FROM URBICIDE TO THE ARCHITECTURE OF THE CITY SYRIA – THE MAKING OF THE FUTURE
Gaeta Springall Architects — ALEPPO / 36°11’52”N 37°09’37”E
THE RED LINE OF ALEPPO
Gaeta Springall Architects — ALEPPO / 36°11’52”N 37°09’37”E
THE RED LINE OF ALEPPO
Sponsored by:
SYRIA – THE MAKING OF THE FUTURE FROM URBICIDE TO THE ARCHITECTURE OF THE CITY W.A.Ve. 2017 Curator: Alberto Ferlenga Scientific director: Benno Albrecht Coordination: Jacopo Galli Organization: Sara Altamore, Alessandro Dal Corso, Letizia Goretti, Tania Sarria Tutors: Wesam Asali, Maria Thala Al Aswad, Mariam Eissa, Lujain Hadba, Reem Harfoush, Hasan Mansour, Rolana Rabih, Mounir Sabeh Affaki, Fares Al Saleh Administration: Lucia Basile, Piera Terone Graduate Students: Lorenzo Abate, Stefano Bortolato, Leonardo Brancaloni, Michele Brusutti, Stefano Busetto, Davide Cargnin, Susanna De Vido, Pietropaolo Cristini, Martina Fadanelli, Martina Germanà, Eugenio Gervasio, Maria Guerra, Irene Guizzo, Alessia Iannoli, Vartivar Jaklian, Michele Maniero, Maddalena Meneghello, Avitha Panazzi, Silvia Pellizzon, Camilla Pettinelli, Mariagiulia Pistonese, Giacomo Raffaelli, Elena Salvador, Antonio Signori, Sonia Zucchelli
Gaeta Springall Architects The Red Line Of Aleppo Incipit Editore ISBN: 978-88-85446-22-9 Università Iuav ISBN: 978-88-99243-30-2 Published by Incipit Editore S.r.l. via Asolo 12, Conegliano, TV editore@incipiteditore.it Co-published with Università Iuav di Venezia Santa Croce 191, Venezia ,VE First edition: November 2017 Cover design: Stefano Mandato Book design: Margherita Ferrari Editing: Emilio Antoniol, Luca Casagrande, Margherita Ferrari Text editing: Teodora Ott Photos: Rosalba Bertini, Gabriele Bortoluzzi, Matteo Grosso, Umberto Ferro, Letizia Goretti, Luca Pilot Copyright
This work is distributed under Creative Commons License Attribution - Non-commercial - No derivate works 4.0 International
CONTENTS
5
W.A.Ve. 2017
6
Peace and Archi tecture
10
Aleppo
19
Introd uction
21
The l i fe li ne of Aleppo
26
The workshop
60
Colophon
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W.A .Ve. 201 7 —
W.A.Ve. is now at its fifteenth edition but, despite this, its characterising formula still works. Since its beginning, when it did not have its current name yet, being a design workshop and an international architecture exhibition at the same time has made it a unique product. If we consider that each year more than 1,500 students and 30 teachers are involved, we cannot deny that even the numbers are sizable. In these 15 years, about 23,000 students (not counting students from abroad) and 450 architects (not counting assistants) have developed a project experience at Università Iuav di Venezia that takes place in a narrow span of three weeks, during which Iuav venues become training and meeting sites. Its open-air workshop feature has brought many prestigious architects and names of the international scene to the classroom venues of the Cotonificio Veneziano and Magazzini: Pritzker prizes such as Eduardo Souto de Moura or Alejandro Aravena, masters such as Yona Friedman and Pancho Guedes, and renowned professionals such as Sean Godsell or Carme Pinos. Under their guidance, Iuav undergraduates and foreign participants have developed (together and making no age distinction) a project experience that pertains to the city of Venice and many other places as well. The same summer days also see the spaces of the Santa Marta Auditorium and the Tolentini Cloister become the scene of large conferences, making it possible for hundreds of students to follow the latest international projects or reflections on the most pressing issues concerning cities and territories. Above all, however, W.A.Ve. is special for the atmosphere that it creates during its three weeks of work; discussions, projects, and meetings are often expanded and brought outside the classrooms, in bars and Venetian campi, and in the exhibitions that follow, transforming the campus of Santa Marta into a major international architecture showcase. For all these reasons, W.A.Ve. is unique and renowned among architects and students of Architecture around the world, becoming one of the most representative expressions of a school, Iuav, that has built its peculiar quality on international exchange, laboratory experience, and on city studies. — 5 —
TH E RED LINE OF A LEPPO
Al ber to Ferlenga
Pea c e a n d A rc h itec t u re —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Benno Albrecht
1 — Elio Vittorini in “Il Politecnico”, n. 1, September 29, 1945. 2 — Pierre Rosanvallon, “La democrazia dell’emergenza”, “La Repubblica”, April 16, 2012.
We invited many architects to Venice, to contribute to the discussion on the reconstruction of countries destroyed by the madness of men. Like a round table, Università Iuav di Venezia became the venue for the dialogue and discussion on the possibilities of architecture to preserve and reconstruct Peace. The will and desire for Peace was the guest of honour of our 2017 W.A.Ve. workshop. A post-WWII Italian intellectual, Elio Vittorini, said that it was necessary to form “not a culture that consoles in times of suffering, but a culture that protects from it, fighting and eliminating it”1. We see the University as an institution that serves society and the generations of the future, alertly vigilant and working to stay one step ahead. The relationship between Universities and Administrations can become operational and productive, precisely because the university is the exact place to test hypothetical future models — an “Academy of the Future”2, as described by Pierre Rosanvallon — to overcome the fragmentation of knowledge and educate in global civic responsibility. In Iuav’s W.A.Ve. workshop, a future of Peace, the reconstruction of Peace, has become an academic topic, a forecast technique, and an experience in practical planning of the future. The immanence of the “environmental and human disaster” that we see today in Syria overcomes the — 6 —
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Venice is where reflecting on these things is possible: a city that was described, by Richard Bonington and by Antoine-Claude Valéry, as “a Palmyra of the Sea”3. However, we side these reflections with the words that John Adams wrote to his wife from Paris: “The science of government is my duty to study, more than all other sciences; the arts of law and administration and negotiation should take the place of, indeed, exclude, in a way, all other arts. I must study politics and war, that our children may have freedom to study mathematics and philosophy. Our sons must study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain”4. — 7 —
3 — Valéry Antoine Claude Pasquin, “Venise et ses environs”, Société belge de librairie, Bruxelles, 1842, p.2. 4 — Letter from John Adams to Abigail Adams, post 12 May 1780, in L.H. Butterfield, Marc Friedlaender, eds., “Adams Family Correspondence”, Belknap Press of Harvard University Press, Cambridge,1973.
TH E RED LINE OF A LEPPO
concept of architecture (understood as a need, consequence or manifestation of something else), leading the discipline to inevitably participate, as an integral part, in the resolution of a local/global “political and environmental” issue. In fact, one of the most pressing topics in the field of civil commitment (and in the operational field of architecture) is how to deal with the consequences of urbicides, with the deliberate violence against cities, with their destruction, and with the intentional elimination of collective memory made of stone.
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
SYRI A – THE M A K IN G OF T H E F U TU R E —
KOBANE
ALEPPO AL BAWABIYA
RAQQA
TA’UM NAHLAYA ARIHA LATAKIA
HAMA KAFR BUHUM TARTUS PALMYRA
BEIRUT
DARAYYA
MA’LULA DAMASCO Jaramana Sarouja Al Mezzeh Qaboun Douma
SHAHBA
AMMAN
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W. A . Ve. 2 0 1 7 — Armando Dal Fabbro Fernanda De Maio Patrizia Montini Zimolo Paredes y Pedrosa UNLAB Gaeta Springall Architects
AL MEZZEH VMXarchitetti MOSUL
ARIHA
Plan Colletif
AL BAWABIYA Felipe Assadi
DARAYYA
Aldo Aymonino Beals Lyon Arquitectos
DOUMA
Antonella Gallo
HAMA
Ammar Khammash BAGHDAD
JARAMANA Ciro Pirondi
KOBANE
Ricardo Carvalho
MA’LULA
Salma Samar Damluji
NAHALAYA Solano Benitez
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PALMYRA
Roberta Albiero Francesco Cacciatore Camillo Magni Attilio Santi Sinan Hassan
QABOUN TAMassociati
RAQQA
Giancarlo Mazzanti
SAROUJA
BOM Architecture
SHAHBA
João Ventura Trindade
TH E RED LINE OF A LEPPO
ALEPPO
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ALEPPO
Population 2004 2017
2,132,100 1,602,264
Description Aleppo is a city that has been settled for over 5,000 years, and is one of the oldest cities in the Middle East, located in the Fertile Crescent where the first settlements arose. Throughout history, the region has been a conflict zone between North and South and between East and West. Many of its houses were constructed in different historical phases. The buildings were often demolished or destroyed and partially rebuilt again.
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36°01’31’’ N 36°89’12’’ E
ALEPPO
to Damascus 0
5 km
industrial city
citadel
airport
Al Asse River
0
1 km
ALEPPO OLD CITY
citadel
Suk
GSPublisherVersion 0.0.100.100
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— The continuous armed Syrian conflict that reached Aleppo in 2012 caused severe damage and destruction to invaluable monuments and inhabited neighbourhoods. Therefore, the historic city has been added to the list of endangered cultural heritage. Since 2011, the conflicts in Syria have caused more than 400,000 dead and millions of refugees. The historic monuments and the cultural heritage continue to be damaged, as a strategic instrument to destroy the cultural identity of the Syrian population: 25% of historic buildings are damaged, 40% are partially destroyed, and the Souq (historic Arab market) has been burnt down completely.
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In trod uction — Daniel Mast ret t a
Students were immersed in the process of creating within destruction, and the resulting ideas both respected and re-signified the city. The Life-Line of Aleppo, and the projects the students created for it, were both actions of healing and reconstruction: students decided to leave pieces of history while using new architecture as a catalyst for new social interactions. We challenged students to create things they were not used to. Their lack of experience was present in the workroom every day, yet it was precisely their inexperience that developed projects in interesting ways. We could not encourage students to create impressive renderings or draw like the masters, but their fresh ideas were imprinted in buildings and ideas for the city of Aleppo. Students proposed a sensitive approach, with a fundamentally architectural solution, to a social and global problem. This solution responds to current needs with contemporary ideas, and the students left the workshop with learned knowledge that they will be able to imprint in their future. — 19 —
TH E RED LINE OF A LEPPO
Architecture is the ultimate expression of society, representing the testimony of human experience and culture. The three weeks we worked on the city of Aleppo were incredibly challenging for both tutors and students, especially because we had to re-think and re-create in a city where destruction has erased fundamental structures, both physical and social.
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
We did not have the resources or time to develop each individual project in detail, but the main concept was strong enough to show a group effort. It became a professional creative product where students proposed a master plan, and conceptual volumetric and strategic architectural objects, that could improve the life of the City of Aleppo while respecting centuries of history and the scars the war left behind.
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The life line o f A lepp o —
The line is a symbol of the new Aleppo. The reconstruction of a city destroyed by war is a very complicated task that involves many disciplines: economics, politics, law, health, education, geography, distribution of population, etc. All members of society should contribute. The emotional condition of the people ought to be very important to commit to the difficult task. Our life-line points to the emotional and symbolic in order to boost the return of population from exile, as well as help the population that stayed and suffered the destruction of their families and homes. Our life-line begins at the Old Gate, passes through the Souq and some mosques, touches the Citadel, and moves towards the east of the city which mostly suffered from the destruction. We are working with elemental programmes, in search of identity and meaning: memory, dwelling, education, market, and public space. The life-line is forgiveness without forgetting. The life-line is hope for the new Syria; it will be built with red materials, like brick and stone, that will cicatrise the wound caused by war. Architecture can heal, if we understand architecture as an antidote to war: war destroys while architecture constructs. The life-line is part of the destroyed area we chose to work on, and all the buildings we are working with, are touched by it. The pavement, the façades, and all the elements of the line shall be red… but red is not the only colour of the line: this line is also a green river, a river of trees, a river of life. We rebuild using the ruins of the city, completing the houses and the buildings, — 21 —
TH E RED LINE OF A LEPPO
Julio Gaet a and Lu by S pr inga ll
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
working with the voids caused by destruction. Void and solid interact. We are restructure semi-destroyed houses because people who left the city will come back to recover their lands and homes; because the parts of buildings that are still standing should not be demolished, for various reasons: memory, identity, budget; all these are part of the meaning and memory of the city. The buildings will turn into a palimpsest in their spaces and walls. There is a need to create a dialogue between the new architecture and the old one. Old and new together. Rebuilding the city with the same footprints, planning a city with a human scale, street life, biodiversity, and a high quality of public life.
Concept From the beginning, man needed to express himself. He did so with the use of primordial signs, one of which was the line with which he depicted the hunt and everyday life – a linear organisational tool, to describe the passing of time or his evolutionary steps. With the discovery of the concept of time, the problem of representation was solved with a line that acts as a datum of the ages and events, and links all past, present, and future generations – the discovery of the infinitive line. The project is considered as a palimpsest of points/layers of different activities that come together to form a life-line though the destroyed parts of the city of Aleppo – highlighting the scar left by war on the urban fabric, making it a growing organism of green natural space, aimed at rebuilding a new city of Aleppo. The life-line can be compared to that of a stitch – a thread that loops though the destruction to reunite and facilitate the healing process of the urban and emotional scars left by the war on the city. — 22 —
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Dwellings have begun to be considered as a re-appropriation of lost roots: a return to a motherland that signifies hope, and brings back childhood memories, inspiring a tomorrow that has not yet happened. Dwellings call on a visceral need that drives us to our places of origin. We face these issues today because many have left the city of Aleppo and may never return, but their longing will always remain. Therefore, the city is understood as a palimpsest, but one on which every generation has not left an imprint on the city, either emotional or physical. The layer of the palimpsest that deals with the displacement / repopulation of people in a habitable way is the housing layer, which has designed a system that inserts a housing matrix within the ruins of the old city. It becomes the boundary of the ruins, the boundary between old and new: highlighting their differences and similarities, the stone itself becomes memories, a concrete mass, perceivable to the touch.
Plaza Aleppo has wounds from the war that run through the old city, cutting and dividing it. The concept of the square/plaza is presented as a unifying element that will “stitch” the severed urban fabric together along the line, widening and narrowing — it creeps through, leaving a light scent of memory as it runs through. Vegetation also began to be conceived as an element of recovery: the vegetation planted throughout the line and plazas will act as “stitches” that force the urban fabric, once torn from war, together, providing a comfortable gathering space for the people and their memories. The squares/plazas are positioned along the line, assuming various functions based on the — 23 —
TH E RED LINE OF A LEPPO
Dwelling
relationships with surrounding buildings, leading to the flourishing of public life through the experience of shared spaces.
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Memorial If we imagine being able to “walk” through memories, we will certainly be faced with a troubled path full of pain, and empathy for those who experienced it originally: those who walked in stifling heat and fatigue and tiredness. We understand everything from a memory matrix that creates a mesh framework that reminds us of our past mistakes and serves to protect our future. Here, nature coexists with the pervading ruins, creating a cohesive boundary along the line between what was there before, and what persists today: what was damaged, and what was not. The memorial is not perceived through a classical lens, but through a lens that is “lived”, a reality. It is a scar that has been brought to an empathetic truth – allowed to create a unique awareness in the minds of those that exist today. It is the hope to describe an unimaginable pain — according to the scar of war that creeps into the city, in an empathetic way — that will eventually come to fruition in a memorial. The city is remodelled, recognising a new source of life in the main monuments: a meeting point and a union to redesign the future.
Market The system of the market appears as a growing circle, an ascending spiral symbol of life. It develops on a vertical direction in order to end up on the pivot of city life. The market is a place of meeting, of multicultural exchange, among its users. The voice of people is the background sound of the promenade; the smells of the spices and the feel of the textiles, all contribute to the — 24 —
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products that a modern market can offer. The creation of this movement makes the sharing of city life easier, thinning the line that represents the gap of social inequalities in the different parts of the city.
Education is understood as a system that is responsible for rebuilding, through knowledge, a life that “could be”. Knowledge not as a pure notion of general higher education, but more like a complete study of tradition and past events: the keystone in protecting the possible future of the people relinquished from the anguish of war. Learning the history of the city is extremely important, as it allows the gleaning of the consistent evolution of the city and the understanding of it through the lens of a palimpsest, and thus can be understood as a plan to rebuild the city with empathy towards the past and hope for the future. The school layer deals with one main location, in which it concentrates all its efforts, at the centre of the entire plan, forming a centrifugal force thanks to which the lifeline of Aleppo will grow. The school is not only where “teaching/learning” occurs, but it is perceived as an experience of community life, sharing spaces that become the norm – a symbiotic string of culture and knowledge exchange.
B ibliograph y — Eisenman P., Rauterberg H., “Holocaust Memorial Berlin“, Lars Müller Publishers, Zurich, 2005. Gehl J., “Cities for People“, Island Press, United States, 2010. Gehl J., Gemzøe L., “New City Spaces“, Island Press, United States, 2001.
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School
Life line; Re-creating destructed fundamental structures, both physical and social, in a complex city.
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— The life line of Aleppo, concept.
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— The life line of Aleppo, concept.
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ﺝ
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
ﺩﻝ
ﻝﻡﻍﻱ
— — 34 ﺝﺡﻱﻉ ﻕﺍﻕﻍﻱ ﺱﻱ
ﺝﺡﻱﻉ
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— The life line of Aleppo. Sketches by Daniel Mastretta and Sendy Gonzales.
— 35 —
— 36 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— 37 —
Line of memory; Re-thinking a new future, remembering the past: forgiving but not forgetting the scars of war.
Gaeta Sp ring all Architects
TH E RED LINE OF A LEPPO
— The life line of Aleppo. Project sheet 1.
— 39 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
me mor ial
m em or ial
s c h ool
public s p a ce
— 40 —
Gaeta Sp ring all Architects
housing p u b lic s p ac e
TH E RED LINE OF A LEPPO
ma r ke t
— 41 —
— 42 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— 43 —
— 44 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Gaeta Sp ring all Architects
— The life line of Aleppo. Project sheet 2, housing.
TH E RED LINE OF A LEPPO
— The life line of Aleppo. Project sheet 3, school.
— 45 —
— 46 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Gaeta Sp ring all Architects
TH E RED LINE OF A LEPPO
— The life line of Aleppo. Project sheet 4, Plaza. Concept diagram.
— 47 —
— 48 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— 49 —
— 50 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Gaeta Sp ring all Architects
TH E RED LINE OF A LEPPO
— The life line of Aleppo. Project sheet 5, Memorial, render.
— 51 —
— 52 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— 53 —
— 54 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Gaeta Sp ring all Architects
TH E RED LINE OF A LEPPO
— The life line of Aleppo. Project sheet 6, Market, plan and section.
— 55 —
— 56 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
TH E RED LINE OF A LEPPO
Gaeta Sp ring all Architects
— 57 —
Line of strength; Re-connecting the city and its people through a strong link that brings them together.
Gaeta Sp ring all Architects
TH E RED LINE OF A LEPPO
— Red line by Luby Springall.
— 59 —
— 60 —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Gaeta Sp ring all Architects
J ulio Gaeta a n d Lu by Sp rin g a ll — Mexico City, Mexico
Luby Springall is an architect, graduated from Universidad Iberoamericana de México and artist, with postgraduate studies at the Royal College of Art in London. In 1987 she began her teaching activity and from 2007 to 2011 she coordinated her Vertical Studio. In 1997 she founded Springall+Lira and she has been principal partner of GAETA-SPRINGALL architects since 2004. In 2014 Julio Gaeta and Luby Springall are the curator of the Mexican Pavillon in the Architectural Biennale of Venice. In the last years they have won several important international competitions. A selection of winning projects: Memorial to Victims of Violence in Mexico, Cathedral of Celaya, Siroco-Mistral Towers, 4 HousesLCC and Lineal Park FFCC. Exhibitions: Building in the Metropolis, Iuav (2016), Aedes (2014), Condemned to be Modern, Venice Biennale (2014).
— 61 —
TH E RED LINE OF A LEPPO
Julio Gaeta is a PhD, architect and professor with a focus in architecture, urbanism and public space. He is the Director of ELARQA, a research and publishing center in Architecture and Urbanism; from this platform he has authored more than 20 books and published more than one hundred titles. He is an artistic creator and member of the National System of Creators of Mexico.
Tutors and G u ests —
S YR I A – T HE M A K IN G OF TH E FUTURE FROM URBICIDE TO TH E A RCH ITECTURE OF TH E CIT Y
Daniel Mastretta
He holds a Licentiate Degree in Architecture by Universidad Iberoamericana (2008) and a Master’s Degree in Design and Technology from Parsons School of Design in New York (2015). He has seven years’ experience of teaching graduate level courses in architecture, and is currently working as a creative director of technology at a global communications agency. He has been awarded over 15 international prizes, at awards such as Cannes Lions Festival of Creativity. Paola Ampudia She obtained her Licentiate Degree in Architecture by Universidad Nacional Autónoma de México (UNAM) in 2014. During 2012, she participated in an exchange programme at Politecnico di Torino where she spent a year studying at the Architecture Department. She has developed as an architectural designer and is currently collaborating as a Senior Architect at Gaeta-Springall Architects since 2015. Jacopo Sapienza Jacopo received Graduate Degree in Architecture and Innovation at Università Iuav di Venezia. Jacopo moved to Mexico City in January 2016 to participate in an exchange programme at Universidad Iberoamericana. He has collaborated with Gaeta-Springall Architects until July 2017. Giovanni Caria Giovanni obtained his Graduate Degree in Architecture and Innovation at Università Iuav di Venezia in 2016. He currently collaborates with multiple architecture studios in Italy, and has collaborated with Gaeta-Springall Architects in Mexico City since 2017.
— 62 —
Gaeta Sp ring all Architects
Giorgia Antonioli Rakan Balosh Sara Bars José Basanta Fernández Alice Bernacci Cristina Bicego Sara Biondo Eleonora Borsato Giulia Canavese Michela Carlesso Eric Castañeda Pablo Castro Blanco Luca Catana Andrea Cavaggion Silvia Celeghin Raúl Cherem Federico Cucker Martorell Lisa Dall’Anese Martina de Cia Leonardo de Gennaro Gabriele dei Rossi Rebecca della Torre Ludovica di Crescenzo Devon Diesel Anna Disaro Linda Falconetti Mauro Fardin Filippo Frison Valentina Gobbo Sendy González Giulia Grava Sara Guidolin Daniel Gutiérrez
Miguel López Chiara Lorenzi Giulia Manfrin Matteo Marangoni Kitzia Martínez Andrea Melloni Bahnnisikha Misra Greta Mullaj Sara Paneghel Michela Parise Andrea Pastrello Filippo Piana Giorgio Piccolo Michelangelo Portinari Serena Ramorino Perla Riello Aureliana Rizzo Elena Salvalaggio Daniel Scattolin Sara Simionato Luca Spolaore Giulia Stefani Elena Tomasi Elisa Valentini Costanza Vegro Erti Velaj Inés Velasco Angela Vezzaro Emma Vicariotto Yao Werxmoun Nan Yan Hao Mauro Zambon
— 63 —
TH E RED LINE OF A LEPPO
Stud ents —
www.wave2017.iuav.it workshop2017@iuav.it
Printed by PRESS UP, Rome, in November 2017
SYRIA - THE MAKING OF THE FUTURE FROM URBICIDE TO THE ARCHITECTURE OF THE CITY
Roberta Albiero Felipe Assadi Aldo Aymonino Beals Lyon Arquitectos Solano Benitez BOM Architecture Francesco Cacciatore Ricardo Carvalho Armando Dal Fabbro Salma Samar Damluji Fernanda De Maio Gaeta Springall Architects / The Red Line Of Aleppo Antonella Gallo Sinan Hassan Ammar Khammash Camillo Magni - Operastudio Giancarlo Mazzanti Patrizia Montini Zimolo Paredes y Pedrosa Ciro Pirondi Plan Collectif Attilio Santi TAMassociati UNLAB João Ventura Trindade VMX Architects
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