H O U S E
O F
C R E A T I V I T Y
ANALYSIS AND CONCEPT
1 Analysis 1.1 1.2 1.3 1.4
Timeline Culture and creativity Connections Public and abandoned spaces
2 Problems 3.1 3.2 3.3 3.4
Gathering point Connection Landmark Closed courtyards
3 Reading 4.1
Books
Primary bibliography Blurs, Blots and Clouds: Architecture and the Dissolution of the Surfaces 4.1.2 Fundametanl Concepts of Architecture 4.1.3 The eyes of the skin
4.1.1
4 Referenes 5.1 5.2 5.3
Accesses Colour Flowing spaces
5 Keywords 5.1 5.2
Concept keywords
6 Concept 7.1 7.2 7.2 7.3
Idea of Creativity Designing the cultural hub Diagrams Fundamental Vocabulary
7 Project 8.1 8.2 8.3 8.4 8.5
Masterplan Plans Sections Elevations Views
8 Bibliography
1 Analysis
timeline
cultural timeline
culture and creativity
urban overall
cultural facilities
connections
connections
urban overall
urban connection
public and abandoned spaces
public and abandoned spaces
courtyards
courtyards
2 Problems
PROBLEMS
MISSING OF MEETING POINTS The city of Lodi counts around 45.000 inhabitants, with a urban structure which has been characterized by a long hystorical evolutin. In view of this, one of the problem related to the relation between its configuration and the number of inhabitants, is the lack of meeting points: no reference place, apart from the main square which has an hystorical value, make difficult for this city to enhance the interaction among the Lodigians.
gathering point
MISSING CONNECTION Hystorically the city has been divided by the city walls, during the century. Nowadays it is one of the mais cause forthe existing configuration of the city, and most of all, for the project area. Infact, due to this division, via Vistarini is on a lower level than via Fanfulla, making difficult to connect the two sides of the complex
connection
PROBLEMS
LACK OF LANDMARK The identity of the city appears to be undefined and blurred, in the way it doesn’t present some kind of landmark architectures or places, to give the city its unique and recognizable character and to the inhabitants a reference element
landmark
MISSING USE OF COURTYARDS After an analysis of the entire city,even though it was clear that the courtyard is one of the most characterizing elements of the urban feature, what characterizes them most is the lack of integration with the urban system, in the way most of them are private, and others do not present some kind of interaction with the dynamics of city.
closed courtyards
3 Reading
books
4 References
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The configuration of access provides information about the architectural concept w ithin which the spatial structure is concentrated. Often, a building’s architectural composition and its appearance are substantially shaped by the configuration of accesses. Striking instances include Andrea Palladio’s Villa Rotonda, Frank Lloyd Wright’s Guggenheim Museum, and Hans Scharoun’s Ledigenwohnheim (single men’s hostel). Fundamental concept of architecture
villa rotonda Andrea Palladio The system of access in this Palladian work makes the relation with the context a central part of the Villa: users can enter from the four classical pronao, present on avery facade. This Villa, appears to be a continuum with the exterior, leading users to experience a continuous movement in it-self.
Frank Lloyd Wright guggenheim museum This museum represents it-self the answer to a problem, which for us is: how to let experience the visitors a continuum not only in the movement through the spaces, but also among the space it-self and the exposition? This answer is clear in the plan, representative of this solution.
Hans Scharoun ledigenwohnheim
Even if it is the project for an hostel of single rooms, it represents the solution matching this necessity with the idea of a unique space, which seems to be moving, in the way even if all the spaces are small, they all appear to be involved in the same continuous system.
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“The intensity by which structures and the atmospheres of situations are marked by colour is no less decisive than the influence of built forms. Not unlike sound and odour, colour has an especially subliminal effect. To be sure, it is also effective associatively, primarily through expressive qualities that are actually attributable to colour itself, and which address us directly.�
Fundamental concept of architecture
Haworth Tompkins The Shed at the National Theatre The characteristic of this project is in the intention of the architect: the building has to involve the users and let them feel the building before coming into it, stimulation also their invention. This was possible by one color: red.
Eduardo Souto de Moura Paula Rego Museum
The buildings are immediately recognizable thanks to the red concrete used in its construction: its an example of how the designer managed to combine the need to make the buildings immediately recognizable while also recalling the historical nature of the place.
Supermachine Studio labyrinthine staircase to seaside park in Thailand
In this project color is used to put in evidence the movement and enhance the vertical connections, in the way it is used for the ‘’labyrinthine’’ staircase: color and movement are this way on the same level.
Herzog and de Meuron Laban Center
Through let the mediate role in
the colored shaped facade the architect wanted to users perceive the facade as a blurred element to among interior and exterior: color has a central the way it establishes a strong relation with the visitors and their senses.
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“The discourse on ‘flowing space’ imputes an apparent movement to the room as an expressive quality. More precisely, we actually experience this ‘flow’ through our own movements; it tends to dissolve the boundaries of our own personal space, which is able to expand further when our room for man-oeuvre is not restricted by spatial delimitations.”
Fundamental concept of architecture
Mies Van Der Rohe
de stijl
The space is flowing, moving among the bearing walls which make this space constantly feel the users the essence of a unique place.
5 Keywords
Three are the writings which supported the theoretical work behind the project of the ‘’HoC: House of Creativity’’, Di Palma V. “Blurs, Blots and Clouds’’, Pallasmaa, J. The Eyes of the Skin’’ and Janson Alban, and Tiggers Florian. “Fundamental Concepts of architecture”. What makes them on the same level in terms of themes and topic is something that regards the relation between man and architecture. The main goal behind the project itself is properly that: to find a new level of communication which can work to let communicate people coming from different place in the world, with different cultural backgrounds. The red color, the sensations coming from an object we see, are at the base of this idea. Creativity also, is the main activity at the centre of the re-use of the complex, in the way people can find there a place where to work, in and mainly outside the ex-convent, which is now a place for interaction and ‘’communication’’. The courtyard itself now becomes a place where people experience the place, the landscape and both, the artists working and their final work exposed on the curved-shape panels, in a multi-cultural experience which flows on the level of creativity. The new building plays an important role in this place: it mediates between two parts of the city which for historical reasons are nowadays divided and for morphological reasons on different levels: it works as an extension of the main courtyard, bringing the users directly towards the urban landscape of the city. The red grid, the red circular stairs, work as reference points, as people can see and perceive them as something dynamic: the stairs are public, and they directly connect users to the courtyard, creating a new communication between the two part of the area that couldn’t communicate before; the grid let users understand that in that specific part of the courtyard you cannot only work, you can perceive a different atmosphere, the one of the interaction among people working, people enjoying the exhibition and the landscape. The exposition finds its specific place into the new building, where a new atmosphere can be perceived: the homogeneous alabaster façade has no openings, making the red volume of the stairs the only thing perceivable, but with the small thickness of 5 mm it lets sunlight come in, giving birth to a new kind space, where art finds it’s own place, it’s own atmosphere.
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communication
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atmosphere accesses t r e e s Connection alabaster
g a t h e r i n g
light
6 Concept
dispersed
linking
In Lodi we have different cultures but they are spread in all the city and they do not communicate with each other
The idea is to connect all this communities together.
fundamental vocabulary
gathering
creativity
The best idea is to bring them together in one place and to let them now each other by sharing their dif-
How to gather all this different cultures together and make them share their things with each other? By creativity hub! Why creativity? Because creativity is a language that everyone can speak and understand even though all that differentiations in cultural side
ferent cultural histories
From one of the main axis of the city what is important for us is to maintain the continuity until via Vistarini and Fanfulla, so we introduce on the front on via Fanfulla some public activities and on the front of the new building an open public space, in order to better integrate the area with the city.
revitalization
Nowadays to get to via Vistarini from via Fanfulla and vice versa, you have to walk around the area. The role of the exposition building is meant to be also to connect these two streets, letting inhabitants have the possibility to pass across it.
connection
The open space is meant to involve people directly to the ground floor of the exposition building, the entrances of the complex work as points to attract people to come in while the stairs create an interaction between those two types of movement.
acceses
All the gates work as invitation, in the way with both public activities and the public space on ia Vistarini we want to attract people revitalizing the area.
invitation
The roof of the exposition building works as an extension of the courtyard. In this way it is directing people into the urban landscape of the city, which in any case changes side by side. In fact on the left side we decided not to have that visual connection, due to the presence of industrial buildings, while on the right one we wanted to keep a visual connection with mainly the asilo Garibaldi.
visual connection
All those characteristics give together the sensation of a particular atmosphere: the access, the open space, the view, the visual and physical connection provide altogether to enhance the atmosphere of the courtyard.
atmosphere
c o n n e c t i o n
context
via vistarini
church
v i s u a l
a c c e
o p e n
c o n n e c t i o n access void s p a c e
via fanfulla
v o i d
connection
e s s
existing
c o n n e c t i o n
connection
via vistarini
church
v i s u a l
a c c
o p e n
c o n n e c t i o n access void s p a c e
via fanfulla
connection
v o i d
e s s
existing
visuality
landmark
atmosphere
connecting different atmospheres
accesses
visual connection
open spaces
closed spaces
movement
CONNECTION
stairs
grid
ACCESSES
FLOWING SPACES
open spacce
stairs
grid
panels
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gate
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fundamental vocabulary
banches
GATHERING
SENSES
ATMOSPHERE
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open spacce
grid
panels
greenery
shadow
light
smell
red colour
greenery
grid
stairs
grid
The grid and the stairs work ad the main elements of the central part of the courtyard, in the way the grid provides a partial shadow to the area where the artists are meant to work, and the stairs, with the red concrete represent the point through which let users understand that by that volume they can come across the area, going directly to the exposition building.
connection
connection
open spacce
stairs
gate
Those three elements represent the ‘’movement’’ of the complex area and of the new project, in the way the open space is meant to involve people directly to the ground floor of the exposition building, the entrances of the complex work as points to attract people to come in while the stairs create an interaction between those two types of movement.
accesses
accesses
grid
panels
banches
The aim and the goal to be reached through the use of these elements is to provide among them a continuous movement, to let people flow among them, due to the presence of many activities related to creativity, in order to get interaction among them all.
connections flowing spaces
stairs flowing spaces
open spacce
grid
panels
greenery
The grid, the panels, patios and the seats are the elements that cooperate together into the main courtyard gathering people together: they all provide the activities for the visitors and artists, who can do there their workshop activities, exhibit the works, or just enjoy the place, making all the activities interact together.
connections gathering
gathering
shadow
light
smell
The smell, given by the trees, the shadow by the grid and the light in the building, are also important in the way they collaborate to give to the huge courtyard the possibility to be perceived through senses.
connections senses
gathering
red colour
greenery
grid
All those characteristics give together the sensation of a particular atmosphere: the color, the benches and the panels, the patios and the grid, they all provide an activity, or the possibility to do whatever the users want to do, or also just a sensation, in order to creatively characterize this place.
connections atmosphere
atmosphere
7 Project
context
masterplan
section
south-west elevation
plans
A-A
B-B
A-A
B-B
groundfloor
A-A
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20 1
19
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% 3.41
0% 2.9 3.41 %
B-B
2.9 0%
B-B
81 5. % 82 6.
A-A
%
first intermediate floor
26
27
A-A
25
24
23
22
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20 1 19
2
18 3
17 4
16 5
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15
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14
9
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% 3.41 0% 2.9
3.41 %
B-B
2.9 0%
B-B
81 5. % 82 6. % A-A
second intermediate floor
section A-A
section B-B
elevation
isometry
exploded isometric
views
8 Bibliography
Borch, Christian. Architectural Birkhauser Verlag GmbH, 2014.
Atmosphers
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Basel:
Janson Alban, and Tiggers, Florian. Fundamental Concepts of architecture. Basel: Birkhauser Verlag GmbH, 2014. Zumthor Peter. Atmospheres: Birkhauser Verlag GmbH Pallasmaa, J. The Eyes of the Skin: Architecture and the Senses, Academy Editions, London 1996 Colomina, B. “Unbreathed Air 1956.” In: Grey Room 15 (2004): 28-59. Di Palma, V. “Blurs, Blots and Clouds: Architecture and the Dissolution of the Surface.” Norberg-Schulz, C. Genius Publications, New York 1980
Loci,
Rizzoli
International
Banham, R. “Stocktaking 1960.” In: Architectural Review 127
Siteopraghy https://www.dezeen.com/2012/03/11/bajo-martin-countyseat-by-magen-arquitectos/ http://www.detail-online.com/article/detail-prize-2012 http://www.metalocus.es/en/news/new-headquartesdeutsche-bundesbank
ARCHITECTURAL DESIGN Politecnico di Milano School of Architecture and Society, Master Degree in Architecture Academic Year 2016-17 Professors: Prof. Prof. Prof. Prof.
Bersani Eleonora Martinez Arroyo Maria Del Carmen Kousidi Stamatina Vitali Paolo
Tutor: Cremascoli Annamaria Student:
Culaj Martina Sllovinja Fjolla Storelli Claudia