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Divisare - Projects Latest Updates

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  • 07/01/15--11:36: L’ozio - Michele Varone
  • Ai tempi dei romani ‘l’ozio’ era il padre delle virtù. Rappresentava la più nobile e qualificata attività umana che impegnava l’uomo libero, il civis romanus. Infatti presso i Romani l’otium è l’attività dello spirito: riflettere, studiare, scrivere opere letterarie. Questo testo descrive sinteticamente le linee guide che hanno portato a questo progetto.

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio

    Michele Varone — L’ozio


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    The Wine cellar at the bund is organized with the greatest flexibility in terms of spatial utilization, with a highlight of the storage facilities for both cigars and wine. The entrance from the garden side is designed for the club members to experience the wine collection and then go through the bar into the main space, walking past with a glimpse of the single malt scotch collection.

    CHIASMUS  — wine cellar at the bund

    Bar at the Bund, Shanghai

    There are three open spaces that can be treated as one single continuous space or three separate spaces. The largest space is designed as a public space where club members can enjoy tasting of wine and conversation. For the discerning members who like to enjoy a quality cigar in the privacy of a room designed specifically for this purpose.

    CHIASMUS  — wine cellar at the bund

    bar at the bund, Shanghai

    The design of the interiors of this bar is complete with a focus of elegance and romance. We wanted to have a classic appearance of the space as a whole, using materials that have earthen tones and texture, with simple and beautiful coloration that highlights spatial definition. There will be a mixture of materials that accentuate our design philosophy of elegance and romance. Some of the materials will be used to invoke the memory of yesteryears. Some of the materials will be new such the glass and lighting of the cigar and wine storage spaces, with in mind of a maximum exposure of the fine collection if wines and cigars this club has .


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    Il progetto del Centro Tabor si colloca in posizione baricentrica sull’asse che collega il paese di Castelnuovo dellAbate con l’Abbazia.

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    La nuova costruzione si inserisce nel rapporto tra il centro sacro e il borgo con un impianto ipogeo, nella convinzione che una nuova emergenza avrebbe disequilibrato il sistema.

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    La scelta di un orientamento che escludesse un rapporto di tipo visivo con la Chiesa fu vista come elemento di studio del complesso Sant’Antimo: nel giorno dell’equinozio di primavera è stato tracciato l’est con riferimento al sorgere del sole sia in corrispondenza dell’Abbazia, sia nell’area destinata alla costruzione del Centro Tabor, il cui asse è risultato imprevedibilmente allineato con la Chiesa stessa.

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    Dal luogo scaturiscono poi i due temi fondamentali su cui si basa il progetto. In primo luogo l’uso del modulo, principio geometrico fondativo sia del progetto che precedentemente dell’uso del suolo.

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    La misura della piantumazione dell’olivo viene infatti utilizzata nella maglia dei pilastri, che diviene un oliveto pietrificato e sotterraneo i cui rami sorreggono il terreno sovrastante. Il secondo tema è quello dello scavo: l’immagine della terra incisa e lavorata dall’uomo è la stessa suggestione che trasforma i fronti del progetto in piani frastagliati e inclinati, come vero fronte di cava, e in un volume rimosso dalla collina, elemento distaccato dalla composizione con angolo retto, metafora del blocco di pietra lavorato dall’uomo.

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR

    TETRACTIS PROGETTI - Stefano Lambardi — CENTRO TABOR


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  • 07/03/15--08:31: Vertical City - Luca Curci
  • Luca Curci architects studio presents Vertical City, a project proposal for a vertical city-building settled in the water. The project combines sustainability with population density and it aims to build up a zero-energy city-building. Starting from the analyses of the contemporary skyscraper, conceived as a compact element, smooth and alienated from the surrounding space, the project has re-interpreted it in an opened structure, equipped with green areas on each level, natural light and ventilation. This new interpretation allows its residents to get into an healthier life-style, in connection with natural elements, re-thinking the traditional concept of community and society.

    Luca Curci — Vertical City

    The building’s structure is based on a modular structural prefabricated element, which is repeatable horizontally as well as vertically. The singular shape of the structural element creates a 3-D network which sustains every single floor. The structure is surrounded by a membrane of photovoltaic glasses which provide electricity to the whole building and make it energy-independent, providing further energy for the buildings on the mainland too.

    Luca Curci — Vertical City

    The city-building is completely perforated to permit the circulation of air and light on each level, hosting green-areas and vertical gardens. Green zones are spread all over the tower, while meeting and social areas are thought for the community life. The city-building consists of 10 modular layers overlapping. It reaches the height of 750 meters, with a total volume of 3.750.000 cubic meters, able to host up to 25.000 people, with a green area of over 200.000 square meters, including the public garden square at the top of the building.

    Luca Curci — Vertical City

    Every modular and repeatable layer is high 72 meters and has an overall diameter of 155 meters, of which 120 meters of empty space inside the building.It consists of 18 floors, 58.000 square meters of floor surface housing homes and services, offices, stores and other facilities for a large community of maximum of 2.500 inhabitants. Residences have different sizes and shapes for each floor, and they include apartments, duplex and villas. The outside surface, with green areas and gardens, is large 20.000 square meters.

    Luca Curci — Vertical City

    The building is settled on the sea bottom, with a series of underwater floors that host parking and technical areas, facilities such as spas, mediation centres and gym and luxury hotels rooms with underwater views.

    Luca Curci — Vertical City

    It is possible to reach Vertical City by water, by land or by air. The circular basement is equipped with external and internal docks and three naval entries: large boats can dock at the external berths, so as permitting public or private smaller boats only, to navigate in the inner gulf. The connection with the mainland is made possible throughout a semi-submersed bridge for pedestrians, cars and public electric transports, which connect the land with the basement underwater. Moreover, the tower is provided with an heliport connected with the upper garden-square and vertical linking-installations.

    Luca Curci — Vertical City

    Vertical City is a modular interpretation of the idea of contemporary city. And possible futures.

    Luca Curci — Vertical City

    Luca Curci — Vertical City

    Luca Curci — Vertical City

    Luca Curci — Vertical City


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    Allo stato attuale il nucleo aziendale è formato da una “casa” primaria con destinazione residenziale, che risale probabilmente al secolo scorso (metàXIX° secolo). Questa è una tipica costruzione in pietra locale a pianta centrale con il nucleo abitativo imperniato sulla grande cucina che distribuisce la zona notte e i servizi.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    Questa costruzione si colloca adiacente alla vecchia strada del “Canalicchio” che da anche il nome al Podere. Intorno a questa si sono sviluppati gli annessi agricoli necessari alla conduzione del fondo. Prima stalle e luoghi per animali domestici e successivamente cantina e spazi per usi vitivinicoli e non soltanto. Infatti l’azienda produce anche olio e coltiva frumento nelle condizioni in cui è possibile farlo. Questa come vedremo sarà una delle condizioni prioritarie alla stesura di questo progetto di ampliamento. L’accesso all’Azienda avveniva in passato dalla strada del “Canalicchio”, infatti essa è ubicata all’imboccatura di questo antichissimo percorso che porta a Montalcino, in basso dove si incrocia con la strada di Val di Cava.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    Attualmente, sia per le condizione della strada prima citata, sia per una più agevole movimentazione interna, l’accesso avviene da una strada di recente costruzione parallela al “canalicchio” antico che si dipana dal bivio e entra nel nucleo costruito da nord, paradossalmente da dietro, dal cortile, o forse da quella che un tempo era l’aia. L’intervento raccoglie la sfida dell’impatto ambientale in un territorio quale quello di Montalcino attraverso la sua collocazione ipogea facendo emergere in superficie solo segni indelebili dei margini della copertura.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    Cosi, nel “campo” sotto casa, si colloca il nuovo disegno dell’Azienda attraverso l’incrocio dei due assi che formano il manufatto destinato a funzioni miste. Da una parte la connessione con il preesistente insediamento che viene rimarcata anche dalla strada di collegamento tra i due elementi, dall’altra il nuovo margine che si sottrae alla vista in quanto la copertura lo sovrasta a tal punto da lasciare solo una linea d’ombra in facciata. Il progetto del nuovo annesso è quindi una copertura verde, in erba, come il resto del campo circostante, evidenziata solo da questi due muri che da nord a sud rimarcano ma che da est a ovest scompaiono sotto il grande ombrello che portico offre. Il risultato è un segno lievissimo che si integra con il paesaggio circostante scomparendo alla vista dell’orizzonte verso chi guarda a nord e apparendo, nell’ombra, come margine evidente nel controcampo da sud.Di fronte un piazzale di manovra che permetto lo svolgimento della vita lavorativa dell’azienda.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    Ma un elemento determinante e decisivo è il grande aggetto del portico di fronte all’ingresso dell’annesso. Questo risulta molto efficace al fine di mantenere ordinato il contesto evitando di far sostare gli attrezzi all’aperto e permettendo comunque un’ottima funzionalità e mobilità. Il grande aggetto è rimarcato dal solo trave di copertura che demarca il territorio e rende un servizio essenziale a chi lavora.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    In posizione alternativa e specchiato al segno di ingresso, si trova un altro elemento marcato soltanto da un segno in copertura: la finestra, che permette il delimitarsi del vano interno e la contro ventilazione necessaria ad un luogo di lavoro benché interrato. I due elementi si contrappongono e determinano il manufatto intero.

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO

    TETRACTIS PROGETTI - Stefano Lambardi, Fabiagio Salerno, Nicola Bondi, simone barbi — CANALICCHIO DI SOTTO


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    On the occasion of Expo2015, Save the Children Italia Onlus presents a Pavilion that could be better defined as a proper “village”, a domestic and welcoming environment which designs the space of an ideal place of the world where the Ong usually operates. A sequence of rooms without walls and barriers but in conversation with the surroundings and the other pavillions. A space that is permeable and open, where the external landscape is an integral part of the internal world, such as the territory is a strong part of families’ and comunities’ life in those countries where Save the Children works. Save the Children’S Village for Expo2015 has been conceived starting from a research of simple materials as wood, bamboo and metal sheet, together with a floor made by concrete and soil, with the aim to remind the warmth and colours of far away territories. A village where we can also find the theme of “self-production”: the perimetral panels made of fir wood and bamboos have been made through a workshop with foreigner kids who are part of the immigration policies program of “Civico Zero”,Onlus

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015

    Argot ou La Maison Mobile, Luca Astorri, Riccardo Maria Balzarotti, Rossella Locatelli, Matteo Poli — Villaggio Save The Children EXPO 2015


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    Il progetto è situato ai piedi di Castelnuovo dell’Abate, piccolo borgo medievale composto di case a schiera e accorpamenti monocellulari interrotti da percorsi che aprono visuali suggestive e affascinanti sul paesaggio circostante. L’intervento si sviluppa lungo il versante sud che guarda la val d’Orcia dominata dal monte Amiata.

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    La composizione si caratterizza attraverso alcuni elementi desunti dai rapporti spaziali e contestuali e dalle relazioni dell’uomo con la natura: il rapporto tra il costruito ed i percorsi interni che ritagliano la struttura muraria, il pieno della pietra, mettendo in evidenza gli scorci sul paesaggio; i muri a retta, segno della presenza dell’uomo nel territorio come tentativo di conoscenza, di misura e di mimesi con la natura; l’idea della composizione in blocchi tratta dalla vicina cava di onice; l’uso della pietra a spacco che, priva di quella “sapienza” che ordina il monumento, racconta l’opera quotidiana dell’uomo; l’orizzonte come fine e scopo della composizione che trova nel paesaggio circostante un assoluto protagonista. Il progetto guarda poi con particolare attenzione a due aspetti formali: il tetto come archetipo fondamentale dell’abitare, e la spontaneità nella partitura delle finestre, tipica dell’architettura medievale.

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE

    TETRACTIS PROGETTI - Stefano Lambardi — COMPLESSO RESIDENZIALE


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    Icono: La casa presenta una geometría simple que permite potenciar las vivencias integradas a las expansiones y el exterior surge como una continuidad de los vacíos en la masa. Contexto: La vivienda se ubica en el Valle de Calingasta, en un pequeño barrio poco consolidado en la Provincia de San Juan. Entre la Cordillera de los Andes y la Pre cordillera. En una zona de clima semidesértico, y de alto riesgo sísmico.Investigación Se busca tomar los condicionantes técnicos y culturales disponibles de la zona otorgándoles una mirada contemporánea. Materia: El desarrollo material es clave en la composición volumétrica de la casa. Se emplea estructura de Hormigón Armado y muros sísmicos. Los mismos deben ser lo más simples de confeccionar dadas las condiciones de la mano de obra local. El desarrollo de la estructura obliga a generar en casa encuentro de muros columnas, y en cada vano también. Con lo cual operar sobre la masa es la premisa de diseño. Masa al servicio de la conformación estructural, masa como aporte necesario de las inclemencias climáticas, semidesérticas. Masa para obtener un diseño contemporáneo acorde al entorno en el que se emplaza. Sistema: En un entorno no consolidado, es nuestra idea, la de generar una pieza singular. Que se suelte de los bordes, para aprovechar al máximo las cualidades de soleamiento. Los valores morfológicos son los propios de una densa estructura de hormigón y muros macizos portantes, de allí obtenemos vacíos que perforan la masa para generar situaciones de perspectivas largas enmarcadas. Vínculos: Se plantea una casa compacta para evitar los fuertes cambios térmicos maximizando el confort interior. Una terraza en planta alta circunscribe un espacio exterior singular donde se puede apreciar el paisaje desde una perspectiva aérea por enésima de su contexto inmediato bajo y contemplar el lejano horizonte cordillerano.

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    Garden View

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    Front View

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk

    fabricio contreras ansbergs, Carlos Casalía, Nahuel Elias, Jorge Baez Moore — Casa Osk


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    Progetti per residenze in area suburbana (2009-2014)

    Mario Senatore — progetti residenziali in area suburbana


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    Le tre Torri seghettate si innalzano decrescenti nel cielo. Svettano snellendosi nei vari piani fino a essere solo una stele che squarcia le nuvole.

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — 3 sawing Towers


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    Delighted with the citizens’ experience, the borough will repeat the adventure the summer. of 2015 The Shamrock carousel will live a second edition.

    Atelier Barda — THE SHAMROCK SQUARE CAROUSEL

    The Shamrock square Carousel installed again for this summer 2015

    PROJECT The intervention aimed at enhancing Shamrock Avenue’s pedestrianization project in Montreal, and even attempt at redefining its status as a public square.

    Atelier Barda — THE SHAMROCK SQUARE CAROUSEL

    a playful and interactive installation in Montréal

    It was therefore essential to conceive a uniting public installation in this pivotal place, between the St-Laurent Boulevard and the Jean-Talon Market. By involving citizens and foreseeing future urban developments through various festive events, the objective was to create a vibrant environment and attempt to reveal this square’s possibilities in view of redefining it as a point of interest in Little Italy.

    Atelier Barda — THE SHAMROCK SQUARE CAROUSEL

    GarçonFleur during the event associed to the Carousel installation on Shamrcok square in Montréal

    Our thoughts focused on the public space’s imaginary as well as its components; the reinterpretation of the carousel stimulates our collective imaginary by recalling the friendly spirit associated with urban squares and its associated festive gatherings.

    Atelier Barda — THE SHAMROCK SQUARE CAROUSEL

    All conceived for this place, the carousel is a collaboration between Atelier Barda the designer, Atelier Gris for steel structure, Latéral Conseil was the structural engineer and Expérience Bois for the wood structure.

    CONTEXT Arousing the image of the fairground carousel as much as that of the bandstand, its figure is emblematic of the sociability and animation of our public places. With its refined but recognizable form, the installation evokes amusement, sense of unity and conviviality to all users, all the while creating a familial atmosphere for the entire neighborhood.

    Atelier Barda — THE SHAMROCK SQUARE CAROUSEL

    Events was associated during summer week-end to introduce the Shamrock square pedestrianization.

    The purpose was also to anchor the carousel in a daily ritual, and not solely as a unique experience or event. Therefore, throughout the summer, a series of events animated by Atelier Barda, such as The Shamrock fair, the outdoor screenings of The Western spaghetti weekend, and the water games of Jean Talon Beach have punctuated the square.

    Neighbors and passersby have appropriated this space dedicated to rest and repose; taking a break at the carousel in the square becomes a ritual, just as going to the market or the park.


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    There the venerable proposition, “All men are mortal”, had already become an understatement. If this proposition had been inscribed on the entrance gates to the gas chambers, instead of the usual misleading, “Shower Baths”, it would have aroused jeers; and in this jeering laughter the voices of the victims would have joined in an infernal unison with the voices of their guards. For the truth contained in the old proposition was no more adequately expressed in a new proposition: All men are exterminable _Gunther Anders

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    It is with this statement that Gunther Anders evoques the real truth of what the experience of Nazi concentration camps brought to the history of nations. The sacrifice of the most wounded victims of all, the Jewish people, becomes a collective trauma to look at. Since the destruction of the temple of Jerusalem in 70 a.D. and especially today after 1945, the term Shoah states for the trauma dued to the condemnation of the Jewish people to a wandering condition that still characterizes it today in the world. Despite the institution of the state of Israel.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    1. (Anders) _Because Jewish is an outer culture from the Western one, although it comes from it, Jews are comparable to an external body. A Jewish ghetto is a well distinct piece of town. It is a urban block that does not mix up with the rest of the city. Just like two communicating bodies Western city and Jewish ghetto keep distinct, but the boarder that unifies them is the one that also separates them. The Shoah memorial sets in the town of Bologna as an external event different to what sorrounds it. It shows itself as a tall architectural building raised as a simulacrum of the strong united jewish community it represents.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    2. Shape and event_ A dialogue between distant parts. Shape and event, geometry and gesture. These are the two poles around which the all sense of the project is built. The shape is pure, basic, monolithic, measurable, expression of the western ratio in which it will find its place. The artistic event will give meaning to the shape, by working the memorial surface, raising it as a symbolic body.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    3. 1:1000 and 1:1 _The Reading of the memorial is double: one is urban and the other one is architectural. The building on urban scale breaks into the city asking loud for a moment of silence. Just for one moment. For the contemplation of its terrible meaning in the chaotic and distract fruition of the city. The building on architectural scale offers a closer and physical experience.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    4. The body _The body is a monolithic black cement wall, well polished as to obtain a mirror-finished touch as to absorb and include the sorroundings. It is generated by the limits of the project area. The two walls are a pre-existence whom presence is for establishing a relation free from prejudice. The other orientation to the regular tangle ad horto of the city of Bologna is a good source to give strenght to the project. This way the memorial becomes an outer element to the urban body. Its ratio breaks the rules of the city presenting itself as alternative to the characteristics of its symbolic and formal material, changing the perception and the meaning of the sorrounding space.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    5. Multi(tude) in a unique body _The finish touch of the black cement wall is monolithic rendered without joints, thanks to a special technique that uses three dimension light tans and a couloured 6 mm cement layer. It provides for a mirror-like surface obtained through a finishing touch hand-polish process. The slightly mirroring surface will allow the building to absorbe the image of the ones who stand in front of it, involving the audience into the symbolic narration. The viewer is so involved into the memorial body itself and it will activate a synchrony between ancestor and descendent, past and presence with future: a multi(tude) in a unique body.

    TETRACTIS PROGETTI - Stefano Lambardi, Nicola Bondi, Fabiagio Salerno, simone barbi — Bologna Shoah Memorial

    6. Wounds _The wall wears on the signs that characterize the dramatic story of the Jewish people. The surface of the wall is its body and it is wounded. Visible engravings will be carved one by one by the hands of the artist on the body of the monument. Regarding to the proposal of the first phase of the contest, the wounds won’t represent the number of the concetration camps, because they are destined not to be counted. We want to represent a symbolic wound per each year after 70 a.D. A sign carved for every year the Jewish people had to repeat the formula Hashanà haba ‘a b’ Yrushalayim.

    7. Architecture as a witness to time _In 2016 at the moment of the inauguration of the memorial in Bologna, the signs of the wounds will be 1945 on each side of the high black wall, situated between the platforms and the city on the north of the railway. That day they will carve the umpteenth wound, the 1946th wound at the presence of the jewish community. So Time will be inserted on the memorial through this rite. Every year every Day of Remembrance, viewers will see the carved fragments leaving space for a new wound, contuinuing the collective memory, to celebrate the martyrs and those who still live, witnesses to the failure of the project of destruction of the Jewish people. The rite might represent a double interpreation of the meaning of a shoah memorial: keep the memory of past fresh for the present and carve the inability to change the future.

    8. The square _The memorial square will be divided into two triangular squares defined by the long black wall. The area that peeps on the railway will be inaccessible to the public, so it will be possible to substitute the existing high protection nets (H 2,2 m.) with a system of protection line in order to guarantee a security system for maintenance workers, with a great result on the view from the railway to the square on the other side of the bridge. The east area situated on the road intersection between the bridge and Carracci street will be used as a public area to relate with the memorial. A dynamic area that is made enjoyable by the existing levels each one connected by stairs. The light system of the monument won’t pay too much attention on the body whereas it will have to focus on the surface of the square. It will be asked to free the area from extra lighting elements as to let the view free. A system of low broad lights will be installed instead, tangent to the existing light granite pavement.


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    Development of three houses that explores a commercial product of very low environmental impact, oriented to experience in an exceptional natural environment. The architecture respond is contact with nature, the climate and the narrative surrounding the type of cabin in the woods.

    palomino & dellekamp — 7H Valle de Bravo

    The seven-hectare site with topographic variety and different microclimates range is oriented toward the south of Cerro Gordo. The three houses are located on the high ground to maximize the sun and the view.

    palomino & dellekamp — 7H Valle de Bravo

    Low walls of dry stone compose a system of platforms that fit each emplacement for domestic use and remind infrastructure for land cultivation. Each party program (public area, covered terrace, bedroom area, guest suite and service area) is contained in a volume of concrete with gabled roofs.

    palomino & dellekamp — 7H Valle de Bravo

    According to the owners of each of the three locations and preferences of each user site volumes are configured in different ways platforms always looking for a principal to Cerro Gordo view. Thus the three houses are different but the same architectural language and naturally connect with their immediate environment.

    palomino & dellekamp — 7H Valle de Bravo

    palomino & dellekamp — 7H Valle de Bravo


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    Scultura in pietra trachite, altezza cm 230, collocata nel parco del piazzale Belvedere, Nebida (CI). Realizzata nel 2015 in omaggio ai 400 anni di attività mineraria nel Sulcis Iglesiente. Raffigura un perforatore intento a praticare dei fori verticali sulla volta della miniera e vuole ricordare il sacrificio dei minatori.

    salvatoreligotti — Monumento al minatore

    Monumento al minatore, Nebida (CI)


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    Azulejos portoghesi, piastrelle pantesche, una piastrella di cotto lombardo del ‘600: per fermare questi ricordi ho disegnato questi tre tavolini che presento grazie all’interpretazione fotografica di Simone Bossi.

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Simone Bossi

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta

    Chiesa Ezio — quarantaperquaranta


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    L’edizione annuale dell’Emerging Talent Award promosso da MADE.COM ha lo scopo di incentivare i nuovi migliori designer.

    Vincenzo Corigliano — Emerging Talent Award - MADE.COM

    Vincenzo Corigliano — Emerging Talent Award - MADE.COM

    Vincenzo Corigliano — Emerging Talent Award - MADE.COM

    Vincenzo Corigliano — Emerging Talent Award - MADE.COM


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    The nature will take over. The visitor will be immersed in a green landscape of silence and contemplation, which led him to regain a human dimension. The natural forms of space will take over those artificial man-made, winning architecture and covering the new facade of the old Restaurant, the architectural element, core of the project. Therefore, in addition to performing a functional reconciliation between the natural landscape and architectural shielding the prospectus brutal building with shrubs and climbing plants, it represents the connection between all the levels. Allowing the access to the site and defining the space is the answer to the feeling of a negleted building when actually visting the abandoned restaurant. A slow and steady route where all the milestones are as important as the final one. An introspective journey approaching an overall view of Lisbon obtained with the estrangement and alienation. The restoration is not only limited to the architectural, but it also involves the body and soul. Through the opening of a large patio inside the volume of the main entrance, the visitor will be invited immediately to take a ramp that sinuously took him to the various levels of the main volume of the building. A happy new function will appear: exhibition space at the first level; the green “spacejungle” at the second level, the tea room and infusions at the third level, including a dark room for audio visual projections; and, finally, the observatory situated at the top level. From there, Lisbon will be enclosed in a 180-degree view . Then, the visitor can get off the circular ramps and meet again the quota, just back into the nature. There, the use of a space equipped for camping, and another one for outdoor physical activity, are organised.

    Emilia Rosmini, Elisa Cecchini, Emiliano Zandri — Nature Observatory of Monsanto (NOM)

    View through the new main entry

    Emilia Rosmini, Elisa Cecchini, Emiliano Zandri — Nature Observatory of Monsanto (NOM)

    Emilia Rosmini, Elisa Cecchini, Emiliano Zandri — Nature Observatory of Monsanto (NOM)

    Emilia Rosmini, Elisa Cecchini, Emiliano Zandri — Nature Observatory of Monsanto (NOM)

    Emilia Rosmini, Elisa Cecchini, Emiliano Zandri — Nature Observatory of Monsanto (NOM)


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    The project for the Rome Motorino Checkpoint has a very strategic location for the presence of the Termini Train Station, the bus station, the subway and also the Thermae Diocletiani. For this reason its symbolic position must be translated in a strong iconic equipment related to the infrastructure system. The building aims to become an intermodal exchange and a landmark at urban scale with services and public spaces. The project is defined by the different fluxes converging on the site. As a matter of fact, we propose to make a new square transferring the actual “Piazza del Cinquecento” in front of the new building where there is the main pedestrian access to the building.

    Marco Coletti Architect, Andrea Baresi, Elias Sancho De Agustin — RMCP-Motorino check point

    Render from the place

    The shape of the building is generated by the reinterpretation of the Roman Exedra, in particular it takes reference by the Thermal complexes. The new exedra is a singular double curved facade on two levels that becomes the symbol of the new building. The facade is composed by prefabricated concrete panels that provide natural illumination and ventilation for the whole building. The entrance of the building is defined by the old Roman street that across the plaza guides to the reception of the parking. At the ground level there are the bike parking and the motorcycles parking, which continues in the underground level, where it’s connected with the existing car parking, and on the first level, where the workshop activities are located. On the top floor there is a terrace with a bar connected directly to the ground plaza with a ramp that envelops the whole the building.

    Marco Coletti Architect, Andrea Baresi, Elias Sancho De Agustin — RMCP-Motorino check point

    Planimetry

    In conclusion, the project becomes a lot more than a simple parking: it receives the flows from the outside but at the same time generate new flows of circulation around itself, from the station, to the circular plaza of the exedras until the garden on the rooftop, where everybody can enjoy a view on the most beautiful city in the world.

    Marco Coletti Architect, Andrea Baresi, Elias Sancho De Agustin — RMCP-Motorino check point

    model process


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    The analysis of the site has highlighted how the unsuitability of the structure of the former oratory does not only concern its esthetic features but also, and most of all, its location. So we have opted for the demolition of the unit and to recompose the volume in continuity with the existing structures placed against the convent’s south wall. Such strategy, which we deem necessary, allows us to recover the depth of the site, visually reestablishing the link as well as the tension among the various existing areas.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    The square is here conceived as a real civic centre: the public space and the overhead paths are connected and organised as the parts of a whole. The newly-established centrality of the square prompts a series of strategies in which the main patterns of the pavement (realised in pietra di Predolo) are designed so as to create a conceptual interplay of relationships while inviting the eye to connect, join and follow the edges of the various subsections drawn by the main pattern. The eye lingers on the texture of the materials, on their roughness or their smoothness, on the subtlety of the joints. The entire project rests on small variations in few materials (just stone and concrete) and the interchange of few elements.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    Slight changes of height and soft slopes characterize the movements through the different environments. The system of porticos represents a distinctive characteristic of the compound. The new volume is also composed alongside a broken line, and reinterprets the portico in a new contemporary reading, connecting the old and the new. Such proposal allows for a commercial use of the ground floor, as required in the tender. At the same time, these spaces could also accommodate a variety of cultural activities, like a bookshop, in which sales may be complemented by initiatives open to the community, such as conferences, talks and screenings. The new building is connected to the higher-level square through the system of porticos. This height adjusting system is made possible by an architectural promenade: a ramp, as in a sequence shot, rises southwards, allowing the gaze to look beyond the convent wall onto the landscape; and back to the square once again. Here the spaces of urban oratory arise and open to community, through a relationship between internal and external.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    The system of porticos characterizes also this layout. It becomes downtime more than mere transit, promoting social aggregation. The north wall divides the convent by the historical centre, that is interrupted and increased. Also this line is broken and it dialogues with the existing portico and with the new building.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    The space between the new and the old walls becomes urban and didactic vegetable garden. This system of cultivated patches is extended even the inhabitant places relating with the public and private areas. Thus, is possible to keep the private space and in the meanwhile offer to the community educational spaces as meeting and socialization places, that will be autonomously managed from the people. The green house come back to his original function becoming also a space for activity tied up to the children education with laboratory incident to the patches, as well as deposit of all the necessary gears. The new wall is not anymore an element of division but being lift from ground permit to pass through, becoming also a symbol of intercultural and social integrity. This element change acutely his nature as union element, source from which arise different situations. A wall equipped but also a technical spine that deliver energy in the park. The activity in program trying to advance the relations between different generations cooperate for example at the bocce gears for the children game, but also space for climbs and activity for young people. The pedestrian paths along the wall can adapt to different functions integrating those permanents with some temporary activity. The cobbled parts make possible for example the collocation of stands for local markets tie up to the activity of urban patch, as well for little musical exhibitions tie up to the music school in order to lure different target during all the day.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    Concepts

    The urban planning is characterized by an element whose shape is inspired by decorations on typical ceramics of Faenza to search a dialogue with the tradition. This particular element has been declinated in little variations, becoming first a chair seat, then a raised wall, or a trick or an element to sign and fix a visual axis.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    The setting of these elements in the space is always aim to guarantee moments of social aggregation. The break of the convent wall in the south east permit us to relate it to outside of the urban system of historical walls. Also it allows us to create a green line continuity, connecting the system of parks to the system of cycling lane on the Lamone river bank.

    Marco Coletti Architect, Antonino Petrone — FRAGMENT OF LIFE

    Phisical model

    ECONOMIC REPORT AND A SUMMARY COST ESTIMATE Demolition mc 10.000 €/mc 15 tot. 150.000 € New costruction mq 1.100 €/mq 1200 tot. 1.320.000 € (Effective Execution in step) Square mq 5.000 €/mq 120 tot. 600.000 € Parking mq. 2300 €/mq 20 tot. 46.000 € System of the green mq. 4800 €/mq 40 tot. 192.000 € tot. 2.308.000 €


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    ...

    Marco Coletti Architect, Alessandro Basso — SPACE TO CULTURE

    concept for the facade


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