Library, game library and municipal administration, Spiez - bauzeit architekten

May 18, 2015, 2:12 am

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“Buchwert” As part of a two steps project’s competition organized in 2010 for the new library of the city of Spiez, the jury awarded the first place to the “Buchwert” project (“book-treasure”, word game of the term « book value ») designed by ‘bauzeit architekten’ office in Biel. The project consists of a two levels wooden building, which forms an ‘ensemble’ with two existing buildings; the school and the main municipal,’s administration building. On the first floor, we find an extension for the municipal’s administration (social services), on the ground floor the library and the game library for kids. The first phase of the detailed project was spread from 2011 to 2013, followed by the realization and the end of works in autumn 2014. The new building as part of the ensemble of public buildings defines, with its geometry, the surrounding space: in the eastern side, the park with its exotic trees maintains a clear spatial framework, while on the western side a sufficient distance is maintain between the residential neighbourhood area and the public buildings. In the North, it joins at the foot of the hill of the vineyards of Spiez. The building’s exterior aspects, clearly affirms itself as a public building in several ways: The wooden facades, exempt of any iconographic element, which can express a use, present a rhythm which gives a unity to the volume. They provoke a certain monumentalization but also a calmness which confers to the building a modest presence. The envelope reminds of a book’s structure on shelves. The wooden building integrates the ancient local tradition, without imitating the forms.

Massive wooden beams, which guaranty both sun protection and also acts as a vertical balustrade, are milled with approximately 172 books and game titles, in honour of the work of their authors. They inspired the ancient building’s friezes in wood in the Bernese Oberland, which crossed the centuries and the words of which question us with delicacy. The facade of the new building sends back to these former processes of the joiners, attached to look after the technique and after the contents. To realize this handwork in this scale is not payable any more today. The typographic data were thus burnt by means of a milling cutter CNC in the wood, sometimes in high relief, sometimes in bas-relief. According to the light and the weather situation, the words are sometimes readable only by looking at it closer. With the erosion of time, their outlines are going to become milder, to crack and to receive the patina of the sun, maybe up to a certain fuzziness. They are going to age and to become more alive and more beautiful. This work led to Spiez’s Corporate Design of the library, and was also used for its internal signage-system.

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O House - Wangstudio

May 18, 2015, 2:32 am

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The country house was designed for the retired partners. It is aimed to build a quiet space, consisting of a full-of-natural-light house and a small garden which the clients can spend their spare time to take care.

The most attractive space of the house consists of the living room, the dining room and the large void. Combining with the chink system for natural lighting on the building roof, it helps to bring lots of natural light and fresh air during the day. Moreover, the sloping concrete wall at the rear of the house is also very interesting as it provides an impressive look from the main space of the house, including the living room, the dining room, the kitchen and the bedrooms. Also, the small garden is located at the house rear, which not only provides a green landscape for the building but also serves fresh vegetables for the family meals. Vegetables are planted in many reinforced concrete annular with various sizes, creating an interesting space and a flexible movement strategy.

The main bedroom is the space where the clients have the best views of the building as they can target to the big void, the balcony with “a green fence” which can restrict the pollution of noise and dust as well as the summer solar radiation.

Another impression of the house is “the green fence” which contributes to the look of the building façade. Many Asia vegies are planted here, therefore, the designer created a steel frame for the clients to go up and down the “green fence” and to the roof.

The designer aimed to build a large space in which people can have the feelings of natural light in 3-D way, with shadow through the narrow chinks, and natural air ventilation through the big void.

Last but not least, the exposed concrete material brings many special feelings when it touches natural light and combines with natural wooden furniture. All create the warmest and friendliest environment for the house.

Missing image

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Ko Shan Theatre New Wing - Ronald Lu & Partners

May 18, 2015, 2:45 am

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Located in Ko Shan Road Park, the Ko Shan Theatre New Wing negotiates harmoniously with the park’s existing topography. It successfully creates additional public facilities within an existing public park with minimum impact on its environment, while enhancing the theatre’s identity as Hong Kong’s hub for Cantonese opera. The project consists of a 600-seat auditorium, exhibition hall, rehearsal rooms, resource centre, restaurant and other ancillary facilities.

A picturesque Chinese Landscaping scenery in the Park

Together with the existing theatre, it aims to promote and preserves cultural heritage of Cantonese Opera and beneficial to Hong Kong in taking the lead role in the development of this traditional art form in the Greater Pearl River Delta area.

Green Trail and Vertical Extension of the Existing Park

A Park Inside A Theatre Ko Shan Theatre New Wing negotiates harmoniously with the park’s existing topography, preserving the mature precious trees. External timber-outlook sun-shading fins, metaphorically representing the existing tree-scape, dematerialize the building massing and blend subtly into the surrounding nature’s scale, textures and colours. A “Green Trail” extends vertically the at-grade park with the lavishly-landscaped terraces, a Tea-House, an Exhibition Gallery, a Cantonese-Opera Information Centre and a roof garden – “Moon Lawn”; injecting a fresh cultural and leisure experience to the community.

The auditorium is surrounded in 180-degree by the curvilinear foyer – a lofty public realm borrowing the surrounding park environment into the theatre interior, which is analogous to the “view-borrowing technique” in traditional Chinese courtyard design, offering spatial/ visual/ symbolic richness into a small and introverted space. The foyer continually unveils its spatial quality as one walks along, similar to the strolling experience in a Chinese landscape garden. “Red-timber-screen”, “white-petal-ceiling”, and “black-stone-woven-wall” offer Chinese symbolic meanings of “well-being”, “elegance” and “stability” respectively.

A Sustainable Performing Arts Centre The project successfully revitalizes the park’s role as a major public amenity facility by transforming the formerly four-tennis-court site into a public park plus theatre for the enjoyment of the public. It also adds on more green elements to the park like a green trail, green terraces, a sizable green roof garden and achieves a 32% green-roof-coverage.

Environmental impacts are minimized by green building strategies, e.g. high-performance building envelope (Overall-Thermal-Transfer-Value = 17.17W/sq.m.), rain-water-recycling, renewable-energy installation and dimmable LED-lighting. Natural daylight, sound, breeze and scenery are brought into the interior via the high-performance glazed building enclosure which has electrically-operated windows to be opened under favorable weather conditions to assist the foyer operating in free-cooling-ventilation mode to minimise energy consumption. The project is achieved Gold-grade of HK-BEAM New Buildings Certification.

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Sainsbury Centre for Visual Arts - Foster + Partners

May 18, 2015, 2:56 am

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With the donation in 1973 of their collection of ethnographic and twentieth-century art to the University of East Anglia, together with an endowment for a new building, Sir Robert and Lady Sainsbury sought to establish the Sainsbury Centre as an academic and social focus within the campus. The Sainsburys shared a belief that the study of art should be an informal, pleasurable experience, not bound by the traditional enclosure of object and viewer. As a result the Sainsbury Centre is much more than a conventional gallery, where the emphasis is on art in isolation. Instead, it integrates a number of related activities within a single, light-filled space.

The building brought a new level of refinement to the practice’s early explorations into lightweight, flexible enclosures. Structural and service elements are contained within the double-layer walls and roof. Within this shell is a sequence of spaces that incorporates galleries, a reception area, the Faculty of Fine Art, senior common room and a restaurant. Full- height windows at each end open the space up to the surrounding landscape, while louvres line the interior to provide a highly flexible system for the control of natural and artificial light. Large enough to display the Sainsburys’ extraordinary collection, yet designed to be intimate and inviting, the main gallery – or ‘living area’– evokes the spirit of the collection’s originally domestic setting.

A new gift from the Sainsburys in 1988 allowed the building to be extended to provide space for the display of the reserve collection, together with curatorial and conservation facilities and a space for exhibitions and conferences, giving the Centre greater flexibility in its programming. The new wing extends the building below ground level, exploiting the contours of the site to emerge in the form of a glazed crescent incised in the landscape. In 2006 a further programme of improvements was completed, which provides an internal link between the main and Crescent Wing galleries, a new education centre, additional display space, and improved shop, café and other visitor amenities.

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New York Office Tower - Michael Arellanes II

May 18, 2015, 8:53 am

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NYC Tower Proposal – Conformal Tectonics

NYC Office Tower

The concept proposal is located in Manhattan’s South Street Seaport as an office tower with an adjacent parking structure. In its inception the tower is a product of preserving angles within a complex plane grid, which has been interfered by a Mobius geometric transformation. By manipulating a two-dimensional grid using asymptotic developments, it generates a series of automorphing patterns and higher dimensional structures. These elements applied to the skyscraper become an articulation of vectorial components that shift in a concave – convex path along the vertical structural members, creating a series of curves within the curtain wall expression. Along with the structural dynamics of curvilinear geometries composed of vector components, the façade treatment is also layered with a secondary structure. The distribution of the primary and secondary tactile frame members synchronizes structural forces and visual impact creating a conformal manifold of structure and surface.

perspective

Patterned geometry has many properties that contain elements beneficial for structural performance, historical reference, geometric expression, and spatial configuration. With the current scheme the tower makes use of such strategies and logic, but is condensed within a conformal geometric massing creating a tractor bundle of fluid formation. By utilizing mathematical geometric variants in its configuration, it sets a series of angle preserving parameters which generates conformal transformations on space and surface manipulation. Using this technique or approach can lead to many variations which lead to infinity based curves and forms, radically dense configurations and intersections. In this project the path was more of a Mutatis Mutandis of a conventional tower; that is “changing the elements which need to be changed while acknowledging the differences.”

perspective

drawings-perspectives

elevations

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Mausoleo delle Fosse Ardeatine -

May 18, 2015, 9:09 am

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A reportage by Xavier de Jauréguiberry

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Shanghai Expo Center - Michael Arellanes II

May 18, 2015, 9:10 am

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Cultural pavilions, observation tower, and exhibition halls for Shanghai

perspective

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Art Pavilion - Michael Arellanes II

May 18, 2015, 9:18 am

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The Idea was to project a synthesis of speed, urbanization, and light projection into a form that shifts with flux like trajectories in a metallic panelized body. The body torques along the edges with stealth like streamlines creating an urban hub with dynamic angles and rooftop access. The shifting of planes are regulated by intensities of surrounding activities, framed views, and accessibility. Along the panelized surface, variations of size and transparency give the form a dynamic pallet for creating an urban pavilion. The pavilion sits at the edge of West Kowloon facing Hong Kong’s Central business district. The iconic skyline can be viewed and experienced with a new geometric experience of urban dynamism. The architectural lighting features and green roof access allows for night recreational viewing of Hong Kong’s skyline.

Art Pavilion - West Kowloon

perspective

night perspective

drawings

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Praxis Vol.1 - Michael Arellanes II

May 18, 2015, 9:31 am

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The architectural monograph of MA2.

MA2_2015

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Hitchcock Towers - Piero Speranza, Corinne Piera Speranza, sas&a - studio di architetture speranza associati

May 18, 2015, 9:39 am

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Le Hitchcock Towers rappresentano la simbologia urbana dell’invecchiamento, a cui inesorabilmente tutti gli edifici arrivano nel corso della loro esistenza.La facciata diventa la rappresentazione della lacerazione di una veste indossata, nata per proteggerla dalle inevitabili conseguenze climatiche e dall’ inquinamento atmosferico.

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Château de Rentilly - FRAC Île-de-France - bona-lemercier

May 18, 2015, 10:05 am

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Rebuilt after the last war in a style reflecting the local Ile de France architecture, though on a much smaller scale than the original, the Château de Rentilly lost its historical value and its significant relationship with its remarkable location. This project has sought to restore both aspects by encasing the building in a second skin of pleated, mirror polished stainless steel which reflects and diff racts the image of the park, acting as a kind of sound box. The interior has been stripped down and simultaneously opened up on both opposite sides, one to the jardin à la française, the other to the english landscape park, emphasising the concept of immersion in the natural world. The arts centre is accessed by an entrance in the 16th century basement, last vestige of the original château. Visitors find all the museum’s ancillary functions here, before emerging into the two superimposed spaces devoted exclusively to exhibitions. The final alteration was the conversion of the roof into a terrace, creating a third, outdoor exhibition space with panoramic views of the park, the nearby lakes and the surrounding countryside.

Florian Kleinefenn. Published on May 18, 2015.

construction

Florian Kleinefenn. Published on May 19, 2015.

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MO_LO house - Salvatore Nigrelli

May 18, 2015, 10:06 am

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il progetto prevede un intervento di riqualificazione di un lotto costruito, creando un appartamento privato e un giardino esterno con terrazzo.

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The Theatre School - Pelli Clarke Pelli Architects, Cesar Pelli, FAIA, Fred Clarke, FAIA, Mitchell Hirsch, AIA, LEED AP, Gina Narracci, AIA

May 18, 2015, 10:42 am

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The Theatre School is one of the top professional theater training programs in the country, located at DePaul University in Chicago. Pelli Clarke Pelli Architects’ design serves as the University’s gateway. The new LEED Gold building, opened in 2013, fits respectfully within the neighborhood and complements the existing architecture.

PCPA collaborated closely with DePaul University and The Theatre School stakeholders to design a building that incorporates two critical requirements: 1) to create an urban structure that welcomes the public to observe students in their learning environment, and 2) to develop a teaching and performance program that supports best practice opportunities for students, faculty and theater goers.

The “Big Stair” connects the users to each floor, while offering full light and open views to the neighborhood. At night Racine Avenue glows in the light emanating from the glass curtain wall of the stairway.

To energize the city block, PCPA placed the 100-seat flexible theatre on the fourth floor with a glass curtain wall facing Fullerton Avenue. Different color lighting illuminates the exterior and directs attention to the new building. Its location on the top also enables the public, on their way to the theatre, to glimpse students in action in their classrooms and rehearsal spaces, which encourages the urban community to learn about the school’s programs.

The five-story building is a composition of rectangular forms clad in limestone, translucent glass and transparent glass. It includes two green roofs, two theatres, four large scenery fabrication shops visible from the street, rehearsal and movement rooms, lecture halls, classrooms, administrative and faculty offices, as well as a costume shop, sound studio, and script library. Wide corridors and open lounges encourage conversation and collaboration; an interior courtyard on the fifth floor fills the spaces with natural light.

Innovative design solutions include transforming the main lobby into a lively “living room” space with floor-to-ceiling glass walls, framing the activity for the pedestrians and students on Racine Avenue to view. The space invites informal gathering of theatre goers and students before and after a performance in the 250-seat thrust theatre and allows for chance encounters with actors and crew. Because inspiration for a performance can happen anywhere, the lobby is able to function as a flexible performance space and spectators may watch from the balcony.

The metal, set, and painting shops, normally hidden, are located on the first floor of Fullerton Avenue in full view for pedestrians to watch students and faculty build and paint set stages and scenery.

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Deserti Tascabili. DJ Complex #1 - Marco Scarpinato

May 18, 2015, 11:23 am

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Deserti Tascabili – DJ Complex è un progetto sviluppato nell’isola di Djerba, a sud della Tunisia. Il progetto, finanziato con fondi privati, è stato elaborato da Marco Scarpinato con la collaborazione di AutonomeForme e contempla la DJ House (una abitazione privata con annesse residenze temporanee per artisti) ed il DJ Center (un centro per la poesia e le arti visive e digitali nel Mediterraneo).

Djerba è caratterizzata dalla presenza di varie culture e da un forte sincretismo religioso. Sono infatti presenti varie moschee, comunità cristiane ed una minoranza ebraica che abita sull’isola da secoli e si riunisce nella Ghriba, una delle sinagoghe più antiche e famose del mondo.

L’isola è altresì nota per essere un centro della setta kharigita ibadita della religione islamica ed è anche una delle poche località della Tunisia in cui si parli ancora la lingua berbera.

Nell’area è inoltre presente una tomba Sufi e si è quindi reso necessario uno studio attento dei movimenti spirituali e della cultura del mondo islamico.

Il Dj Complex è composto da due corpi indipendenti (la DJ House ed il DJ Center) che sono interconnessi e coprono una superfice costruita di 1300 mq.

Lo spessore dei muri e la giustapposizione di volumi e masse muraria che si stagliano su un paesaggio di sabbia irrorato da una luce limpida costituiscono il principale tema che guida la definizione del DJ Complex.

Il progetto riscopre tecniche costruttive locali per definire una architettura contemporanea e ricerca soluzioni tradizionali per il raffrescamento naturale degli ambienti permettendo l’eliminazione di qualunque sistema meccanico di controllo della qualità ambientale.

La rilettura del sito caratterizzato da una architettura fatta di candidi volumi stereometrici che si confrontano con il paesaggio sabbioso e con il limpido cielo blu ha permesso di definire una architettura che, reinterpretando i valori contestuali, esprime la sua dimensione contemporanea e definisce una serie di “deserti tascabili”: luoghi di ritiro dell’epoca della modernità descritti nel volume di Peter Sloterdijk “Devi cambiare la tua vita”. Allo stesso modo, il tema delle cupole che caratterizza il paesaggio dell’isola di Djerba è stato re-interpretato secondo la chiave di lettura delle “sfere” data dal filosofo tedesco.

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Deserti Tascabili. DJ Complex #2 - Marco Scarpinato

May 18, 2015, 11:45 am

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“Deserti Tascabili – DJ Complex”, elaborato da Marco Scarpinato con la collaborazione di AutonomeForme, è un progetto sviluppato nell’isola di Djerba, a sud della Tunisia.

Il progetto, finanziato con fondi privati contempla la DJ House (una abitazione privata con annesse residenze temporanee per artisti) ed il DJ Center (un centro per la poesia e le arti visive e digitali nel Mediterraneo).

L’isola è altresì nota per essere un centro della setta kharigita ibadita della religione islamica ed è anche una delle poche località della Tunisia in cui si parli ancora la lingua berbera.

Nell’area è inoltre presente una tomba Sufi e si è quindi reso necessario uno studio attento dei movimenti spirituali e della cultura del mondo islamico.

Il Dj Complex è composto da due corpi indipendenti (la DJ House ed il DJ Center) che sono interconnessi e coprono una superfice costruita di 1300 mq.

Il tema delle cupole che caratterizza il paesaggio dell’isola di Djerba è stato re-interpretato secondo la chiave di lettura delle “sfere” data dal filosofo tedesco.

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BIVACCO FANTON - Gino Fasan architetto, Roberto Saccon

May 18, 2015, 1:26 pm

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1. Filosofia del bivacco. Le radici della parola bivacco affondano in un contesto culturale diverso da quello contemporaneo. Tuttavia l’originaria filosofia del bivacco è immutata: offrire un riparo in sicurezza. Il bivacco assume una dimensione simbolica quale luogo di esperienza prima di una arrampicata o dell’attraversata di un ghiacciaio o quale tappa di una alta via. Esperienza in cui è ripristinata la proporzione tra l’uomo e gli elementi naturali: la notte, il silenzio, il vento, la bufera, l’isolamento. Esperienza, anche condivisa o comunitaria, in cui la forzata promiscuità tra persone sconosciute ma amiche, genera un clima relazionale d’incontro e di scambio. Il bivacco instaura un’opposizione complementare tra il proprio spazio chiuso e protetto e lo spazio aperto e mutevole del paesaggio. Il bivacco, infine, è paradigma di un pensiero di povertà, intesa come semplicità funzionale ed essenzialità qualitativa.

2. L’idea. Nell’impareggiabile guida “grigia”“Dolomiti Orientali” di Antonio Berti, alla descrizione delle vie di accesso all’attuale bivacco fisso F.lli Fanton si legge: “…sorge in alta Val Baion, sotto le rocce del monte Ciastelin, all’altezza del masso detto Albergo di Baion, in ambiente severo…” e poco prima “… nell’incavo del masso può rifugiarsi una sola persona…”. Il nostro progetto nasce dall’osservazione di questo masso erratico, una croda di forma cubica, di dimensione pari a 4/5 ml di lato. Il masso, testimonianza di antiche frane, ha una tale forza d’immagine, una singolarità per forma e per posizione nella valle, da essere individuato anche nella carta topografica Tabacco. Poco più in basso, a circa 1.500 m di quota, nel greto del torrente che scende in Val da Rin, si può individuare un’ulteriore masso, la cui faccia verso valle è un quadrato con lati molto regolari e leggermente inclinato, anch’esso di notevole suggestione. Il nostro bivacco al primo sguardo dovrebbe apparire come un grande sasso, come l’Albergo de Baion.

3. Il rapporto con il sito. Una sorta di masso, ma con una forma regolare, cubica, che ad un’osservazione attenta non può essere scambiato per un elemento naturale. Le dimensioni e il colore del nostro bivacco sono cosi’ assonanti che dovrebbe integrarsi perfettamente con il ripido versante roccioso fino a confondersi con esso. Il nostro intento, che rifugge da qualsiasi tentativo di mimetismo, del resto impossibile, è quello di creare una piccola architettura capace di evocare il paesaggio che l’accoglie. Così come è impossibile entrare in competizione con una natura così spettacolare, con le Dolomiti, “le più belle cattedrali della terra” (John Ruskin). Il nostro approccio progettuale, da sempre, è basato sulla geometria quale generatrice dello spazio. I riferimenti naturali citati ci hanno fatto pensare al cubo. Il nostro bivacco è un cubo inclinato e leggermente deformato. Il cubo è forma primaria della geometria e soprattutto, è una forma nitida, memorabile, icastica. L’atemporalitàè un ulteriore pregio di questa forma geometrica. L’inclinazione (di 20° circa) è strettamente legata alla ricerca di un ottimale ancoraggio a terra e al posizionamento rispetto alle curve di livello; ma questa rotazione conferisce all’oggetto una dinamicità e un effetto scultoreo, una scultura architettonica in un paesaggio in cui tutto è scultura: le cime, i ghiacciai del Froppa (quasi esauriti), il bosco sottostante, i prati di fondovalle. La deformazione laterale (di 5°) corrisponde all’intento di rapportarsi con la luce delle Dolomiti ,elemento importantissimo del sito, con l’incanto dell’enrosadira, con quella luce così ossessivamente descritta da Dino Buzzati, che in queste montagne aveva immerso la sua anima, con quella luce così irreale tale da trasfigurare le montagne stesse: “…Sono pietre o sono nuvole? Sono vere oppure è un sogno?”. Con la strombatura dell’imbotte delle piccole aperture, nell’accentuare la profondità della superficie cerchiamo lo stesso obiettivo: catturare la vibrazione luminosa. Sulle superfici metalliche inclinate del bivacco si rifletteranno i cromatismi della montagna e del cielo, si formerà un gioco dialettico tra luminosità e ombra continuamente variabile. I riflessi argentati del bivacco si percepiranno anche da lontano. E non possiamo dimenticare un altro elemento proprio dell’alta montagna: l’acustica. La potenza emotiva del silenzio, anch’esso variabile con le ore e con le stagioni, quel silenzio “non silenzioso”, il fruscìo dell’aria, la risonanza dell’eco, il fischio del vento. Le autentiche ricompense dell’esperienza in bivacco.

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Vertical House - Juan Carlos Doblado

May 18, 2015, 3:08 pm

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Located in front of the bay of Lima, Vertical House fits the complexity of irregular terrain of reduced dimensions that forced generate a vertical volume advantage the privileged sea views. The limited space -105 m2 lot – poses a vertical development of the program which is divided into four levels. The house has a first floor dedicated to service, in the second has been developed the social area, the third was located in the master bedroom and the fourth are the bedrooms of children. Involved on a skin playing with transparencies, housing generates dynamism around the program. A relationship of transparency and opacity depending on the landscape and the program is then raised, opening the social and private areas of the house overlooking the Pacific Ocean.

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Ko Shan Theatre New Wing - Ronald Lu & Partners

May 19, 2015, 12:17 am

≫ Next: fluXtuation - REMIX STUDIO

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A picturesque Chinese Landscaping scenery in the Park

Green Trail and Vertical Extension of the Existing Park

A theatre inside a park; A park insides a theatre

Close shot of the curvilinear in plan-shape

The Forecourt

Lofty main foyer infiltrated with nature's daylight, sound, breeze and scenery

borrowing the surrounding park environment into the theatre interior

Auditorium Chamber

Chinese elements add in the interiors

Main entrance decorated with Chinese opera element

The theatre at night is a glowing lantern for the community

Floor Plan

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fluXtuation - REMIX STUDIO

May 19, 2015, 12:30 am

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The integrated ecological infrastructure of this project emerges from three layers: the diversification of open spaces / activities, the complex multiplicity of connections, the pockets / landforms / platforms / wetlands biodiversity.

aerial diagram of the island

The site is wired by a continuous circulation circuit, linking in succession several nodes and generating, through punctual links, a spatial system of interdependent intensities: all the activities are located along the “Loop”– a seamless pedestrian and biking network. The island is situated in the central intersection, connected with the mainland through three bridges. It’s the nodal attractor of the masterplan, the active-pulsating heart of the project through the articulation of the levels and the diversification of the programs, which are activated and deactivated by the tidal oscillations.

axonometric view of the project layers

The topography is organized into three main levels: uplands, freshwater wetlands and tidal terraces. Given the existing grade, the southern channel is shallower than the northern one. Different platforms of tidal dynamics are planned to strategically embrace the topography and the circulation, designed to provide unique spatial experiences throughout the various environmental conditions of the landscape. A diversity of plant communities are selected according to the humidity and salinity of different terraces. They range from mangrove, saltwater and (cleansing) freshwater wetlands to upland species.

general masterplan

The geometry of the central area is originated by the presence of the activities that have been integrated into its specific landform. At the island core the visitor could experience a brief introduction to the site history, passing through the main exhibition space; he could navigate and enjoy the diversity of material conditions, walking through multiple facilities: a rock-climbing wall overhanging on the central canal, a running track where to train on different slopes, a sunbathing area, a skate-park shaped by seamless and intricate hills…

program and activities

The topographical reliefs of the central area are elaborated to revolve around the presence of the historical stone. The waterfront is the moment in which the complex articulation of the topography camouflages with the context. The program, the connections and the landforms disappear virtually to visually concretize on the central platform, the highest point of the masterplan where the stone is rendered as the main protagonist of the scene.