Field 3
Field 2
Field 1 0
Atmospheric architecture Arte Sella is a place for extreme contact with the sublime, provided by the large valley of preserved nature and art. In this sense, it is important to understand the ethos of the park: a place where the artists produce their work with materials provided by nature and that nature modifies it over time and season. In short, Arte Sella is for this project: a place for deep symbiosis between nature and art. Considering this project, our approach is to use architecture as the structure of support for this symbiosis – an architecture that does not struggle for protagonism. Instead of composition, we propose an architecture of disposition. Not objects, but atmospheres. This approach puts architecture not as the medium between experience and the sublime, but rather as a stimulator of one’s own path. As such, architecture is freed from the need to mimic or translate nature: we are invited to experience nature without translators, through our bare presence in it. Park Masterplan Our first proposition is a comprehensive masterplan for Arte Sella. The masterplan approach focuses on understanding Arte Sella as a park, considering the buildings proposed by the competition as structuring parts of this park. Given the large scale of Art Sella, if architectures are considered isolated, they would claim a sort of absolute individuality. Instead, a territorial approach considers these architectures in a way that the relation between objects within this territory reinforce the understanding of Arte Sella as a whole. This approach led us to propose three intertwining fields to conform the park masterplan for Arte Sella, which are not hierarchically organised, but complementary of each other.
Is art an object or a field?
The studios are made of four types of presence in nature.
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Field 1: Memory-Course. The first strategy seeks to understand the pre-existence of the Arte Natura course as mark of memory. Memory as a course implies considering time not as instant, but as a fluid matter that includes therefore the changes coming from nature, even with the storm.Architecture becomes a path that leads us to the works that, although modified by trees, or excess of rain, were shaped in their memory by these temporal events. The result is an architecture that works as if to materialise a field of memories – those that happened and those to be remembered. Field 2: Figure of presence. The second field is associated with the ateliers’ location. They were positioned in a wide plane that merges in the extremities with the dense vegetation that climbs the mountains. The strategy of placement of these workshops follows the logic of figure, as absolute geometry is positioned in a vast natural background. As figures, although they have a precise presence, their existence is minimized in relation to this wide natural space. Field 3: Infrastructural ground. The third field unites the most consolidated infrastructures of the park, in order to organise and potentially stimulate different kinds of use, from artists, to visitors and staff. The third field is Arte Sella’s ground – a topographic logic that organises activities. Functions follow nature. Firstly we propose that a museum is placed near the main entrance, this location is guided by the previous path of Arte Natura, one’s that suffered several changes by the storm. For this reason, it’s important to reinforce that’s strength by the strategy of a memory-course. We propose that auditorium, workshop and an expanded restaurant to be placed in the ‘end’ of the park, working as an attractor to visitors: in this way, a ordinary visit to the restaurant for feed implies engaging with the park as a whole. With regards to the auditorium, workshop and expansion of the restaurant, we propose an approach that takes advantage of the open space in between existing buildings. The relationship between these architectures now forms an unconstructed space where all facades communicate with the open area, making it more important than each object per se. Open space is the infrastructural ground that articulates and converges different activities and flows.
In the major building, as in all the museum, the most important is the path, that here is the circulation.
The project consider the exchange of knowledge between the people as an experience of nature through the collective.
In order to compose this museum as a path, the habitual uses was break up along the course.
]Producing spaces for collective and ‘ceremonial’ eating.