3NTA_ISSUE#1_BEGINNING by 3NTA Learning From Students

March 2014 ISSUE # 1

Learning from students Architecture and Design Magazine

BEGINNING

ISSUE # 1/ March 2014

WHY

3nta.com

We are

part of those few people who believe that behind a student project there is a valuable idea and effort that should not be thrown away once an exam is finished.

We are

welcoming new students because we believe that their projects can inspire others in the future. With the projects of those students we are creating a database that can be consulted and promoted online.

We are

an international community students from architecture and design can rely on.

We are

proud of being a social community that is growing more and more every day.

We are

already in Italy, Spain, France, England, and the Netherlands. We are discovering projects and students that deserve a space and visibility.

We know you have a project to share...

you see, you are already part of us.

We want to become as big as our idea of a shared world.

â&#x2013;Ş

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WHY

the magazine

Students share their efforts on 3NTA platform this is why we create a magazine to make it tangible. Here there are the great ideas that we believe are worth to be selected and proposed to you. What we present in this magazine twice a month is simple: some of the most interesting projects published are commented and analysed by others international students. In this way the article which are presented are essence of different perspectives, between different people and culture. Each magazine focuses on a different topic that students from architecture and design have faced with their project. So now put the glasses that our students offer to you and

S T A R T !

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ISSUE # 1/ March 2014

ISSUE #1

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â&#x2014;Ś

]Beginning[ 360Â° students architecture and design magazine

BEGINNING

ISSUE # 1/ March 2014

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B Y T H E E DI T O R S ]It all begins[

You pick up a sheet of paper, ceasing just to stare at it, but rather starting to fill it with ink and ideas. That’s the giant step needed to overcome the hurdle between the whiteness of the paper and the blackness of a drawing. And once that step is taken, there’s no coming back. You have a project. Fortunately, more often than not, that project even manages to leave the sheet of paper, haunting your mind for days, months...and even years. It possesses your time, drains your energy, constantly changing shape. Constantly developing. Until that day comes, the day in which it all ends. A day in which someone decides you need to stop. So that’s what you do: stop, look at your work, finding plenty of details which do not fully convince you, and start to reflect upon many alternatives you could have considered. Finally you smile, thinking that after all... it’s not that bad.That first black dot from which everything started is now finally gaining shape.

Iniziare. Prendere un foglio bianco, smettere di guardarlo e cominciare a buttarci sopra inchiostro e idee. Un passo enorme per superare il confine sottilissimo che c’è tra il candore della carta e il nero di un disegno. Fatto quel passo, non si torna più indietro. Si ha un progetto. Per fortuna, il più delle volete, quel progetto riesce addirittura ad uscire dal foglio, inizia a popolarci la mente, per giorni e mesi. A volte addirittura anni. Si prende le nostre energie, il nostro tempo, cambiando forma continuamente. Evolvendosi. Finché non arriva un giorno in cui finisce. Una data in cui qualcuno ha deciso che ti devi fermare. E tu ti fermi, guardi il tuo lavoro, trovi infiniti aspetti che non ti convincono e immagini mille alternative che avresti potuto valutare. Poi sorridi e pensi che in fondo non è poi così male. Quel primo puntino nero, da cui tutto è iniziato, ha ufficialmente trovato la sua forma.

For us, that black dot was a November afternoon of two years ago, lit by the lights of a flat in Rome, in which we were debating how to start a new project for a student contest. Then suddenly came an idea, which had nothing to do with the contest at all. It infiltrated the conversation, slowly gaining more power than the project itself, surfacing again and again in other conversations, often in very inappropriate places, like pubs or discos. It was powerful and mind boggling. It certainly deserved to be fixed onto paper. Or, at least, it deserved a list of strategies that could bring it to life. Then, suddenly, the pen touches the sheet. And a black dot appears. Everything begins. To tell the truth, the pen was blue, but black sounded more poetic to us.

Per noi quel puntino nero è un pomeriggio di Novembre di un anno fà. Le luci di un appartamento di Roma e le classiche discussioni su come improntare un nuovo progetto per un concorso per studenti. Poi un’idea, che col concorso ovviamente non c’entrava nulla. Si infila lì nel discorso e diventa quasi più potente del progetto, inizia addirittura a spuntare in altre conversazioni, in luoghi decisamente inappropriati, come discoteche o pub. Invadente, prepotente; merita di essere messa su carta. Merita almeno una lista di possibili strategie su come essere realizzata. La penna tocca il foglio. Puntino nero . Inizio. (In realtà la penna era blu, ma il nero ci sembrava decisamente più poetico).

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ISSUE # 1/ March 2014

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So today we present to you our first magazine, which is the result of months of work by people who, just like us, thought that the idea was not bad after all. It is undoubtedly a great start for us, but an end as well, because with this magazine our idea, 3nta, has officially become a reality. And all we can do at this point is look back and, with a smile, remember that afternoon in Rome. In the same way, and with the same satisfaction, we decided to present your projects. We chose very different stories and paths and tried to reconstruct them starting from the material uploaded by you on the website. We collected diagrams, sketches and concepts to explain better how the author’s project developed to be able to clarify the author’s intentions and choices. We started from that very first black dot, trying to highlight the similarities and differences among the projects submitted by people with distant approaches, both from the geographical and stylistic points of view, to enhance their strength and underline their criticality. We focused on the initial idea, a concept involving architectural and cultural linkages, recalling the world of nature, as well as social and technological themes.

Oggi siamo qui a presentarvi il nostro primo magazine , dopo mesi di lavoro e di persone veramente in gamba, che come noi hanno creduto che quell’idea non fosse poi così male. Un grande inizio, senza dubbio, ma anche un po’ una fine, perché con questo magazine la nostra idea, 3nta, ha ufficialmente preso forma. E noi non possiamo far altro che guardare indietro per un attimo, sorridere, e ricordarci di quel pomeriggio a Roma. Allo stesso modo, e con la stessa soddisfazione, abbiamo deciso di presentare i vostri progetti. Abbiamo scelto storie e percorsi molto diversi e abbiamo provato a ricostruirli partendo dal materiale presentato sul sito. Abbiamo raccolto diagrammi, schizzi e concept che potessero raccontare l’evoluzione del progetto; chiarire le intenzioni e le scelte dell’autore. L’abbiamo fatto partendo da quel primo puntino nero, cercando di evidenziare differenze e punti di contatto tra i vari lavori proposti, lasciando a commentare persone con approcci a volte lontanissimi ( sia in senso geografico che stilistico), per valorrizzarne i punti di forza e sottolinearne le criticità. Concentrandoci sull’inizio. Un’idea generante, un concetto, collegato a riferimenti architettonici o culturali; ispirato al mondo della natura o a tematiche sociali e tecnologiche.

Sometimes the starting points are very similar, others diagonally opposite. They differently develop in students’ hands, taking unexpected paths, which interweave in our magazine and, for the first time, they are shown and presented by different hands. Being the first one, this magazine has been an opportunity to explore something new, without any pretence, and challenge ourselves as much as we can. This, as you all may know, is never easy. Some features may change in the next issues and more voices will join us. Or maybe everything will remain the same, not totally flawless/with some imperfections, just the way we students like it. We still don’t know it but we are very satisfied with what we have done. We have done what we do best: beginning.

Luca De Stefano

Punti di partenza a volte simili, e a volte diametralmente opposti, che si trasformano nelle mani di studenti definendo percorsi inaspettati. Quei percorsi si intrecciano oggi nel nostro magazine, per la prima volta, da sconosciuti, e da altrettante sconosciute mani sono raccontati e proposti. Questo magazine ,ovviamente, essendo il primo, è stato un’occasione per esplorare, senza cercare di sapere cosa fare, ma al contrario provando a metterci in discussione il più possibile. Questo, come tutti voi ben sapete, non è mai facile. Alcune cose forse cambieranno nei prossimi numeri e altre voci si aggiungeranno alle nostre. Oppure tutto rimarrà così com’è, un po’ imperfetto, come piace a noi studenti. Ancora non lo sappiamo, ma comunque ci riteniamo molto soddisfatti. Abbiamo fatto quello che sappiamo fare meglio: iniziare.

Marco Mattia Cristofori

Lorenzo Bottiglieri

• BEGINNING

ISSUE # 1/ March 2014

INDEX

by projects/articles

[1 -10]

by Max Lindgren

Asilo a Figino/ ACCOMMODATING GROW TH

[11 -16 ]

by Immaculada Ramìrez Gomez de Aranda

F_ertebtralis/ PROVIDING A SPLINE FOR URBAN SPACE

Nature and Technology

[17 -26]

by Magherita Capra

Contr_addition/ SCANNING ISTANBUL

Reaching arhitecture through a detail

[27 -32]

by Karan Shan

Play4Us/ SMART, SOCIAL, SUSTAINABLE AND FUN

in this

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Projects from

■

[33 - 4 4]

by Gödze Gürsoy

The third layer/ A SOCIAL BRIDGE FOR NAZARE TH

[45 -52]

by Jacopo Ferrari

Incubo/ AN ALLARM PROJEC T

[53 -62]

by Giulio Cavana

New urbanism planning in Montsoils/ CONSEQUENT BEGINNINGS IN THE BARCELLONA SUBURBS

Discontinuity on AB line

number

Feature writers from

BEGINNING

]Asilo a Figino[

ACCOMMODAT ING GROW TH Max Lindgren

Asilo a Figino by Francesca Lina Pincella and Pietro Dardano, both studying Enviromental Architectureat the Politecnico di Milano University, is a project for a nursery school in the outskirts of Milan, Italy. The school is surrounded by residential buildings in a green and spacious neighborhood. Context is the main theme for the project, however, the surroundings have only been vaguely sketched in the visual material of the project. On the other hand, the meeting with the context is enacted within the project itself on a conceptual level. By introducing publicly accessible outdoor spaces as well as incorporating a café in its programme, the project builds up ties both between the private and public areas, and between the worlds of children and adults.

These dichotomies give the project an initial force which makes an interesting puzzle for Pincella and Dardano to solve.

Asilo a Figino av Francesca Lina Pincella och Pietro Dardano, båda studenter på Politecnico di Milano, är ett projekt för en förskola i utkanten av Milano, Italien. Den föreslagna byggnaden ligger i ett lummigt och rymligt område omgiven av bostadshus. Relationen med omgivningen är projektets drivande princip, men i bildmaterialet är just kontexten bara vagt antydd. Istället iscensätts mötet med omgivningen inom projektet på ett konceptuellt plan, genom att introducera publikt tillgängliga platser på tomten och att lägga till ett öppet café till skolans program. Genom att belysa motsättningarna mellan publikt och privat och mellan barnets och den vuxnes domän skapas en inledande spänning som också ger Pincella och Dardano en intressant uppgift att lösa. ISSUE # 1/ March 2014

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Axonometric view (out of scale)

TITLE: Asilo a Figino DESIGNER: Francesca Lina Picella/ Pietro Dardano NATIONALITY: Italian UNIVERSITY: Politecnico di Milano / Italy

The theme for this 3nta issue, beginnings, suits this project very well. From this point of view, the project can be understood on two different levels.

StoĂ Atene

First, what immediately strikes me when looking at this project is an apparent belief in the strength of simplicity in architecture. The project relies on basic architectural tools to produce varied and complex spatial situations, an approach both humble and powerful. Secondly, acting both as a reason for and an effect of the first theme of simplicity, there is the concept of liminality, the condition of being on the threshold. In anthropology the term liminality denotes the transitional phase in a ritual, the state of being on the threshold between what is being left behind and what is awaiting. Indeed, the institution of education represents the transition between childhood and adulthood, of which the nursery school represents the first step. In accordance with the above, the project aims to witness and accommodate the growth of the individual child.

ISSUE # 1/ March 2014

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Begynnelser är temat för det här numret av 3nta, vilket passar det här projektet utmärkt. Genom temat kan vi tolka projektet på två nivåer. Det första som slår mig hos projektet är en uppenbar övertygelse om styrkan av enkelhet i arkitektur. Det förlitar sig på arkitekturens basala element för att åstadkomma varierade och komplexa rumsliga samband, ett förhållningssätt som är både ödmjukt och kraftfullt. På en andra nivå, som fungerar både som anledning till och effekt av den första, kan vi tolka projektet utifrån begreppet liminalitet. Inom antropologin betecknar termen liminalitet övergångsstadiet i en ritual, gränslandet mellan det som lämnas och det som väntar. På så sätt kan man se grundutbildningen som ett liminalt stadium mellan barndom och vuxenhet, och i denna övergångsfas representerar förskolan det första steget. Projektet strävar således efter att bevittna och rymma barnets utveckling.

Perspective section

15 m

Longitudinal sections on the courtyard (up) and on the classrooms’ corridor (down)

Architecturally, Asilo a Figino deals with liminality in the definition of its borders and in the sequence of spaces, ranging in width and openness from solid walls, to layered borders with colonnades and freestanding covered walkways. Even a winter garden acts as a buffer zone between a public square and the common areas of the nursery school. This gives rise to an interesting play of directions and a balanced tension between enclosure and openness that shows an empathy for the occupants of the building and a sensibility for the delicate state of being on the threshold.

However, the space where the café and the common areas for the school meet and overlap is the only part of the project lacking a clear architectural intention. Even though the space is symbolically lit from above, the articulation comes across more like an apology than a convincing solution to this central problem, which is truly a missed opportunity.

På ett arkitektoniskt plan hanterar Asilo a Figino frågan om liminalitet genom en medveten och diversifierad uppbyggnad av avgränsningar och sekvenser av rum. Gränserna varierar i bredd och öppenhet från solida väggar till skiktade gränser med utanpåliggande och fristående kolonnader. Även ett orangeri fungerar som avskiljande element mellan ett publikt torg och förskolans gemensamma utrymmen. Detta skapar ett intressant spel av riktningar och ger en balanserad spänning mellan öppenhet och slutenhet som visar på empati för byggnadens användare och en sensibilitet inför det ovissa tillståndet att stå på tröskeln. Tyvärr är mötet och överlappningen mellan caféet och skolans gemensamma utrymmen det enda utrymmet i byggnaden som saknar en distinkt arkitektonisk intention. Även om rummet är symboliskt belyst ovanifrån så framstår det mer som en ursäkt än som en övertygande lösning på detta centrala och intressanta problem.

ISSUE # 1/ March 2014

15 m

Floor plan

Project model

Getting back to the theme of simplicity, the building is made up of a wooden construction of modest dimensions. The plan uses the basic elements of column, wall and openings as its main actors in an orthogonal system. In section the most apparent feature is the sawtooth profile of the classrooms. The triangular shapes of the roof with its red colored gables define the character of the building. A reference used for this project was the Stoa of Attalos of ancient Athens, and certainly, there is a similar kind of tectonic simplicity in Pincella and Dardano’s project. Making good use of simple means is one of the greatest assets of the Asilo a Figino.

För att återgå till temat enkelhet så utgörs byggnaden av en träkonstruktion av anspråkslösa dimensioner. Den rätvinkliga planen byggs upp av basala element som pelare, väggar och öppningar i olika kombinationer. Det mest iögonfallande i byggnadens sektion är lärosalarnas sågtandsformade tak vars triangulära och rödfärgade gavlar ger byggnaden karaktär. En referensbyggnad för projektet var Attalos Stoa från antikens Aten, och visst finns det en liknande typ av tektonisk enkelhet i Pincella och Dardanos projekt. Asilo a Figino uppnår stor effekt med enkla medel, vilket är en av dess största tillgångar.

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BEGINNING

Functional diagrams

In this project Pincella and Dardano pose some of the central questions of architecture and come far in this promising attempt to answer them. The project explores above all the basic concepts of framing and through the elaboration of the borders, it achieves a result that is both rich and compelling in its spatial complexity.

Genom det här projektet ställer Pincella och Dardano några av arkitekturens centrala frågor, och kommer långt i ett lovande försök att besvara dem. Projektet utforskar framförallt inramning som begrepp och genom bearbetningen av byggnadens gränser landar det i ett förslag med en rik rumslig komplexitet.

Project model(zoom in)

ISSUE # 1/ March 2014

BEGINNING

Axonometric view of future possible evolutions of the project (out of scale)

]F-ertebralis[ 11

PROV IDING A SPINE FOR THE URBAN SPACE Nature and technology

Immaculada Ramìrez Gomez de Aranda

The idea of F-Ertebrali was to create ergonomic urban furniture which could meet the demand of every citizen. Its simple, comfortable and versatile design results in a bench made up of vertebras, which perfectly adapts to the shape of the human body. Its resistance is a grain of rice, of which it also resembles the shape. Its structure is made up of wood and steel, which seamlessly team up in a perfect union. This allows creating multi-functional furniture, comfortable and practical wherever its user might be. Wood makes it light and flexible, whereas steel makes it robust enough to carry the weight, acting just like a vertebral column but without sacrificing ergonomics, lightness and flexibility.

Vertebrando espacios urbanos: naturaleza y tecnología. F-ertebralis surge de la idea de crear un mobiliario urbano ergonómico que se adapte a las necesidades de cualquier ciudadano. Se trata de un diseño cómodo y sencillo a la par que versátil que da como resultado un banco de carácter vertebrado, cuya silueta se amolda a la fisionomía humana de manera natural. Su forma, que se asemeja a la de un grano de arroz, es además tan ligera y resistente como la de esta semilla.

ISSUE # 1/ March 2014

BEGINNING

Project model

TITLE: F-ertebralis DESIGNER: Liviu Paicu NATIONALITY: Dutch UNIVERSITY: TU DELFT / Netherlands

This composition, whose main part is the rice shell, gains more flexibility thanks to the material, which can to withstand bending stress, which improves the quality of the wood used for the beams.

Project sketch

This allows benefitting from nature and its components, and results in an organic hybrid with an artificial structure. It aims at re-introducing nature in the city and, although transformed, it keeps in mind the idea of improving future spaces created around this bench. The above can be achieved thanks to digital tools which allow us further to improve our ideas, as in the case of parametric design. Through algorithm systems and mathematical mechanics related to geometry, the parametric design allows us to be more precise and change the future final process in a conscious manner in order to get a better result. These are more abstract processes that enable us to achieve the purpose of our project with the initial idea firmly in mind.Â

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BEGINNING

La estructura que lo compone, de acero y madera, trabajan solidariamente dando como resultado una perfecta unión entre los materiales permitiendo la elaboración de un mueble que admite diferentes usos y funciones que hacen que el usuario disfrute del área urbana o estancia donde se ubique. La madera aporta la flexibilidad y ligereza, mientras que el acero le da la robustez suficiente para soportar el peso, actuando como una columna vertebral, pero sin dejar de ser ligero ni restar el carácter ergonómico y flexible de su diseño. Gracias al material resysta flexible, cuyo principal componente es la cascara de arroz, esta composición adquiere gran flexibilidad, mejorando las calidades de la composición original de la madera que compone las vigas de F-ertebralis. Aprovechando así lo mejor de la naturaleza y sus elementos, pero combinado con las mejoras proporcionadas artificialmente, dando como resultado un híbrido de origen orgánico con estructura artificial. Al fin y al cabo se trata de volver a

Ortogonal view (out of scale)

Explod

The result of these developments is usually a series of concatenated, repetitive and often symmetrical structures, which can work both at small and large scale depending on the needs. Another advantage is the ability to develop a 3d model quickly and immediately, in a more accurate and efficient way.

I think this is a good example of how urban furniture, when installed in a particular place, is able to improve its surrounding environment or even shape it if it was not well defined before.

Since it is not a recurrent bench, the environment it creates is comfortable, relaxing and natural. Thanks to its modern look, which features sinuous lines and consistent shapes, it attracts the user towards experimenting the sensations which come from sitting on it to converse or rest.

ISSUE # 1/ March 2014

ded view and technical section

BEGINNING

introducir naturaleza en la ciudad, aunque sea transformada, siempre con la idea de mejorar los futuros espacios que se generaran alrededor de este banco. Todo ello puedo lograrse gracias a la ayuda de herramientas digitales, que nos permiten dar un paso más y mejorar o completar nuestras ideas, como es el caso del diseño paramétrico. Gracias a él, mediante sistemas de algoritmos y mecanAnother advantage is the ability to develop a 3d model quickly and immediately, in a more accurate and efficient way. I think this is a good example of how urban furniture, when installed in a particular place, is able to improve its surrounding environment or even shape it if it was not well defined before.

]Contr_addition[

ISTANBUL SC ANNING

Reaching architecture through a detail

Margherita Capra

Understanding Istanbul does not mean only feeling the atmosphere. The way the presence of people shapes the city, the way they live it, defines something more complex than a simple urban environment. The relationship between existence and space is so defined, that they cannot exist one without the other. Sounds, voices, smells and the movement of people are all elements involved in the same reality and they are the glue that defines the peculiarity of this urban texture. Moreover, in the Golden Horn, the local dimension is overlapped by the strong presence of history, representative institutions and tourism. Dealing with space in this area of Istanbul and trying to create something new for a neighbourhood community means grasping what is the significance of space in here.

Comprendere Istanbul non significa semplicemente percepire un’atmosfera: il modo in cui le persone levigano la città, il modo in cui la vivono e la percepiscono definiscono qualcosa di più di una semplice realtà urbana. La relazione tra spazio ed esistenza diventa talmente interconnessa da non permettere all’uno di esistere senza l’altro. Suoni, voci, rumori, odori, il movimento delle persone, sono tutti parte della stessa folle realtà e diventano il collante di questo mosaico urbano. Il quartiere del Corno d’Oro diventa in questo senso scenario di un’ulteriore complessità. Al mosaico di vita si sovrappone un tessuto storico prepotente, tutto il mondo della rappresentanza e il turismo. Il doversi relazionare a questa dimensione conduce alla ricerca di un approccio nuovo, cercando di riscostruire una realtà per la comunità senza perdere di vista il significato di spazio pubblico e di quello che possa voler dire restituire una dimensione locale ad un’area che difficilmente esprime una quotidianità di quartiere. ISSUE # 1/ March 2014

BEGINNING

Urban plan, connection between point of interest are pointed out (out of scale)

TITLE: Contr_Addition DESIGNER: Futura Falco NATIONALITY: Italian UNIVERSITY: TU DELFT / Netherlands

ISSUE # 1/ March 2014

BEGINNING

Futura Falco used an inside out analysis of the city as the starting point for her project. The market hall designed for the neighborhood in the Golden Horn aims at becoming a linked sequence of spaces.

The intervention wants to create a new productive element for the community, as well as increasing the unity of this area and giving a new perspective on local public space. However, urban analysis was not the key component in the design. An experimental process was developed to analyse the area using unconventional methods.

The theme of “addition” was the starting point for this project. More precisely, it focused on addition as a contrast.

Futura Falco utilizza come punto di partenza un’analisi al contrario, partendo dal dettaglio. Il mercato per il quartiere ha come obiettivo quello di creare una sequenza di spazi con diverse funzioni che non solo ricreino un nuovo polo produttivo per la comunità ma che diano alla zona un nuovo collegamento, una nuova strategia di movimento all’interno della zona che dia unità e un nuovo punto di osservazione sullo spazio pubblico. Urban analysis

Tuttavia il punto chiave nella progettazione non è la semplice analisi urbana, bensì un processo sperimentale di lettura dell’aera attraverso metodi non convenzionali di percezione dello spazio. Il tema di partenza è l’addizione, più precisamente l’addizione come contrasto. L’intento è quello di comprendere quale sia lo schema che si nasconde dietro tutti quegli elementi che si vanno ad inserire in una più o meno precisa struttura urbana, cercando di esprimere una propria identità, non confondendosi tra le architetture, bensì dichiarandosi apertamente stonando con quello che le circonda.

Additions could be the top floors built over existing ruins, or new structure filling in voids in the city. A tectonic model was developed using what is called indexical drawing representing all the records collected.

Schematic plans, showing the position of the added elements on a simplified map, defines a geometrical shape for the site and different layers, representing the position of added elements on a chronological timeline, ultimately defining the parameter of depth. A tectonic model created from the drawings is used as a leading scheme for a further implementation on materiality and to develop a design concept.

This approach aims at creating a new perspective to the urban reality, ultimately linking an objective analysis to the subjective elements perceived in the space. This approach aims at creating a new perspective of the urban reality, pushing the analysis to the limit turning a subjective collection of experiences perceived in the space, into an objective understanding. Urban reality is looked through the theme of addition, which creates a new point of view on the area and allows defining the design concept.

Diagrams of the evolution of the project

ISSUE # 1/ March 2014

BEGINNING

Study model

Si può trattare di nuovi piani aggiunti in cima a dei palazzi in rovina o edifici incastrati tra il sottile spazio lasciato tra due elementi urbani, in ogni caso la relazione fra di essi diventa unica e inscindibile. Partendo da grafici di raccolta dei dati ottenuti, viene sviluppato un modello di rappresentazione. Piante schematiche definiscono la posizione e la natura degli elementi di interesse, definendo una forma semplificata dell’area, mentre un sistema a livelli ne definisce la posizione nell’arco storico degli eventi. I disegni diventano così lo schema guida per la sperimentazione sui modelli e sui materiali: attraverso uno studio tettonico della deformazione e della connessione tra forme ed oggetti si arriva a definire il vero e proprio design del progetto. Lo scopo nell’utilizzare un approccio di questo tipo è quello di ottenere un nuovo punto di vista sulla realtà urbana, studiandola dall’interno, e spingendone al limite la percezione fino ad ottenere da un’analisi soggettiva di elementi una raccolta oggettiva, quasi scientifica di dati.

In Istanbul, the theme of addition can be seen as an unspoken rule for urban development, and developing it through the leading guide of the contrast leads to the notion of the urban fabric as a result of time and mistakes.

This unplanned development shapes the authenticity of the city and defines the architectonic atmosphere. The drawings and models developed are all representing the possible ways to interpret and shape the existing space. The shape of the buildings itself is defined by the experimentation on materials and tectonics. Ms Falco worked through burned foam, layered Plexiglas, until she reached a final product by using cardboard silhouettes to define the design. The addition is conceived through the development of an underground level that shows itself using a simple tool as a series of organic shaped roofs.

Ad Istanbul il tema dell’addizione può essere letto come una vera e propria regola nello sviluppo urbano ed è proprio espressione di come il tessuto sia qui il frutto del tempo e degli errori. Questo conferisce alla città la sua autenticità non sono da un punto di vista formale, ma proprio per la sua atmosfera architettonica. I disegni e i modelli di analisi prodotti con la ricerca, rappresentano un modo di percepire e modellare lo spazio esistente. La forma degli edifici è frutto della sperimentazione diretta sui materiali: polistirolo bruciato, un raccoglitore di dati in strati di plexiglass fino ad una serie di forme ad incastro in cartoncino, sono quello su cui F. Falco lavora per giungere al suo oggetto architettonico. Il progetto finale è il riempimento di vuoti utilizzando spazi sotterranei che denunciano la loro presenza attraverso dei tetti di forma organica al livello della strada.

ISSUE # 1/ March 2014

Floor plan ground level

1m 5 m

15 m

Floor plan underground level

The strength of this approach lays on the possibility to challenge the design process, by forcing unconventional methods of designing and by using the scale of a restricted analysis, while also remaining linked to the context of the city. The theme of addition was the pivot point for a deep understanding of the urban structure and the final product is a well-integrated intervention, able to give the neighborhood a new identity. In the same way it deals coherently with a strong historical context as the project itself embodies themes like addition, stratification and contrast, strong defining principles throughout Istanbul.

ISSUE # 1/ March 2014

15 m

BEGINNING

Section

La forza di questo approccio alla progettazione sta nel definire delle nuove regole, forzando un processo non convenzionale e utilizzando un’analisi su scala ristretta, rimanendo saldi al contesto urbano. Il tema dell’addizione diventa il punto cardine per comprendere la città nel suo profondo portando ad un oggetto finale costituito da un’architettura radicata nel contesto ma capace di dare una nuova identità al quartiere. Nel progetto vivono i concetti di addizione, stratificazione e contrasto che, definendo già di per se la città di Istanbul, permettono al progetto di esistere in modo coerente in questa fitta trama urbana.

]PLAY4US[

S MART, SO CIA L, S U S TAIN AB LE A ND F UN

Karan Shan

Play4Us is a simple, cost effective and easily implementable product concept that functions in the realm of a social and environmental context. It is designed to address the serious but often ignored issue of the excessive residues that are left behind at the end of a Botellón. These excessive residues are one of the main problems of Botellón as participants leave behind loads of waste that lead to significant expenses for the municipality and heavily damage the environment.

Play4Us is a concept created around the product ‘Play4box’ that uses a social gaming component to address this issue in a sustainable way and by encouraging participation. The beauty of the idea lies in its simplicity

TITLE: PLAY4US DESIGNER: Diego Mazo NATIONALITY: Spanish UNIVERSITY: TU DELFT/ Netherlands

To encourage participation by those who are not motivated enough by the playful and social aspects of this product, the concept also has a more tangible reward system in place. To reward respect for the environment, a point system has been designed that lets participants receive small prizes. The Play4Box has a QR code that a participant must scan when they begin. They get 5 points upon this scan. Finally, when they deliver the filled box, they get 10 additional points. Upon gathering 30 points, they can get tickets for cultural activities like cinema, concerts and performances.

This can motivate young and active people attending Botell贸n, who are the target for this concept.

Functional diagrams

The Play4Box is a low-cost modular design made of a completely recyclable material, hence it makes this concept very eco-friendly and sustainable. For the participants, the Play4Us adds a new dimension to Botell贸n that makes it a more holistic endeavour.

Along with having fun, meeting new people and getting drunk, people can also forge deeper relationships with their peers by using Play4Us. In this way, not only do they do something respectful and good for the environment, but they also get likeable rewards for doing so. This could lead to a new form of participation of people not necessarily interested in taking part in Botell贸n, but more into earning a few points to get tickets for cultural activities, who come only later in the night to help clean up using Play4Us.

At a system level, to make this concept feasible, successfully implementable and eventually beneficial for the municipality, the money spent in manufacturing the required number of Play4Boxes and the rewards must not exceed the cleaning expenses for picking up the residues after a Botell贸n.

Goals and rules

]The third layer-bridging the divide[ 33

A SO CIAL BRIDGE FO R N AZARETH

Gödze Gürsoy

Since Vitrivius’ times, it has been certain that architecture is related to philosophy, politics, art and with many other disciplines. Architecture can sometimes be a result, others a tool or a solution. Oliver Shalabi’s Project is a good example of this approach.

The location for the project is Nazaret, in the Northern district of Israel, which is one of the most significant Christian sites, as well as having a rich history which has repercussions in the contemporary world. Nazaret’s political history and the city’s pattern constitute the starting point for the designer. Nazareth has the largest Arab community in Israel. After 1948, the government planned the construction of a new city near Nazareth to stop the Arabs from further expanding. This city is called Nazareth Illit, Upper Nazareth. After nearly 60 years, even though Nazareth Illit is three times bigger than Nazareth, it hosts only half of Nazareth’s population.

The Designer’s starting point is based upon this separation and division. This project focuses mainly on finding a solution for social and political tensions between two different cities and groups of people.

Mimarlığın siyaset, felsefe, sanat vs. gibi pek çok dalla ilişkili olduğu çok eski çağlardan, Vitrivius’tan beri bilinen bir gerçek. Mimari bazen bir sonuç, bazen bir köprü bazen ise bir çözüm olabiliyor. Oliver Shalabi’ nin projesi bu bahsedilenlere güzel bir örnek teşkil ediyor.

Project model

TITLE: The third layer DESIGNER: Oliver Shalabi NATIONALITY: Israeli UNIVERSITY: Technion IIT/ Israel

Urban analysis

The architect starts his Project by analysing the city pattern. His first impressions about the city can be easily understood from the first sketches. These impressions bear the traces of heterogeneous and dynamic structures of old, ancient cities. In the next phase, he continues with detailed analyses of Nazareth and Nazareth Illit. While these analyses let him carry his Project to the next step, as well asprovidinghim with some good ideas, it is also very didactic and visually satisfying for the people who want to learn more about the Project.

The designer analyses religious, commercial and educational sites, and open spaces of both cities, as well as their topography , population and landuse to gainmore information for his Project.

Project sketch

Nazareth Hristiyanlık açısından önemli bir kent olmasının yanı sıra etkileri günümüze kadar gelen ilginç de bir geçmişe sahip. Tasarımcının çıkış noktasını işte tam da bu politik, siyasi geçmiş ve kent dokusu oluşturuyor. Nazareth İsrail’de Arap popülasyonunun en yoğun olduğu şehir. 1948 den sonra İsrail hükümeti bölgedeki Arap şehirlerini gelişimini engellemek için Nazareth in yakınlarına Nazareth ıllit isminde yeni bir şehir kurmayı planlıyor ve bu planı gerçekleştiriyor. Yaklaşık 60 yıl sonra Nazareth Illit, Nazareth in üç katı büyüklüğünde fakat Nazareth’den daha gelişmiş olmasına rağmen nüfus yoğunluğu Nazareth’in yarısı kadar. Tasarımcı tasarımının çıkış noktasını bu ayrılığa ve bölünmüşlüğe dayandırıyor. Projenin odak noktası ise bu bölgedeki farklı gruplar arasındaki sosyal ve politik gerginlikleri yok edecek bir çözüm bulmak. Tasarımcı projesine kent dokusunu inceleyerek başlıyor. Yapılan ilk eskizlerde projesinin yer alacağı şehir hakkındaki ilk izlenimlerini görebiliyoruz. Bu izlenimler tarihi şehirlerin heterojen ve dinamik yapısının izlerini taşıyor. Tasarımının bir sonraki aşamasına Nazareth ve Nazareth Illit’ in detaylı analizleriyle devam ediyor. Bu analizler projesinin oluşması için iyi bir nokta yakalamasına imkan sağlarken aynı zamanda projeyi inceleyecekler için de yeterince didaktik ve görsel anlamda doyurucu.

Among these analyses, one becomes prominent for this Project. This is the analysis of the road that connects Nazareth with Nazareth Illit, Road 75, which physically represents the social and political separation of these cities. The Project is located near this road on the “left overs” of both cities. This location provides a good opportunity to break the border seprating two cities. Furthermore, it creates a new center and an attractive point offering different activities for both cities. The project thus becomes a social bridge between the two cities.

Nowadays, even the best-known architects tend to ignore city patterns while designing a new Project, while this one focuses on the city itself, its issues and pattern, as well as trying to deal with a current political and social problem.

Finally, what makes this project even more significant is that it can prove the power of architecture in solving problems and conflicts.

Tasarımcı analizlerinde iki şehrin de dini, eğitim ve ticaret alanlarını ve açık alanları inceliyor aynı zamanda nüfus yoğunluğu, topoğrafyası ve alan kullanımlarını da projesine veri sağlayacak şekilde analiz ediyor. Bu analizlerden bir tanesi proje için daha fazla ön plana çıkıyor diyebiliriz. O da Nazareth ve Nazareth illit’i ayıran veya birbirine bağlayan yolların analizi. Bu iki şehrin siyasi ve sosyal bölünmüşlüğünü fiziksel olarak da bir yol destekliyor. Proje tam da iki şehri bölen bu yolun etrafında, iki kentten de “arta kalan” kısımda şekilleniyor. Bu yer seçimindeki amaç iki şehre de eşit uzaklıkta durarak ikisine için de yeni bir merkez yaratmak ve bu bölünmüşlüğü bu düğüm noktasında ortadan kaldırmak.

Bu anlamda tasarım iki şehir arasında sosyal bir köprü görevi görüyor. Çıkış noktasını böylesine güçlü bir altyapıya dayandırması projeyi daha da ilginç kılıyor. Bazı büyük mimarların bile kent dokusunu ihmal ederek çalıştığı günümüzde, bu projenin gücünü kentten, kentin sorunlarından alması ve böylesine hassas bir konuya temas ederek çözüm araması da bu projenin güçlü yanlarından bir tanesi. Bu soruna bir çözüm üretmesi ise mimarinin gücünün bir kanıtı.

Analisys of Nazaret and Nazaret Illit

The next phase of the design is to create the form. In this phase, two factors are emphasized: topography and green, open spaces. We immediately realize that these are also the first parameters to consider when creating the form. It is not hard to understand that the building shapes with the existing topography. The project shapes up in harmony with the curves of Road 75 and with the existing topography.

The building is made up of two forms. Between these two forms, a green axe is designed. When we look at the first analyses we see that the lack of green spaces in Nazareth is emphasized. This new green axe is an alternative for this lack of open/green spaces. The green axe separates the two buildings, but also allows them to communicate. So the project might refer to the relation between Nazareth and Upper Nazareth; two related as well as separated pieces. In addition to the main green axe in the middle, the designer also creates secondary open, green spaces. Tasarımın bir sonraki aşaması formun oluşumu. Bu aşamada dikkat çeken ve vurgulanan iki faktör var. Bunlardan birincisi topoğrafya ikincisi ise yeşil alanlar. Bunların formun oluşum aşamasındaki ilk etken noktalar olduğunu fark ediyoruz. Binaya ilk baktığımızda topoğrafyayla şekillendiğini anlamak zor değil. Gerek 75inci yolun kıvrımlarına uygun bir şekilde yerleşmesi gerekse katmanlaşması açısından bina bulunduğu topoğrafyaya uygun şekilde yerleşmiş. Bina iki kütleden oluşmakta. Bu iki kütle ise birbirinden ayrılarak ortada yeşil bir aks yaratılmış. Ilk analizlere tekrar dönersek, yapılan yeşil/ açık alan analizinde Nazareth teki bu alanların azlığı vurgulanmıştı. Yeni binayla ortaya konulan bu yeşil aks da bu azlığa karşı bir alternatif. Bu yeşil aks binaları ayırırken aynı zamanda da iki bina arasında iletişimi sağlamakta, belki de proje bu yönüyle yine Nazareth ve Nazareth Illit e bir atıfta bulunuyor. Birbiriyle alakalı fakat birbirinden kopartılmış iki parça. Ortada bulunan ana yeşil aksın yanında projenin içerisinde ikincil açık/yeşil alanlar yaratılmış. İki bina arasındaki sirkülasyon da yine yeşil aks ile ve yeşil aksın üzerinden geçen rampalarla sağlanmış. Bu rampalar aynı zamanda kütleyi daha dinamik hale getiriyor. Eski kent dokularının da genelde kendi içinde bir dinamiği vardır. Tasarımcının ilk yaptığı eskizlerde bu dinamikliği hissedebildiğimizi söylemişimdir. Bu formla, rampalarla ortaya çıkan dinamiğin, şehirle ilgili ilk izlenimlerin özgün bir dışavurumu olduğunu düşünmek de mümkün.

15 m

50 m

Urban Plan

The Circulation between two forms also provides green axe and platforms, which go over green axe. These platforms make the project more dynamic. Old cities are also dynamic in their own way. As I mentioned before, we can also examine the dynamism in the first sketches of the designer. This dynamism can be considered as an expression of the first impression of a city.

Other factors that can be considered for this project as well as others are aesthetical concerns and functional concerns such as light, wind etc. We can see that these concerns are significant when the project is created.

Formun şekillenmesine katkıda bulunan başka etmenler de tabii ki birçok projede olduğu gibi tasarımsal ve ışık, rüzgar gibi işlevsel kaygılar. Yine bu işlevsel kaygıların projenin şekillenmesinde önemli bir yer kapladığını görüyoruz. Proje Nazareth ve Nazareth Illit şehirlerine yeni bir merkez, bir çekim noktası önerdiğinden bulundurduğu işlevleri de incelemekte fayda var. Proje bünyesinde bir kent merkezinde olması gereken birçok işlevi hatta belki daha fazlasını barındırıyor. İçerisinde ofisler, tiyatro, galeri, cafeler ticaret alanları ve hatta derslikler olmak üzere birçok işlev barındıyor. Buradaki önemli noktalardan biri bu farklı işlevleri iyi ilişkilendirebilmek. Projenin bunu büyük ölçüde iyi bir şekilde sağladığını söyleyebiliriz. Yalnız bu noktada dikkatimi çeken şey formdan dolayı planların bazı yerlerindeki kullanışsız diyebileceğimiz alanlardır, fakat estetik kaygılarla bazen işlevden ödün vermek veya tam tersi işlevsel gereklilikler yüzünden estetikten ödün vermek hepimizin sıkça karşılaştığı bir problem.

The Project begins with the search for a solution to significant social and political problems, which also emerge from the analysis. Starting from that point, the project systematically pursues strong conceptual ideas. The solution which the project proposes is an example of the power of Architecture and its being related to any field.

However, as Markus Miessen said, politics and architecture is a very sensitive issue and it should be taken care of seriously. This aspect makes the proposal of this solution open to questions. On the other hand, its courage and determination to concentrate on a very delicate political issue cannot be disregarded.

Proje başlangıcını çok güçlü sosyal ve siyasal bir soruna dayandırarak ona çözüm arayarak başlıyor. Yapılan analizlere bu sorunları ve çıkış noktasını ortaya koyarak, baştan sona kadar güçlü ve sistematik bir şekilde ilerliyor. Ortaya koyduğu çözüm mimarinin her alanla ilişkisinin ve gücünün bir örneği fakat Markus Miessen’ın da bir söyleşide bahsettiği gibi yine de dikkatli yaklaşılması gereken hassas sınırlarda gezinen bir konu. Bu anlamda projenin bir sonuç önerisi olarak etkisi tartışılır ama böylesine hassas bir konuya değinmesinden ötürü cüretkarlığı, cesareti tartışılmaz.

]IN/CUBO[

AN AL ARM PROJEC T

Jacopo Ferrari

Alarm! The lifestyle we are leading is not sustainable. Waste reigns supreme and the ever-growing amount of garbage threatens to choke us and the environment hosting us. A group of young architects from Turin deploys a sentinel to shelter us from this menace.

This geometric and unquieting sentinel (the name is a wordplay: In/cubo means In-a-cube, while Incubo means nightmare) stands in one of the most symbolic spots in Turin: Valentino Park.

The alarm is not an isolated cry by the designers: the inhabitants of city district 8 (60.000 people) actively collaborated in the making of the installation. Not just citizens, but also some schools collected the PET bottles which turned the empty cube into a full nightmare.

Allarme! Lo stile di vita che conduciamo non è sostenibile. Lo spreco regna sovrano e la massa sempre più imponente di rifiuti rischia di soffocare insieme noi e l’ambiente che ci ospita. Per proteggersi da questa minaccia, un gruppo di giovani architetti torinesi mette in campo una sentinella. Questa geometrica e inquietante sentinella (il nome parla chiaro) viene schierata in uno dei punti più strategici di Torino: il Valentino. L’allarme non è solo un grido isolato dei progettisti: la comunità degli abitanti della circoscrizione 8 della città (60.000 persone) ha collaborato attivamente alla realizzazione dell’installazione. Non solo i cittadini, ma anche alcune scuole hanno raccolto le bottiglie in PET che hanno trasformato il cubo in In/cubo.

Poject location (out of scale)

TITLE: INCUBO DESIGNER: PLinto NATIONALITY: Italian UNIVERSITY: Politecnico di Torino/ Italy

The construction mode (or to better say, the filling mode) fits the philosophy of the collective which allowed the realization.

PLinto (Plurality In Torino) proposes a partecipated architecture, which can express the leanings and the dreams, but also the fears and the contradictions of the population living in the costruction site. PLinto collective is made up of some twenty architects, who have contributed to the actual making of the installation.

The collective members have split in teams which took care of building the structure, collecting the bottles and meeting the schools. Funds for the construction have been raised by RiverEyes contest (In/cubo was the winner) and by SMAT, Water Metropolitan Society of Turin.

La modalità di costruzione (o meglio, di riempimento) risponde alla filosofia del collettivo che ne ha permesso la realizzazione. PLinto (Plurality In Torino) propone un’idea di architettura partecipata, che possa esprimere gli orientamenti e i sogni, ma anche i timori e le contraddizioni della popolazione che abita il ”territorio” dell’opera. Il collettivo PLinto è costituito da circa venti architetti, che hanno contribuito alla realizzazione concreta dell’opera. I membri del collettivo si sono organizzati in squadre che hanno rispettivamente realizzato la struttura, raccolto le bottiglie secondo un calendario e tenuto gli incontri con le scuole. I fondi utilizzati per finanziare la realizzazione (completata in quattro giorni) sono stati il premio del concorso RiverEyes (di cui In/ cubo è risultato vincitore) e una piccola sponsorizzazione da parte della Società Metropolitana Acque Torino (SMAT).

Constructive adn functional diagrams

Diagrams of past, actual and future situations

IERI

OGGI

To tell the truth, the installation exposes the nightmare of waste and over-consumption rather than embodying it. The project’s aim is not to instigate a by-now useless indignation, but to spur the citizenship to change direction as quickly as possible.

In/cubo has so far accomplished successfully to its sentinel role: according to the designers, the Turin’s district 8 community has positively welcomed In/cubo, showing interest towards the message it tries to convey. After PLinto’s folks “we tried to put through the critical environmental situation by the installation... and in some way we succeeded”.

DOMANI

A dire il vero l’installazione, più che incarnare l’incubo dello spreco e dell’iperconsumo, lo denuncia. Il progetto non cerca di suscitare un’ormai inutile indignazione, ma piuttosto di spronare la cittadinanza a cambiare, il più velocemente possibile, direzione. In/cubo ha finora svolto con successo il suo ruolo di avvertimento: secondo i progettisti, la comunità della circoscrizione 8 di Torino ha riservato all’opera una buona accoglienza, dimostrando interesse verso il messaggio che cerca di trasmettere. Secondo i ragazzi di PLinto “Abbiamo cercato di far passare proprio la critica situazione ambientale attraverso l’installazione... e in un certo senso ci siamo riusciti”.

Picture of the opening day

The designers claim the project is trans-national, yet In/cubo effectively exploits the peculiarity if the construction site. At Valentino, the severe city’s geometry, the quiet breath of the park and river Po’s flowing meet each other in a fragile balance. The abnormous outcomes of overconsumption threaten at the same time society, nature and all that stands in between. The sentinel has been, then, deployed on the right spot. Yet if we zoom out, we’ll find In/cubo fits tightly to Turin’s identity: a city which is marginal yet alive, impoverished yet energetic and often even turbulent and rebel.

In the European landscape of struggles and uprisings, Italy looks rather quiet (especially when compared to Portugal, Greece or Spain), but Turin distinguished itself in the last few years as background to the most radical and participated demonstrations.

A restless, alarmed city. Where designing a nightmare may prove the best way to never see it come true.

I progettisti rivendicano la transnazionalità del tema che sollevano, ma il In/cubo sfrutta efficacemente la particolarità del sito dove è realizzato. Al Valentino si uniscono in un fragile equilibrio la severa geometria torinese, il sommesso respiro del parco e lo scorrere del Po. Le conseguenze abnormi dell’iperconsumo minacciano allo stesso tempo la società, la natura e tutto quello che fa da tramite tra le due realtà. La sentinella è stata, quindi, messa in campo nel punto giusto. Ma se si allarga l’inquadratura, si può dire che In/ cubo risponde con notevole precisione all’identità di Torino: una città periferica ma viva, impoverita ma energica e spesso addirittura tumultuosa e ribelle. Nel panorama Europeo dei movimenti e delle rivolte l’Italia sembra in sonno (soprattutto se confrontata con Portogallo, Grecia o Spagna), ma Torino si è distinta negli ultimi anni come scenario delle manifestazioni più radicali e partecipate. Una città inquieta, in allarme. Dove disegnare un incubo può rivelarsi il modo migliore per fare in modo che non si avveri.

]New urbanism planning in Montsoils[ 53

CONSEQUENT BEGINNINGS IN THE BARCELLONA SUBUR

Discontinuity on the AB line

Giulio Cavana

Barcelona. In the Eastern part of the city, cut in half by the Correr de Santander, bordered by the Besos river to the North-East and by the railway line to the South-West, Montsoils Poligon, an industrial low-density area featuring warehouses in relatively poor conditions can be found. This is the area where Roca and Guix, two students from the Technical School of Architecture of Barcelona, implement their renovation project. As a general (theoretical) premise, the definition of a project hardly develops linearly, relying exclusively upon a collection of initial data.

Indeed, considering the project process to be a path which goes from an A scenario to a prospected B one, branch lines often happen to stem from the main path, determining new starting points for the process which lead to alternative endings that differ from the expected B result.

The above can be integrated into a wider view that includes the history of the area as well as the city as a whole. Hence, there will be a certain percentage of similarity between the different developed alternatives, as well as between them and the environment. Furthermore, the various steps that the design process underwent through will be clearly visible. Barcellona. Nella parte orientale della città, tagliata a metà dal Correr de Santander, bordata a nord-estdall’alveo del fiume Besos e a sud-ovest dalla linea ferroviaria, si trova il Montsoils Poligon, un’area industriale a bassa densità, piena di fabbriche in condizioni “non ottimali”. E’ su questa area che insiste il progetto di recupero urbano proposto dai due studenti spagnoli della Technical School of Architecture of Barcelona, Roca e Guix.

RBS

Axonometric view of the project (zoom in)

TITLE: New urbanism planning in Montsoils DESIGNER: Feliipe Ibarz Roca / Miguel Rami Guiz NATIONALITY: Spanish UNIVERSITY: ETSAB Barcellona/ Spain

With no exception, this is true as well for Roca and Guix’s renewal project.

From the very first preliminary drafts, the main guidelines that determined the two designers’ initial approach can be seen. 55

Looking at them one ity that comes from octagonal lots with a aligned in a strictly

may recognize the axialthe filling of the entire set of central patio blocks orthogonal grid.

Afterwards, the blocks were decomposed in a set of primary volumes, to be then reassembled inside the road system, preserving the lots’ shape.

In this phase, the above-mentioned “joint” starts to play its role: the study of the paths and the flows in the context originate a new kind of approach to the area itself, creating a dialectic contrast with the rigid orthogonality of the original planning.

Scketch of the existing situation

Concedendoci un preambolo di carattere generale, potremmo affermare che nel corso della definizione di un qualsiasi progetto non sia possibile procedere linearmente, solamente partendo da una collezione di dati iniziali. Infatti, in ogni momento del processo progettuale che porta da una situazione iniziale A allo scenario prospettato B, si possono individuare punti di snodo che determinano inizi di nuovi percorsi: diramazioni differenti dell’iter, che conducono a punti “finali” alternativi a B.

Diagrams of the existing situation and the new design

A sua volta, questo si può inserire in un panorama più vasto che, senza scomodare l’interezza della città di cui comunque partecipa, chiama in causa la storia pregressa dell’area, determinando una percentuale di somiglianza tra le varie alternative e tra queste e il contesto, conservando, inoltre, una memoria persistente dei vari passaggi che il processo ha attraversato. Ciò vale anche per il progetto di riqualificazione proposto da Roca e Guix. Già negli schizzi di analisi è possibile riconoscere le linee guida che hanno indicato il primo approccio compositivo tenuto dai due designer: l’assialità determinata dal pieno sfruttamento del tipico lotto ottagonale viene riproposta in una maglia ortogonale di blocchi a patio centrale.

This new path, at the beginning, lightly touches the buildings’ outline, while the blocks still live on their own, withdrawn into themselves, even though the inner courts are already partially weakened in their self-referentiality by the clefts cut in the blocks.

However, later on, the path seems to become stronger, chopping off the buildings and encompassing the in-between spaces as it develops.

The final effect is a set of octagonal lots that originate from the permanence of the orthogonal planning in the southern part of the area. Inside them, the parallelepipeds are disposed in a varied manner according to the different options allowed by the right angle.

Inside them, the parallelepipeds are disposed in a varied manner according to the different options allowed by the right angle. At the same time, the path is free to flow beside them and, like a connective tissue, it unifies the planning and, on the northern side, establishes a relationship with the river park extension. Successivamente, i blocchi vengono scomposti in volumi fondamentali riaggregati poi all’interno dello schema viario ortogonale originario, conservando la forma dei lotti. E’ in questa fase che si pone lo snodo: lo studio dei percorsi e degli assi di percorrenza nella zona scaturisce in un nuovo approccio all’area; approccio che si pone in contrasto dialettico con la rigida ortogonalità dell’impostazione di partenza. Il nuovo percorso, all’inizio, sfiora il bordo degli edifici, che ancora vivono di vita propria ripiegati nei propri patii, già parzialmente indeboliti nella loro autoreferenzialità dalle aperture operate nei blocchi edilizi stessi. Proseguendo, tuttavia, il percorso aumenta di forza, troncando il costruito e andando a inglobare, nel proprio svolgersi, gli spazi interstiziali in un discorso globale di dilatazioni e restringimenti.

General plan scale 1:2000

Axonomeric view

The final impression is a Victory Boogie Woogie under the influence of two electromagnetic fields generated by the path and the river park, two strengths that bend the geometry of the planning.

This sum of different axes arranges a set of buildings that are proportional in the height dimension with both the context and the preexistence accepted in the plan.

It also has a two level connecting function: first, it links up the area with the surroundings, for example, it overpasses the railway line and the freeway by means of a pedestrian footway system, and also systematizes the lots, containing, in the case of the pedestrian path may which may be called organic, a set of exceptional buildings in the strict meaning of the word.

w of the proposal (out of scale)

Victory Boogie Woogie by Piet Mondrian (1944)

Il risultato finale della sovrapposizione dei due approcci genera, nella parte meridionale dell’intervento, una serie di isolati ottagonali figli della permanenza d’impianto. All’ interno di questi, una serie di parallelepipedi si dispone variamente nelle declinazioni dell’angolo retto, lasciando al contempo libero di fluire tra di essi il percorso che, come un tessuto connettivo, unifica l’intervento, andando poi a dialogare, a settentrione, con il parco legato all’alveo del fiume. L’impressione finale è quella di un Victory Boogie Woogie sotto l’influsso di due campi elettromagnetici generati dal percorso e dal parco fluviale, che ne piegano le geometrie in funzione dei flussi di forze che determinano. Questa somma di diverse assialità distribuisce una serie di edifici che si presentano commisurabili in altezza sia con l’intorno sia con le preesistenze che vengono accettate dal piano, ed ha una funzione connettiva su due livelli: non solo collega l’area con l’esterno, ad esempio scavalcando la strada ferrata e la superstrada con un sistema di passerelle pedonali, ma mette anche a sistema i diversi isolati, accogliendo al proprio interno, nel caso del percorso pedonale che potremmo definire organico, una serie di edifici eccezionali nel senso stretto del termine.

Project sketch (top view)

The aim of the project seems to be the addressing of renewal of the area in the direction of a smart city trying to reach self-sufficiency of the parts in the tracing of the occupational and attractive resources, maintaining the link with the entire area. From this point of view, it is necessary not to forget the oversizing of a function to the detriment of another.

Indeed, even though the global number of commune spaces seems to be proportional to the scale of the intervention, on the other hand that quantity has to be justified by a n increase in building density.

That kind of slant tends to those more or less utopic models (and for this reason perfectible) that can be found throughout history of architecture (Ville Radieuse, Illinois skyscraper etc.) that give a less dispersive vision of the human habitat.

Section (out of scale)

L’obiettivo sembra quindi essere quello di indirizzare il recupero dell’area nella direzione di una Smart-city, predisponendo una certa autosufficienza delle parti nel reperimento delle risorse sia occupazionali che attrattive, mantenendo comunque il rapporto generale con l’insieme. In quest’ottica, non bisogna dimenticare il sovradimensionamento di una funzione rispetto ad un’altra. Infatti, se da un punto di vista formale la quantità di spazi dati alla comunità sembra proporzionalmente convincente, dall’altro questa deve essere giustificata da un parallelo aumento della densità edilizia, in una prospettiva che tende a molti dei modelli più o meno utopici (e quindi per loro stessa natura perfettibili) di cui è cosparsa la storia dell’architettura (Ville Radieuse, grattacielo Illinois,…) che propongono visioni meno dispersive dell’ habitat umano.

Summary section of the urban proposal (out of scale)

STAFF

â&#x2014;&#x2021; Editors in chief:

Graphic & editing: Lorenzo Bottiglieri

Giulia Fioravera

Marco Mattia Cristofori

Agnese Laguzzi

Luca De Stefano

Traslators:

Editor staff: Flaminia Del Conte

Tommaso Nonis

Valeria Gaudenzi

Feature writers: Max Lindgren KTH Royal Institute of Technology Stockholm

Immaculada Ramìrez Gomez de Aranda Escuela Técnica Superior de Granada

Margherita Capra Accademia di Architettura di Mendrisio

Karan Shah Design Strategy at the Delft University of Technology

Gözde Gürsoy Karadeniz Technical University Leibniz Universitaet Hannover

Jacopo Ferrari Politecnico di Milano

Giulio Cavana Politecnico di Torino

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