STUDIO 2 PRAXXIS
LORENZO LA MAGNA ZIMMERMANN
TABLE OF CONTENTS 3 5
GLOSSARY RESEARCH QUESTION
CHAPTER ONE 9 11 13
ITALY and LGBTQ+ rights Genova Centro Storico QUEER EXODUS PLAN
CHAPTER TWO 21 23 25
35 37
45 47
17
8 queer spatial principles but why???
27 29
Genova Gaybourhood: Genova Gaybourhood:
MY THESIS PROJECT AND GAYTRIFICATION A CONCEPTUAL MASTERPLAN
DESIGNING THE GAYBOURHOOD
three areas of intervention understanding the site: WHAT WOULD BEST FIT EACH SPACE understanding the site: GENOVA’S PAINTED FAÇADES
CHAPTER FOUR
15
GENOVA GAYBOURHOOD
test trial zone mapping the test trial zone an abandoned city
CHAPTER THREE 33
STUDIO 1 RECAP
39 41
designing as a feminist: designing as a feminist:
FEMINIST TECHNOLOGIES A MANIFESTO OF PERMITTED INTERVENTIONS
VIA DEI GIUSTINIANI
Via dei Giustiniani 11R: Via dei Giustiniani 11R:
CONCEPT SCALE INTERVENTION
49
QUEER COMMUNITY CENTER
51
Via dei Giustiniani 19: Via dei Giustiniani 19:
DESIGN SCALE INTERVENTION QUEER LIBRARY & BOOKSHOP
1
CHAPTER FIVE 57 59 61 63 65
Santa Maria in Passione: TECHNICAL SCALE INTERVENTION Santa Maria in Passione: LAYERS OF HISTORY Santa Maria in Passione: THE RUINS OF A CHURCH queer building programme design iterations
CHAPTER SIX 79 81 87 93 95
109 111
2
67 69 71 73 75
iteration iteration iteration iteration iteration
1 2 3 4 5
THE DESIGN OF A QUEER CLUB
an unapologetic piece of queer architecture from a church to a club: PLANS from a church to a club: SECTIONS the staircase of overlooking the temple of pissing
CHAPTER SEVEN 107
SANTA MARIA IN PASSIONE
MOVING FORWARD
NEXT STEPS STUDIO 2 ROADMAP BIBLIOGRAPHY
97 99 101 103
three private runways the pahallic lantern the material response: A POLISHED COMPOSITION OF VOLUMES the material response: A PLAYFULLY COLOURED INTERIOR
GLOSSARY CISGENDER
LGBTQ+
adjective an individual whose gender identity and behaviour matches the sex they were assign at birth.
initialism lesbian, gay, bisexual and transgender, ‘+’ as an open category.
GAYBOURHOOD
QUEER
noun an area which presents a cluster of LGBTQ+ institutions, both commercial and service-orientated, as well as it houses a substantial residential queer population. “this clustering structures not only a community but an identity” (Miller, 2005)
GAYTRIFICATION
noun the material and conceptual changes of a specific neighbourhood due to the commercial, residential and symbolic presence of the LGBTQ+ community.
GENDER
noun the physical and or social condition of being either male or female. noun a radically free performance of an identity.
noun synonym of gay, especially referring to a homosexual man. adjective whatever is at odds with the normal, the legitimate, and the dominant. noun individual whose sexual identity and embodiment is considered non-normative, as a wide reaching term to encompass all differences.
SHAME noun the trauma, caused by the exposure to overwhelming shame at an ages when you are not equipped to cope with, is a core element of homosexuality. it is something about growing up gay that forced us to learn how to hide ugly realities behind a finely crafted façade. (Downs, 2012)
HETERONORMATIVITY
noun the belief of considering heterosexuality as the only normal and natural expression of sexuality. 3
TRANSLATION OF ITALIAN WORDS il CENTRO STORICO
male
the historic city center
la CHIESA
female
the Church
la CITTÀ
female
the city
la CITTÀ METROPOLITANA
female
the metropolitan county
GENOVA
female
Genoa
la LEGGE
female
the law/legislation
la LIGURIA
female
a region of north-western Italy
l’OMOFOBIA
female
homophobia
la REGIONE
female
the region
la REPUBBLICA
female
the republic
due to the strict binary distinction which is embedded within the Italian language. 4
RESEARCH QUESTION
how could the Italian institutionalised homophobia subvert the future of the decaying Genoa City Center?
5
PROJECT AIM 6
this very political, yet personal, project seeks to imagine a different future for the Genova historic city center. within this specific urban area, by creating ‘ad-oc’ policies for the LGBTQ+ community, this minority would then thrive. by designing the empty commercial premises that the queer community would transform to create a newly establish Gaybourhood, I aim to expose the embedded homophobia which is still so prominent within the Italian society.
you should see just a simple frame, but it is so much more. it is an appropriation and a subtle misuse. look closely to recognise what is hidden in plain sight.
STUDIO 1 PRAXXIS
chapter one
STUDIO 1 RECAP chapter one LORENZO LA MAGNA ZIMMERMANN
ITALY and LGBTQ+ rights lm iss ing ?
OVERVIEW OF EUROPE
at
is I t al y
ITA LY
s r ie t n ou c an ope r u E Western
wh
looking at Europe as a whole, it is clear how Italy seems to be ‘politically’ closer to many ‘Eastern European’ countries, stereotypically dominated by a homophobic ideology. this shows how Italy stands out amongst its neighbouring ‘Western’ nations.
stil
Italy is still the only ‘Western European’ country lacking many fundamental legislations which would protect its LGBTQ+ citizens.
therefore, this highlights how a country leading the world in culture, history and design can fall short on basic human rights over a homophobic mindset.
ies u n tr Easter n European co
constitutional ban same-sex marriage
proposed
same-sex couple recognition
proposed
joint adoption
proposed
step-child adoption
proposed
law against homophobic hate crime
proposed
anti discrimination law homosexual to serve the military
only in certain areas banned
analysis conduced by ‘Ilga Europe’: Annual Review 2020 ‘OECD social indicators’: Society at a Glance 2019
ITALY IS FAR BELOW THE EU AVERAGE HOW CAN WE END CRIME AND VIOLENCE IF HOMOPHOBIA IS STILL CONSIDERED AN OPINION? 9
SAME-SEX MARRIAGE Legge Cirinnà n. 76 Civil Union Law Same-sex civil unions are now approved and regulated by the Italian Central Parliament. APPROVED
nowadays, same-sex marriage is not yet been approved by Parliament
first same-sex civil union in Italy 24 June 2016
20 May 2016
SAME-SEX ADOPTION the Court of Cassation ruled that adoption is permitted even for a single parent, including an LGBTQ+ parent as well. APPROVED
2019
2020
YES
31.1 %
42.0 %
NO
68.9 %
58.0 % nt rovme p m i ght
Italian public opinion on: same-sex adoption
analysis conduced by ‘Eurispes’ ‘Temi Etcnici: cosa ne pensano gli Italiani’ (July 2020)
26 June 2019
UK 73.0 %
sli
ANTI-HOMOPHOBIA LEGISLATION
AG NATIO AIN ST NAL L Proposta di Legge Zan HO E MO GISL -TR ATIO AN by modifying art. 604-bis and art. 604-tris of the Penal SPH N OB Code, it would guarantee protection against violence IA and discrimination due to sexual orientation and gender identity.
Russia
Latvia Poland Czech Republic
Belarus Ukraine Moldavia Bulgaria
APPROVED by ‘Camera dei Deputati’
Turkey
4 November 2020
it will eventually be discussed within ‘Senato’
Italy, alongside these few ‘Easter European’ countries is still lacking any legislation to protect its citizens from:
early 2021
regarding: HATE CRIME LAW HATE SPEECH LAW POLICY TACKLING HATERED
10
sexual orientation gender identity intersex
Genova Centro Storico LOOKING BACK AT MY HOME TOWN now I am able to look back at Italy, and especially at my home town, and interrogate why this homophobic ideology is still so embedded within our society. AVERAGE AGE Genova
5 7
4
6
48.53
2
4th ‘oldest’ city in ITALY
1
3 8
9
an ageing city is stereotypically less willing to change
Metropolitan City of Genova
Liguria
48.46 ‘oldest’ region in ITALY
Genova
N
Italy
44.91
‘oldest’ country in EUROPE
W
E
data from Eurostat & AdminStat Italia
S
11
a dramatic reality of urban and economic decay characterises the historic city center of Genova. this is a clear demonstration of how neither the local or the national-wide ‘regeneration strategies’ have been successful within this precious urban environment.
232.8
239.1
246.2
252.2
260.3 average age 48.4
580.097
2017
2015
2013
total population
586.655
2019
596.598
586.180
2011
574.090
ageing
GENOVA total population
decreasing
immigrants +130%
10.2 %
total immigrants
56.534
44.372
55.947
54.154
58.847
-6
51.809
1
52.9%
Prè Maddalena Molo
20.367
2019
1951
CENTRO STORICO
%
47.1%
residents -61%
CENTRO STORICO population
average age 42.7
IT
(since 1951)
economic activities -28% (since 2010)
urban decay
47.7% 52.3%
IT
?
immigrants
?
34%
24.6%
?
population decrease
?
?
?
-2
8
1985
4th
%
in 2018
W O
RE AL ITI ES
BE
CO
in 2010
12
?
?
not considering the COVID crisis
1553
worst city center
60.360.000
?
economic activities decrease
index economic development
ITALY total population
?
31.442 new residents
NN E CTED?
GENOVA
aging index
analysis conduced by ‘Comune di Genova’ ‘Genova che Osa’ Centro Studi ISTAT: report omosessuali in Italia ‘Camera di Commercio’ di Genova
+
LGBTQ+ population percentage 2.4%
=
approx Italian LGBTQ+ 144.864
N CA
E ES H T
T
QUEER EXODUS PLAN A NON-COMPULSORY SEGREGATION POLICY considering what previously described, homophobia is so embedded within Italy’s political and societal system. “Even here in Italy (referring to Poland and to the European trend of increasing homophiba) we sense the risk of using homophobia as an instrument to carry on a specific political agenda”
for this reason, a new form of discrimination does not sounds too surreal, especially considering what is currently happening in Poland with their LGBT-free zone.
Yuri Guaiana, ‘Certi Diritti Org’ director
GENOVA
QUEER EXODUS PLAN
Italy aims to solve, once for all, the urban and economic decay of Genova City Center.
NON-COMPUSLORY SEGREGATION POLICY 2 different ISSUES faced together
aiming to INCENTIVISE THE EXODUS OF LGBTQ+ PEOPLE
INSTITUTIONALISED HOMOPHOBIA Italy still considers the LGBTQ+ population as a threat to its conservative values.
this specific feminist tactic, by excluding a majority, consequentially expose their privilege. therefore, it is used to help minorities reach the ‘majority’ standards, aiming for a more equitable society as a whole.
‘NEW’ WAY OF EXCLUDING and DISCRIMINATING THE LGBTQ+ POPULATION
feminist tactic
EXCLUDE TO INCLUDE ‘NEW’ WAY OF INCLUDING THE LGBTQ+ COMMUNITY WITHIN A SPECIFIC AREA
in this thesis project, the LGBTQ+ community will be exclusively included by creating ‘adhoc’ policies, which will potentially lead to a broader national-wise understanding of their issues and needs. 13
€ with this policy, the Italian Central Government will incentive the move of its queer population to the decaying Genova Centro Storico. BUSINESS
a non-compulsory segregation policy divided into 3 parts:
PART 1 economic incentive
PART 2 housing incentive
PART 3 living incentive
this policy would eventually bring to Genova Centro Storico up to 30.000 new residents, which will therefore just substitute the recent population loss. for this reason, any form of displacement of the local residents will occur.
an infrastructure for a community the Italian Central Government will start this ‘plan’ with business orientated policies to promote the creation of an economic infrastructure able support the LGBTQ+ community.
a community for an urban area two main ‘housing incentives’ will be applied ,alongside the business orientated policy, to ease the ‘non-compulsory’ move of the LGBTQ+ community within this specific urban area in decline.
a magnet for a broader community once an initial cluster of queer residents and businesses are established in the area, more LGBTQ+ residents will be willing to move to this now ‘queer safe’ neighbourhood.
LGBTQ+ COMMUNITY LGBTQ+ community
ageing straight population
30.000 vs. 20.000 14
GENOVA CENTRO STORICO POPULATION
from a minority to a majority since Genova Centro Storico more than 60% of its residents during the last fifty years
8 queer space principles A DESIGN TOOL-KIT
VISIBILE IDENTITY AND COMMUNAL SPACE
they were pivotal to design something that has been described as “altogether ambivalent, open, leaky and ephemeral”. (Rendell et al, 2000)
these principles will be utilised depending on the venue ,its purpose and its meaning. therefore, within this project, each space has been designed keeping in mind that these can be used singularly or as a complex combination of them all together.
BRINGING THE BODY BACK TO THE CENTER
the different meanings of ‘queer space’ have been translated into 8 spatial principles which are now able to inform a physical space.
FLEXIBLE AND ADAPTABLE SPACES ALLOWING A PHYSICAL AND EPHEMERAL CHOICE
SPACE OF DISPLAY
SHARED SPACE AND ACCESSIBLE TO ALL
SPACE OF REPRESENTATION
SPACE FOR SHARING
SPACE FOR ONE’S OWN CHOICES
15
starting with a ‘commercial masterplan’, these principles will be applied to the design of the different commercial premises needed to support and sustain the queer community within this historic urban environment.
ANONYMOUS SPACES WITH A DEGREE OF SAFETY AND ILLEGALITY
SPACE OF SPECTACLE
APPROPRIATION AND QUEERING OF EXISTING NORMATIVE SPACE
SPACE FOR OVERLOOKING
REFLECTING SURFACES AND BODIES
OVERLOOKING AND SAFE-GUARDING
following the concept of the ‘queer exodus plan’, the empty premises of the historic city center will be re-populated and re-designed to fit the needs of the newly settled LGBTQ+ community.
16
SPACE FOR MISUSE
SPACE OF ANONYMITY
but why??? EXPLAINING THE DIFFERENCE
WHY IS THIS RELEVANT NOW?
to sum up this brief recap of my studio 1, I would like to answer some legitimate questions that I have been previously asked. these quires are pivotal to further understand my project and therefore I have decided to be really open about them.
to simply answer this question, I would like you to witness what happened on FEBRUARY 2021 in Liguria, the region where Genova is located.
this the Covid-19 vaccine module that you have to fill in to get your swab. even though it is in Italian, you can see how it looks like a simple module where to ‘cross’ the usual health-related questions.
well, number 10 is particularly interesting and therefore I will translate it for you. individual incline to ‘risky’ behaviours (drag addicts, sex worker, homosexual) in 2021, to get a vaccine to fight against a global pandemic, as an homosexual young man I have been considered as an individual with a ‘risky’ behaviour. 12-02-2021
for this ‘mistake’, the local health authority, which was in charge of this module, accused the guidelines provided by the General Health Department in Rome.
this highlights an issue which is sadly far grater than this vaccine module. change is needed and it is needed now!
17
WHY A GHETTO?
this project is very political due to its specific target: the LGBTQ+ community.
WHY GAY BUSINESSES?
queer businesses play an essential role in sustaining the LGBTQ+ community.
in order to expose the privilege of the majority, I have used a specific feminist tactic: EXCLUDE TO INCLUDE.
as a NON-COMPULSORY SEGREGATION POLICY, it aims to facilitate the move of the Italian queer population.
QUEER EXODUS PLAN
therefore it will not force anyone to move to Genova, and at the same time it will not force the residents to be displaced.
the queer community will be exclusively included in this vision by creating ‘ad-oc’ policies which will lead them to the creation of a new urban environment.
the queer community will subvert and re-use the empty premises of this historic urban environment. they will create a ‘new safe space’ which is characterised by an even mixture of a queer and straight population.
QUEER STAFF for QUEER COSTUMERS
it is a matter of visibility, sense of community, sense of self-expression and feeling of safety.
QUEER CIRCULAR ECONOMY
these hey points summarise why of this essential relationship between the community and their businesses.
AGAINST UNIQUE DISCRIMINATION
moreover, different shops have different meaning during a queer life-time but their meaning depend on each one personal experience.
FEELING SAFE and WELCOME
QUEERS HELP QUEERS
closet anonymity
visibility
visibility
EXPOSURE
DISCLOSURE
OUT
RESISTANCE
to bond and create links with the community
to identify and show a belonging
to protest and resist
QUEER LIFE HIDE
QUEER SHOPS to inform and understand yourself
18
STUDIO 1 PRAXXIS
chapter two
GENOVA GAYBOURHOOD chapter two LORENZO LA MAGNA ZIMMERMANN
test trial zone A PORTION OF THE CENTRO STORICO the historical center of Genova, aslo called Centro Storico, is politically divided in three separete neighbourhoods: Prè la Maddalena il Molo in order to test and verify the efficacy of the QUEER EXODUS PLAN as an economic and urban regeneration strategy, a smaller area as been appointed. the portion of the ‘Molo’ neighbourhood, highlighted as the yellow area on the map, has been selected as the main focus for my thesis project.
en ov aP orto ntico A
most renown area, where signs of urban and economic decay are less prominent.
G
lia Aure Via
Via San Lorenzo this is the main access to the Centro Storico and it clearly breaks the neighbourhood in two separate areas. this small area is architecturally very different from the rest of the Centro Storico and it feels like part of the adjacent neighbourhood.
‘harbour area’ is geographically separated by Via Aurelia, one of the busiest thoroughfares in Genova. furthermore, it is characterised by a unique infrastructure catering to storage and manufacturing. this clearly divides this portion from the rest of the neighbourhood.
1:5000 Genova Centro Storico 21
Prè
Maddalena
Molo
test trial zone
22
mapping the test trial zone A VERY WET WEEKEND during the Christmas break I was able to go back to my home town where unfortunately the lockdown restrictions where even tougher than the ones in place in the UK.
the Genova City Council uses this map to promote its Centro Storico and its historically relevant sites.
Luckily, I was still able to wonder around the historic city center, during specific hours only, to map out the ‘test trial zone’.
not considering the necessary ‘graphic design’ upgrade that this map needs, it was a fundamental base for my personal mapping exercise.
My aim was to answer this specific question: how many empty businesses? understating how many ‘ground floor’ vacancies are present within this specific portion of the Centro Storico.
a simple key: X empty commercial premise active commercial premise
in order to properly map this vast urban area, following the Council lockdown restrictions, I had to undertake a 3 days survey.
DAY 2
completely different feeling while walking this area, since more lively due to its proximity to Via San Lorenzo. actually bumped into someone and many shops were actually open. it rained more.
DAY 1 I felt all over the places, it was surreal to wonder around a ‘ghost town’. I still needed to understand how to logically navigate through this labyrinth of small alleys. I chose the most empty and derelict area first. it rained, a lot.
DAY 3 lots of walking since I was running out of time. as expected, the area next to Via San Lorenzo was busy while completely abandoned over Santa Maria di Castello. it din’t rain, finally! 23
24
an abandoned city THE SHOCKING PERCENTAGE OF VACANCIES being able to go back to Genova was pivotal for my thesis project. the urgency of a strategic economic and urban regeneration for this area is needed now more than ever. the corona virus crisis will definitely have a devastating impact on such a fragile urban and economic environment. being honest, this first shocking. not just because of my specific place but, as an the uncontested decay devastating.
hand experience was truly emotional attachment to this architecture student, witnessing of centuries of history was
my analysis and survey considered only the business premises located on ground floor with a visible shop-front.
47% commercial ground-floor businsesses closed!
457
ACTIVE BUSINESSES
407
EMPTY BUSINESSES
864
plenty of space for the insertion of queer businesses which will support the newly established LGBTQ+ community. total businesses
25
EMPTY ACTIVE
26
1:2000 empty commercial premises
Genova Gaybourhood MY THESIS PROJECT & THE GAYTRIFICATION PROCESS due to the historical and political discrimination of the LGBTQ+ community, no signs of the gaytrification process are yet visible. Although, this specific area has all the potential to start this regeneration process from its ‘stage 1’.
STAGE 1 pre-conditions urban area in decline: location of sexual and legal liminal activities and behaviour
fast-forward
it is relevant to highlight how this process could potentially be accelerated due to a direct intervention of municipal administration. the direct action, possibile thanks to the QUEER EXODUS PLAN, could accelerate this process fast-forward in between the gaytrification stages.
GAYTRIFICATION PROCESS
STAGE 2
my vision for Genova Centro Storico as a gaybourhood is set to be in between Collins’ stage 2 and stage 3. when LGBTQ+ businesses and residents have settled down, but where there is still potential for change.
EMPTY BUSINESS ACTIVE BUSINESS
fast-forward
emergence clustering of gay male social and recreational opportunities
MY THESIS PROJECT STAGE 3 expansion and diversification widening gay enterprise service-sector base
QUEER BUSINESS
for this reason, my vision for Genova Centro Storico as a Gaybourhood is distinguished by three different colours. queer businesses will be inserted where nowadays vacancies can be found. moreover, since ‘stage 3’ has not been reached yet, few empty businesses will still be vacant, waiting to be filled up.
STAGE 4 integration assimilation into the fashionable mainstream
27
EMPTY QUEER ACTIVE
28
1:2000 Genova Gaybourhood masterplan
Genova Gaybourhood A CONCEPTUAL MASTERPLAN after having carefully mapped out where all the groundfloor commercial vacancies are, I was able to imagine where queer businesses could potentially be implemented within this historic built environment. since my projects sits in between ‘stage 2’ and ‘syage 3’ of the gaytrification process, less than half of the premises will be actually occupied at this point. this would leave a degree of freedom for a potential future which might even be different from the one that I have been imagining with this research. by having a first hand knowledge and experience of this area, due to the personal aspect of this theoretical architectural intervention, I was able to locate where best these businesses could be implemented.
these premises have the unique opportunity to be linked with the newly established Design District. this area is characterised by the most visible urban and economic decay, therefore even queer businesses will be implemented further on the gaytrification process.
194
QUEER BUSINESSES
213
EMPTY BUSINESSES
407
total previously empty businesses
29
EMPTY QUEER ACTIVE
due to its proximity to Via San Lorenzo and to the most renown area of the Centro Storico, these premises will be easily filled up by queer businesses.
this area is very lively on its edge, towards the adjacent neighbourhood. therefore queer businesses will be implemented as close as possible to this economically active area.
Santa Maria in Passione church is a unique opportunity in order to prove the efficacy of the Queer Exodus Plan.
30
at the very heart of the Centro Storico, these premises could potentially be an independent cluster, regenerating the neighbourhood from the inside. 1:2000 Genova Gaybourhood masterplan
STUDIO 1 PRAXXIS
chapter three
DESIGNING THE GAYBOURHOOD chapter three LORENZO LA MAGNA ZIMMERMANN
three areas of intervention 3 SITES AT 3 DIFFERENT SCALES within the Genova Gaybourhood masterplan, three individual areas have been selected to be brought forward in the design process. due to the complexity of this theoretical thesis project, each site has been appointed with a different design scale.
Via Dei Giustiniani 11R following the different phases of the design process
CONCEPT SCALE
Via Dei Giustiniani 19 DESIGN SCALE
Santa Maria in Passione
forward STUDIO 3
TECHNICAL SCALE
the design of this specific site is the main focus of my STUDIO 2.
33
34
1:2000 3 sites within the masterplan
understanding the site WHAT WOULD BEST FIT EACH SPACE
PROS
STAGE 3 expansion and diversification STAGE 2 emergence STAGE 1 pre-conditions
service orientated commercial leisure pyramid of queer needs
my thesis project sits in between ‘stage 2’ and ‘stage 3’, therefore the Genova Gaybourhood materplan will include the business typologies from the previous ‘stage 1’ as well as the ones from ‘stage 2’.
STAGE 1 leisure
STAGE 2 commercial
licensed bar/pubs nightclubs cafés restaurants libraries/bookstores gyms saunas travel agencies accessory stores adult/fetish stores escort business community center
Via Dei Giustiniani 19
furthermore, it is relevant to understand which typologies of queer business would be implemented at this specific stage of the gaytrification process. for this reason, I have looked back at the ‘pyramid of queer needs’.
Santa Maria in Passione
the complex set of relations between the chosen areas and their proximities was fundamental to understand which queer business would best fit each space.
Via Dei Giustiniani 11R
a methodical analysis of each site has been carried out in order to better understand each area of intervention. CONNECTION WITH THE DESIGN DISTRICT ECONOMICALLY ACTIVE ENVIRONMENT CLOSE TO THE MOST RENOWN AREA OF THE CENTRO STORICO ADJACENT A ‘PIAZZA’ HIDDEN & NOT EXPOSED
LARGE AREA OF INTERVENTION CORNER SITE POSSIBILTY TO LINK WITH MANY OTHER ADJACENT QUEER BUSINESSES IN THE MIDDLE OF THE CENTRO STORICO
LARGE SITE POSSIBILITY OF CREATING AN ARCHITECTURAL LAND-MARK STRATEGIC POSITION FOR VISIBILITY NOT JUST A CHANGE OF PROGRAMME ABLE TO INFLUENCE POSITIVELY ITS PROXIMITIES
35
CONS
PROGRAMME
MOSTLY UNDERGROUND NOT MUCH NATURAL LIGHT COMPETITION FOR PREMISES DUE TO THE EXPANDING DESIGN DISTRICT
QUEER COMMUNITY CENTER
ANTI-SOCIAL BEHAVIOUR AREA URBAN DECAY OVER A VERY SMALL ALLEY
QUEER LIBRARY & BOOKSHOP
NOT MUCH NATURAL LIGHT
EXTENSIVE URBAN DECAY MOSTLY ABANDONED AREA HARD TO ACCESS THE SITE DUE TO ITS POSITION ON TOP OF A STEP HILL NOT MAINTAINED AT ALL
36
QUEER CLUB
understanding the site GENOVA’S PAINTED FAÇADES Genova Centro Storico is characterised by a unique architectural feature: an extensive decoration painted on many of its façades. due to the vastitude of this phenomenon, in 1982, the first national congress was held in Genova in order to discuss a national wide tactic on this matter which is so relevant within the urban environment of Liguria. surveys and analysis were conducted on several buildings which were decorated between the XV and XVIII Century, to analyse the worrisome decay of the Historic City Center’s façades. the deterioration of a painted façade in Genova: 1
chemical and physical action of the atmospheric agents considering the city’s proximity to the waterfront
2
air pollution
3
extensions, reconvertions and demolitions
4
high salt concentration in the air which increases rendering corrosion
both images from my site visit
December 2020
how long would a painted exterior façade last? from this congress it was clear that: “an exterior painted façade would not have resisted the action of atmospheric agents for more than 200 years” (Terminiello, 1982)
for this reason, it was clear how an extensive and planned intervention would have already been necessary at the time of the congress. unfortunately Genova’s limited economic resources were no able to face the expense necessary for a neighbourhood wide intervention.
Palazzo San Giorgio | Genova Its façade before and after the maintenance which took place from 1987 till 1991, for the celebrations of the 500th anniversary of the “Voyages of Cristoforo Colombo”.
37
3
2
1
Palazzo Sopranis | Genova the three main elements of Genova’s painted façades: 1
single architectural elements to add complexity to the plain façade
2
mixture and composition of multiple architectural elements in a perspective composition
3
decorated panels where the architectural elements works as an ornate frame
GAYBOURHOOD EFFECT the newly established Gaybourhood will states its presence through the painted façades which are so characteristic of this part of the city. the reinterpretation of these painted façades, will act primarily in two ways:
38
1
a way of clearly states a new presence within this urban environment, which it will be seen as something ‘special and intriguing’ rather than clearly ‘gay and loud’
2
a way of bring back to life Genova’s historic heritage
designing as a feminist FEMINIST TECHNOLOGIES I have explored my personal feminist approach on the area of the Genova Centro Storico which, due to the QUEER EXODUS PLAN, would be appointed as a Gaybourhood. Looking back at the PraXXis feminist technologies, my proposal for this urban area mostly suits the following category:
TECHNOLOGIES WHICH ARE ECONOMICALLY EQUITABLE #5
TECHNOLOGIES WHICH ARE POLITICALLY EQUITABLE
TECHNOLOGIES WHICH ARE GENDER EQUITABLE
#7
from this main category, five sub-category have been utilised to shape an equitable space for the LGBTQ+ community within this historical urban environment. considering the real struggles which the LGBTQ+ community has to face due to continuous discrimination, this theoretical project is focused on subverting this utterly unfair reality. by creating ‘ad-hoc’ policies, for the very first time the queer community would be treated fairly and equally on political and economic matters. these design interventions will challenge hierarchies and the patriarchal structure from which our society is based upon. the needs and voices of the queer community, seen as ‘real people’, would be heard and would physically inform the design of each space in order to create a thriving Gaybourhood.
TECHNOLOGIES WHICH CHALLENGE PATRIARCHAL & HIERARCHIES #10
TECHNOLOGIES WHICH ARE RELEVANT TO REAL PEOPLES LIVES #12
TECHNOLOGIES WHICH ARE COLLABORATIVE #3
39
Genova Gaybourhood
Genova Cemtro Storico
40
designing as a feminist in order to plan a cohesive regeneration startegy within the newly established Gaybourhood, I have set out a simple manifesto.
these documents, extracted directly from the Genova City Council, are still not able to make an active and positive change within this fragile historical urban environment. due to the lack of funding and the Council intention of not altering the overlaying of many century of architectural history, any effective actions have been planned or permitted. therefore, this lack of intervention is the cause of the extensive urban decay.
PARTITIONS
FAÇADE
ROOFING
FLOORING
this document was carried out to be as simple and immediate as possible in contrast to the wordy and intricate legislative documentations which rule the permitted architectural interventions in Genova today.
MASSING
A MANIFESTO OF PERMITTED INTERVENTIONS
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partial volumetric intervention original volume
the volumes must be restored within the original massing, when historical documentation is present
insertions on original pattern original flooring
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total roofing intervention only applicable when no historic documentation is available
reinstatement partial painted façade
the façade must be brought back to its original decoration, when missing volume, its façade must be clearly distinguished
perforating partition original partition
new flooring when fully missing
the roof must be restored within the original massing, when historical documentation is present
reinstatement total painted façade original façade
only applicable when no historic documentation is available
when possibile must be reinstated following the original pattern, clearly marking the new insertions
partial roofing intervention original roof
total volumetric intervention
altering partition
internal partition can be freely modified, respecting its materiality and clearly marking the new interventions
GAYBOURHOOD PERMITTED INTERVENTIONS
STUDIO 1 PRAXXIS
chapter four
VIA DEI GIUSTINIANI chapter four LORENZO LA MAGNA ZIMMERMANN
Via dei Giustiniani 11R CONSCEPT SCALE INTERVENTION the first area of intervention is located within the newly established Genova Design District. this attempt, independent from the City Council, to revitalise this particular area of the Centro Storico is focused on the regeneration brought by the combined action of art and design. therefore, the queer businesses, here established, would have to cooperate with this pre-existing reality. considering the Gaybourhood conceptual masterplan, two vacant commercial premises at ground flood have been selected to potentially house two queer businesses. considering the pros and cons which lead me to choose this particular ‘square’, these two queer businesses have been conceptualised to best fit this urban environment:
QUEER COMMUNITY CENTER
the conceptual design of this specific business premise is the main focus of this part.
queer charity shop
*this premise have an extensive undergroud floor, see next page.
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vintage de sign shop art ga ller y
art gallery
design boutique
queer c harity
COMMU
NITY CE NTER *
shop
bazar
textile d esign s hop
QUEER
1:200
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Via dei Giustiniani 11R QUEER COMMUNITY CENTER considering the sites and its constrains and strengths, I was able to carry out a conceptual intervention to subvert this abandoned premise into an active queer community center able to provide an essential service to the newly established LGBTQ+ community.
this level, due to its potion below ground level, lacks of natural sunlight but it has some openings towards the ‘piazza’.
this secondary staircase leads to the inside court of the adjacent residential complex, called ‘Palazzo Saluzzo’. this premise has a very small shop front compared to the extensive underground floor area.
1:200 underground floor plan
this space has some ‘roof lights’ connected to the interior court of the ‘Palazzo’.
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each space has been designed keeping in mind the DESIGN TOOL-KIT made of its 8 different queer space principles.
the underground space of the community center works as ‘safe space’ for the community in order to share, learn and grow from each other. this protected and anonymous space is formed by different activity rooms which are architecturally flexible to be adapted to thier different uses.
activity s pace
main activity space
private
space
kitchen
buffer sp ace
laundr y
dining sp ace
café
main entra nce
the entrance to the community center is a small independent café. this service provides surveillance and passive overlooking to its most vulnerable users. at the same time it works as a visible queer landmark which symbolises a ‘safe space’ for the LGBTQ+ community. it works together with the community center to provide a wider service to the neighbourhood. 48
staff toilets
café sp ace
store ro om in between the café and the community center a ‘buffer space’ is provided as barrier in between these two functions which coexist within the same environment.
Via dei Giustiniani 19 DESIGN SCALE INTERVENTION the second area of intervention is located at the very center of the Centro Storico. within this particular ‘square’ many queer businesses would have to coexist and cooperate within each other to support various aspects of the LGBTQ+ community. the economic premises, conceptualised for this location, are typical of the gaytrification ‘stage 2’, where the community’s needs are above the mare leisure. for this reason, considering the Gaybourhood conceptual masterplan, three vacant commercial premises at ground flood have been selected to potentially house three different business typology:
queer owned restaurant QUEER LIBRARY & BOOKSHOP
the architectural design of this specific business premise is the main focus of this part.
queer travel agency
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local re stauran
RARY & B
QUEER LIB OOKSHO P rant
live m usic v enue & rest au
t
ned resta uran
queer-ow
politica l assoc iation
queer travel agency
print shop
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Via dei Giustiniani 19 QUEER LIBRARY & BOOKSHOP
‘proud’ section
the QUEER LIBRARY & BOOKSHOP design has been influenced by the 8 queer spatial principles. the tool-kit informed this environment as two different (and apparently separate) spaces:
the first part of the library, which faces directly over the main alley, is characterised by an explicit and unapologetic queer atmosphere. it works as a landmark within this urban environment, as a symbol of a thriving LGBTQ+ community. it is designed as a space for cruising, where to meet and engage with others. the different bodies of its users are explicitly overlooked by others, due to an architectural layout which brings the human body back to the center of ones attention.
main entrance
‘closet’ section
moreover, it is connected to the other side of the library, the ‘proud’ section, and this passage is conceptualised a the ritual of coming out towards the acceptance of your own personal sexuality.
ction
toilet
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as a space which respects the user’s own choices and it allows you to explore and inform yourself without being exposed. this section is designed as a ‘close loop’ in order to make sure not to cross anyone’s sight.
‘proud ’ se
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the second part of the library, which faces the small back alley, is characterised by an anonymous and protected atmosphere. it works as a safe space for the most fragile members of the LGBTQ+ community, for example someone who is not ‘out and proud’ yet.
garden
from the floor plan, it is clear how small architectural interventions have been done to the space due to the decision to be respectful towards the original volumes. for this reason, most of the design regards the layout of the different types of furniture.
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main entrance
main entrance
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context
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Via dei Giustiniani 19 DESIGN SCALE INTERVENTION
‘PROUD’ SECTION
space for overlooking due to the space layout, looking for a book forces you to look at others space for display as your body is constantly exposed by being at the center even when looking for a book
space for representation as visible, ‘loud and prod’ as a landmark within the neighbourhood
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‘CLOSET’ SECTION
space for anonymity as a close loop which is passively overcooked by the staff members. the furniture design, as a shelving system which reveals only your legs, allows you to sense the presence of others without forcing you to expose yourself
space for sharing as a space where can be modified to allow the user to share its self space for one’s own choices as you can choose to remain in the ‘closet section’ or dare to come out and move to the ‘proud section’
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STUDIO 1 PRAXXIS
chapter five
SANTA MARIA IN PASSIONE chapter five LORENZO LA MAGNA ZIMMERMANN
Santa Maria in Passione TECHNICAL SCALE INTERVENTION the third and last design intervention is the main focus of my thesis project. this specific area is located above on of the highest hills of the Centro Storico and, due to its location and visibility, it could be used as a real landmark for the entire Gaybrourhood. the derelict body of the Santa Maria in Passione Church sits still as a scar within the surrounding urban context. its presence could be an unique opportunity to show how the QUEER EXODUS PLAN could subvert the future of this decaying neighbourhood. around this premise, neither economic businesses or extensive residential complexes are present, which make the site fitting for a queer night-life hub.
QUEER NIGHT CLUB
the technical design of this specific business premise is the main focus of this part.
queer bar
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Santa Maria in Passione LAYERS OF HISTORY in order to start the design process, I found looking back at the history of the site an essential exercise. learning from what has been preserved until today and understanding what was there before was pivotal to subvert the meaning of spaces, bringing them back to a new life.
this piece of ecclesiastic architecture has been described as the most noticeable archaeological evidence of the Medieval Genova. witnessing the decay of such an heritage site is a clear symptom of how incapable the City Council, due to its limited resources, is preserve its architectural history,
white marble slate the church internal flooring is typical of Genova building tradition. this specific black and white pattern called ‘a losange’. retain and emphasise when possible
the Tavarrone’s chapel was the only real chapel of the church, where the presence of the original ceiling paintings is still visible. it was enriched by a typical baroque decoration which testifies the rich layers of history present within the same space. reinstate its colourful atmosphere as a playful interior
the presbytery is the better preserved section of the church due to the vaulted roofing constructed in 1992.
1:400 XVIII Century floor plan
integrate and ‘cooperate’ with these interventions within the proposal
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the gothic chapel decorated with the traditional black (slate) and white (marble) ligurian gothic style. as shown in plan, this volume was originally directly connected to the main space of the church.
occasion to reinstate what has been lost (pitched roof and volume) but remarking the ‘scar’ present on the main façade
access the tower
choir
anti choir
gothic chapel
reconnect to main volume as original maintain original colours
original façade from the inside
original volume and pitched roof of the main body of the church the inside church was originally dedicated to the monastery life of the monks residing in the adjacent convent. it was a private space for praying and it was physically separated thanks to a metallic grid.
no historical documentation on the volume of this part of the convent potential occasion to create a landmark ?
subvert its meaning as something separate but essential
? ?
brief interventions time-line 1457 - 1462
original construction
1948
first interventions
1959
original presbytery roofing collapses
1992 - 1997
second interventions
2015
chapel decoration collapses
an immediate intervention is needed 60
original volume of the ‘inside church’
original volumes of the church
Santa Maria in Passione THE RUINS OF AN ABANDONED CHURCH
1
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1 view of the inside church from the presbytery 2 exterior aerial view of the church 3 ‘interior church’ which is nowadays connected to the main church space 4 the 1992 structural addition above the ‘interior church’ to support the bell tower 5 the ruins of the convent 6 the exterior wall of the convent and the 1992 addition 7 the derelict ruins of the convent facing the garden 3
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queer building programme APPLYING THE CONCEPT ON SITE in order to make sure that I was proposing a design which referred to the queer spatial principles, I have initially laid out a ‘queer building programme’. this specific exercise helped me connect each space to one or to a complex mix of these spatial principles. at the same time, each space was considered as linked to the others in order to create a conceptual network which was then overlaid and fitted on the existing floor plan. BATHROOM
DARK ROOM
COAT ROOM
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SHOW SPACE
MAKE-UP ROOM
DANCE FLOOR
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BAR
design iterations WEEKLY DESIGN PROGRESS once understood the complex relation between the queer spatial principles and the conceptual design response choose for this specific site, I was able test my vision in context.
each week, I was able to test and therefore evolve my proposal to better fit the site, its context and the chosen conceptual programme.
ITERATION 6 not being scared of being explicit and unapologetic, push the roofing solution even forward while design interior details going back at the human scale.
site visit
since the beginning, my architectural intent was clear: subvert this abandoned and derelict church with something bold and unapologetic. my proposal would be able to be symbolise a change within an urban environment which has not seemed to have been modified in centuries. ITERATION 1 initial thoughts on the wrong cad file! where the queer spatial principles were only applied at an interior and human scale to test their efficacy.
ITERATION 5 expanded the ‘overlooking’ tower solution to other part of the church. rationalised playful roofing for the convent to emphasise its presence as a visual statement.
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ITERATION 2
rationalised the new vertical connection as a light steel ‘overlooking’ tower. finally engaged with the convent area, rationalised its floor plan and designed a fist roofing solution.
ga in
connected each floor with a new vertical connection above the entrance. still at a human and conceptual scale, with some initial thoughts on exterior massing and its materiality.
ITERATION 3
ITERATION 4 rationalised even more the vertical connection above the entrance, while making it an unapologetic architectural intervention. playful with the convent roofing to symbolise a change within the area. 66
d an t s te test,
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iteration 1 INITIAL THOUGHTS ON THE WRONG FILE the very first attempt at designing after many months of research has been more challenging that I have originally thought. getting away from InDesign and Queer Theory was not easy but I was finally able to spatially test what I have been researching during STUDIO 1. once planned out a conceptual layout, I have overlaid this ‘spatial network’ over the wrong file! do not really know what actually happened, but I have been designing over the XVIII Century plan for the first entire week. I felt pressured to envision these spaces, therefore this first approach was focused on the human scale. I tried to ‘force’ the queer spatial principles without having in mind a clear architectonic strategy.
WEEK 1 SUMMARY + USE OF QUEER SPATIAL PRINCIPLES + VISIONS FOR THE INTERIOR SPACES
- convent spaces not fully resolved - volumes and roofing not considered - not clear intervention strategy
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main aspect main dance space as intricate series of ‘privè areas’ linked with each other with small passages and openings to enable overlooking.
?
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iteration 2 CONNECTING EACH LEVEL after having found out that my first iteration was based on an archaic floor plan, I carefully looked back at the history of the site in order to get the drawings right. nowadays, the church has lost its vertical connections therefore its upper storeys are not accessible. to merge this issue with the queer spatial principles, I have considered a staircase above the entrance. this architectonic proposition, would have overlooked the main dance floor following the conceptual response. the historical drawings influenced my decision to respect and reinstate the original massing but no vision for the convent was yet carried out. therefor,e the main dance space and the restrooms have been covered by pitched volumes but not yet envisioning their materiality.
WEEK 2 SUMMARY + CONNECTION OF EXISTING FLOORS + APPLYING QUEER PRINCIPLES TO ARCHITECTURAL INTERVENTIONS + INITIAL THOUGHTS ON MASSING LINKED TO HISTORICAL DRAWINGS - convent volume not fully resolved - convent floor plan not tested - not clear material strategy
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main aspect main dance space was designed as staircase which would connect the other levels of the church.
?
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iteration 3 LIGHT AND TWISTED VERTICAL CONNECTION my third week was about envisioning the space of the queer club as a whole. trying to tight my intentions with a clear architectural strategy while considering initial thoughts on materials. during the previous week, the staircase was designed as a series of heavy blocks interlocked within each other. testing and pushing this solution forward made this intervention evolved into a light-weight metallic structure able to sit within the original walls of the church. respecting the existing, the additional volumes have been designed mimicking the context, as shown in the low pitched roofing solution proposed to protect the convent space. these proposed volumes have been designed as clear white rendered masses with a slate roofing, laid with a traditional genovese pattern, to imitate the adjacent buildings.
WEEK 3 SUMMARY + MASSING PROPOSAL FOR THE WHOLE COMPLEX + INITIAL MATERIAL STRATEGY + PUSHING MY ARCHITECTONIC INTERVENTION FORWARD BEING MORE EXPLICIT - convent materiality not fully resolved - heights of spaces not well considered - still a bit shy and plain in my interventions
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main aspect the staircase gained its materiality as a steel meshed architectonic element which would enable overlooking over the dance floor with a series of juxtaposed balconies.
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iteration 4 BEYOND THE MARE CONNECTION once the staircase has been rationalised on a simple, yet more efficient, grid I was able to expand its principle to other areas of the club. its function as an ‘overlooking’ and ‘connecting’ architectonic devise was used to create a ‘bridge’ which would link the main dance space to a mezzanine storey inside the ground floor bathroom. here, the bathroom concept has been further designed as totalitarian overlooking experience where the body is bright back to the center. the roofing solution designed for the convent area is yet more playful but still shy compared to its surroundings. its design was inspired by the context, and even though its materiality would have made it stand out, it was not conceptualised as a visual architectonic statement yet.
WEEK 4 SUMMARY + CONFIRMED THE VOLUME OF THE CHURCH + RATIONALISED AND EXTENDED STAIRCASE PRINCIPLE + BEING PLAYFUL WITH THE MASSING SOLUTION FOR THE CONVENT AREA, RESPONDING TO ITS INTERIORS - roof terrace potential not fully considered - a bit too messy but yet playful, need rationalising - need to go back to the human scale
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main aspect the staircase has been rationalised on a structural grid and its principle has been expanded to other parts of the church.
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iteration 5 SPREADING THE PRINCIPLE this week focus was principally on two aspects. firstly, the staircase’s principle was used to ‘invade’ the Tavarrone chapel in order to better use its double height. at the same time, the structure of the staircase has been expanded to provide ever more overlooking moments. other areas of the club have been resolved as well, such as the garden. here, small runways would provide the space necessary to fully experience this environment. the roofing solution of the convent is thought to be independent from the functions and architectonic shapes underneath. the initial potential of a roof terrace where to expand the upper storeys floor area has been partially implemented. a palette of materiality for the entire church is needed to fully understand the complexity of each space as well as their cohesion as a whole.
WEEK 5 SUMMARY + RATIONALISED VOLUMES OVER THE CONVENT + INITIAL USE OF THE ROOF TERRACE + BEING PLAYFUL WITH THE MASSING SOLUTION NOT RESPONDING TO ITS INTERIORS - roof terrace potential not fully expressed - a bit too shy, yet not a visual statement - need to go verify materiality as a whole
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main aspect the staircase’s principle has been expanded to other parts, while other areas of the church, such as the garden, have been resolved.
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STUDIO 1 PRAXXIS
chapter six
THE DESIGN OF A QUEER CLUB chapter six LORENZO LA MAGNA ZIMMERMANN
an unapologetic piece of queer architecture A FUNDAMENTAL SPACE FOR THE QUEER COMMUNITY in order to better explain the design of this queer space, it feels important to remark the relevance of a nightclub within the LGBTQ+ community. for a minority that was no able to be themselves ‘out’ in public, due to continuous discrimination and violence, queer night-life has always served as vital space for escaping societal persecution. for centuries, there was no place able to fully welcome these individuals rather than a ‘leisure business’ such as a bar or club. for this specific reason, alongside a newly found confidence to express my personal life even within an academic environment, I have decided to lead my thesis project to be a queer architectural statement. the ruins of the Chiesa di Santa Maria in Passione have been subverted into an unapologetic piece of architecture not scared to be bold and explicit even within its spatial forms. this visual and conceptual statement would be supported by the ‘safe environment’ created by the Genova Gaybourhood. at the same time, it will be a tangible evidence of the successful re-purpose of these otherwise derelict premises.
unapologetic and explicit architecture of display, performance ad overlooking
SANTA MARIA IN PASSIONE as architectural and conceptual statement symbiotic relationship GENOVA GAYBOURHOOD as a safe environment
since I have stated my intent to be explicitly unapologetic with my architectural proposal, you might come across certain shapes and volumes, and they might represent exactly what you think they are.
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conceptual spatial layout
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from a church to a club GROUND FLOOR PLAN
context external paving existing proposed floor marks above projection technical lines
1:200 proposed ground floor plan
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FLOOR PLAN +12.6 m ms
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ROOF PLAN proposed roofs existing roofs existing proposed elements underneath above projection technical lines
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phallic lantern
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performers space
peeping space sex rooms
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SECTION 1 context existing projection existing section proposed section proposed projection
bathroom
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dance space dance space
bathroom
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performance space
dance space
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SECTION 2 context existing projection existing section proposed section proposed projection
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dance space
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privé area
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dance space
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SECTION 3 context existing projection existing section proposed projection
phallic lantern
rooftop terrace
outdoor area
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the staircase of overlooking THE MAIN DANCE SPACE DESIGN this specific spatial solution has been designed as the physical representation the first ‘looking around’ moment that you feel once entering a night club. while solving the issue of connecting the various levels of the ruins of the church, this element provides a totalitarian overlooking experience.
users proposed furnitures proposed projection proposed section existing section
this steel structure, made of a perforated metallic mesh, sits within the original volume of the church and it connects each level through some suspended bridges.
FEMINIST TECHNOLOGIES the design of this specific space is not simply driven by technological needs but it uses this necessary structure to evoke something else to its users.
‘not a simple wall’ the void of this external wall is an opportunity to do something different rather than a mare vertical partition. the staircase interacts with it with small private seating areas recessed inside this wall which appear like windows from the outside. 93
‘the staircase of overlooking’ this spatial element is made with three bright-coloured metallic components which distinguish its three main elements: the structure, the flooring and the the vertical partitions. a series of balconies are designed to overlook the main dance floor where the runway is located. precedent
Do Ho Suh ’Passage CAC, Cincinnati 2012 as the de-materialisation of what should be an heavy metallic staircase
‘runway space at the center’ the runway area is seen as the very center of a queer club therefore is placed directly facing the entrance. it ‘phallic’ shape reveals two small stages and its rounded edges are the counter of the main bar. all the balconies and ‘suspended bridges’ are designed to overlook this central area.
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the temple of pissing THE BATHROOM DESIGN great importance has been giving to the design of this specific space, which is usually a secondary environment with a merely utilitarian function. these spaces are stack upon the area, which was originally occupied by the ‘interior church’, signifying a real dominance within the floor plan layout.
users proposed furnitures proposed projection existing section
this architectonic intervention is the physical manifestation of these four queer principles combined. the bathrooms have been designed as a space for overlooking, display, misuse and performance of one’s own body.
FEMINIST TECHNOLOGIES breaking free from the patriarchal gender distinction, these bathroom are fully genderless. this spatial experience of display, overlooking and misuse exposes every body, sex and gender in the same exact way. this design is therefore accessible to all and it is driven by the users’ needs and desires.
‘connecting bridge’ linking the ‘urinals balcony’ to the staircase within the club main space
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‘urinals balcony’ as the mezzanine level within the bathroom space. where a single and ‘open’ urinal is the only element in between the user and the bathroom underneath. as a totalitarian overlooking experience, where your eyes are constantly driven to look at someone else.
‘glory hole cubicles’ these cubicles are designed to be visually and partially physically connected by as ‘cut’ in between them. two specular cavities have been designed at the opposite sides of this ‘connection’ in order to misuse this space. the position of the toilets are specular too and therefore limits the privacy. this forces your body to an other overlooking experience.
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‘urinal statue’ even the urinal will be shaped as a person to symbolise the subversive nature of this environment.
precedent
‘private cubicle’ next to the entrance, not yet visible from the mezzanine, a more traditionally private cubicle has been designed to respect the user choice not to be exposed.
Kara Walker Fons Americanus Tate Modern 2019 as the re-purpose of something common
three private runways THE OUTDOOR AREA DESIGN the outdoor space has been designed as an extension of the inside spaces. therefore, the same principles were applied but they shaped the environment differently. these are the queer spatial principles applied:
this area is connected to the dance space which overlooks the ‘performance stage’. here, three small runway areas and an outdoor bar have been provided.
FEMINIST TECHNOLOGIES the design of this specific space is driven by the users’ needs and desires, rather than considering a merely utilitarian and efficiency driven design. users proposed furnitures proposed projection existing section
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a ‘phallic profile’? by being bold and unapologetic, this shape could look like exactly what you are thinking of. this precedent was not intentional but mine might be. precedent
Penis-shaped church Google Maps as a questionable shap choice
‘runway seating area’ aligned with the openings, which connect the outdoor area with the interior dance space, three runway sitting areas have been designed. these elements provided the necessary space to let the users ‘perform’ and express their true selves.
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the phallic lantern THE ROOFTOP TERRACE DESIGN in order to extend the floor area of the storeys above ground floor, a large rooftop terrace has been designed. this intervention was not realised merely for utilitarian reasons but it was an opportunity to create a visual and architectonic statement, able to be seen from all the Gaybourhood.
this space is divided into three main areas: an outdoor covered dance floor a seating area a phallic lantern which houses two small bars
FEMINIST TECHNOLOGIES my thesis project is undeniably very politicised and it utilises this unapologetic queer architecture as a statement. in this case this lantern is a political and economic demonstration of something which breaks from the patriarchal societal structure.
users proposed furnitures proposed projection existing section
‘overlooking seating area’ this specific area is designed as a series of steps which allows you to reach the top of the terrace. at the same time, it allows its users to sit down and overlook others dancing under the ‘covered dance floor’.
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‘an ejaculating phallic lantern?’ this architectonic statement can be fully appreciated once walking the steps towards the top of the roof terrace. from the only street which runs sideways the site, this element will be perceived, due to perspective, as a simple cilinder. at its top a light will be reflected into the sky as a visual and political statement. precedent
Atelier Stepan Church of Beatified Restituta Czechia 2020 as a visual statement
‘bodies as statues’ this outdoor dance floor is covered by a dome which is positioned above 7 human-like statues. these explicit and apparently unnecessary decoration, symbolises different types of bodies and shapes. 100
the material response A POLISHED COMPOSITION OF VOLUMES the context surrounding the site is characterised by a great diversity in colours, materials and textures. moreover, since the beginning of the design process, I had a clear idea with the ‘outside appearance’ of this design: realising a visible architectural statement. for this reason, since ‘week 3’ I have considered the outside volumes as a polished composition of white rendered masses.
ITERATION 4
ITERATION 5
polished white volumes traditional slate roofing metallic ‘crevice’ between old and new
polished white volumes white roofing with copper domes glass ‘crevice’ between old and new
polished white rendered volumes polished white roofing no ‘crevice’ between old and new
design process
ITERATION 3
precedent Studio Aleo Olea Vilanova de la Barca Church Spain 2016
Studio Opus 5 Music School Louviers France 2012
Peter Zumthor Kolumba Museum Germany 2007
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white rendered surfaces to emphasises the difference of the new intervention within the context coloured glass for the new stained glass windows and the lanthern
corrugated copper to mimic the intervention over the presbytery
original painted façade to reinstate its history but differently
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the material response A PLAYFULLY COLOURED INTERIOR
MATERIAL PALETTE
metals
stones
render
in contrast with the white polished white volumes which will appear from the outside, the interiors will be treated differently. inspired by the totalitarian experiences of the 1960s interior design, I have decided to use materials, colours and patterns to distinguish each space, creating a different visual experience for each environment.
staircase of overlooking
dark rooms
‘a losanghe’ original flooring with slate and white marble white polished rendered volume in contrast to the ruins red, green and light blue metallic staircase
new slate flooring with red marble center piece red shiny rendered walls
connecting bridge to urinal balcony
convent dance space 3
slate original flooring red, green and light blue metallic staircase contrasting the ruins’ walls
pink and green marble with light blue walkways to accentuate directions punk rendered wall
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bathrooms
convent dance space 1
convent dance space 2
as a playful and colourful interior with a different colour to distinguish each architectonic element
green and pink marble flooring yellow rendered walls
red and blue marble flooring bright green rendered walls
convent dance space 3
peeping dance space overlooking the dark rooms
terrace-level indoor dance space
the audience space to overlook the stage is marked by bright green metallic archways
modern take on the ‘a losanghe’ flooring wth slate and white marble black rendered wall
red and dual green marble flooring with original rendered walls
STUDIO 1 PRAXXIS
chapter seven
MOVING FORWARD chapter seven LORENZO LA MAGNA ZIMMERMANN
NEXT STEPS STUDIO TIMELINE
CONSIGL
LIVE. WORK. POSE.
MArch dissertation
STUDIO 1
STUDIO 2 went back home for Christmas
RESEARCH
RESEARCH
RESEARCH
ITALY & LGBTQ+ RIGHTS
GENOVA & CENTRO STORICO
PROCESS of GAYTRIFICATION
and made it back to the UK too
map the city center and its vacancies looking back at my city
understanding a process
RESEARCH TEST QUEER BUSINESSES TYPOLOGIES
HYPOTHESIS QUEER EXODUS PLAN
SITE GENOVA GAYBOURHHOD
towards STUDIO 2
understanding a broader issue
TEST DESIGN GAYBOURHOOD
MASTERPLAN
three scales intervention
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STUDIO 3 TEST DESIGN CONCEPT SCALE INTERVENTION
FINALISE REFLECT COMMUNICATE SANTA MARIA IN PASSIONE
TEST DESIGN DESIGN SCALE INTERVENTION
TEST DESIGN
towards STUDIO 3
test, test, test
TECHNICAL SCALE INTERVENTION
FINALISE
COMMUNICATE
REFLECT
FEMINIST TECHNOLOGIES
THE SPATIAL EXPERIENCE
THE PROCESS & THE PROJECT
where and how they are applied
bring back the characters
reflect and evaluate
? fingers are crossed for a future in the UK
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STUDIO 2 ROADMAP to be bold and unapologetic. to truly show what I like and make it happen.
to be scared of drawing. to be afraid of thinking pen on paper.
yes, I love a crisp and precise architectural drawing, but they are not helpful during online tutorials.
this newly found confidence to be freely me. to be transparent and bold on what I like and what for my future as an architect.
able to ‘present’ and talk over unfinished drawings.
UNLEARN
LEARN
my family’s fear that my queer project will leave me unemployed, forever!
RELEARN
REFLECT
EVALUATE
to communicate my vision through a screen (with a bad wifi too).
not be sorry or afraid of what I am doing with my thesis project. I needed to explain that the UK is different but they are still not ‘happy’ about it! fingers are crossed that they will be at the end of STUDIO 3 when seeing ‘pretty pictures’.
how fundamental was the help and support from Martha and Sally (my two lovely house-mates and praXXis legends).
not sure what I would have done in STUDIO 2 without them.
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BEING FEMINIST I like to consider my thesis project as deeply feminist by its own nature. it questions the principles and the structure of the Italian homophobic society, and it conceptualises a different path which could be followed. this subversive scenario would lead to a feeling of acceptance which will benefit all, regardless of sex, gender or sexual expression.
BEING PROPOSITIONAL since the beginning of STUDIO 2, I have realised how fundamental is to be propositional. I am generally not scared of jumping straight into the project design, but I have to admit that getting away from Queer Theory was not that easy. at the same time, having the ‘queer spatial principles’ to guide me was really helpful to infuse my design with all the research from STUDIO 1.
BEING TECHNICAL translating the ‘queer spatial principles’ into actual spaces has been a real challenge. following a rigours design process, I was able to test my ideas in the chosen project site. having a clear technical and architectural strategy was fundamental to move from the concept to the actual design.
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BIBLIOGRAPHY
ARTICLES Brancoucci, G. (2016) ‘Pietre policrome nelle architetture di Genova durante il regime fascista: aspetti di documentazione e rilevamento’ in Di-Segnare, Università degli Studi di Genova.
BOOKS Ahmed, S. (2006) Queer Phenomenology: Orientations, Objects, Others, London: Duke University Press. Betsky, A. (1997) Queer Space: Architecture and Same Sex Desire, New York: Morrow. Butler, J. (1990) Gender trouble: feminism and the subversion of identity, London: Routledge. Doan, P. L. (ed) (2015) Planning and LGBTQ Communities, The need of inclusive queer space, New York: Routoledge. Evans, J. (ed) (2014) Queer Cities, queer culture: Europe since 1945, New York: Bloomsburye. Grosz, E. (1995) Space, time and perversion: essays on the politics of bodies, London: Routledge. Kates, S (1998) Twenty million new customers!: understanding gay men’s consumer behavior, New York: Haworth Press. Sanders, J. (1996) Stud: architectures of masculinity, New York: Princeton Architectural Press. Sender, K. (2005) Business, not politics: the making of the gay market, New York: Columbia University Press. Todd, M. (2018) Straight Jacket: Overcoming Society’s Legacy of Gay Shame, London: Routledge. Waitt, G., Markwell (2006) Gay Tourism: culture and context, New York: Haworth Hospitality Press.
Binnie, J., Skeggs, J. (2004) ‘Cosmopolitan knowledge and the production and consumption of sexualized space: Manchester’s gay village’ in The Editorial Board of The Sociological Review, Blackwell Publishing. Brown, M. (2013) ‘Gender and sexuality II: There goes the gayborhood?’ in Progress in Human Geography, 38(3), pp. 457-465. Choquette, E. (2018) ‘Queering Architecture: (Un)making Places.’ in The Site Magazine. [Online] [Accessed on 30th September 2020] Costa, P., Pires, P. (2019) ‘Between “ghettos”, “safe spaces” and “gaytrification” ‘in Cidades. [Online] [Accessed on 15th Octoberr 2020] Di Fabio, C. (2010) ‘I portali romanici della cattedrale di Genova, Contributo alla storia del duomo nel XII Secolo’ in Beni Culturali, pp. 89-122. Doan, P. L., Higgins, H. (2011) ‘The Demise of Queer Space? Resurgent Gentrification and the Assimilation of LGBT Neighborhoods’ in Journal of Planning Education and Research, 31(6). Galloway, L. (2001) ‘The experiences of male gay business owners in the UK’ in International Small Business Journal, 30(8), pp. 890–906. Gavroche, J. (2016) “Struggles for Space: Queering Straight Space: Thinking Towards a Queer Architecture” in Autonomies, 3rd October. [Online] [Accessed on 30th September 2020] Lorusso, S. (2002) ‘Il restauro architettonico: le diverse concezioni nel corso dei secoli’ in Quaderni di Scienza della Conservazione, pp. 56-83.
Williams, R. (2013) Sex and buildings: modern architecture and the sexual revolution, London: Reaktion. 111
Miller, V. (2005) ‘Intertextuality, the referential illusion and the production of a gay ghetto’ in Cultural Geog raphy, 6(1), pp. 61-79. Rocca, M. (2015) Cura, tutela e salvaguardia di un sito archeologico a Genova. La “Libera Collina di Castello” un progetto partecipato, Università degli Studi di Genova. Ruting, B. (2008) ‘Economic Transformations of Gay Urban Spaces: revisiting Collins’ evolutionary gay dist rict model’ in Australian Geographer, 39(3), pp. 259-269. Santamaria, R. (2010) ‘I colori del marmo: pietre policrome in Liguria tra i secoli XVI e XVIII’ in Beni Culturali, pp. 1-18. Sibalis, M. (2004) ‘Urban Space and Homosexuality: The Example of the Marais, Paris Gay Ghetto’ in Urban Studies, 41(9), pp. 1739-1758.
WEBPAGES Comune di Genova (n.d.) Osservatorio CIVS [Online] [Accessed on 6th October 2020] http://civis.comune.genova.it/cd/civis_web_ing_file/v3_document.htm
Kyeas, C. (n.d.) After the Gay Bar, The Uncertain Future of Queer Space [Online] [Accessed on 5th November 2020] https://failedarchitecture.com/after-the-gay-bar-the-uncertain-future-of-queer-space/
UCL (2015) Urban Pamphleteer n. 7 [Online] [Accessed on 23th October 2020] http://urbanpamphleteer.org/lgbtq-night-time-spaces-past-present-future
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STUDIO 1 PRAXXIS
thank you
GRAZIE thank you LORENZO LA MAGNA ZIMMERMANN