PORTFOLIO OF WORKS flooding voids student work, Milano, 2003 plat(FORM) Ancona student work, Milano, 2005 cumulus competition, first prize, with Helen&Hard, Stavanger, 2007 artificial light in the landscape. temporary. luminous, nocturnal. research/anthology of projects, with Gian Maria Sforza, Milano, 2007 Immateriale Sonoro Diploma, Politecnico di Milano, 2008 Master Studio Courses in Landscape Architecture three teaching assignments, Oslo, autumn 2009 - autumn 2010 appearing and disappearing landscapes teaching and exhibition design, Oslo, 2011 W(E)AT(H)ERSCAPES competition, Oslo, 2012
Alice Labadini Oslo, 22.07.2012
flooding voids
student services within “Leonardo” University Campus, Milano, IT student work, spring 2003 NEGATIVE [1] The interestitial character of the project points to the importance of a strategy on the void. the void is here understood as a mental category which searches for a physical materialization: an interpretation in terms of negative. From a visual point of view drawing the negative suggests the intuition of a presence/absence. on the given site, the void is revealed to be quantitatively equivalent to the built surface. Although the void is not really occupied, there doesn't seem to be space in it. acting on this area meant for us rewriting the void by giving back space. [2] An interstitial process reveals the meaning of the border as a situation between two fields; the project first and foremost discusses its limits. Within the given boundaries of the site we suggests the creation of a connecting soil, a sort of smooth space in which fields of different intensity can be established in order to create new relations, also to the surrounding city.
PROGRAM=H2O Giving back space is not pursued through the physical occupation of the void with built mass, but by means of creating new attractive potential which would repristinate mobility without the will to control or predict its flows. The program investigates machinic connections between its parts, with the intent to occupy space with things, but also with the forces between things. The project doesn’t only define institutional spaces, and the relations between dis-similar and not synchronic actions reveals to be unpedictable. [3] NOMADISM The project thinks architecture as a dynamic system: its space of operation is imagined beyond the perfect moment of architectural creation. Thinking the project inhabited suggests interactions with spontaneous phenomena and refers to studies of nomadism. It questions whether people flows could be - like in in the domain of fluidodynamics - influenced by strange attractors, thus being in the same way umpredictable. In a system that makes open superficial spaces interact with underground spaces we reasearch the highest freedom of orizontal and vertical movements and exchanges. We imagine a space that doesn't create hyerarchies between actions but suggests different spatial experiences. Searching for a free interaction with the architecture different spaces and programs are meant to be experienced through haptic engagement with different material textures.
PLAN +1,20 m PLAN - 2,90 m
“flows” | research video (1:04:00)
maquette study for natural light boxes
plat(FORM) Ancona
an urban regeneration project for eight strategic sites in Ancona (IT) student work, spring 2005 platform |ˈplatfɔːm| noun 1. a raised level surface on which people or things can stand. • a raised floor or stage used by public speakers or performers so that they can be seen by their audience : earning her living on the concert platform. • a raised structure along the side of a railroad track where passengers get on and off trains at a station. • a raised structure standing in the sea from which oil or gas wells can be drilled or regulated. • [usu. with adj. ] a raised structure or orbiting satellite from which rockets or missiles may be launched. • Computing a standard for the hardware of a computer system, determining what kinds of software it can run. 2 [usu. in sing. ] the declared policy of a political party or group. • an opportunity to voice one's views or initiate action. 3 ( platforms) shoes with very thick soles : chunky platforms | [as adj. ] yellow platform shoes. 4 (fig.) virtual/spatial support to the creation of new perspectives for a city, in accordance with the networks the city is operating within and the potential lying latent on the territory. in the specif case, creation of a diffuse scientific park, structured along a light metro line, integrating and potentiating the systems of university/research/industry. namely, platform ancona ORIGIN mid 16th cent.: from French plateforme ‘ground plan,’ literally ‘flat shape.’
cumulus
with Helen&Hard as project entry for the invited competition “De 4 Årstidene - Bygg for opplevelser”, Fløyen, Bergen Organized by Fløibanen. First prize. 2007
(1) a twofold structure
(2) a topographic architecture The building is conceived as a construction in tension between the ground and the sky. The ground, the hill of Fløyen, is a topographical landscape feature which holds a strong symbolic value in Bergen’s place culture. The building is strongly rooted in Fløyen’s ground by digging its presence out of a clear and deep footprint in the soil. The sky is introduced as the chief conceptual reference for the project’s architecture. A “cloud” architecture celebrates the changing light and weather conditions by creating a volume of multifactede reflective surfaces whose material presence shifts together with the light intensity. At the same time, the building stages spectacular views, framed through the use of different opacities in its glass surface cladding.
(3) an architecture responsive to the weathers
Building on the competition brief’s idea of “experiencing the seasons”, the project is conceived as a barometer for the city. At dusk and in overcast weather CUMULUS is a warming sun, while on clear days it appears as a light white cloud. On the inside an interaction between the views, the weather and nature is staged The building especially enhances rain as a characteristic weather condition in Bergen. From artificial rainbows, to the juxtaposition of surfaces that create different acoustic resonations in reaction to the raindrops, to pattern variations in the porosity of concrete surfaces, the building interacts with the pheonmenal qualities of rain as perceived in experience.
With a clear footprint and the distinct materiality of its superimposed architecture, the building seems all to be grown out of the topography, and completes it. The volume of the “cloud” is held within the dense vegetation of Fløen’s forest, and partially disappears bewteen the treetops, thus revealing a clear anchoring to the site’s existing features and creating a sober dialogue with the local landscape.
artificial light in the landscape. temporary. luminous. nocturnal.
The research “artificial light in landscape” was part of Gian Maria Sforza’s PhD Thesis at Univeristy of Reggio Calabria (IT). The anthology of projects (188 pp) was curated and compiled by Alice Labadini during the autumn 2007/spring 2008.
Ingo Maurer / installazioni
Tony Oursler / performances
2008
titolo: The Influence Machine autore: Tony Oursler
titolo: Camps de lumière autore: Ingo Maurer anno: 1997
anno: 2000
luogo: Fondation Cartier Parigi, Francia
luogo: Madison Square Park New York City, USA
durata: una sera 2 ottobre 1997
Soho Square Londra, UK
per Soirèes Nomades live art performances alla Fondation Cartier dal 1994
durata: 19 - 31 Ottobre, 2000
The Influence Machine, installata prima a New York e poi a Londra,
Una moltitudine di sorgenti a luce chimica colorate piantate nel prato
sperimenta l’incrocio di video, macchine di fumo, e diverse colonne sonore,
esistente. Fioriture artificiali luminose, leggere e immateriali, punteg-
per riprodurre l’atmosfera esoterica di spettacoli di luce e suoni del IXX
giano un giardino altrimenti autunnale e diffondono la propria magia
secolo. The Influence Machine mette in scena proiezioni di grandi visi nel
attraverso la notte.
fumo e sugli alberi incrociandole con narrative corrispondenti, da testi poetici scritti da Oursler a voci altre dalla storia della tecnologia. I testi
“La luce nasce come un
corrono dalle recinzioni agli alberi, agli edifici, pronunciando messaggi
qualcosa di site-specific. La
intimi e frasi in codice. In aggiunta a tali narrazioni astratte la colonna sonora
luce artificiale è in se stessa
per The Influence Machine include segmenti di radio feedback, i suoni
una "dichiarazione" [del luogo
inusuali di un’armonica di vetro suonata da Dean Shostak e uno spartito di
o della filosofia sottesa
Tony Conrad commissionato per questo progetto.
all'allestimento dello spazio]. Quando la luce diviene artificiale, deve essere progettata come un servizio, perché in esso si trasforma. In quanto servizio deve considerare lo spazio in cui è collocata, non solo illuminandolo, ma comprendendolo. Deve interloquire con esso, creando qualcosa di armonico”.
Isamu Noguchi / installazioni
Veronika Valk / performances
Ingo Maurer
titolo: Light Dome autore: Veronika Valk, Winy Maas/MVRDV e Rogier van der Heide/Arup anno: 2005 luogo: Tallin, Estonia durata: 3 - 6 febbraio, 2005 specifiche tecniche: 500 palloni meteorologici; 20 fari Arena Vision da 1.8 KW
titolo: Expo 70 Fountains auotre: Isamu Noguchi anno: 1970 luogo: Osaka, Giappone
per Tallinna Valgusfestival Tallinn Light Fest festival di luce nato a Tallin nel 2000
Nove fontane d’acciaio che sono solidi di acqua e luce. Noguchi indaga le possibilità di elementi fluidi - acqua e aria - come materia
Una nuvola densa e cangiante che irradia di luce la piazza centrale di Tallin nelle buie giornate invernali. Una volta luminosa fatta di
delle sue sculture. La luce lavora sullo scarto tra le materie, allegoria
palloni e nebbia. La nebbia è generata da speciali candele installate
di un rapporto sovversivo tra peso ed immaterialità.
meteorologici bianchi, enormi, altamente riflettenti. Bolle fluttuanti a
sugli edifici contigui alla piazza e avvolge cinquecento palloni 35 metri di altezza rifrangono la luce di fari sportivi installati a livello della strada. I palloni, gonfiati di elio e controllati dal suolo da una rete di cavi ancorati a sacchetti di sabbia, costruiscono un paesaggio di luce interattivo, di cui i passanti possono scegliere le coreografie,
durata: 15 marzo - 13 settembre 1970
manovrandone i fili. ‘The Light Dome is not just an aesthetic experiment - it
( opera mantenuta dopo la chiususra dell’Expo )
has a direct biological influence. Almost half of local population in Estonia is suffering from SAD
per World Expo 70 “Progress and Harmony for Mankind”
(Seasonally Adjusted Disorder syndrome). This is about architectural light therapy in urban public spaces as a mood moderator’.
Bruce Munro / installazioni
Yann Kersalè / allestimenti
Veronika Valk
titolo: L’Ô autore: Yann Kersalè anno: 2006 luogo: Musée du Quai Branly Parigi, Francia
titolo: Field of Light autore: Bruce Munro anno: 2006 luogo: Kilmington, UK durata: un ora ogni notte da novembre 2006 specifiche tecniche: 15000 steli di fibra ottica che portano luce cangiante da blu a rosa a giallo a verde, diffusori sferici di plastica bianca
specifiche tecniche: 1.200 steli in plexiglass di altezza variabile da 30 cm a 2 m; diodi ellettroluminescenti ( LED ) di colore bianco, blu e verde ( potenza di 3 watt, durata tra 60000 e 100000 ore )
anche per Brilliant Exhibition V&A Museum London, UK 12 febbraio - 25 aprile, 2004
mise en lumière Musée du Quai Branly
Un’ora ogni giorno, la sera, macchie di luce emergono dai campi.
Un semplice giardino di tonalità che mantiene un mistero attorno al
Un’infestazione di erbe artificiali piantate nel trifoglio. Diffusori
museo, in un luogo che Jean Nouvel ha definito contrassegnato dai
sferici montati su steli di fibra ottica emettono una luce che progressi-
simboli della foresta del fiume e dall’ossessione dei morti e della
vamente varia dal blu al rosa al giallo al verde al bianco.
frizione della memoria. Acqua, dove gli spiriti della forseta vivono in libertà, è evocata attraverso una coltre di steli bianchi luminosi tra la vegetazione. Insinuandosi sotto il museo emanano una luminosità
"Light has always played a
evanescente bianca. Un bianco che varia l'azzurro con il verde che
major part in my life and work
segue la natura dell'atmosfera, ghiaccio, acqua o vapore.
and, therefore for me, it is a natural medium to use. By placing an alien installation in the midst of nature, the enormous contrast created allows people to literally see the wood from the trees".
Lebbeus Woods + Kiki Smith / installazioni
Nicoucar Steininger Architectes / installazioni
Bruce Munro
titolo: Tikal
titolo: Pool of Ice autore: Lebbeus Woods e Kiki Smith anno: 2004 luogo: Lapponia, Finlandia durata: 12 febbraio – 31 marzo, 2004 specifiche tecniche: cavi di fibra ottica immersi nel ghiaccio, acciaio inossidabile per The Snow Show festival di sculture di ghiaccio e neve nato nel 2000
autore: Nicoucar Steininger Architectes
Un intervento che si situa lungo la più antica passeggiata della città,
anno: 2006
mento di un pendio allora piantumato a vite. Tikal, nome di un sito
luogo: Promenade de la Treille Geneve, Svizzera
posto storico: quattro anelli di luce e un disco solare mettono in scena
“Pools of ice, geometric in the
l’entità del luogo e si misurano con le due linee di alberi. Il disco
not- frozen, suspended in them.
durata: 1 dicembre 2006 -7 gennaio 2007 per Festival Arbres & Lumieres 06 festival di alberi e luce a Ginevra dal 2000
attraverso un querceto, creata all’inizio del XVI secolo dallo sbancaarcheologico maya nel Guatemala, si confronta con i valori di questo
solare s’innalza come un sole di mezzanotte e diffonde una luce aurorale attraverso la camminata e le piante.
Una piscina di ghiaccio in cui sono sospese sagome - umane e non - di streghe, fate e sonnambuli. Da sotto filamenti di fibra ottica restituiscono alla superficie il negativo di queste figure, che sfidando la trasparenza variabile e non controllabile del ghiaccio emergono soltanto come presenze d’ombra.
ground, with figures-human and You walk, skate on the ice pools. You look down, into the ice. You see, or almost see, the figures.” Lebbeus Woods “[...] something that lays in the land, a mirror to the sky, an illumination, a murky pond, an observatory, a magic well, a hole, a sunken treasure, a starscape, a light drawing, quiet, dangerous, an open cavity that makes itself apparent for a time then erases itself back into the land” Kiki Smith
Immateriale Sonoro. A sound walk in the infrastructure of Oslo. Master Thesis in Architecture Milano, April 2008
uno spazio sonoro che varia con la temperatura
[ ]
8
due punti precisi dove giocare con l’eco in un parco un ponte sospeso su una cascata
lungo il torrente che taglia la città da nord a sud
un crocevia di 4 linee di tram
una piazza ubiqua in trasformazione
biblioteca RING 1 - due voragini di ruomre in un giardino
6
una scultura sonora all’ingresso di una stazione
[ ]
un tunnel ferroviario lungo 500m una fermata di tram ai margini di un parco
RING 1 - un nodo infrastrutturale ipogeo attraversabile
3
5 ring 1
un tunnel e una rampa in uscita dalla metropolitana
4 [ ] 1
stazione ferroviaria
una piazza circolare di passaggio
2
2
tra residui di spazio attraverso le infrastrutture portuali
un vuoto battuto dal vento
This work investigates landscape focusing on its non-material and phenomenal characteristics, specifically discussing how phenomena that take place and are perceived in the domain of the aural affect our everyday experience of the city and its spaces. In western culture, processes of knowledge and apperception of space have been, and still are, characterized by a dominance of the visual. The thesis tries to subvert this ocularcentristic approach by looking at the aural as an independent domain for design investigation. It also follows an early fascination for sound’s power to generate high sensual evidence while holding almost no material consistency. In sonic dimension reside many spatial information we tend to ignore: sounds can inform on events beyond the limits of sight, they can evocate sensations and places, and sound is referring also to geographic identities. However, in the design disciplines today, discussions on urban soundscapes rarely exceed measures and interventions based on purely quantitative data, and are often confined within judgements that pertain the purely sensory, and thereby dismissed. Taking inspiration from recent researches and experiments in sound art, this thesis proposes, instead, an approach to urban soundscapes, which tries to depart from a creative discourse on space, trying to identify hidden potentials of acoustic transformations in the urban landscape. This project has its experimental ground in few selected sites along Oslo’s innermost belt of highspeed traffic infrastructure – Ring1. In Oslo, Ring1 constitutes a physical link aligning a multiplicity of situations, where the logic of an efficient urban traffic machine is put in place in the urban core of the capital’s life. As a result of a series of spatial compromises, implemented in discrete sites over the course of city planning processes, high-speed lanes coexist today in adjacency to very central and often busy urban public spaces. This coexistence, one that is eloquent of a condition that is common to many post-industrial urban landscapes, ultimately gathers evidence of the strident nature of the material as well as immaterial spatial qualities it generates on site. The highly complex sonorous qualities of these spaces especially, are largely discussed as disruptive in the everyday experience of the city: they are both uncontrolled byproducts of non-linear urban transformations and cacophonic combination of human activities and transportation systems. In this context, the project tries to draw a thread between different places along Ring1 by following the everyday path of a fictional urban stroller, picking and juxtaposing in time a series of situations whose experience reveals, due to its contradictory character, the potential to open for a discussion on its sonorous component. The project then proposes a series of minimal transformations, mainly additions/substractions of surface cladding materials, trying to explore modes for altering the existing soundscape into more varied and human-responsive situations. The thesis also reveals a fascination for the ultimate visual impact that these interventions will inevitably result to have.
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knowing that in a resonating system the dimension of the holes determines the effectiveness in assorbing discrete frequencies, and that traffic produces sonorities very close
to white noise (all the frequencies in one sound), variating the diameter of the holes on a common absorbing panel, one can obtain quite infinite patterns.
Passages alongside an highly trafficated infrastructure.
the sound of footsteps and its power to create space are so fascinating because walking is the most common and basic way of apprehending space. shoes, acting like percussion instruments, yield different spatial impressions when they hit surfaces at times hard and at times soft, stone pavings or asphalt carpets.
replacing walking surfaces with materials holding higher resonant qualities and building minimal tridimensional structures able to enhance the acoustic response to the percussion exerted by footsteps, the project seeks to redefine our bodily interaction with the space.
in crossing the passages, small variations in the intensity of sounds and acoustic response to our walking introduces a perceptible gap between the common expectations one has over the spaces and the actual experience, stimulating a renewed attention to places we are getting used to cross in a rather distracted and alienated state.
Master in Landscape Architecture | Institute of Urbanism and Landscape | AHO | 2009 - 2011 3 Studio Courses teaching assignments to first and second semester students in Landscape Architecture teaching. autumn 2009, spring 2010, autumn 2010. The Institute of Urbanism and Landscape performs education, research and development within the fields of urbanism and landscape architecture. Forming and understanding physical surroundings is the focal point for the work done at the institute.The institute has a multi-disciplined staff and a multi-disciplined approach to the field of urbanism. The activities at the institute include landscape architecture both as an integrated and as an independent discipline in relation to urbanism. | Master in Landscape Architecture| The study emphasizes urban landscape architecture within a studio based curriculum focused on design. A form of teaching based on project work in a studio, which integrates teaching academic knowledge and skills as part of the project work. Studio teaching is an intensive form of teaching that entails a high exchange of knowledge between the teacher and student. (source: www.aho.no)
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States of Transition in peak-oil JĂŚren
Third city Stavanger (1) A New Seascape Cartography Vulnerable Water Bodies (3) Thinking Public Space in Rural Landscapes Small Biotopes in Argricultural Land (5)
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Recharging Links. A project for the development of a former airport site into a mixed use urban neighbourhood, as part of a new green/blue ring around Lillestrøm. by Yun Zhang
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Rediscovering Leira. A project for the construction of a linear park and the remediation of water pollution along river Leira. by Mats A. Larsen
appearing and disappearing landscapes
The course appearing and disappearing landscapes was part of the Master in Landscape Architecture at AHO and has been run during the spring term 2010 by Knut Eirik Dahl, Alice Labadini, Ellen Braae, Anders Hus Folkedal, Geir Nummendal, Alf Haukeland and Kjerstin Uhre. The course’s research has been exhibited as part of the show Re:Cast Scenes of Jæren held at KinoKino in Sandnes during spring 2011 and curated by Ottar Vedelden (SAF), Alice Labadini (AHO) and Kjerstin Bjerka (Snøhetta), and in the exhibition gallery at AHO as the main school exhibition during the Europan Forum held in Oslo 1-5 November 2011. 2011
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te of bec om ing t s ta st an e city? on e in th ac cap is lands the blo cks which s hou in e l d th ded lation in th e co d opu frastr uct re of n o ures ep in th m own cultur e g ap ur in a ve
not hin g is c re a ted, ev city i n the la ng the nds eryth i k a t ca in es of soc ial p o h jus pe o g e r a t i locks bring lo ce i m r e re th th e b w re pr isoner inc we a of o G reen landers o t does not e xixt as a y th a li w r t h n ole to r esear ch u e v i t o a as a rn ac c alte ba ing ct in he cru ci al se o f any on clu sp t e s oj ar e utdated by e co nom atial i ic e s re o What them e /cul a ? d s s/b lan en r ?
on the fr eg reenlan d ro un d of G enl and ic e c o ple thens Gr e nom o f th eo eir re y a ow lies block P e p ts t , I u nd lo ow th rig h where n se d c w hen it is t o al fig eve n m to a ion h t t iza n flic n to ti me: th e h unt t f or f er c o a t io wa a rel i n you t ake whe a on
Thus, it is what kind of new landscapes should appear that the students have questioned with their projects: these appearing landscapes of Jæren have the ambition to radically rethink economy, society and territory into holistic strategies.
lake wh ere my f at same h er the use lem that will e xh a b o r us a d t o im gp i h e w n d w g o b y ou c s fo s an ricu si a g row bu lt tures ar e re s s you y str uc p d ra tive n dis solve i n l ac in it t p e se ca ture in Jæ he en g r en ou r icul is ag in
s ief
This thematic exploration has especially evolved in engagement with the power of informative dialogues, though 11 studios of conversation on the footprints of Eirik Raude, across Jæren and Greenland. In each conversation, the competence of voices from a series of fields unconventional to the planning apparatus has been brought into the discussion.
icall y in de pen d ent c onom me e o e co re spons ibi lity for th eir r jus t d b have a ow b g e a i t s r : e nl ea p h y o or e ife mily he f a d t f u e in respo nsi bili ty a catio a n nd ed ilding n d ed f bu rs we want to re m indi s s o 0 yea i c proble ms, ove vi no o 1 d rs n nlan o e
m? seu mu en nd ildr se ela ir ch n abu re e h dre t hil owe rment d p dc a n l em in g problems a du hous lfare can ur i al we c
Having peak oil as a point of departure, the studio has evolved as a process of collective research unfolded across five themes, encircling this field of study in a survey on all scales and across disciplines, exploring layers of information imbedded in the territory, reformulating its landscape structures and systems, and tracing a geography of vulnerable entities and cultures, in order to produce an offensive landscape (and seascape) reader able to include the smallest forms of life and biotopes.
real f Jæ
Stavanger and its region are in a state of tension: peak oil is approaching and the footprints oil economy has left on the territory, represent now a disappearing landscape.
ea
kil e es have l d any oth wag e oil e r a s regards to p eak r eco g no o n a h a v rd - tec nolo g y a llo i l? t s S rwa t s ighted tha ws n st to f o h or a s nch re rch bra es spro te ea Nor way i s e u in obu st x er
we v fou nd w ha t tI l ik em loo o rom S t k r oil rela avan i a ng e ted g ta v nS a pe riod film d is yi t m i ma te he pr oble s res t m de rese arch un anced f- in om petro leum r t f or t - s mar t g ri p
und in J ay ist n g i nd de s arec ensor e f n d er ussio g fo r the in t s tim h c ch in r el
This expression both describes the field of study of our master course and holds implicit its relevant questions, hinting at the significance of resource exploitation by extractive economies on the territory of Jæren.
te ore ou nym ons a ati tin media e s. . es
The notion Stavanger and Jæren are the prisoners of the Norwegian economical Landscape was invented by one of the students.
It is the sustainable urban territory of our time that is tentatively measured through this studio.
KinoKino
AHO
W(E)AT(H)ERSCAPES
Project entry for the international ideas competition “Finnoo Marina Cty”. 2012 The proposal aims to enhance the competition site’s unique geographic and climatic characteristics. The edge to the sea, the encompassing presence of water and the changing weathers of the North are the basis upon which the proposal is conceived. Water especially becomes a fundamental element in the proposal: the project tries to combine the technical management of water together with the aesthetic and experiential possibilities of water’s different phenomenal states into an integral design where landscape, urban design, and architecture are sinergetically combined. In the project, liquid water, water vapor, and ice are proposed as primary representational media for a new form of public life. The proposal imagines the future development at Finnoo Marina as a lively urban district, structured around a linear core hosting public programs and included between the marina to the east and a transport axis to the west. Such tripartite division allows to imagine Finnoo Marina as an area where different lifestyles, speeds and changing intensities can coexist in a coherent whole. While in summer activities will intensify in the eastern shore, winter lifestyles will take advantage of the more compact and intimate urban core, with its protected microclimates and its blend of out- and indoor public spaces. Concentrating transport systems at the boundary of the urban core will additionally facilitate the creation of an attractive and vibrant streetscape. A network of interlocking green spaces permeates the project and is conceived as to act as a resilient system for flood management: instead of building flood barriers, sea and river waters will be allowed to invade the city in controlled zones. In non-flood times these zones act as city parks and are planted with marsh vegetation. Such resilient landscape park will become a space for recreation, but also a pedagogic tool for educating the population over their surrounding nature and its processes. The proposal addresses the demand for residences in the area with a combination of multistory town houses, organized in quarters around common courtyards destined to community gardening, and apartment blocks. While the townhouses focus on the creation of introverted and intimate neighborhoods with a community feeling, the blocks are instead extroverted towards the sea, where views and a feeling of urbanity are predominant. Temporary accommodations are also implemented in the area, including a residence hotel and a youth hostel. LANDSCAPE SYSTEMS
BUILT STRUCTURES
VEGETATION
ENERGY PRODUCTION
PUBLIC SPACES
+
RECREATION
FLOOD PREVENTION PUBLIC PROGRAMS / COMMERCIAL
STORM AND GREY WATER HOUSING
TOPOGRAPHY MARINA
6
1
a 10
19 5
4
11
3
6 17
7 8
2
21 16 20 18
13
8
2 9
15
18
5
c 13
1
b
1312
2
14 8 22
12
23
5 21 16 8
PROGRAMS 1 residential : apartment town houses 2 residential : apartment blocks 3 winter boat stacks 4 marina offices 5 offices, commercial, activity incubators 6 parking house 7 theatre 8 restaurant / cafe 9 aquatics centre
10 11 12 13 13 14 15 16 17 18
outdoor heated swimming pool floating sauna kajakk club fishing club hotel youth hostel kindergarten Marina house ferry to the archipelago Yacht club
19 20 21 22 23
deposit area for the Marina + heliport taxi service to the archipelago sailboat rental small boat rental boat parking for residents
KEY VIEWS a to Finnoviken estuary b to bird nesting islet c to Rulludden villa area