari tracciati che, dall’esterno, giungono al’interno della copertina intrecciandosi. La disposizione dei percorsi esterni, è stata studiata per evocare le “curve di livello”. Una tipicità questa, che rimanda a tutte quelle attività legate alla montagna, ai rifugi alpini, alle foresterie, … Il gioco cromatico del “chiaro scuro” orienta il lettore a diversi livelli di interpretazione del territorio, ma soprattutto, pone in primo piano la divulgazione della conoscenza, attraverso la simbologia, delle attività di esercizio pubblico che l’utente incuriosito si aspetta di trovare.

Il progetto di recupero e trasformazione di un piccolo fabbricato artigianale diviene occasione per riscoprire l’arcaica morfologia di abbandonati edifici reinterpretandone l’unicità dello spazio interno: ieri produttivo, oggi residenziale. Il volume monolitico accoglie un nuovo universo articolato come successione di piani sequenza che svelano la concezione spaziale interna organizzata come un’enfilade prospettica di scorci per l’abitare.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

© Vanessa Giandonati . Published on March 03, 2015.

Progettazione preliminare e definitiva dei lavori di riabilitazione dell’attraversamento del fiume Kamoro ad opera del RN4 (Madagascar).

Il ponte esistente

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

Il lavoro prevede: - la riabilitazione del ponte sospeso esistente, realizzato completamente in acciaio nel corso degli anni ‘30 del secolo scorso;

Stato attuale del ponte esistente

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

- la progettazione di un nuovo ponte sospeso in affiancamento all’esistente, con sezione a due corsie e luce della campata centrale identica a quella del ponte esistente (206.5 m)

Dettaglio degli stralli del ponte esistente

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

L'antenna del ponte esistente

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

Dettaglio della parte superiore dell'antenna

© INTEGRA Ingegneria Territorio Grandi Infrastrutture S.r.l. . Published on March 03, 2015.

EN This is a dental clinic project in the city center of Porto, Portugal. There are plenty of tile rendered buildings in this area and the design concept of this clinic is inspired by one of the typical tile patterns with windmill shape. Interior walls are finished with this windmill pattern. This pattern is applied to the Illumination and the furniture. Portuguese fabric made of wool called Burel is used as acoustic and adsorptive material on several walls.

© Ren Pepe Arquitetos. All rights reserved.. Published on March 03, 2015.

IT Clinica dentaria nel centro della cittá di Porto, Portogallo. Questa zona della cittáé ricca di palazzi la cui facciata é decorata con azulejos (piastrella portoghese). Il concetto portante di questo progetto trae ispirazione da uno fra i motivi tradizionali usati per decorare l’azulejo, il mulino a vento. Le pareti interne sono decorate con questo pattern e corpi illuminanti e mobilia hanno qualche tipo di relazione con tal forma. Il prodotto portoghese fatto con lana

PT Este é um projeto de clínica dentária no centro da cidade do Porto. Há uma abundância de edifícios com azulejos nesta área e o conceito de design da clínica é inspirado por um dos padrões típicos de azulejo com a forma de moinho de vento. Este padrão é utilizado nas paredes interiores, iluminação e nos móveis. Um tecido português feito de lã chamado Burel é aplicado na parede com o mesmo padrão como material acústico e absorvente de pó e cheiros.

JP これは、ポルト市の中心にある歯科クリニックのプロジェクトである。この地区はタイルで外装を仕上げられた古い建物が数多くならび、歯科クリニックのデザインコンセプトもポルトガルの汎用的なタイル模様から発想を得ている。風車の模様のタイルパターンで壁を仕上げ、更にこの模様を照明器具、家具にも用いている。また、同じ模様にポルトガル産のブレルという羊毛からつくられる生地を切り取り、吸音・吸着材として利用している。

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© Lorenzo Loiacono . Published on March 03, 2015.

Immaginiamo il bosco in un sogno futuro, lontano dal tempo in cui queste forme naturali ricoprivano gran parte dei nostri territori prima ancora dell’ascesa dell’uomo. Congiunzione di una forma più classica e arcaica apparizione quale bosco comune della nostra macchia mediterranea a Quercus ilex, nome comune “Leccio”, disposto a formare un impianto a quinconce si evolve nell’era moderna e contemporanea in una figura Hi-Tech 3.0 a passo con i tempi e l’evoluzione dell’uomo stesso. Rappresentazione metaforica e amplificata di una realtà aumentata.

Tavola Concorso : Forest Graal Premio Sezione : Paesaggio - Idee Tema : Quale la forma Bosco-Mente ?

© Maurizio Di Curzio . Published on March 03, 2015.

Uno spazio a vocazione naturale trasformato e dotato di vita artificiale propria con collegamenti Wireless/Wifi. Strutture cilindriche in policarbonato sostituiscono i fusti dominando un paesaggio urbano prossimo. Chiome arboree, a luci led e neon, illuminano la notte e l’oscurità quasi a costituire una massa muscolare di impulsi e neuroni di una vegetazione artificiale dotata di un’anima naturale ormai forse persa nei tempi.

Dettaglio materiali e componenti

© Maurizio Di Curzio . Published on March 03, 2015.

Interessante il rapporto tra il bosco storico e il bosco tecnologico che l’uomo ha generato e che ritrova sopra di sé. Come un vero e proprio bosco funziona perfettamente attraverso collegamenti artificiali. Un’idea estremamente interessante nella quale emerge la duplicità della trasformazione Mente-Bosco attraverso il ribaltamento reciproco dei ruoli. Gli uomini hanno il bosco storico con le radici del passato al di sotto si sé e sopra di sé il proprio bosco tecnologico che ritrova nelle piantumazioni a quinconce un nuovo motivo di trasformarsi.

Dettaglio funzioni

© Maurizio Di Curzio . Published on March 03, 2015.

Le chiome di luci divengono nuvole. Il Bosco accoglie e assume la forma di un cervello sospeso mentre culla l’uomo che ancora sogna. L’azzeramento dei colori amplifica l’unione. Ciascuno perde qualcosa e acquisisce altro… Un’idea traducibile in un progetto reale.