SCUOLA COLLETTIVITÀ.

Role

The work of the group BZGC reflects the architecture and design of Italo Modern in Northern Italy. In this so-called second classical modernism, in the midst of a period of economic and cultural boom in Italy, the buildings express an architectural formability of the future as well as of society.

This sense of architectural freedom and formability is expressed by the BZGC group (and by the individual architects in their respective projects) with the approach of continuous experimentation in the design process: In each architectural scenario come other contradictions, which can not be answered with intellect in writing and methodology, but with practical approach and changeability. "... the most important point is certainly the experimental character of our projects: continuous experimentation, from case to case, arising from our awareness of the contradictions in our work" (Casabella 361, Eclettismo di Gruppo, Milan, 1972).

A poem by Bartolo Cattati expresses this aversion to analysis and method:

METHODOLOGY

No use dragging it out

Turning it over and over again

On the spit and the angry fork

Of careful observation

All that analysis and synthesis

All that "Discourse on Method"

We'd die of boredom

There is a way of tackling the question:

With a knife.

But how does the group produce sequences of experiments in their architecture? What set of rules do they follow in order to decide and create anew, free of methodology, in each architectural contradiction? In the following, some important guidelines of the group BZGC are described, always in reference to practicing contemporaries of the second Italian modernism. This referencing should make possible the subsequent embedding of BZGC's work as a valuable architectural monument.

1. Rule on shape:

Traditional form and basic geometries (square, circle and triangle) are related to prefabrication in reinforced concrete.

"Unscrupulous use of traditional types such as porches, galleries, stairs, ramps, etc." (Controspazio 10/11, Architetture dello studio Barbero-CiagàGambirasio-Zenoni, Edizioni Dedalo, Bari, 1971).

The architects use traditional types in architecture, without ornamentation and organic forms, to implement a system of form finding. This type of traditional form is: strict geometric, modular, ordered and hierarchical. These traditional forms can be easily translated and prefabricated into reinforced concrete material. Certainly, in the choice of materials and in the form finding, one can draw the reference to Angelo Mangirotti and Bruno Morassutti (among others with the minimalist building "Chiesa Mater Misericordiae"). The form of the group BZGC is about the reinvention of the material reinforced concrete in the second half of the 20th century and the possibility of industrial prefabrication of components. The prefabricated reinforced concrete parts, in turn, give certain rhythms and modularities, see Magirotti's buildings.

2. Rule on constructive elements: Visibility of function in constructive elements.

The highlighting and clarification of constructive elements and structures is well recognizable in works by BZGC, in detail as well as on a large, urban scale. Similar, for example, to the Torre Velasca of the group CIAM, the tectonics of the structure offers the type "strong skin" the antithesis to the maxims of the Mies-van- der-Rohe school (construction autonomous, shell separated from it, dematerialized as a curtain, tendency isotopic). Changes in rhythm are created, the distribution of window openings is slightly irregular, the functions of the interior spaces can already be read from the building envelope.

The building services (pipes for water or electricity, ventilation pipes) are also visible in the interior and exterior. Pipes run openly along the walls and ventilation pipes stand openly in the exterior space or on the roof.

3. Spatial rule:

Space is situationally based on topography and urban space. Experimental interior and exterior spaces are created

"... Hence the insistence on experimenting with spatial organisms at the urban level (i.e., whose individual experience is marginal), inserted almost by smuggling into absolutely obvious typological systems" (Controspazio 10/11, Architetture dello studio Barbero-Ciagà-Gambirasio-Zenoni, Edizioni Dedalo, Bari, 1971).

Through this attitude, reinventions in architectural space are created. Through situational adaptation to the urban space, topography or concepts of use, empty spaces and fields of tension, passageways and squares are created. The architecture adapts to the space situationally-spontaneously, it plays with the environment and thus inserts new typological systems.

For example, in the cubature of Giuseppe Gambirasio's residential building (Casa Allumnio), a peculiar empty space for a children's playground is created on the third floor, or under the Ex Scola in Calolziocorte, an area rededicated to use is created through the interplay of hard, clear cubature and topographical conditions. An extreme example from the related Italian modernism is the summer house of Vittorio Giorgini, the house rears above the topography, opening under itself an indeterminate open space that reflects a situational-experimental thought of the architect.

4. Social-political rule:

Architecture is humane and democratic. The belief in a social turnaround through architecture is clear.

“Architecture as a means to study social reality, to overcome the crisis associated with a narrow conception of professional discipline”. From a humanitarian and politically leftist attitude, a democratic architecture developed in Italian modernism. Architecture was now able to influence Italian school policies, attitudes toward the church, car-friendly cities, or life-work balance. In the Torre Velasca of the CIAM group, the apartments are at the top of the tower, where there is more space, open space and light. Marcello D’Olivo’s Villaggio del Fancuiullo school is flooded with light, offering children unobstructed views to the outside and allowing free movement inside, through column-free interiors and central access.

1 ARCHITECT’S ROLE. Intervention Rules.

1 ARCHITECT’S ROLE. Intervention Rules.

03.1.2 INTERVENTION RULES

Rule book.

Rule book.

8. Rules for the building

1.

intervention in the existing structure

11

8. Rules for the building After

1. Minimally invasive intervention on the existing structure

5.

Minimally invasive intervention in the existing structure

1. Minimally invasive intervention in the existing structure

6. Recycling of materials in the building

2. Preservation of the natural structure of the hill uninsulated room: living room is uninsulated

2. Preservation of the natural structure of the hill

2. Presevation of the natural structure of the hill

2. Preservation of the natural structure of the hill

3. Preservation of free circulation and free spaces.

3. Preservation of free circulation and free spaces.

3. Preservation of free circulation and free spaces.

3. Preservation of free circulation and free spaces.

4. Preservation and expansion of the existing structure such as electrical wiring, building structure and staircase

4.

4. Preservation and expansion of the existing structure such as the electrical wiring, building structure and staircase.

4. Preservation and expansion of the existing structure such as electrical wiring, building structure and staircase

Preservation and expansion of the existing structure such as electrical wiring, building structure and staircase

Difference in insulated and uninsulated room: living room is insulated, traffic rooms are uninsulated

5. Differentiating between insulated and non insulated rooms, living rooms are insulated and circulation spaces are not.

5. Difference in insulated and uninsulated room: living room is insulated, traffic rooms are uninsulated

6. Recycling of materials in the building

6. Recycling materials of the building where possible

6. Recycling of materials in the building

7. Entrances and exits from the rooms depart from the main circulation axis

7.

8.

7. Entrances and exits from the rooms depart from the main circulation axis.

8. Preservation of the iconic shape of the building, especially the east facade

7. Entrances and exits from the rooms depart from the main circulation axis

Entrances and exits from the rooms depart from the main circulation axis

Preservation of the iconic shape of the building, especially the east facade

8. Preservation of the iconic shape of the building, especially the east facade

8. Preservation of the iconic shape of the building, especially the East Facade.

After School // Doppo Scuola Group 11 5

After School // Doppo Scuola Group 11 5

Doppo Scuola Group 11

CONCEPT + RHYTHM

Rhythm and Organisation

1. Ca fe Quattro

2. Individual s taircase to 1-2 residential units

3 Fir st floor corridor as community sp ace

4 Community out door spaces

5. R ound Ramp to the 1. Floor

Zones

8. Win ter garden

7. Bedroom

6. Living

5. Ba throom

4. B ox Walls / Nucleus

4. Balcon y

3. R ound Ramp to the 1. Floor

2. Out door spaces outdoor

1. Community sp aces indoor

03.1.4 DEMOLITION + INTERVENTION PLANS

Architect’s Intervention

3. R esidents adaptation

2. Architects Intervention

1. Demolition

03.2.1 BOX CONSTRUCTION RULES

The boxes are built to dimensions which are available precut in hardware stores.

The boxes are easy to assemble and can be built by hand by the residents.

The boxes are built from affordable yet sustainable material that is readily available to the residents.

The boxes are adaptive to different uses and can be disassembled and reassembled and re purposed.